Nightly Opera Streams, March 22–28

From ancient Greece to steamy Seville to a ghoulish ship on the high seas, the next week of free streams draws from the annals of myth and legend. Explore the thrilling lineup.

View the Playbills from the original performance dates for each stream, including synopses, program notes, and more.

In 1982, legendary tenor Luciano Pavarotti sang the title role of Idomeneo in its Met premiere, the only Mozart opera he ever sang with the company. Here he sings the Act II aria "Fuor del mar."

The Greek Orpheus myth has served as a subject for a number of operatic adaptations, including Gluck’s elegant Orfeo ed Euridice, whose history at the Met stretches back to the company’s earliest seasons.

Gluck’s Iphigénie en Tauride demands a sensitive and charismatic singing actor for its heroine. Enter Susan Graham, who took on the title role in Stephen Wadsworth’s powerful staging.

Goethe’s seminal Faust has inspired a number of operatic masterpieces, including Berlioz’s towering La Damnation de Faust, which reappeared on the Met stage in 2008 after more than a century.

A spectral sea captain, cursed to wander the open ocean for eternity—unless the true love of a woman can save him. Learn more about Wagner’s Der Fliegende Holländer with our In Focus podcast.

Joyce DiDonato speaks with director and choreographer Mark Morris about his elegant staging of Gluck’s Orfeo ed Euridice, in which a chorus of historic characters bears witness to the transformative power of love.

With its deep Freudian undercurrents, Strauss’s incendiary Elektra, inspired by Greek myth, is as modern now as it was at its premiere more than a century ago.

Few artists have had a greater impact on Met history than Franco Zeffirelli, the beloved director and designer who died in 2019.

After languishing in obscurity for some 200 years, Mozart’s early masterpiece finally assumed its rightful place in the repertory in the late 20th century, including at the Met, where it has enjoyed numerous successful runs with outstanding casts.

Setting sail in March 2020, François Girard’s evocative new production of Der Fliegende Holländer explores the mystical nature of the opera and the power of images to consume us.

In this excerpt from the final act of Gluck’s Iphigénie en Tauride, mezzo-soprano Susan Graham, as a mythical Greek priestess, cries out to the goddess Diana to help her make a dreaded sacrifice.

Patrice Chéreau’s humanistic 2016 Met production of Strauss’s Elektra—featuring the great Nina Stemme in the title role—revealed the psychological depth and family drama at the heart of a work that is much more than a simple, violent tale of revenge.

The works of French master Hector Berlioz have appeared with increasing frequency at the Met in the last half century, with all but one of his remarkable operas having been staged by the company.

In an early rehearsal for François Girard’s striking new production of Der Fliegende Holländer, soprano Anja Kampe is joined by choristers and dancers to weave what the director calls “the net of destiny.”

Strauss’s overwhelming one-act opera has a limited but distinguished history at the Met, thanks largely to a series of great artists on the podium and in the title role.

As she prepared to bring the “father of music” to the Met stage, mezzo-soprano Stephanie Blythe discussed starring in Mark Morris’s spirited—and spirit-filled—production.

In the storied history of the Metropolitan Opera, Luciano Pavarotti holds a secure place as one of the company’s most celebrated tenors.

As he prepared to conduct Patrice Chéreau’s explosive staging of Elektra in 2016, Esa-Pekka Salonen explained how Strauss’s liminal 20th-century masterpiece blends musical styles.

Before the 2008 premiere of his production of La Damnation de Faust, the visionary director Robert Lepage discussed his approach to staging Berlioz’s grand “dramatic legend.”

Marcello Giordani, who passed away in October 2019 and is featured in this week’s stream of Berlioz’s La Damnation de Faust, was one of the Met’s brightest star tenors in recent decades.

Learn about the storied history of Wagner’s operas at the Met, from the house’s opening season in 1883 to the present day.

When conceiving his vibrant staging of Gluck’s Orfeo ed Euridice, director and choreographer Mark Morris envisioned the nearly 100-member chorus as witnesses from history.

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