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!

It used to be proverbial on the Met Opera Quiz, usually quoted by quiz master Edward Downes: “If you can’t remember where a certain plot event occurs … it happens in La Gioconda.”

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.

Both a brilliant composition and an outstanding production

John Dexter and David Hockney‘s French triple bill of Poulenc‘s Les mamelles de Tirésias, Satie‘s Parade, and Ravel‘s L’enfant et les sortilèges, last seen in 2002. This clip is from Barcelona but you can enjoy Gabriel Bermúdez nonetheless.

The Met was built for Saint-François d’Assise. It is a huge work, and it needs a huge space. And Ingo Metzmacher.

Because we have no shortage of mezzos that would be great in this rep

In François Girard‘s production.

… with Erin Morley

Michael Spyres as Pirro; Juan Diego Flórez, Javier Camerena, or Lawrence Brownlee as Oreste; Aigul Akhmetshina as Andromaca; Anastasia Bartoli as Ermione

Mignon of Ambroise Thomas was performed at the Met many times but has not been for decades.

Esclarmonde is the only answer to the question of what the Met should revive.

It is time for the Met to revive Puccini‘s masterpiece and his best work IMHO, Il trittico.

It’s fascinating, and gorgeous, and over the top, and it requires a director to make actual decisions in a way that causes clutching of pearls when it happens in a production of a better known opera.

Der Freischütz has not been seen at the Met since 1972!