There are certain experiences every New Yorker should have at least once in their lifetime. Walking across the Brooklyn Bridge, drinking an Oktoberfest beer at Coney Island, catching a Broadway show, and dressing up for a night at The Metropolitan Opera this coming from someone who recently attended their very first opera.
My introduction to the opera was Mozart's Così Fan Tutte, a production that made a strong first impression. Returning to the Met after nearly eight years, the production, directed by Phelim McDermott, gave the 1790 classic a distinctly New York makeover. Instead of its original Naples setting, the story unfolded in a colorful 1950s-inspired Coney Island, complete with amusement park rides, circus performers, vintage costumes, and plenty of old-school charm.
The set, designed by Tom Pye, was a love letter to the Coney Island of summers past. From the famous Tunnel of Love and oversized spinning teacups to seaside details, carnival treats, and a towering Ferris wheel, the stage felt like stepping into another era. The production even featured real performers, including veteran fire breather Sage Sovereign, bringing a piece of the neighborhood's Coney Island Sideshow history into the opera house.
At its heart, Così Fan Tutte is a comedy about love, jealousy, and trust. Two brothers, Ferrando (Duke Kim) and Guglielmo (Andrey Zhilikhovsky), are persuaded by Don Alfonso (Gerald Finley) to test the loyalty of their girlfriends, Fiordiligi (Federica Lombardi) and Dorabella (Samantha Hankey). Disguised as unfamiliar suitors, the brothers attempt to win over each other's partners, setting off a series of romantic mix-ups, questionable decisions, and unexpected revelations.
While the story pokes fun at relationships and romantic loyalty, the music is what truly makes the experience. Lombardi and Hankey deliver beautiful vocals and share a standout duet in the first act. Kim and Zhilikhovsky bring plenty of personality to their roles, while Finley adds humor as the mastermind behind the entire scheme. Ana María Martínez also shines as Despina, the clever housemaid who helps keep the chaos moving.
Walking into the Metropolitan Opera for the first time, I quickly understood why it's considered one of New York's most celebrated cultural institutions. Between the grand interiors, live orchestra, elaborate costumes, and impressive productions, the entire evening feels like an occasion. And contrary to what some might think, you don't need to understand Italian, know classical music, or have any previous opera experience to enjoy it. You simply have to show up and let the performance take you along.
The good news is there are plenty of opportunities to experience it this season. The Met's 2026–27 lineup has something for everyone, whether you prefer supernatural storytelling, dramatic tragedy, romance, or larger-than-life productions.
Among the upcoming performances is Lincoln in the Bardo, a highly anticipated world premiere by composer Missy Mazzoli, based on George Saunders's acclaimed novel. Exploring Abraham Lincoln's grief through a supernatural story, the production runs through November 14. For something darker, Medea opens October 30, starring Sonya Yoncheva in Cherubini's gripping tragedy of vengeance. Puccini fans can look forward to Tosca, returning November 1 with its dramatic tale of love, political corruption, and defiance. Later in November, Jenůfa arrives November 16 in a new staging by Claus Guth, followed by the beloved La Bohème, returning November 24 in Franco Zeffirelli's legendary production.
If there's one thing I'd encourage every New Yorker to do, it's give the opera a chance. Make an evening of it, get dressed up, arrive early, and experience one of the city's most celebrated cultural institutions. You might discover a new appreciation for classical music, or simply enjoy a night unlike any other. Either way, it's one New York bucket-list experience worth checking off.
For tickets, performance schedules, and more information, visit The Metropolitan Opera.