METROPOLITAN OPERA LIVE: TRISTAN UND ISOLDE

$25 General Admission, $22 Member, $16 child (age 14 or younger)

Doors open for admissions 30 minutes prior to screening. Buy tickets at The Film Center or online now

After years of anticipation, a truly unmissable event arrives in cinemas worldwide on March 21 as the electrifying Lise Davidsen tackles one of the ultimate roles for dramatic soprano: the Irish princess Isolde in Wagner’s transcendent meditation on love and death. Heroic tenor Michael Spyres stars opposite Davidsen as the love-drunk Tristan. The momentous occasion also marks the advent of a new, Met-debut staging by Yuval Sharon—hailed by The New York Times as “the most visionary opera director of his generation” and the first American to direct an opera at the famed Wagner festival in Bayreuth—as well as Music Director Yannick Nézet-Séguin’s first time leading Tristan und Isolde at the Met. Mezzo-soprano Ekaterina Gubanova reprises her signature portrayal of Brangäne, alongside bass-baritone Tomasz Konieczny, who sings Kurwenal after celebrated Met appearances in Wagner’s Der Fliegende Holländer and Ring cycle. Bass-baritone Ryan Speedo Green makes an important role debut as King Marke. This live cinema transmission is part of the Met’s award-winning Live in HD series, bringing opera to movie theaters across the globe.

ONE OF THOSE GREAT NIGHTS AT THE OPERA, the kind that will have people arguing what shone most: theCONFIDENT COMPLEXITY of Yuval Sharon’s staging, LISE DAVIDSEN’S INDELIBLE ISOLDE, her chemistry with tenor Michael Spyres, or the sensuous discipline of the orchestra. The answer, of course, is all of the above …A PEAK OF THE MET’S PAST DECADE … SOME OF THE MOST MIRACULOUS MINUTES OF OPERA I’VE EVER HEARD. —New York Magazine

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THE EVENT OF THE SEASON … AN ASTONISHING PERFORMANCE by the soprano Lise Davidsen, a generational artist BOUND FOR THE PANTHEON … Davidsen and Sharon ushered in A NEW ERA AT THE MET, showing how a fresh and promising generation might stake its claim to the core repertoire and shape the years to come. —The New York Times (Critic’s Pick)

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