Metropolitan Opera House New York

5 min readJun 27, 2021

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Metropolitan Opera House

The Metropolitan Opera House is an opera house located on Broadway at Lincoln Square on the Upper West Side of Manhattan in New York City. Part of Lincoln Center for the Performing Arts, the theater was designed by Wallace K. Harrison. It opened in 1966, replacing the original 1883 Metropolitan Opera House at Broadway and 39th Street. With a seating capacity of approximately 3,850, the house is the largest repertory opera house in the world. Home to the Metropolitan Opera Company, the facility also hosts the American Ballet Theatre in the summer months.

Metropolitan Opera House New York

Traveller Reviwes

Amazing place to be. One of my favorites place in the world!’ I love you Metropolitan and your magnificents performances, unlimited budget in decorations, costumes. Production outstanding !!
I recommend ,it’s a life time experience !!!!
Enjoyed going through gallery of costumes from well known performances.

Metropolitan Opera House

I went to see the Metropolitan Opera’s William Tell on Saturday. Yes, this is the matinee performance where somebody tossed cremation ashes into the orchestra pit during the second intermission, causing everyone to miss the final act. Despite missing the final act, I have something positive to say about this co-production between the Metropolitan Opera and the Dutch National Opera.
I don’t go to the opera regularly but I have seen performances in San Francisco, Marseille, Berlin, Paris, and New York. Some have been excellent, some have been just okay. I know there are productions that supply the viewer with as many true-to-era references as possible, to recreate the feeling of the time in the setting of the piece. William Tell received plenty of criticism for not doing this.
All I can say is that this production helped me immensely, as a parent, in explaining the story to my ten-year old son. He didn’t need to know exactly who was who. He needed to understand that people were being treated wrong and one person had an agonizing decision. Half the players were in off-white, half were in gray-black. It wasn’t because the director was tired of designing costumes. It was a metaphor for the difference between a simple people bound by duty and their oppressors.
It has been at least 80 years since the Metropolitan Opera has done William Tell. Going with Pierre Audi’s radically different production was better than playing it safe. We all know the story of the man who shot an apple off of his son’s head with a bow and arrow, but how best to understand the turmoil of a parent having his own child’s life in his hands? It’s not through pretty decor and colorful clothing. It’s through lighting and contrast. The austere Alpine way of life was beautifully illustrated by the floating rocks and the blue space. The vulgarity of another culture being forcefully imposed upon another was personified in the harlots swaying through the peasant group. This production wasn’t supposed to be what we were expecting. And that’s exactly what was so wonderful about it.

Metropolitan Opera House

During the COVID-19 pandemic, federal, state, and local governments have worked hard to develop and enact policies — including direct stimulus checks, expanded unemployment insurance, and business assistance programs — that support those suffering due to COVID-19 and associated economic shutdowns. In contrast to these efforts, it is a great disappointment to us that The Met is instead using a global pandemic as a vehicle to bust its unions.
Our understanding is that The Met is offering only take-it-or-leave-it proposals and dangling immediate assistance to workers at the cost of rolling back pay, work rules, and benefits in perpetuity. Instead of putting its employees back to work preparing the new season while negotiations continue, The Met has chosen to lockout employees and outsource work to non-union shops in other states and the United Kingdom, adding to the harm already caused by the pandemic. Such an approach is the definition of bad faith negotiating and of union busting.
It is our view that The Met should instead come to the negotiating table in search of partnership with its unions for the betterment of both parties. We strongly urge The Met to reconsider its union-busting tactics.Beautiful venue for opera, the largest seating of any repertory opera house on Earth. Well run and staffed, it is a pleasure to attend this venue. The performers here are top shelf, drawn from the opera elite. Production values, including set design, are amazing. The Met has earned it’s well deserved reputation of excellence.

Was here to see Whipped Cream which didn’t disappoint! It was such a beautiful ballet. Whole performance was simply eye candy. Balcony seats I found better than orchestra seats from when I saw Romeo and Juliet in the winter. Would totally recommend Whipped Cream but it was only available for a short run. Theater is big but easy to find your seat. Everyone is helpful and nice about making sure everyone is seated before the show. Very clean too.