The world-premiere staging of Kevin Puts’s The Hours, adapted from Michael Cunningham’s acclaimed novel, which also served as the inspiration for the Oscar-winning film, arrives in cinemas this December. In her highly anticipated return to the Met, soprano Renée Fleming joins soprano Kelli O’Hara and mezzo-soprano Joyce DiDonato to portray three women from different eras who grapple with their inner demons and their roles in society. Phelim McDermott, who recently created the Met’s acclaimed production of Philip Glass’s Akhnaten, directs this compelling drama, and Yannick Nézet-Séguin takes the podium to conduct Puts’s powerful score.

Giordano’s exhilarating drama Fedora returns to the Met for the first time in 25 years, starring soprano Sonya Yoncheva in the title role of the 19th-century princess who falls in love with her fiancé’s murderer, Count Loris, sung by tenor Piotr Beczała. Soprano Rosa Feola is the Countess Olga, Fedora’s confidante, and baritone Artur Ruciński is the diplomat De Siriex. Marco Armiliato conducts David McVicar’s intricate production, with a fixed set that unfolds to reveal the opera’s settings: a palace in St. Petersburg, a fashionable Parisian salon, and a picturesque villa in the Swiss Alps.

Wagner’s Lohengrin returns to the Met stage after an absence of 17 years with this atmospheric new staging by François Girard. Yannick Nézet-Séguin conducts a cast led by tenor Piotr Beczała in the title role of the mysterious swan knight. Soprano Tamara Wilson is the virtuous duchess Elsa, falsely accused of murder, going head-to-head with soprano Christine Goerke as the cunning sorceress Ortrud. Bass-baritone Evgeny Nikitin is Ortrud’s power-hungry husband, Telramund, and bass Günther Groissböck is King Heinrich.

Verdi’s Shakespearean comedy features a brilliant ensemble cast in Robert Carsen’s celebrated staging. Baritone Michael Volle sings his first Verdi role at the Met as the caddish knight Falstaff, gleefully tormented by a trio of clever women who deliver his comeuppance. Reuniting after their acclaimed performances in the production’s 2019 run are soprano Ailyn Pérez as Alice Ford, soprano Jennifer Johnson Cano as Meg Page, and mezzo-soprano Marie-Nicole Lemieux as Mistress Quickly. Soprano Hera Hyesang Park and tenor Bogdan Volkov are the young couple Nannetta and Fenton, and Daniele Rustioni conducts.

Six-time Grammy Award–winning composer Terence Blanchard brings his first opera to the Met after his Fire Shut Up in My Bones made history in the 2021–22 season. Bass-baritone Ryan Speedo Green is the young boxer Emile Griffith, who rises from obscurity to become a world champion, and bass-baritone Eric Owens portrays Griffith’s older self, haunted by the ghosts of his past. Soprano Latonia Moore is Emelda Griffith, the boxer’s estranged mother, and mezzo- soprano Stephanie Blythe is the bar owner Kathy Hagan. Yannick Nézet-Séguin returns to the podium to conduct Blanchard’s second Met premiere. Director James Robinson, whose productions of Fire Shut Up in My Bones and Porgy and Bess brought down the house, oversees the staging. Camille A. Brown, whose choreography electrified audiences in Fire and Porgy, also returns.

A stellar trio assembles to take on the lead roles of Strauss’s comedy, with soprano Lise Davidsen in her Met role debut as the Marschallin, opposite Mezzo-soprano Samantha Hankey in her Met role debut as Octavian, and soprano Erin Morley as Sophie. Bass Günther Groissböck returns as Baron Ochs, and Markus Brück is Sophie’s father, Faninal. Maestro Simone Young takes the podium to oversee Robert Carsen’s fin-de-siècle staging.