Unlike the directors of some recent Metropolitan Opera stagings, Julie Taymor received an enthusiastic ovation when her production of Mozart’s “Zauberflöte” had its debut at the house in 2004.

If the Metropolitan Opera continues on its current path, Jonathan Miller’s 1998 production of Mozart’s “Nozze di Figaro” will be succeeded either by a version couched in the glitzy conventions of Broadway or by a European high-concept staging in which the action is presented as, perhaps, a hallucination of an institutionalized Don Basilio.

Normalcy returned to the Metropolitan Opera with a charming second-night revival of Mozart’s ”Le Nozze di Figaro,” one night after a new production of Puccini’s ”Tosca” left a significant segment of the audience booing one of the company’s biggest failures in decades.

Harsh booing at the gala opening night of the Metropolitan Opera — where such strong negative reactions are rarely heard, at least in comparison with European opera houses — was still ringing in the ears of the opera world on Tuesday.

Last night, Luc Bondy’s new production of “Tosca” was greeted by an outpouring of boos at the Metropolitan Opera. Whether they were present at the performance or not, our readers also had a strong reaction to Mr. Bondy’s staging and its reception.

The boos poured out loudly and lustily after the Metropolitan Opera’s gala opening night performance of Puccini’s “Tosca” Monday night.