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Don Giovanni
La Damnation de Faust
Manon Lescaut
Les Troyens
La Sonnambula
L’Elisir d’Amore
Met Opera Nightly Streams
Mary Riepma Ross Media Arts Center
313 North 13th Street
Lincoln, NE 68508 402-472-5353

Met Opera Nightly Streams View on

A different encore presentation from the Met HD Live series is being made available for free streaming on the Met website every day.

Event Times

5.21 Thu Turandot
5.22 Fri Don Giovanni
5.23 Sat Faust
5.24 Sun Manon
5.25 Mon La Damnation de Faust
5.26 Tue Ernani
5.27 Wed Manon Lescaut
5.28 Today Les Troyens
5.29 Fri La Sonnambula
5.30 Sat L’Elisir d’Amore
5.31 Sun Salome

During this extraordinary and difficult time, the Met hopes to brighten the lives of audience members even while their stage is dark. Each day, a different encore presentation from the company’s Live in HD series is being made available for free streaming on the Met website, with each performance available for a period of 23 hours, from 7:30 p.m. EDT until 6:30 p.m. the following day. The schedule will include outstanding complete performances from the past 14 years of cinema transmissions, starring all of opera’s greatest singers.

The streams are also available through the Met Opera on Demand apps for Apple, Amazon, and Roku devices and Samsung Smart TV. To access them without logging in, click “Browse and Preview” in the apps for connected TV, and “Explore the App” on tablets and mobile devices.


Thursday, May 21 - Puccini’s Turandot

An ancient Chinese princess presents each new suitor with a series of riddles; success will win her hand, but failure costs his head. One brave warrior prince rises to the challenge, determined to thaw Turandot’s frozen heart. Puccini raises the temperature to boiling by lavishing the legendary tale with some of his finest and most bombastic music—not to mention “Nessun dorma,” one of the catalogue’s most beloved arias. Combined with Franco Zeffirelli’s breathtakingly opulent production, it makes for one of opera’s grandest experiences.

Friday, May 22 - Mozart’s Don Giovanni

Imbuing the familiar Don Juan myth with a captivating combination of comedy, seductiveness, danger, and damnation, Mozart created an enduring masterpiece that has been a cornerstone of the repertory since its 1787 premiere. An early entry in the Met’s series of PBS telecasts, this 1978 performance captures a young James Morris in a smooth portrayal of the title role, with the legendary Joan Sutherland showing off her unsurpassed technique as Donna Anna and Gabriel Bacquier as a masterful Leporello.

Saturday, May 23 - Gounod’s Faust

The legend of Faust, the aging philosopher who sells his soul for renewed youth and earthly delights, has inspired many operatic adaptations, but none has proved as popular as Gounod’s rich, elegantly Gallic interpretation, which was the very first opera ever performaned at the Met in 1883. Offering an ardent tenor role for the title character, meltingly lyrical music for the beautiful and naïve Marguerite, and a smooth-talking take on Mephistopheles for bass, it delivers all of the hallmarks of 19th-century French opera.

Sunday, May 24 - Massenet’s Manon

A beautiful ingénue with a taste for the finer things makes her way to Paris, where she becomes irresistible to the men around her—including the passionate Chevalier des Grieux, whose all-consuming love for her leads to ruin. Based on the same scandalous 18th-century novella that inspired Puccini’s Manon Lescaut, Massenet’s version features one of the all-time most challenging, and most beguiling, roles for soprano, as well as the composer’s trademark combination of sophistication and sensuality.

Monday, May 25 - Berlioz’s La Damnation de Faust

Berlioz’s sweeping, symphonic adaptation of Goethe offers both rhapsodic and viscerally thrilling music as it recounts Faust’s ruinous bargain with the devil Mephistopheles and his descent to the depths of hell. Calling for a huge orchestra, chorus, and children’s chorus—in addition to highly taxing principal roles—the work is famously difficult to stage and is often performed in concert, making this full theatrical production a rare treat.

Tuesday, May 26 - Verdi’s Ernani

Based on a Victor Hugo play with a complicated plot concerning a young woman and the three men vying for her affections—her elderly uncle, a king destined to become Holy Roman Emperor, and a bandit who is actually an overthrown nobleman—and the various passions and grudges scattered among them, Verdi’s early masterpiece is best appreciated as a feast of beautiful and dramatic Italianate singing. With virtuosic roles for a quartet of principals, the opera delivers one feat of heroic vocalism after another.

Wednesday, May 27 - Puccini’s Manon Lescaut

Following last week’s stream of Massenet’s Manon, Puccini’s take on the same irresistible heroine and her ignominious end trades the French composer’s urbane elegance for overwhelming emotionality. As Puccini wrote: “Why shouldn’t there be two operas about Manon? A woman like Manon can have more than one lover.” Taking on the demanding title role in this 1980 telecast is the great Italian soprano Renata Scotto, who gives a devastating portrayal commensurate with her status as one of the great divas of the 20th century.

Thursday, May 28 - Berlioz’s Les Troyens

In the week’s second Berlioz epic, the ever-daring French master takes on the aftermath of the Trojan War and Aeneas’s exploits in Carthage, by way of Virgil’s Aeneid, in a five-act magnum opus that stands as one of the most ambitious works in the operatic canon. Director Francesca Zambello rises to the challenge with a striking production that gets to the heart of the drama with sophisticated, symbolic visuals.

Friday, May 29 - Bellini’s La Sonnambula

This week’s Viewers’ Choice selection features the inimitable Natalie Dessay in a bel canto masterpiece by Bellini, famous for its extended sleepwalking scene that allows the diva du jour a delicious opportunity to pull out all of the vocal and dramatic stops. The musical fireworks are balanced by plenty of melting lyricism, in a bewitching combination that this composer did like no one else.

Saturday, May 30 - Donizetti’s L’Elisir d’Amore

As intoxicating as the cheap wine passed off by a traveling huckster as the potent love potion of the title, Donizetti’s delightful comedy enchants the audience with slapstick humor and its charming lead couple: a hapless but big-hearted peasant and the clever, kind landowner he loves. It also doesn’t hurt that the score is an endless parade of spectacular ensemble numbers and show-stopping arias—like the beloved “Una furtive lagrima,” one of opera’s ultimate tenor showcases.

Sunday, May 31 - Strauss’s Salome

In 1905, Richard Strauss turned the opera world upside down with this searing, salacious, completely unprecedented one-act masterpiece that welds Oscar Wilde’s graphic take on the biblical tale of King Herod’s daughter Salome with the most audacious and modern score the composer had yet created—music that feels so hot it could burn you. By the time the deranged antiheroine has finished the notorious Dance of the Seven Veils and stands before the audience entirely stripped of clothing and pretense, one has the sense that Strauss has done the same to opera itself.

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