ludwig Van Beethoven


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After her “radiant company debut” (The New York Times) during the 2019–20 season, soprano sensation Lise Davidsen returns to the Met as the devoted Leonore under the baton of Yannick Nézet-Séguin. The all-star cast also features tenor Brandon Jovanovich as Florestan, joined by bass-baritone Tomasz Konieczny (last seen at the Met in his Ring-stealing performances as Alberich), bass Franz-Josef Selig, soprano Golda Schultz, and tenor Alek Shrader. The run of Beethoven’s glorious sole opera celebrates the 250th anniversary of the composer’s birth.

Production a gift of Alberto Vilar

Revival a gift of the Metropolitan Opera Club


Languages sung in Fidelio

Sung In



Title languages displayed for Fidelio

Met Titles In

  • English
  • German
  • Spanish


Timeline for the show, Fidelio

Estimated Run Time

2 hrs 34 mins

  • House Opens

  • Act I

    74 minutes

  • Intermission

    33 mins

  • Act II

    47 mins

  • Opera Ends


World Premiere: Theater am Kärntnertor, Vienna, 1814
Fidelio's unusual structure, glorious score, and life-affirming aura make it a unique experience. It has been called a hymn to freedom and human dignity. Formally a singspiel (with musical numbers separated by spoken dialogue), Fidelio had a long and complex gestation. Its uplifting spirit made it the obvious choice for several important productions marking the end of World War II, including the reopening of the Vienna State Opera in 1955.


Ludwig van Beethoven (1770–1827) was a pivotal figure in music whose orchestral, piano, and chamber works are at the center of the repertoire. He is especially known for his nine symphonies, which redefined the possibilities of the classical orchestra for all successive generations. Joseph Sonnleithner (1766–1835) was a librettist, director, and the secretary of the Vienna court theaters.


Jürgen Flimm


Robert Israel


Florence von Gerkan


Duane Schuler

Headshot of Ludwig van Beethoven


Ludwig van Beethoven


Der Fliegende Holländer

The opera is set in Seville toward the end of the 18th century, during the time of political upheaval following the French Revolution. The Met’s production places the action in an unspecified contemporary setting.


The powerful and innovative use of the orchestra found throughout Fidelio is not surprising from Beethoven. Likewise, the chorus’s evocative music is expected from the composer of such notable choral works as the Missa Solemnis and the triumphant choral finale of Ninth Symphony. Yet some of the score’s greatest surprises and pleasures derive from solo and ensemble vocal writing. Beethoven creates hierarchies among his characters, from the earthly to the exalted, which are instantly recognizable in their music.

Der Fliegende Holländer