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Rossini’s La donna del lago, premièred in 1819 at the Teatro San Carlo in Naples, is a masterpiece based on the poem The Lady of the Lake by Sir Walter Scott, which is full of passion and romantic frisson. “With characteristic boldness, Michieletto reformulates this glittering music into something otherworldly” (Financial Times) and the performance is “musically brilliant” (Die Presse.com). “Marko Mimica and Varduhi Abrahamyan produce strong performances as Douglas and Malcom respectively. Flórez is laser like and fresh as ever and thrilling brutish …” (Financial Times) while the Frankfurter Allgemeine Zeitung writes: “Michele Mariotti and his outstanding orchestra were the stars of the evening.”

A woman travels in a compartment of a train and a young man sits next to her with whom, almost immediately, sparks strike: once they arrive at their destination the boy realizes that the young lady has forgotten a book and so follows her to to return it. When the two are alone at home, without having even introduced themselves, they soon end up in each other's arms and spend an intense night of love. At dawn the man leaves. Also at dawn that same morning, a man is killed in his garage and it is soon discovered that he is the brother of the young man on the train.

Married to a doctor and mother of two daughters, a woman continually rethinks her relationship with a sailor.

An all-star cast assembled for the Met’s first-ever performances of Rossini’s romantic retelling of Sir Walter Scott’s epic poem The Lady of the Lake. Joyce DiDonato is Elena, the title heroine, who is being pursued by not one, but two tenors—setting off sensational vocal fireworks. Juan Diego Flórez is King James V of Scotland, disguised as the humble Uberto, and John Osborn sings his political enemy, and rival in love, Rodrigo Di Dhu. Complicating matters is the fact that Elena herself loves Malcolm, a trouser role sung by mezzo-soprano Daniela Barcellona, and that she is the daughter of Duglas (Oren Gradus), another of the king’s political adversaries. Paul Curran’s atmospheric production is conducted by Michele Mariotti.

In Rome in the thirties lives Nito Valdi, a difficult boy just out of the reformatory, who works for a local boss together with his friend Tony. The meeting with the beautiful Carmen will take Nito's life to an unexpected turn: after the loss of his greatest friend, with the arrival of fascism Valdi approaches the Blackshirts, while he becomes Carmen's worst nightmare. Nito is obsessed with her and wants her at any cost. But Carmen is expecting a child with Giancarlo, scion of one of the most prominent families in Rome: the Fontamaras. The story of Carmen and Nito, who turns out to be a Nazi psychopath, is intertwined with that of the Fontamaras, who have just discovered that they have Jewish origins and therefore must leave Italy to avoid falling victim to those like Valdi.

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Miriam Rossi arrives at a small village to take possession of a well located hotel that she inherited from her grandfather. She is rudely received by the Mayor, who controls everybody there and owns the only other inn for the tourists brought to the island by a modern cruiser.

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