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Join Clara at a delightful Christmas Eve party that becomes a magical adventure once everyone else is tucked up in bed. Marvel at the brilliance of Tchaikovsky’s score, as Clara and her enchanted Nutcracker fight the Mouse King and visit the Sugar Plum Fairy (Fumi Kaneko) and her Prince (William Bracewell) in the glittering Kingdom of Sweets. Peter Wright’s much-loved production for The Royal Ballet, with gorgeous period designs by Julia Trevelyan Oman, keeps true to the spirit of this festive ballet classic, combining the thrill of the fairy tale with spectacular classical dancing.

Soprano Renée Fleming makes her highly anticipated return to the Met in the world-premiere production of Pulitzer Prize–winning composer Kevin Puts’s The Hours, adapted from Michael Cunningham’s acclaimed novel. Inspired by Virginia Woolf’s Mrs. Dalloway and made a household name by the Oscar-winning 2002 film version starring Meryl Streep, Julianne Moore, and Nicole Kidman, the powerful story follows three women from different eras who each grapple with their inner demons and their roles in society. The exciting premiere radiates with star power, with soprano Kelli O’Hara and mezzo-soprano Joyce DiDonato joining Fleming as the opera’s trio of heroines. Phelim McDermott directs this compelling drama, with Met Music Director Yannick Nézet-Séguin on the podium to conduct Puts’s poignant and powerful score.

Join Clara at a delightful Christmas Eve party that becomes a magical adventure once everyone else is tucked up in bed. Marvel at the brilliance of Tchaikovsky’s score, as Clara and her enchanted Nutcracker fight the Mouse King and visit the Sugar Plum Fairy (Fumi Kaneko) and her Prince (William Bracewell) in the glittering Kingdom of Sweets. Peter Wright’s much-loved production for The Royal Ballet, with gorgeous period designs by Julia Trevelyan Oman, keeps true to the spirit of this festive ballet classic, combining the thrill of the fairy tale with spectacular classical dancing.

Umberto Giordano’s exhilarating drama returns to the Met repertory for the first time in 25 years. Packed with memorable melodies, showstopping arias, and explosive confrontations, Fedora requires a cast of thrilling voices to take flight, and the Met’s new production promises to deliver. Soprano Sonya Yoncheva, one of today’s most riveting artists, sings the title role of the 19th-century Russian princess who falls in love with her fiancé’s murderer, Count Loris, sung by star tenor Piotr Beczała. Soprano Rosa Feola is the Countess Olga, Fedora’s confidante, and baritone Artur Ruciński is the diplomat De Siriex, with much-loved Met maestro Marco Armiliato conducting. Director David McVicar delivers a detailed and dramatic staging based around an ingenious fixed set that, like a Russian nesting doll, unfolds to reveal the opera’s three distinctive settings—a palace in St. Petersburg, a fashionable Parisian salon, and a picturesque villa in the Swiss Alps.

A modern Mexican classic of magic realism provides the basis for The Royal Ballet’s new full-length work, reuniting Artistic Associate Christopher Wheeldon with the creative team who transformed Alice’s Adventures in Wonderland and The Winter’s Tale into dance, composer Joby Talbot and designer Bob Crowley.

The ballet is inspired by Laura Esquivel’s novel – a captivating family saga where the central character’s emotions spill out through cooking to influence everyone around her in startling and dramatic ways. In this co-production with American Ballet Theatre, Mexican conductor Alondra de la Parra also acts as musical consultant for Talbot’s newly commissioned score, and Wheeldon has worked closely with Esquivel to reshape her richly layered story into an entertaining and engrossing new ballet.

A modern Mexican classic of magic realism provides the basis for The Royal Ballet’s new full-length work, reuniting Artistic Associate Christopher Wheeldon with the creative team who transformed Alice’s Adventures in Wonderland and The Winter’s Tale into dance, composer Joby Talbot and designer Bob Crowley.

The ballet is inspired by Laura Esquivel’s novel – a captivating family saga where the central character’s emotions spill out through cooking to influence everyone around her in startling and dramatic ways. In this co-production with American Ballet Theatre, Mexican conductor Alondra de la Parra also acts as musical consultant for Talbot’s newly commissioned score, and Wheeldon has worked closely with Esquivel to reshape her richly layered story into an entertaining and engrossing new ballet.

By Arthur Miller and directed by Lyndsey Turner

A witch hunt is beginning in Arthur Miller’s captivating parable of power with Erin Doherty (The Crown) and Brendan Cowell (Yerma).

Raised to be seen but not heard, a group of young women in Salem suddenly find their words have an almighty power.  As a climate of fear, vendetta and accusation spreads through the community, no one is safe from trial.

Lyndsey Turner (Hamlet) directs this contemporary new staging, designed by Tony Award-winner Es Devlin (The Lehman Trilogy). Captured live from the Olivier stage at the National Theatre.

When Rosina falls in love with a mysterious young suitor who calls himself Lindoro, she must use all her cunning – and a little help from her local barber – to outwit her calculating guardian Dr Bartolo.

Expect heart-melting serenades, ridiculous disguises and a fairytale ending waiting just out of reach. From the barber’s famous opening number ‘Largo al factotum,’ with its cry of ‘Figaro! Figaro!,’ to Rosina’s feisty aria ‘Una voce poco fa,’ Gioachino Rossini’s comic opera is a riotously entertaining affair. Rafael Payare makes his Royal Opera House debut conducting an outstanding international cast that includes Andrzej Filończyk, Aigul Akhmetshina, Lawrence Brownlee and Bryn Terfel.

Sung in Italian with English subtitles

When Rosina falls in love with a mysterious young suitor who calls himself Lindoro, she must use all her cunning – and a little help from her local barber – to outwit her calculating guardian Dr Bartolo.

Expect heart-melting serenades, ridiculous disguises and a fairytale ending waiting just out of reach. From the barber’s famous opening number ‘Largo al factotum,’ with its cry of ‘Figaro! Figaro!,’ to Rosina’s feisty aria ‘Una voce poco fa,’ Gioachino Rossini’s comic opera is a riotously entertaining affair. Rafael Payare makes his Royal Opera House debut conducting an outstanding international cast that includes Andrzej Filończyk, Aigul Akhmetshina, Lawrence Brownlee and Bryn Terfel.

Sung in Italian with English subtitles

Directed by Clint Dyer

An extraordinary new production of Shakespeare’s most enduring tragedy, directed by Clint Dyer with a cast that includes Giles Terera (Hamilton), Rosy McEwen (The Alienist) and Paul Hilton (The Inheritance).

She’s a bright, headstrong daughter of a senator; elevated by her status but stifled by its expectations. He’s refugee of slavery; having risen to the top of a white world, he finds love across racial lines has a cost.

Wed in secret, Desdemona and Othello crave a new life together. But as unseen forces conspire against them, they find their future is not theirs to decide.

Othello is filmed live on the Lyttleton stage of the National Theatre.

Wagner’s soaring masterpiece makes its triumphant return to the Met stage after 17 years. In a sequel to his revelatory production of Parsifal, director François Girard unveils an atmospheric staging that once again weds his striking visual style and keen dramatic insight to Wagner’s breathtaking music, with Music Director Yannick Nézet-Séguin on the podium to conduct a supreme cast led by tenor Piotr Beczała in the title role of the mysterious swan knight. Soprano Tamara Wilson is the virtuous duchess Elsa, falsely accused of murder, going head-to-head with soprano Christine Goerke as the cunning sorceress Ortrud, who seeks to lay her low. Bass-baritone Evgeny Nikitin is Ortrud’s power-hungry husband, Telramund, and bass Günther Groissböck is King Heinrich.

In the court of Princess Turandot, suitors who fail to solve her riddles are brutally killed. But when a mysterious Prince answers one correctly, suddenly he holds all the power – and a glorious secret. When life hangs in the balance, can love conquer all?

Puccini’s score is rich in musical marvels (featuring the famous aria ‘Nessun dorma’), while Andrei Serban’s production draws on Chinese theatrical traditions to evoke a colourful fantasy tableau of ancient Peking. Antonio Pappano conducts Anna Pirozzi in the title role and Yonghoon Lee as Calaf.

Sung in Italian with English subtitles

In the court of Princess Turandot, suitors who fail to solve her riddles are brutally killed. But when a mysterious Prince answers one correctly, suddenly he holds all the power – and a glorious secret. When life hangs in the balance, can love conquer all?

Puccini’s score is rich in musical marvels (featuring the famous aria ‘Nessun dorma’), while Andrei Serban’s production draws on Chinese theatrical traditions to evoke a colourful fantasy tableau of ancient Peking. Antonio Pappano conducts Anna Pirozzi in the title role and Yonghoon Lee as Calaf.

Sung in Italian with English subtitles

Baritone Michael Volle stars as the caddish knight Falstaff, gleefully tormented by a trio of clever women who deliver his comeuppance, in Verdi’s glorious Shakespearean comedy. Maestro Daniele Rustioni takes the podium to oversee a brilliant ensemble cast that features sopranos Hera Hyesang Park, Ailyn Pérez, mezzo-soprano Jennifer Johnson Cano, contralto Marie-Nicole Lemieux, tenor Bogdan Volkov, and baritone Christopher Maltman.

Royal Ballet Founder Choreographer Frederick Ashton’s Cinderella celebrates its 75^th anniversary this Season. The ballet’s opening night in 1948, featuring Moira Shearer and Michael Somes in the lead roles, was received rapturously. After over a decade away from the Royal Opera House stage, Ashton’s timeless reworking of Charles Perrault’s famous rags-to-riches story returns, showcasing the choreographer’s deft musicality and the beauty of Prokofiev’s transcendent score. A creative team steeped in the magic of theatre, film, dance and opera brings new atmosphere to Cinderella’s ethereal world of fairy godmothers and pumpkin carriages, handsome princes and finding true love.

A dream cast assembles for Strauss’s grand Viennese comedy. Soprano Lise Davidsen is the aristocratic Marschallin, opposite mezzo-soprano Isabel Leonard as her lover, Octavian, and soprano Erin Morley as Sophie, the beautiful younger woman who steals his heart. Bass Günther Groissböck returns as the churlish Baron Ochs, and Markus Brück is Sophie’s wealthy father, Faninal. Maestro Simone Young takes the Met podium to oversee Robert Carsen’s fin-de-siècle staging.

Royal Ballet Founder Choreographer Frederick Ashton’s Cinderella celebrates its 75^th anniversary this Season. The ballet’s opening night in 1948, featuring Moira Shearer and Michael Somes in the lead roles, was received rapturously. After over a decade away from the Royal Opera House stage, Ashton’s timeless reworking of Charles Perrault’s famous rags-to-riches story returns, showcasing the choreographer’s deft musicality and the beauty of Prokofiev’s transcendent score. A creative team steeped in the magic of theatre, film, dance and opera brings new atmosphere to Cinderella’s ethereal world of fairy godmothers and pumpkin carriages, handsome princes and finding true love.

Servants Figaro and Susanna are filled with excitement on their wedding day, but there’s a hitch: their employer, the Count Almaviva, has dishonourable intentions of his own towards the bride-to-be.

With more twists than a page boy’s stockings, the story of Mozart’s comic opera will surprise and delight you at every turn. Come for the music and stay for the cross-dressing hilarity, all unfolding over the course of one crazy, topsy-turvy day in the Almaviva household. Royal Opera Music Director Antonio Pappano conducts a truly international cast in David McVicar’s timeless production. (recorded on 11 and 22 January 2022)

Riccardo Fassi (Figaro), Giulia Semenzato (Susanna), Germán E. Alcántara (Count Almaviva), Federica Lombardi (Countess Almaviva), Hanna Hipp (Cherubino), Gregory Bonfatti (Don Basili), Monica Bacelli (Marcellina), Gianluca Buratto (Bartolo), Jeremy White (Antonio), Alexandra Lowe (Barbarina) and  Alasdair Elliott (Don Curzio).

Sung in Italian with English subtitles

Six-time Grammy Award–winning composer Terence Blanchard brings his first opera to the Met after his Fire Shut Up in My Bones triumphantly premiered with the company to universal acclaim in 2021. Bass-baritone Ryan Speedo Green is the young boxer Emile Griffith, who rises from obscurity to become a world champion, and bass-baritone Eric Owens portrays Griffith’s older self, haunted by the ghosts of his past. Soprano Latonia Moore is Emelda Griffith, the boxer’s estranged mother, and mezzo-soprano Stephanie Blythe is the bar owner Kathy Hagan. Yannick Nézet-Séguin takes the podium for Blanchard’s second Met premiere, also reuniting the director-and-choreographer team of James Robinson and Camille A. Brown.

Servants Figaro and Susanna are filled with excitement on their wedding day, but there’s a hitch: their employer, the Count Almaviva, has dishonourable intentions of his own towards the bride-to-be.

With more twists than a page boy’s stockings, the story of Mozart’s comic opera will surprise and delight you at every turn. Come for the music and stay for the cross-dressing hilarity, all unfolding over the course of one crazy, topsy-turvy day in the Almaviva household. Royal Opera Music Director Antonio Pappano conducts a truly international cast in David McVicar’s timeless production. (recorded on 11 and 22 January 2022)

Riccardo Fassi (Figaro), Giulia Semenzato (Susanna), Germán E. Alcántara (Count Almaviva), Federica Lombardi (Countess Almaviva), Hanna Hipp (Cherubino), Gregory Bonfatti (Don Basili), Monica Bacelli (Marcellina), Gianluca Buratto (Bartolo), Jeremy White (Antonio), Alexandra Lowe (Barbarina) and  Alasdair Elliott (Don Curzio).

Sung in Italian with English subtitles

Tony Award–winning director Ivo van Hove makes a major Met debut with a new take on Mozart’s tragicomedy, re-setting the familiar tale of deceit and damnation in an abstract architectural landscape and shining a light into the dark corners of the story and its characters. Maestro Nathalie Stutzmann makes her Met debut conducting a star-studded cast led by baritone Peter Mattei as a magnetic Don Giovanni, alongside the Leporello of bass-baritone Adam Plachetka. Sopranos Federica Lombardi, Ana María Martínez, and Ying Fang make a superlative trio as Giovanni’s conquests—Donna Anna, Donna Elvira, and Zerlina—and tenor Ben Bliss is Don Ottavio.

The Sleeping Beauty holds a very special place in The Royal Ballet’s heart and history. It was the first performance given by the Company when the Royal Opera House reopened at Covent Garden in 1946 after World War II. In 2006, this original staging was revived and has been delighting audiences ever since. Frederick Ashton famously cited the pure classicism of Marius Petipa’s 19^th-century ballet as a private lesson in the atmospheric art and craft of choreography. Be swept away by Tchaikovsky’s ravishing music and Oliver Messel’s sumptuous fairytale designs with this true gem from the classical ballet repertory.

The Sleeping Beauty holds a very special place in The Royal Ballet’s heart and history. It was the first performance given by the Company when the Royal Opera House reopened at Covent Garden in 1946 after World War II. In 2006, this original staging was revived and has been delighting audiences ever since. Frederick Ashton famously cited the pure classicism of Marius Petipa’s 19^th-century ballet as a private lesson in the atmospheric art and craft of choreography. Be swept away by Tchaikovsky’s ravishing music and Oliver Messel’s sumptuous fairytale designs with this true gem from the classical ballet repertory.

One of opera’s most beloved works receives its first new Met staging in 19 years—a daring vision by renowned English director Simon McBurney that The Wall Street Journal declared “the best production I’ve ever witnessed of Mozart’s opera.” Nathalie Stutzmann conducts the Met Orchestra, with the pit raised to make the musicians visible to the audience and allow interaction with the cast. In his Met-debut staging, McBurney lets loose a volley of theatrical flourishes, incorporating projections, sound effects, and acrobatics to match the spectacle and drama of Mozart’s fable. The brilliant cast includes soprano Erin Morley as Pamina, tenor Lawrence Brownlee as Tamino, baritone Thomas Oliemans in his Met debut as Papageno, soprano Kathryn Lewek as the Queen of the Night, and bass Stephen Milling as Sarastro.

Passions run high as Manrico and the Count di Luna compete for the affections of Leonora. Little do they know, Manrico’s mother Azucena has been keeping a terrible secret for decades. Soon a curse from the past will rise up from the ashes with devastating implications for them all.

Starring Ludovic Tézier and Jamie Barton, Adele Thomas’s energetic staging sets Verdi’s tale in a Hieronymus Bosch-inspired universe of medieval superstition. Antonio Pappano conducts Verdi’s dramatic score, which features the famous ‘Anvil’ chorus.

Sung in Italian with English subtitles

Passions run high as Manrico and the Count di Luna compete for the affections of Leonora. Little do they know, Manrico’s mother Azucena has been keeping a terrible secret for decades. Soon a curse from the past will rise up from the ashes with devastating implications for them all.

Starring Ludovic Tézier and Jamie Barton, Adele Thomas’s energetic staging sets Verdi’s tale in a Hieronymus Bosch-inspired universe of medieval superstition. Antonio Pappano conducts Verdi’s dramatic score, which features the famous ‘Anvil’ chorus.

Sung in Italian with English subtitles