Events Calendar

Boundless energy, laser-like precision, and an endless array of sonic possibilities are the common ground where Deerhoof, "Earth's most exuberant art-pop band" (Time Out New York), meets Tigue, the “high octane” (New York Times) upstart band-that-happens-to-be-a-percussion-trio. They’ll perform Deerhoof’s widely-beloved 2007 album, Friend Opportunity, with new percussion additions by Tigue, and Tigue will write a new piece for the two bands together, plus more TBA.

Boundless energy, laser-like precision, and an endless array of sonic possibilities are the common ground where Deerhoof, "Earth's most exuberant art-pop band" (Time Out New York), meets Tigue, the “high octane” (New York Times) upstart band-that-happens-to-be-a-percussion-trio. They’ll perform Deerhoof’s widely-beloved 2007 album, Friend Opportunity, with new percussion additions by Tigue, and Tigue will write a new piece for the two bands together, plus more TBA.

Baritone Peter Mattei and bass-baritone Luca Pisaroni star as opera’s most notorious seducer in Mozart’s masterpiece of dark comedy. Cornelius Meister makes his Met debut conducting performances that also include sopranos Rachel Willis-Sørensen and Guanqun Yu as Donna Anna, sopranos Federica Lombardi and Susanna Phillips as Donna Elvira, and basses Ildar Abdrazakov and Adam Plachetka as Leporello.

Verdi’s tragic jester returns in Michael Mayer’s neon-bedecked, Las Vegas–themed production. Baritones Roberto Frontali and George Gagnidze share the title role, and soprano Nadine Sierra reprises her portrayal of Gilda, the role that helped launch her now-blossoming Met career. Tenors Vittorio Grigolo and Bryan Hymel share the role of the lascivious Duke, and Nicola Luisotti conducts.

A classic fairy tale was transmuted into one of the seminal works in the international repertory when Marius Petipa first staged The Sleeping Beauty, to a score by Tschaikovsky that ranks among the finest ever composed for a ballet. Peter Martins paid tribute to Petipa’s choreography in creating his adaptation, which blends the majesty of the original with the velocity and energy that remain a hallmark of the Company.

Pianist Stephen Hough returns to the New York Philharmonic for Beethoven’s Piano Concerto No. 3, two years after his “richly poetic and pensive” (The New York Times) performance of Beethoven’s final concerto. And Thomas Dausgaard conducts his acclaimed interpretation of Nielsen’s Helios Overture (his recording is nominated for a Grammy) and his “achingly beautiful” (Gramophone) rendition of Schumann’s Second Symphony.

Boundless energy, laser-like precision, and an endless array of sonic possibilities are the common ground where Deerhoof, "Earth's most exuberant art-pop band" (Time Out New York), meets Tigue, the “high octane” (New York Times) upstart band-that-happens-to-be-a-percussion-trio. They’ll perform Deerhoof’s widely-beloved 2007 album, Friend Opportunity, with new percussion additions by Tigue, and Tigue will write a new piece for the two bands together, plus more TBA.

A classic fairy tale was transmuted into one of the seminal works in the international repertory when Marius Petipa first staged The Sleeping Beauty, to a score by Tschaikovsky that ranks among the finest ever composed for a ballet. Peter Martins paid tribute to Petipa’s choreography in creating his adaptation, which blends the majesty of the original with the velocity and energy that remain a hallmark of the Company.

A classic fairy tale was transmuted into one of the seminal works in the international repertory when Marius Petipa first staged The Sleeping Beauty, to a score by Tschaikovsky that ranks among the finest ever composed for a ballet. Peter Martins paid tribute to Petipa’s choreography in creating his adaptation, which blends the majesty of the original with the velocity and energy that remain a hallmark of the Company.

An Ensembles concert provides an intimate connection between musician and audience. Hear the individual talents that make up the orchestra. Experience the passion and personality of the performers. And see how a small setting can make for a huge musical event.

Tenor Javier Camarena and soprano Pretty Yende team up for a feast of bel canto vocal fireworks—including the show-stopping tenor aria “Ah! Mes amis,” with its nine high Cs. Alessandro Corbelli and Maurizio Muraro trade off as the comic Sergeant Sulpice, with mezzo-soprano Stephanie Blythe as the outlandish Marquise of Berkenfield. Enrique Mazzola conducts.

On a winter evening in 1943, in a former Masonic Temple on West 55th Street that had been scheduled for demolition, a concert was held whose reverberations are still being felt 75 years later. That night, New York City Center was born. As the first performing arts center in Manhattan, the fledgling institution broke new ground by presenting dance, music, theater, and opera under the same roof. This multi-use approach to performing arts venues set the mold for the presentation of the arts around the country in the second half of the 20th century. Through constant innovations, City Center continues to be a performing arts leader in the 21st century. For the first time ever, a striking new exhibition will tell the story of “The People’s Theater” through a wide range of material including photographs, costumes, props, theater seats, posters, mosaic tiles, and other ephemera that provide a fresh perspective on City Center’s first 75 years.