The Metropolitan Opera
Categories: Performing Arts, Community Service/Non-Profit [Edit]
Neighborhood: Manhattan/Upper West SideLincoln Center
70 Lincoln Center Plaza
New York, NY 10023 (212) 362-6000
- Nearest Transit:
66th St (1)
59th St-Columbus Circle (1, A, C, B, D)
- Good for Kids: No
42 Reviews for The Metropolitan Opera
I saw Swan Lake Ballet here last night and must say it was a lovely experience. The background scenery was truly amazing and beautiful! I am not much of a "cultured" person when it comes to the arts but even I was absolutely in awe of how beautiful the stage decoration was during each act.
The only negative that comes to mind is that the seats only have a slight incline which makes it difficult for those sitting far from the stage to see. It's even more challenging when you are petite or shorter!
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My only five stars go to life experiences other than food, sorry.
The stage decors are magnificent, the singing is world class and any Met Opera production will be a guaranteed classy act.
I rarely get emotional about performances on stage these days, but the Masked Ball I saw there was beautiful and moving, the set designs larger than life. Opera has this endearing quality which makes it impervious to the daily and the profane.
A note to the girls - do not make the mistake of wearing a gown - a pretty evening dress will do.
Well, for my 100th review, I wanted something special and the Metropolitan Opera House certainly deserves that accolade. I've been to many opera houses and my favorite is the State Opera House in Prague, Czechoslovakia but the Metropolitan Opera House has one of the most lovely lobbies anywhere. Fully carpeted in red velvet with a gorgeous modern-ish chandelier with star shaped lights presiding over, the Metropolitan open lobby borders on seductive. Like a femme fatale, the staircases wind themselves around the curves of the opera house, allowing everyone to people watch. It has an inhouse restaurant that caters specifically to opera goers where you can place your dinner and eat it over the course of the different acts, where you'll come back to your table to find your food waiting for you. If you've already eaten, there is also a small bar area with drinks and snacks as well.
The inside of the opera house is plain (no ornate gilded ceilings or old fashioned boxes) but the seats are plush and comfortable. Each seat has its own small screen with translated lines. And the technology is such that only the person right in front of the screen can see the words, as to not distract/light the entire row. In fact when I went with Rob to the production of Un Ballo in Maschera, he kept on hitting the on/off button on my screen b/c he thought my screen wasn't working since he couldn't see the words on my screen from his seat.
This is also one of the few places in the city where a suit and tie is highly recommended for gentlemen and where ladies can show up in a gown complete with fur coat without looking out of place. Everywhere you turn, there are well-dressed couples romantically canoodling on the outdoor open terrace or sipping their champagnes by the bar.
Finish the evening with a drink at PJ Clarke or Bar Boulud, across the street so as to miss the rush for cabs and this might be one of the most memorable evenings you've had in a while.
P.S: Tickets can be quite expensive and for short run productions, good tickets are gone months in advance so plan accordingly.
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My first opera at the Met was The Ring Cycle and it lasted 6 hours. I LOVED it. I'm not a fan of the stark Soviet style of staging, but it was beautiful to listen to that much opera sung live, and to hear a full orchestra give it a go for 6 hours. I especially appreciated the personal LED translations to English. It is worth it to research the opera and listen to the music and read about it before attending. I'll be back next week for La Traviata--I have the libretto, listening to it now and I can't wait.
Lincoln Center itself is a huge time warp back to clunky 70's architecture and embarrassing over-use of concrete. I heard a rumor they are supposed to re-do the entire Lincoln Center so it reflects its true intent, to make arts accessible to New Yorkers and not the cold monolith that repels all life forms. What were they thinking, there are no trees, no where to sit, all concrete to pound when going to see and hear art. It is painful just going to the library or meeting friends there it is so inhospitable. 1 star for architecture.
but 4 stars for culture!
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With ceilings guilded in gold and plush red velvet omnipresent, how can you not fall in love with this place? I had the privilege of going to a backstage tour led by a flutist in the orchestra there. Something everyone must do! I was shocked to learn that only 40% of a show's production is supported by donations. They really go all out with costume and staging. Also, I learned that the seats are spaced strategically so that you don't look over someone's head and the seat sizes vary. Saw numerous operas here, my favorite of which is still The Barber of Seville. Yes, the crystal chandeliers are all gifts to The Met! The acoustics inside are nothing short of amazing!
Decor: classy, elegant
Note: Press your subtitle button before the opera begins if you want it to work.
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I saw La Boheme in the Emeryville theatre today (got the tickets in Jan.) Theatres started showing operas at the end of 2006. They book out fast and cost about 22 dollars per ticket.
I loved how this showing showed the backstage, interviews with the opera singers and conductor, and even snippets of past operas.
La Boheme is a lovely romantic story and the singers did a great job. When I go to New York, I would love to see the Met in person.
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I saw this season's Lucia. The place is beautiful, the experience outstanding, the performance magnificent. With the prices of a theater show on Broadway - or off Broadway, for that matter - being what they are, the Met can be a steal if you go for the $15 seats, though you might want to bring binocs. Subtitles are shown on user-controlled screens at each seat.
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I got some pimp ass seats from these people who have like seasonal tickets.... mannnn, what an experience!!!
This was my first Opera. The evenings performance was Otello, everything was so beautiful! The stage was huge, so realistic!
The place looks like rich and stuck up but i saw a whole range of people in like super nice dresses, to jeans and chuck taylors... so whatever floats your boat! Theres a parking lot right underneath so you can just walk upstairs to the theater.... really convenient!
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The opera may not be what it used to be. When I think the Opera, I think grand, regal and lots of grey hair and fur. But this is not the case anymore! Who let in the denim jackets and tied-dyed tee-shirts! This is not half price night!
Now, I am all for discount night at the opera, but there should be a dress code and it shouldn't include things with holes or creatures that don't believe in showering.
Now, to the actual venue--its magnificent! I saw Hansel and Gretel here on a Wednesday evening and the entire evening was magical (sans denim jacket clad opera-goers). It's truly an experience to go to the opera in Lincoln Center--it's gorgeous, intermission is great for people watching and how much fun is it saying you are going to the opera?!
Love it, but I'm all for a dress code.
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What could you give the Met but 5 stars?
This used to be what I did. I studied music history and specialized in opera (specifically modern opera) with hopes of being a professor/music critic. But I started getting into the field and meeting people, and I eventually abandoned academia in favor of actually enjoying my life.
Now all that remains of my life of musical intellectualism (I call it the Ebony and Ivory Tower) is a love of opera and wistful memories of late-night quartet rehearsals.
I don't need to tell you about the Met. You know they're fabulous. World-class performers and impressive new stagings at ball-breaking prices. I just wish I were richer.
I missed this year's Lucia, and I feel like my life isn't worth living. (Can't wait for La Fille for my Dessay fix.)
The only problem I (sort of just a little bit) have is the programming. I'd like to see more daring line-ups. They're doing the Tan Dun I didn't care about last year and the Glass, which is neat, but I can only stand so much Verdi and Puccini. My next opera date is Vanessa at NYCO.
But other than that.... simply smashing.
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Ok, the review is over, but please stick around and listen to the saddest story of my life. ...if you wish.
So I used to know this guy who had the magical combination of being 1) filthy rich, and 2) attracted to me. His partner didn't like all the same stuff he did, so sometimes this guy would take me to expensive places.
Anyway, I was so excited when he got tickets to the opening of Die aegyptische Helena with Debbie Voight, my elephantine Goddess. We were gonna have this fabulous dinner and sit in the orchestra and see this opera and meet his partner for drinks somewhere swanky.
He told me to look hot, so I got outfitted for a new coat and slacks with an awesome new tie and shirt. A new charge account and $1,000 later, I was feeling good! But the next day when I went to pick up my tailored clothes, the guy at the store said "You don't look so good, would you like to sit down?"
Sure enough, I was smacked in the face with the most horrid flu. I couldn't walk 10 feet without passing out. I was sick for a whole week and had to cancel my opera date! I missed Strauss, I missed Debbie, I missed feeling rich, and I haven't even gotten to wear my irresponsibly-attained outfit!
I'm still sad about this. I will now accept your condolences.
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Truly beautiful.
The Met is exactly what an opera house should be - grandiose, imposing, and inspiring, and stands on its own and a landmark (classic example: Opera Garnier). From the sweeping staircases to the deep red carpeting to the insane acoustics of the hall, The Met is an opera force to be reckoned with.
Of course, each individual experience depends on the particular piece you are seeing, who produced it, the actors, and where you are sitting. However, The Met is designed so that even the 'nosebleed' seats are not bad - in fact, most people would say that the sound quality is better the higher up you are.
It appears that downright reasonable ticket prices can be had - going to the opera doesn't have to break the bank.
That said, I had the great joy of being able to see (part) of an opera here with a dear friend of mine - and while I didn't make it through the whole show, it was still magical. Everybody around you is just as excited to be there, which creates a lovely energy.
5 stars for magnificence, glory, and preserving a classic art!
Tips: Eat something before hand, and wear layers or bring a shawl, the temperature fluctuates in the hall. Also, read up on the piece you are seeing beforehand!
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Ah, home to the most fabulous art form ever! They aren't all perfect (there are some truly awful productions/singers), but it's still Mecca for the opera-lover. November's NOZZE was glorious! Looking forward to many more heavenly hours spent in this place -- I have an 8-opera subscription, and some single tickets besides!!
UPDATE 3/7/08: BOO to the Met for the new subscriber policies for next year. NO automatic exchange-of-ticket w/subscription, and a $5 PER TICKET exchange fee!!!!!! I love the season they are putting up, but I won't be subscribing....
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An Alliterated Review Regarding My Metropolitan Enlightening Experience
Absolutely Amazing Atmosphere
Beautifully Balanced Ballet
Cinderella Completely Charming
Dancers Delicately Divine
Every Experience Elating
Fancy Flighty Footwork
Glittering Glass Goddesses
Handsome Harmonious Hombres
Intriguing Intermissions Included
Jealous Jazz Jackets
Killer Kinetic Kisses
Livid Lonely Lasses
Many Monstrous Moments
Never Needing Nicotine
Outcome Often Orgasmic
Perfectly Prepared Prancing
Quirky Quiet Queens
Regretfully Rare Rotations
Surprisingly Sensual Scenes
Tights Tending Thighs
Ugly Uniformed Ushers
Vividly Vibrant Variety
Wonderfully Wicked Wine
Xenians Youthfully Zealous
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Disclaimer: This is NOT a review for the performance aspect of the Met.
I'm reviewing the Gallery Met Exhibition...Into the Woods (not Sondheim's)
Into the Woods is a special exhibition at Gallery Met that coincides with the Met's showing of Hansel and Gretel. The works here are all Hansel and Gretel themed, and range from creepy eerie to fun and whimsical (i.e. Pac Man...SO tongue in cheek!). It is a tiny gallery, so you can check it out in about 30 minutes.
The Gallery is located at ground level in the far left hand corner of the main opera house and accessed through a separate glass door. Admission is FREE! If you are in the hood, check it out.
BUT be sure not to miss the two HUGE murals by Marc Chagal that are in the opera house above the Gallery Met. They flank either side of the interior of the building. They are especially visible from outside at ground level after dark. Gorgeous.....
Really, really wonderful. Better than the SF.
I half wish they would not show the translations. It can be a more imaginative experience when you experience the opera through the senses and emotions alone. Sans brain.
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Here's the gospel according to the unsaintly Ed U...
Going to the Met is something of a religious experience. In fact, I think I saw my Diet Coke turn to merlot at one of their many bars. Now somebody cue the organ please.
Ever since Nicolas Cage took a glammed-up Cher there in "Moonstruck", I have wanted to go to the Met. But opera intimidated me for years. Price was another issue. The cross-continental distance was yet another. Then there are the languages I don't understand spoken much less sung. Oh, and I also lack the appropriate wardrobe (...hey, we all can't look like Cher).
When I arrived for my first-ever Met experience two years ago for a stunning performance of Handel's "Rodelinda" with superstar soprano Renee Fleming and countertenor extraordinaire David Daniels, I was awestruck beyond all expectations. As anyone who has seen the original version of "The Producers" knows, Lincoln Center is a bold complex of buildings with a striking fountain in the middle. I made the dire mistake of going into the Met gift shop right off, where I had to be constrained from buying something...anything...in this virtual candy shop.
When I finally entered the theater as the Met "virgin" I was, I expected it to be much deeper than it is and certainly not nearly as tall. Crystal chandeliers soar upward before the performance begins...still one of the coolest sights ever. I was sitting in Row T down the center and free and clear from the overhanging balcony. I loved the English translation titles in front of me on my own personal scrolling screen. Wow, better than Jet Blue, I was thinking. I was already enthralled, and the curtain wasn't even open.
Stephen Wadsworth's production of "Rodelinda" offered an extravagant Tuscan villa as its main set, but it moved across the stage to reveal an amazing library set and even elevated upward to reveal a darkened dungeon. The bell-like acoustics of the hall enhanced the already stellar performances of the cast. Never had I experienced an opera performance so fulfilling, so moving, so eye-catching until...
Flash forward to last week, and I am back for a return visit, this time for choreographer Mark Morris' equally elaborate production of Gluck's "Orfeo ed Euridice" again starring David Daniels (coincidence?...I think not). Morris lent a fantastical element and seemed to have no problem filling the full height and width of the Met stage with three full tiers of ghostly historical figures as the chorus. Look! There's Princess Di...and Abraham Lincoln...and Gandhi...and... There was so much to take in that I found myself in sensory overload visually and aurally.
There are floors upon floors of seating, and having been in both the upper balcony and the main orchestra, I can tell you the sound is pristine no matter where you are. The view is what varies considerably. If you can afford it, go for the back orchestra so you can see the entire stage. As a San Franciscan, I am jealous of all the New Yorkers who take the Met for granted. Sure, it ain't cheap (it's Broadway times two for a good seat)...but you are almost always guaranteed a spectacular experience every time you go.
And no matter how many times you go, it feels like the first time. You can be a Met "virgin" again...and again...and again.
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OK, so I'm sure I don't have to praise the Opera house itself, for you are all aware of just how amazing it is, but I am here to review the most recent show I attended last night......Peter Grimes. Holy Mother of God! If there is one show that you must see this season it is this masterpiece. Please, please go. First of all Benjamin Britten, the composer, wrote a most complex, minimalist piece which reached a level of emotional turmoil I thought only Puccini could express. I had performed in Benjamin Britten's Turn of the Screw and was happy to see that his genius extended to his other works. Because it is a contemporary opera it may be tough to get into at first, but it is in English and is sung with some of the most impressive voices. The one that shattered my heart, especially during the final 15 minutes of the opera, was the role of Peter Grimes sung by tenor Anthony Dean Griffey. He gave me chills and left me in a state of silence and contemplation. His voice was majestic, melodic, and so precise. It seemed completely effortless for him when I know very well just how hard it is. The ensemble as a whole performed beautifully and I strongly hope that anyone reading this will consider going.
Absolutely amazing. Talk about an experience!
Grandiose in every way, completely phenomenal.
The Met itself is a gorgeous building, I could totally see myself gliding down the grand staircase in a wedding gown. ;)
The costumes, the sets - it was all beyond exceptional. And the singing was of course phenomenal as well.
I had seats in the 3rd row in the Orchestra and they were good, but I think I'm gonna have a go at some seats in the Parterre next time. I didn't feel like I had a proper view of the floor of the stage from my seat, plus glancing from the LCD screen up to the stage was kind of nuisance. I'm thinking maybe being up in the Parterre, the screen and the stage will be in a more similar line of vision and then easier to keep track of both at the same time. Just a theory, can anyone concur?
I loved that the people attending the show there actually made the effort to dress up. People don't dress up anymore, for like anything! So sad! I generally feel overdressed most places I go but thankfully I felt totally comfortable in a chic Vera Wang piece here.
The one thing I would recommend against would be buying alcohol at the Met. My $16 glass of champagne in a plastic flute was pretty damn foul. Yuk. I'd be surprised if the champy they were pouring even came from a bottle worth $16.
All in all I seriously can't wait to go to another one! I am very much bit by the opera bug!
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Sean and I were here the other night for a fantastic performance of Swan Lake. One of Sean's contacts at JP Morgan invited us, and we ended up with the best seats in the house!
After a private reception in the Belmont Room (very good cheese and cracker plates, hor deorves, champagne, etc), we headed into the actual opera hall, in the "Chairman's Box." Directly in front of the stage, we had the best view - completely unobstructed in and directly in front of the stage. As Sean mentioned, this is where the President of the US sits and there is a sniper box above to protect that seat! How cool and slightly scary!!
Ok, the music hall itself is gorgeous. I am obsessed with the Austrian crystal chandeliers that illuminate the hall. Acoustics are great (but I wouldn't expect any less) and best of all - it doesn't get too cold!
The ballet was wonderful - the prima ballerina stole my heart and I was very impressed with the set changes - smooth flawless transitions.
Will be back to review an opera... dying to see Tosca next spring!
12/06
Sean and I returned to see Le Nozze di Figaro. Humorous, dramatic and absolutely beautiful. Wonderful acoustics as well. I actually prefer the translators here over the Lyric in Chicago as it is directly in front of you on a small screen rather above the performers.
Bravo!
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New Yorkers are SO lucky, everyday they have the access to one of the greatest opera house in the world. On top of that, the tickets could cost as little as $20 and I'm NOT talking about student discount (see their website for "rush tickets" info).
Warning: stay away from Die Zauberflote, unless you want to see a freaking puppet show. Julie Taymor had successfully ruined the master piece, it is now Lion King the sequel.
** I just realized Die Zauberflote had passed, you may disregard the warning, but still stay away from Julie Taymor in general.**
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Recommended for: Lovers of Opera
Performance 6, Music 6, Plot/Story 6.
I have yet to see a bad opera at the Met. I'm torn between developing a review per opera, or just one really LONG updated review... so lets do the long review:
Il Barbiere di Siviglia
Saw this wonderful Opera with lead character 'Figaro' with my opera buddy (you know you who are!). She was kind enough to go early, and scored killer seats... I mean, orchestra level, row U! The acoustics where we were sitting were phenomenal and luckily no ginormous person blocking our views. Vocals were great, as was the story and of course the music - oh, totally awesome!!! Of course during intermission we had a sidebar conversation about our "livers", which the older folks thought were somewhat amusing and said 'yeah, me too!'.
Great Opera, if you ever get a chance to see it, costumes great, performers great, music, everything, great, great, great!!! Oh, and big props to the butler for he makes Chris Farley's physical comedy look like nothing....
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Update - 6/29/07
Ok, came back to the Met Opera, this time for a ballet - Swan Lake. I was lucky enough to have business relations with JPMorgan Chase who gave me two tickets (one for me, and the other for my Princess) to see Swan lake. There was a private reception in the ___ room (can't remember the name) where we had free food and champagne - can't go wrong with that, right?). My friend pointed out that our tickets were special, and unlike the others sitting in orchestra we had box seats... and not just any box seats... the 'Chairman's box'. Now I've had box seats before, but seriously, if you EVER get a chance to sit here, DO IT. This is where the President of the US sits (if you go on a tour, you know there's a sniper box positioned to take care and watch over the president). I sat where the President sat, does that mean anything? :)
Anyways, the Ballet was fantastic. The first half was a little slower than the second. The backdrops were phenominal, as was the orchestra. The prima ballerina was absolutely fasntastic. This ballet is a must see!
stay tuned for more!
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Saw Carmen here and truly enjoyed the whole experience. We were lucky to find a parking spot directly across the street that wasn't a meter. The neighborhood is charming and offer plenty to do before or after the show.
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It seems that Sam has said everything I wanted to say about the Met. So just read his review. A general rule of thumb that I go by (and there are exceptions) is that if it's a serious/heavy/intense opera with absolutely no comedic element, then watch it at the Met. But for lighter/comedic operas, go to NYCO.
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Brace yourselves, kids - review #300 is gonna be a long one - I'm not really quite sure how to review an institution that makes me so happy and so frustrated at the same time.
I love opera. I'm an opera person. It affects me on a very real level (in the last thing I saw there - Rigoletto on Tuesday night - Carlos Alvarez almost brought tears to my eyes during his Act II aria - I'm an opera person). Also, I know opera. I studied it, I sing it, I know the singers, the repertoire, the composers. I know opera. And thus, you cannot love/know/appreciate opera without being in awe of the Met. It's the All-Star game of opera (strange to use a sports metaphor here, but go with me). This is where the best of the best come to sing. The biggest starts of opera from all over the world BEG to sing at the Met. Some say it's the most important opera house in the world. It's classic, and opulent, and beautiful. Everything about it is big, from the sets to the ceilings to the voices. The Met is the top.
And yet, what I find so frustrating about the met (and the reason I will be the sole dissenter on the the unanimous 5 star reviews this place gets), is its unwillingness to take any chances whatsoever. Yes, it's easy to fill houses by casting international superstars in big, opulent sets, and doing 30 year old productions that everyone knows, but it doesn't advance the art form. It doesn't allow for creativity, flexibility, or growth of any kind. It's so unwilling to take a chance and fail, unlike City Opera, which, I'll admit, does fail sometimes, but is at least willing to do things a little differently. As a young, regular patron of the opera (and yes, I realize we are a very small minority), I'm not interested in seeing the same damn production of Tosca that they've been doing since 1970.
And yet the tide seems to be turning. Thanks to the appointment of Peter Gelb, the new General Manager, who, still in his first season, has already brought in two new directors for new productions, and commissioned a world premiere. I, for one, welcome the change, but it remains to be seen whether or not he will end up winning over the stodgy Met patrons.
For the neophytes, if you go to the Met, see something classic, because as much as I complain about seeing that damn La Boheme for the 87th time, it's absolutely breathtaking your first time. For something with a little more edge, head across the pavilion to NYCO. Either way, please support opera and all the performing arts in New York! In my humble opinion, they're the best part about living in this glorious city.
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New York = Metropolitan opera
even though I've studied the Classical Music for a long time, I wasn't interested in Operas that much... my heart was only pounding to Cazone, Lied, Chanson, Art song... and some of Arias... maybe...
after moving in New York, had to be the Met!, the only place, makes my heart alive again... singers, music, stage, people, enthusiasm...
I am once Pamina from 'Die Zauberflote,' Violetta 'La Traviata,' Elvira from 'I Puritani,' Jenufa from 'Jenufa ,' Tatyana from 'Eugene Onegin,' Helena from 'Die Egyptische Helena,' Liu from 'Turandot,' Rosina from 'Il Barbiere Di Siviglia'... fall in love with each of tenors, baritones, and basses... every single moment...
every time, being a line for a Rush Ticket, there're many opera lovers from all over the world... didn't realize how lucky I am...
New York!! the center of the Music!! here I am!!!
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Always a stellar experience...!
One of the reasons New York exists is for the Metropolitan
Opera.
A friend just debuted in Iphigeneie en Tauride last week (11/27/07). It was a gala opening night. It's wonderful seeing all the women in their couture gowns and Jimmy Choos.
'Jenufa' for Valentine's Day (2007) was a spectacular 5 star performance.
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Awesome. Totally awesome. I love opera, but specifically this one (my experiences with City Opera have been less than stellar...a little too much interpretation, a little too little singing). Everything is splendiferous. I don't have much else to say except get yer booty some culture and hit up the Metropolitan Opera!
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So much to say after the magnificent experience of Wagner's Die Meistersinger de Nuremberg.
First, I could very well the only member of the audience that is still alive in 20 years. Im totally serious. I made sure my cell phone was in reach for the potential 911 call impending during this 6 hour marathon. I think the odds of an emergency considering the ages of those involved was in order.
More importantly, what an experience. The music. The costumes. Most over... the set. The set is absolutely stunning.
With respect to Die Meistersinger itself, I would think that anyone remotely interested in Wagner, Schopenhauer, Nietzsche, or Goethe would be well advised to experience this. I think modernity needs much more of the brooding cobbler poet of Hans Sachs. The current day wanna be rock/emo star with a guitar whining about a girl just doesnt cut it. No matter what anyone thinks of Wagner, there is something absurdly epic about the brooding loser poet not getting and denying himself of the girl and then being taken paraded out of the city as the hero while they chant his name. Whoever directed the 80s epic Lucas must have been a secret Wagnerite.
To those that cant bear the thought of sitting through a 6 hour production, keep tuned to the television.
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Ah, the ballet. One of the many performances that will constantly remind me of my inherent clumsiness. Bravo!
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As one reviewer already noted, the Met is for traditional classic opera. I did see La Boheme here as my first opera while I was in college and fell over backwards at the grand drama of it all. Since then, I've been lucky enough to attend a few more operas here. Be warned that tickets for the Kirov Opera, when they swing through town, sell out very quickly. For this reason, I have yet to see Eugene Onegin, my favorite opera.
I also saw Arnold Schoenberg's Moses Und Aaron here. The set was something very different from La Boheme: strikingly modern, and almost minimalistic. The choreography told the story very well during the dance scenes. If you don't have an adamant adversion to atonal music, try to catch it if they bring it back. There are other operas that I've seen here, but none remain so much in my memory as Moses Und Aaron (I still can recall a certain vivid orange-red they used for one scene).
Serious, lofty, and just beautiful drama sung by some of the best voices in the world.
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The Met is awesome. Tickets can cost as little as $15, and they also have standing room only in the very back. The nose-bleed seats are worth securing, although you might wish for some opera glasses.
Last week or so, I went to the production of Die gyptische Helena, and it was good. Not as good as the production of Semele that I've seen at the City Opera -- http://www.yelp.com/bi... -- but it's a very different opera company. This opera itself is more challenging, and while the lead soprano is a soprano to die for, it's just a more difficult piece of music.
Given that the opera was staged in the same complex, you can expect the same beautiful space. The translation is slightly better handled -- on displays at the seat level versus above the stage -- but the building is just as awe inspiring.
A coffee will cost $3 or $4. A brownie, who knows? C. and our friends had a blast.
You could do much worse for $15.
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La Boheme. Rigoletto. La Traviata. Cavallaria Rusticana. I've seen magnificence performed in this most magical of music venues, and I should be so lucky to have had my ears and soul blessed by incomparable passion projected from its stage by the likes of Placido Domingo, Leontyne Price, Renee Fleming.
Quite simply, the MET is the U.S. mother ship of musical brilliance and achievement. You know you'll see greatness here, so visiting this eternally extraordinary venue always provokes a sense of excited anticipation from the time you catch the first glimpse of even just the curtain in the palatial auditorium, to the moment when the chandeliers begin to rise up to the ceiling.
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I was here yesterday for Giuseppe Verdi's Luisa Miller. This was only my second time here. The ambience, acoustics and sets were incredible. We had orchestra level seating, that is beaten only by Parterre box seating, which I experienced during my last time here.
I was well advised to get some sleep before going to the opera, since they span 3-4 hours (and those are the short ones!) and music in the dark tends to promote shut eye.
Maybe I should now learn more about operas. They had an Opera 101 book on sale at the counter. But at a page count of 500+, it seemed like even the basic stuff might be overwhelming.
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Get some culture young folks!
I saw Madame Butterfly here. If the tickets weren't $375, I'd see it again.
I also saw Faust...wow...great job!
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The REAL reason I visit NY as often as i can. The Met is showing America over and over again what real Opera is like. Wish we had something that -seriously- compares to it on the West Coast.
The Met is a grand place to see an opera. The stage is grandiose in the best possible way, and you really feel like you're SEEING something. The more I go to the opera the more I get from every experience--I'm learning to listen and suss out which voices I like, hear more of the symphony, and attend to the staging. An opera is a very complex experience, I find. Other highlights of an opera experience at the Met include: free water in little paper cones (like a paper flute glass) and people-watching during intermission. I advise you to stand under the big chandeliers on the red carpet and just let everyone walk by in their splendor. Oh! There are such fine ladies and gents at the opera!
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The MET is in transition...Peter Gelb is doing some great things for this venerable institution badly in need of a makeover.
But per the usual experience:
SEATING. Legroom is an issue for tall people. You'll feel cramped even in luxurious Grand Tier while sitting for Der Meistersinger (LONG). For comfort, I'd scramble for Orchestra (usu. $120 but often available for $20 rush), Front row Grand Tier, Dress Circle or Balcony (GREAT views and sound), or one of the side boxes closest to the stage that have less obstructed views (and purchased at the box office ONLY). The ultimate (but cost prohibitive at $350) is a center Parterre Box, which is like floating above the stage. To see everyone up close (which often makes the same opera come off completely different...closer to a moviegoing experience) sit Front Orchestra or a Parterre box directly over the orchestra pit. Standing is cheap and fun, but beware that views can suck...half the stage is cut off on Orchestra level; sound is better Family Circle but people look like ants from up there). Sound is usually better the higher up you sit.
INTERMISSIONS are long (usu. 30 minutes). I recommend the Revlon Bar on the Grand Tier level (they serve booze, coffee, light food and sushi...but get there fast, the line gets huge, and Pancho and Felix don't move that fast). Go to one of the upper levels for people watching, and the gallery (all the way downstairs) for fast coffee service. Restroom lines are long at the start of intermission; wait until the bells have rung and the line will be much shorter. Old patrons (ladies with knee replacements and men with swollen prostates) require some patience. Smoke on the outdoor patio on Grand Tier level (closed for rain) or out in the plaza. If you're connected to a patron or high-level guild member, the lounges can be nice places to retire (Belmont Room is actually nicer than the more elite 1980s-board-roomish Patron's Lounge). The ultra-exclusive Opera Club or "The Pen