Keeping with a long-standing tradition, Renee Fleming kicks off the new season at the Met with scenes from Verdi's Traviata, Massenet's Manon, and Strauss' Capriccio. She is joined by Ramon Vargas and Thomas Hampson.
Composer John Adams re-creates the tension at Los Alamos, 1945, the night before the first atom bomb is tested. Gerald Finley portrays Dr. Oppenheimer; the first act ends with a soul-searching aria, "Batter My Heart." (text by John Dryden).
French composer Hector Berlioz puts a unique spin on the familiar tale of Faust, the scholar/scientist who sold his soul to the devil in exchange for love and knowledge. The story is told in 8 episodic scenes, in Cirque Du Soleil style.
Missionary Athaniel converts the prostitute Thais to Christianity; he even leads her to enter a nunnery. The convent door slams shut: No Men Allowed. Oh no, cries Athaniel, I've fallen in love with her. Too bad, so sad. Meditate on that.
Gluck's first "reform" opera, meaning the music of the baroque era with its embellishments and improvisations is replaced with a simpler and more direct vocal style. This production is modernized and includes a host of celebrities in Hades.
Lucia's nerves are already rattled, she's seeing ghosts and all. When her brother forces her to marry and her real boyfriend shows up at the wedding, that does it - she goes right over the edge. Sorry Arturo, she's just not that into you.
On shore leave in Japan, Lt. Pinkerton is ready for action and finds it in a wedding broker. Cio-Cio-San naively believes the marriage is real. Wait until the real Mrs. Pinkerton hears about this: there's sure to be a Little Trouble ahead.
Amina sleep-walks her way into the bedroom of a nobleman who is staying at the village inn. Enraged and humiliated, her fiancé breaks the engagement. The nobleman attests to her innocence, and Amina offers a demonstration of sleep-walking.