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$24 General Admission, $21 Member, $15 child (age 14 or younger)

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One of opera’s most beloved works receives its first new Met staging in 19 years—a daring vision by renowned English director Simon McBurney that The Wall Street Journal declared “the best production I’ve ever witnessed of Mozart’s opera.” Nathalie Stutzmann conducts the Met Orchestra, with the pit raised to make the musicians visible to the audience and allow interaction with the cast. In his Met-debut staging, McBurney lets loose a volley of theatrical flourishes, incorporating projections, sound effects, and acrobatics to match the spectacle and drama of Mozart’s fable. The brilliant cast includes soprano Erin Morley as Pamina, tenor Lawrence Brownlee as Tamino, baritone Thomas Oliemans in his Met debut as Papageno, soprano Kathryn Lewek as the Queen of the Night, and bass Stephen Milling as Sarastro.

Composed by Wolfgang Amadeus Mozart

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“FIVE STARS FOR DIE ZAUBERFLOTE … Equal parts dazzling, grounded and laugh-out-loud funny. In director Simon McBurney’s Met debut, Mozart’s opera receives clever twists, along with first-rate singing … An excellent cast … Fun, wonderment and humanity.” —Financial Times

“A realm of clever feints, a place where everything is both highly imaginative and endearingly simple — and where seeing the trick only enhances the magic … Zesty, full-toned sound from the orchestra … The audience was giddy.” —The New York Times (CRITIC’S PICK)
“Captures the anything-can-happen shimmer that defines live theater … Visual thrills and technical prowess … Staggering, death-defying images … The supple-voiced and sympathetic Erin Morley, as Pamina, captures beautifully a young woman torn … Lawrence Brownlee, as Tamino, is in fine voice … Thomas Oliemans makes for a charming Papageno … Finally, there was the star-blazing Queen herself, soprano Kathryn Lewek, who could probably sing the Queen of the Night in her sleep … The Met’s Die Zauberflöte is music made magic.” —Observer
“Whimsical … McBurney wants the audience to have a good time … The music-making has color to spare … Conductor Nathalie Stutzmann coordinates the performance’s million moving parts with relaxed confidence and an ear for detail.” —New York Magazine

“An unusually nuanced yet still playful rendition of the fairy tale … An onstage world that includes the audience by inviting it behind the scenes … Humanizes Mozart’s fantasy … Theatrical and spirited.” —Wall Street Journal