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When Australian composer Brett Dean’s Hamlet had its world premiere at the Glyndebourne Festival in 2017, The Guardian declared, “New opera doesn’t often get to sound this good … Shakespeare offers a gauntlet to composers that shouldn’t always be picked up, but Dean’s Hamlet rises to the challenge.”

After an acclaimed company debut conducting the Met premiere of Kaija Saariaho’s L’Amour de Loin in 2016, Susanna Mälkki returns to lead Stravinsky’s neoclassical dark comedy.

Ailyn Pérez has excited Met audiences in several of opera’s benchmark soprano roles, and she adds another one this season as Tatiana, the naïve young girl who grows into a sophisticated beauty in Tchaikovsky’s sumptuous opera of unrequited love.

Philip Glass’s mesmerizing modern masterpiece—a smash-hit in its 2019 company-premiere run—returns in Phelim McDermott’s unforgettable production, which brings ancient Egypt to vivid life with striking stage tableaux and a troupe of jugglers.

The Met’s landmark staging of this American classic returns, with many of its original cast members reprising their celebrated portrayals.

Soprano Eleonora Buratto takes on the touchstone title role of the tragic geisha, following earlier Met successes as Norina in Don Pasquale and Liù in Turandot.

Wagner’s sublime comedy takes the Met stage for the first time in seven years.

Nadine Sierra takes on one of the repertory’s most formidable and storied roles, the haunted heroine of Lucia di Lammermoor, in an electrifying new staging by in-demand Australian theater and film director Simon Stone, conducted by Riccardo Frizza.

Víkingur Ólafsson talks about his latest album with A Little Day Music host Lucas Currie

William Fralin moderates a discussion of police use of force with guests Claire Gastañaga, formerly of the Virginia ACLU, and Chief Maggie DeBoard, of the Virginia Association of Chiefs of Police.