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!

Every mediocre performance of Trovatore (and don’t we know about those?) could instead be a very good performance of Massenet‘s Hérodiade.

Verdi’s Les vêpres siciliennes — not I vespri siciliani, but the French original.

Peter—may I call you Peter? It has come to our attention that you are seeking operas with “rich, melodic scores.”