Craig Colclough

In this new adaptation of Michael Chabon’s Pulitzer Prize–winning novel set shortly before the outbreak of World War II, two Jewish cousins invent an anti-fascist superhero and launch their own comic-book series, hoping to recruit America into the fight against Nazism. Incorporating electronic design elements and a variety of musical styles, composer Mason Bates’ score moves among the three worlds of Gene Scheer’s libretto: Nazi-occupied Prague, the bustling streets of New York City, and the realm of comic-book fantasy. Bartlett Sher’s production features towering sets and proscenium-filling projections designed by Jenny Melville and Mark Grimmer of 59 Studio. Music Director Yannick Nézet-Séguin conducts, and baritone Andrzej Filończyk makes his Met debut as the artist Joe Kavalier, who flees Czechoslovakia and arrives at the Brooklyn doorstep of writer Sam Clay, sung by tenor Miles Mykkanen.

One of opera’s grimmest tragedies received a powerful new production during the 2021–22 season when director Bartlett Sher unveiled his Weimar-era staging of Verdi’s Rigoletto. In this performance, recorded as part of the company’s Live in HD series of cinema transmissions, commanding American baritone Quinn Kelsey gives a searing portrayal of the title character, a deformed court jester determined to protect the virtue of his daughter, Gilda, sung by radiant soprano Rosa Feola. His debauched employer, the Duke of Mantua, is tenor Piotr Beczała, with dynamic young maestro Daniele Rustioni on the podium to lead a cast that also features bass Andrea Mastroni as the assassin Sparafucile and mezzo-soprano Varduhi Abrahamyan as Maddalena.

David McVicar's production of Verdi's 1847 opera Macbeth.