Feb 8 at 7:30 PM
Feb 11 at 7:30 PM
Feb 14 at 3 PM
Feb 17 at 7 PM
Feb 20 at 1 PM
Feb 23 at 7 PM
Feb 27 at 1 PM
Mar 3 at 7 PM
Mar 6 at 12 PM
Mar 12 at 7:30 PM
All exchange fees will be waived for tickets purchased in the 2020–21 season.
Tickets for newly added performances of Carmen go on sale to Patrons June 15 at 10 a.m.
Tickets for newly added performances go on sale to Subscribers and Members ($150 Supporting level and above) June 18 at 10 a.m.
Tickets for newly added performances go on sale to the general public June 22 at noon.
The performances of Carmen scheduled for October 2, 6, 9, 14, 18, 22, 27, and 31, and November 7, 11, and 14, have been CANCELED. If you purchased tickets for any of these dates, please review your ticketing options.
The performances scheduled for March 3, 6, and 12 REMAIN on the calendar, but some curtain times have changed.
Performances have been ADDED on February 8, 11, 14, 17, 20, 23, and 27.
Please see individual dates below for casting details and curtain times.
Bizet’s searing drama about a free-spirited Gypsy and the soldier determined to win her returns in Richard Eyre’s popular production. Mezzo-soprano Varduhi Abrahamyan makes her Met debut as the title character, and tenors Roberto Alagna and Russell Thomas share the role of the hot-blooded Don José. Soprano Susanna Phillips as Micaëla and bass Alexander Vinogradov as Escamillo round out the principal cast, conducted by Marco Armiliato.
Production a gift of Mrs. Paul Desmarais Sr.
World premiere: Opéra Comique, Paris, 1875. Bizet’s masterpiece of the Gypsy seductress who lives by her own rules has had an impact far beyond the opera house. The opera’s melodic sweep is as irresistible as the title character herself, a force of nature who has become a defining female cultural figure. Carmen was a scandal at its premiere but soon after became a triumphal success and has remained one of the most frequently staged operas in the world.
Georges Bizet (1838–1875) was known as a brilliant student and prodigy, but his works only found lasting success after his untimely death—most notably Carmen, which premiered three months before he died. Librettist Henri Meilhac (1831–1897) would subsequently provide the libretto for Massenet’s Manon (1884). His collaborator on Carmen was Ludovic Halévy (1834–1908), the nephew of composer Jacques Fromental Halévy (creator of the opera La Juive and Bizet’s father-in-law). The libretto is based on a novella by Prosper Mérimée (1803–1870), a French dramatist, historian, and archaeologist.
Sir Richard Eyre
SET AND COSTUME DESIGNER
REVIVAL STAGE DIRECTOR
The opera takes place in and around Seville, a city that, by the time Carmen was written, had already served many operatic composers as an exotic setting conducive to erotic intrigues and turmoil (Rossini’s Il Barbiere di Siviglia and Verdi’s La Forza del Destino, among others). The hometown of Don Juan, the city also inspired Mozart's Don Giovanni, and Beethoven used Seville as the setting for a study of marital fidelity in Fidelio.
The score of Carmen contains so many instantly recognizable tunes that it can be easy to overlook how well constructed it is. The major solos are excellent combinations of arresting melody and dramatic purpose—from the baritone’s famous Toreador Song to the tenor’s wrenching Flower Song to the title character’s alluring Habanera and Seguidilla—and the duets and ensembles are equally beguiling.