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François Girard’s production presents the moody, stormy atmosphere of Norwegian seascapes with stunning visuals, but offers few fresh ideas on the doomed love between the Dutchman and Senta.

Phelim McDermott’s Coney Island Così fan tutte returns to The Met, in sparkling vocal performances. 

Edward Gardner's conducting brings out the nuances of Berlioz's complex score, but The Met's concert staging lacks theatrical thrust.

Michael Mayer’s colorful and busy production of La traviata returned to the Met with a triumphant performance of the title role by soprano Aleksandra Kurzak.

Despite theatrical drawbacks, this Wozzeck is heartily recommend due to Yannick Nézet-Séguin's staggering understanding of all facets of Berg's score.

New York City's Metropolitan Opera restages its shorter, family-friendly version of Mozart's The Magic Flute with great music and delightful visuals.

The Met revives Robert Carsen's updated production of Der Rosenkavalier with a strong cast led by Camilla Nylund.  Sir Simon Rattle led the Met Orchestra in an inspired and detailed reading of the score.

The young soprano Lise Davidsen scored a successful debut at the Met, with impressive support by conductor Vasily Petrenko, also making a debut, led a memorable revival of Pique Dame. 

The third in the composer’s “portrait” trilogy finally arrives at The Met in Phelim McDermott's spectacular production. 

Jamie Barton's rich, mellifluous mezzo is ideal for singing Orfeo.

Anthony Minghella's production remains a feast for the eyes, but this performance failed to gel into a dramatic whole. 

Christine Goerke gives a thrillingly fleshed-out performance as the princess Turandot that is everything one wants opera to be.

Laurent Pelly’s darkly stylish production of Manon is revived with a strong cast of singers. In the title role, Lisette Oropesa demonstrated elegant and incisive singing, while Michael Fabiano was her virile and powerful partner.

The Met’s new production is directed by James Robinson, who has the characters interacting and listening to one another as if in real life – the inhabitants of Catfish Row have known each other for all of their lives and love, pray and grieve like family.

The Met Orchestra’s closing performance of the season saw Yannick Nézet-Séguin lead the ensemble in Mahler’s Rückert-Lieder with Elīna Garanča and an arresting Bruckner's Seventh Symphony.

Isabel Leonard demonstrated her keen sense of language and a wonderful lack of affectation in both scores she sung.

An unforgettable evening at the Met as John Dexter's production of Poulenc's masterpiece is revived to close the season. 

The Met's spectators love Mozart’s opera, but they deserve an updated staging.

The Met's revival of Jean-Pierre Ponnelle's 1984 production of La clemenza di Tito is given a new breath of life with superb conducting and an excellent ensemble of singers.

A welcome revival at the Met of Robert Carsen's witty production of Verdi's final opera. 

Mariusz Treliński's double bill pairing returns to the Metropolitan Opera with fine performances from Sonya Yoncheva and Gerald Finley in the leads. 

Yannick Nézet-Séguin’s proves the highlight of a frustrating evening at The Metropolitan Opera

Although Adriana Lecouvreur could never be referred to as one of the world’s greatest operas, Anna Netrebko, Anita Rachvelishvili and Piotr Beczała give it the star treatment at the Metropolitan Opera. 

This revival of the Met's 30-year-old production of Aida had a disappointing debut in the title role but Dolora Zajick's reign as Amneris is still a force of nature.

When it comes to the title role, Bartlett Sher's non-interventionist production misses the core of the character. 

A new production of La Traviata, colorful and conventional, brings little new ideas but is a fine vehicle for a fine performance conducted by Yannick Nezet-Seguin that features a trio of excellent singers.

All three operas in Puccini's triptych are strongly cast in this revival. 

The second performance of the Met's Pearl Fishers saw one of the leads withdraw mid-performance again. A welcome performance by young baritone Alexander Birch Elliott could not rescue the evening. 

Mefistofele proves a mixed blessing: good meets evil, devils fight with angels, lovely lyricism alternates with bombast and second-rate material.

The cast, sets, costumes and direction of Muhly's opera Marnie impress, but the music somehow falls short of expectations.

The audience for The Met's first performance of La fanciulla del West this season arrived loaded for bear. Not only were they disappointed that Jonas Kaufmann was not singing (he's slated for shows starting 17th October), but their disappointment was heightened by the fact that tenor Yusif Eyvazov was singing.

Netrebko met the audience’s high expectations, as she does every time, conquering the challenges with her remarkable artistry. 

A debuting conductor, two new singers, and a fine ensemble of singers bring unexpected joy to the Met's traditional La bohème with fresh and youthful energy.

The Met's new season opens with a new Samson et Dalila only marginally more trashy than Saint-Saëns’ peculiar brand of kitschy orientalism.

In a program featuring music by Mozart and Mahler, the third work – Ruggles' Evocations – was Michael Tilson Thomas' most interesting contribution.

Gražinytė-Tyla conveyed the impression of allowing her players a certain freedom to express themselves while commanding the overall forces towards a preset goal.

And the new, Spring casting for David McVicar's new production of Tosca has an ace in the hole – Anna Netrebko – and she certainly did not disappoint. 

Bartlett Sher's production of Gounod's Romeo et Juliette returns to the Met. 

Laurent Pelly’s staging provided some of the most memorable moments in this performance of Cendrillon. 

The role of Luisa, some of the daintier coloratura aside, fits Sonya Yoncheva like a glove. 

Amidst mixed vocal performances, competent orchestral playing and spectacular staging, Guanqun Yu took the limelight as a devout and sincere Liù.

Phelim McDermott’s new Met production is set in Brooklyn’s Coney Island in the late 1950s and is brilliantly vivid looking, but Mozart's music plays second fiddle. 

"She commands the stage, she commands the notes, she commands the tension": Christine Goerke's portrayal of Elektra haunts The Met. 

A star-turn from Ermonela Jaho as Puccini's heroine. 

A terrific cast in the Metropolitan Opera's revival of La bohème... “near the top of a lifetime of Bohèmes” for our reviewer. 

Despite a great cast, the Metropolitan Opera's revival of Semiramide bores with tacky costumes and no direction.

The Met’s production of Wagner’s Parsifal is a harrowing affair, entrancing in its refusal to charm. 

Towering above all the other meritorious singers in this performance, was the phenomenal Georgian mezzo-soprano Anita Rachvelishvili 

Traditionell inszeniert und hervorragend besetzt wurde Puccinis Oper an der Met.