The Metropolitan Opera announced the programming for its 2024-2025 season on Wednesday. Out of six new productions, four are operas of our time. The institution is therefore continuing its efforts to update the lyrical repertoire.
The season opens September 23 with the Met premiere of Grounded by composer Jeanine Tesori, with Emily D’Angelo in the role of an Air Force drone pilot. Yannick Nézet-Séguin will direct this opera which will be one of eight productions broadcast in cinemas on October 19. This number is decreasing. It was ten two seasons ago and nine for the current season.
What’s more, the Met’s cinema season will no longer reflect the institution’s commitment to contemporary repertoire as faithfully as the last two. Indeed the three other operas of our time – Ainadamar by Osvaldo Golijov, Moby-Dick by Jake Heggie and Antony and Cleopatra by John Adams — programmed on stage will not be shown there. This is particularly surprising for Ainadamar which is a show in itself, with the integration of flamenco, and can appeal to a wider audience.
We will see, on the other hand, the new stagings ofAida of Verdi and Salome by Strauss, two shows directed by Yannick Nézet-Séguin. Aidawith Angel Blue, will be directed by Michael Mayer and Salomewith Elza van den Heever, by Claus Guth for his Met debut.
In the cinema, therefore, will be screened Hoffmann’s tales (October 5); Grounded (October 19); Tosca with Aleksandra Kurzak (November 23); Aida (January 25, 2025); Fidelio with Lise Davidsen under the direction of Susanna Mälkki (March 15); The Marriage of Figaro with the debut of chef Joana Mallwitz (April 26); Salome (May 17) and The Barber of Seville (May 31st). History of bringing the public back into the theaters…
Besides Grounded, Aida And SalomeYannick Nézet-Séguin will also direct the performances of The woman without a shadow by Richard Strauss and certain evenings of Bohemian. Among the Canadian singers the only one served is mezzo Emily D’Angelo, in the featured role of the season-opening opera. She will return to sing Cherubino in some performances of Marriage of Figaro. The absence of any other name in the overabundant and superlative pool of our international singers has an almost spectacular appearance.