Our Media Center takes you inside Film at Lincoln Center with photos, videos, and podcasts from our screenings, talks, and events, plus announcements of upcoming programs and coverage of our artist and education initiatives.
Two of today’s most thrilling voices share the title role of the legendary cold-hearted princess: Christine Goerke, the Met’s reigning dramatic soprano, and superstar Anna Netrebko, making her long-awaited Met role debut after providing a hair-raising preview in 2019’s New Year’s Eve Gala.
The Met rings in the new year with the gala premiere of a bold new take on Verdi’s timeless tragedy from Bartlett Sher. The Tony Award–winning director resets the opera’s action in 1920s Europe, with Art Deco sets by Michael Yeargan and elegant costumes by Catherine Zuber, themselves boasting a combined eight Tony Awards.
Laurent Pelly’s storybook staging of Massenet’s Cendrillon, a hit of the 2017–18 season, is presented with an all-new English translation in an abridged 90 minutes, with mezzo-soprano Isabel Leonard as its rags-to-riches princess. Maestro Emmanuel Villaume leads a delightful cast, which includes mezzo-soprano Emily D’Angelo as Cinderella’s Prince Charming, soprano Jessica Pratt as her Fairy Godmother, and mezzo-soprano Stephanie Blythe and bass-baritone Laurent Naouri as her feuding guardians.
The ancient Greek myth of Orpheus, who attempts to harness the power of music to rescue his beloved Eurydice from the underworld, has inspired composers since opera’s earliest days. Brilliant American composer Matthew Aucoin now carries that tradition into the 21st century with a captivating new take on the story—a product of the Met’s commissioning program. With a libretto by Sarah Ruhl, adapted from her acclaimed 2003 play, the opera reimagines the familiar tale from Eurydice’s point of view.
Yannick Nézet-Séguin conducts Grammy Award–winning jazz musician and composer Terence Blanchard’s adaptation of Charles M. Blow’s moving memoir, which The New York Times praised after its 2019 world premiere at Opera Theatre of Saint Louis as “bold and affecting” and “subtly powerful.” Featuring a libretto by filmmaker Kasi Lemmons, the opera tells a poignant and profound story about a young man’s journey to overcome a life of trauma and hardship.
Bass René Pape, the world’s reigning Boris, reprises his overwhelming portrayal of the tortured tsar caught between grasping ambition and crippling paranoia. Conductor Sebastian Weigle leads Mussorgsky’s masterwork, a pillar of the Russian repertoire, in its original 1869 version, which runs two-and-a-quarter hours with no intermission. Stephen Wadsworth’s affecting production poignantly captures the hope and suffering of the Russian people as well as the tsar himself.