Mussorgsky‘s Khovanshchina is one of the most gripping operatic political dramas ever written, with lots of gorgeous melodies and superb choral writing.

Great score; let anyone but Jeremy Sams concoct a new libretto!

More action than in Gluck‘s other great works, and plenty of opportunities for scenic spectacle.

It’s time to correct the pandemic’s error in canceling the scheduled 2020-21 production.

Samuel Barber may have had an edge as melodist over Dominick Argento, but the latter had a far better instinct as dramatist, and his 1988 setting of Henry James’s The Aspern Papers is overdue for a Met premiere. It is a gripping work of musical psychodrama.

Jonny spielt auf by Ernst Krenek could be a lot of rollicking fun, especially if a director and design team leaned into creating a 1927 world that acknowledged modernist art movements, silent film acting aesthetics, and the use of historical film footage of nightlife and cityscapes of the time.

It will never happen, but a girl can dream.

Lucrezia Borgia — given only one night more than a century ago. Giustizia per Lucrezia!!!

Now that Lisette Oropesa is doing the McVicar co-production of Maria Stuarda in Madrid, can the Met revive it with her?

While I have an entire laundry list of operas (Maria Regina d’Inghilterra, Loreley, La Wally, Sadko, The Snow Maiden, The Golden Cockerel, La Fiamma, and many others) I wish the Met would do – especially after Medea was such a success – I think realistically speaking this double-bill would be lovely for Sondra Radvanovsky at this point.

William Kentridge‘s production of The Nose. I think it’s his strongest production for the Met, the piece is a masterpiece and this is a time for absurdity. Bring in Maestro Keri-Lynn Wilson who did such an outstanding job with Mtsensk.