We partner with dozens of cultural organizations yearly. We are a Founding Member of the National Museum of African American History and Culture in Washington, D.C., Global Sponsor of the Chicago Symphony Orchestra and serve as the main sponsor of approximately ten museum exhibitions a year.
Access Opera: Open Rehearsals for Students
Access Opera: Open Rehearsals for Students
The Metropolitan Opera
More than 80 years ago, the Metropolitan Opera hosted its first student performance, inaugurating its long history of welcoming students to the house through attendance at final dress rehearsals. A joint program between the Metropolitan Opera and the Metropolitan Opera Guild, Access Opera: Open Rehearsals for Students now draws 15,000 students annually from across the New York tri-state area, as well as from Vermont and Pennsylvania. With curriculum support materials and teacher training workshops, along with ushers and staff guides at the front of the house, the Met aims to make students’ experiences at the opera house welcoming, entertaining, and educational.
During the 2017–18 season, 195 participating schools from five states attended 13 final dress rehearsals, with the cost of tickets greatly subsidized to make them accessible for schools. Inviting students to experience the cutting-edge stagecraft and the highest level of artistry of the Metropolitan Opera at its home in Lincoln Center is an essential part of the Met’s mission.
Major sponsorship of the Metropolitan Opera’s Access Opera:
Open Rehearsals for Students program is provided by Bank of America.
Željko Lučić as Scarpia and Sonya Yoncheva in the title role of Puccini’s Tosca
Photo: Ken Howard/Metropolitan Opera
Spain: 500 Years of Spanish Painting from the Museums of Madrid
San Antonio Museum of Art
Bank of America is pleased to sponsor Spain: 500 Years of Spanish Painting from the Museums of Madrid, a major survey of Spanish painting from the late fifteenth century to the turn of the twentieth century, spanning the Gothic era, the Renaissance, the Age of Enlightenment and the modern era. On view exclusively at the San Antonio Museum of Art, the exhibition opened on June 23, 2018, and will run through September 16, 2018.
Spain features more than forty works and is organized by the San Antonio Museum of Art and undertaken with the support of the Spanish Embassy in Washington, D.C., and the Ministry of Education, Culture and Sport in Madrid. The exhibition is part of San Antonio’s celebration of its Tricentennial and pays homage to the city’s heritage, which is strongly rooted in Spanish artistic traditions.
On loan from renowned Spanish museums including the Prado Museum, the Thyssen-Bornemisza Museum, the Reina Sofía National Art Centre, the Museum of Lázaro Galdiano, the San Fernando Royal Academy of Fine Arts Museum, the Museum Cerralbo, the Museum of Romanticism and the Sorolla Museum, the exhibition will be complemented by a select group of works from American museums. Spain traces the development of Spanish pictorial traditions – including portraiture, landscapes from the earliest traces of naturalism to the impressionist and expressionist movements of the late nineteenth century, devotional painting and still lifes – and features many works that have never been exhibited in the United States.
Among the important artists represented are El Greco, Diego Velázquez, Bartolomé Esteban Murillo, Jusepe de Ribera, Francisco José de Goya y Lucientes, Joaquín Sorolla y Bastida and Pablo Picasso, as well as other Spanish masters, including Juan de Flandes, Luis de Morales, Luis de Madrazo y Kuntz, Antonio María Esquivel and Ignacio Zuloaga.
To offer an immersive experience to its visitors, the Museum has organized the Summer of Spain. Throughout the run of the exhibition, there will be lecture series, film festivals and a weekly evening Festivál de Arte, featuring flamenco lessons, poetry readings, music and art-making. The exhibition has inspired other city organizations to participate in the Summer of Spain, including the Guadalupe Cultural Arts Center, the Southwest School of Art, Casa de España, the Pearl retail and dining complex, and Visit San Antonio.
Manuel Cabral Aguado Bejarano (Spanish, 1828-1891)
Alfonsito Cabral with a Cigar (Alfonsito Cabral con puro), 1865
Oil on canvas
49 3/16” x 39 3/8” (125 cm x 100 cm)
Museo del Romanticismo, Madrid
Photography by Pablo Linés Viñuales
Winslow Homer and the Camera: Photography and the Art of Painting
Bank of America is pleased to be the national sponsor of Winslow Homer and the Camera: Photography and the Art of Painting, the first exhibition to explore the role of photography in Winslow Homer’s artistic practice. Following its debut at the Bowdoin College Museum of Art, the exhibition will travel to The Brandywine River Museum of Art, where it will be on display from November 17, 2018, to February 17, 2019.
The exhibition brings together over 120 works by the artist, as well as related objects. Paintings, drawings, prints and photographs captured during Homer’s travels to Europe, the Bahamas, Cuba and Florida in the 1880s, as well as period ephemera from the artist’s studio, such as the wooden mannequins he used to draft compositions, his watercolor brushes, his walking stick, and two of the three cameras he owned, provide an enlightening look into the artist’s working methods. After four years of painstaking research examining the influence that the relatively new medium of photography had on the work of Homer, the Bowdoin College Museum of Art presents this important exhibition.
Winslow Homer and the Camera: Photography and the Art of Painting lends credence to a long-held belief that the advent of photography led many artists of the time to shift away from capturing objective reality — since the camera could now serve this function — in favor of a more subjective form of expression. It is in this light that many art historians are now making the case that Homer should be considered as a protomodernist rather than being characterized as a realist.
In 2014, Neal Paulsen, a long-time resident of Scarborough, Maine, donated a Mawson & Swan camera (circa 1880) once owned by Homer to the Bowdoin College Museum of Art. A resident of nearby Prouts Neck, Maine, Homer was inspired to paint many of the great themes of his artistic career: the struggle of people against the sea and the relationship of fragile, transient human life to the timelessness of nature.
In 1861, as a young artist working for Harper’s Weekly during the Civil War, Homer was sent to the battlefront in Virginia, serving as an artist-correspondent for the illustrated journal. Homer referenced graphic war photography as source material for some of his work, incorporating his personal vision with insights drawn from photographs into his composition development.
Following the Civil War, Homer resided in New York City, making his living chiefly by designing magazine illustrations while also building his reputation as a painter. The late 1860s and 1870s were a time of artistic experimentation and prolific and varied output for Homer.
He frequently traveled throughout the Northeast, visiting New Hampshire’s White Mountains, Massachusetts’s Cape Ann, and New York State’s Catskill and Adirondack mountains, where he came to discover how photography was newly being used to capture the region’s natural beauty for the purpose of promoting tourism. In such photographs, Homer became particularly interested in photographic effects that might not readily be perceived by the eye in a single moment in time, including glare, blur and shadow, which would come to influence his style significantly.
In 1882, Homer traveled to Europe, taking up residence in Cullercoats, a remote fishing village in northern England. It was there that he purchased what is believed to be his very first camera, manufactured by Mawson & Swan based in the nearby northern city of Newcastle upon Tyne.
After a two-year stint in Cullercoats, Homer returned to the United States, moving in 1884 to Prouts Neck, Maine, where he would establish his studio and home and reside until his death in 1910.
Winslow Homer with “The Gulf Stream” in his Studio, c. 1900, gelatin silver print, by an unidentified photographer.
Bowdoin College Museum of Art, Brunswick, Maine.
Smithsonian Cultural Rescue Initiative
Lead corporate sponsor
Bank of America is proud to support the Smithsonian Cultural Rescue Initiative (SCRI). Recognizing that the loss of cultural heritage can be psychologically and socioeconomically devastating, its mission is to protect cultural heritage threatened or impacted by human-made or natural disasters and to help communities in the U.S. and around the world preserve their identities and history.
When announcing the sponsorship, Bank of America chairman and CEO Brian Moynihan, stated, “Bank of America stands by the passionate and brave men and women who work, sometimes at personal risk, to protect cherished treasures for future generations.”
Since its founding in 2010, the program has recovered and conserved more than 50,000 pieces of endangered cultural material around the world.
After the devastating earthquake that occurred in Haiti in January 2010, which killed more than 250,000 Haitians, and left 1.5 million people homeless, the Institution launched the Haiti Cultural Recovery Project, working in partnership with the government of Haiti’s Ministry of Culture and Communication. Over the course of eighteen months, many important collections of art, artifacts, museum objects, architectural features, documents, film, photographs, video, and sound recordings were successfully rescued, recovered, and safeguarded.
Following hurricanes Sandy, Harvey, and Maria, SCRI projects have helped individuals and institutions learn how to rescue, restore, and safeguard a wide range of culturally significant artifacts storm-ravaged states such as New York and Texas, and the commonwealth of Puerto Rico.
The SCRI is also active in war-torn countries, engaged in cultural rescue work and in educating governmental agencies and cultural heritage professionals as well as military personnel connected to museums, monuments, and other treasured historic sites. From risk assessment and emergency planning to damage mitigation, SCRI projects have been instrumental in preserving cultural heritage in countries such as Syria, Iraq, Nepal and Mali.
Smithsonian Cultural Rescue Initiative (SCRI)
Nepalese military and cultural heritage professionals team up to rescue architectural fragments at a temple in Kathmandu.
Presenting Sponsor of Performances for Young Audiences
National Sponsor of Theater for Young Audiences on Tour
Bank of America is proud to be the Presenting Sponsor of Performances for Young Audiences at the John F. Kennedy Center for the Performing Arts in Washington, D.C., for the 2018–2019 season and the 2018–2019 National Sponsor for the Kennedy Center’s Theater for Young Audiences on Tour.
In Washington, D.C., the Kennedy Center brings to the stage 17 productions of compelling theater, lively music and energetic dance for family members ages three and up. Among the highlights are several newly commissioned world premieres, many featuring young protagonists with whom the audience can identify.
The season begins with American Revolution. From October 12 to 14, 2018, seven actors from the imaginative physical theater group within Chicago’s award-winning Theater Unspeakable tell the story of the American Revolution.
Confined to an elevated, 21-square-foot miniature stage, using only their bodies to convey the action, and with just 50 minutes to perform, the group takes audiences on a fun and daring journey from Lexington to Yorktown.
The first of four plays commissioned by the Kennedy Center, Long Way Down, running from October 27 to 29, 2018, will sweep up audiences in the gripping and suspenseful story of a 15-year-old boy determined to avenge the death of his brother, who has just been shot outside of their apartment building.
Running from January 11 to 13, 2019, is Cartography, created by two artists who have worked with refugees around the world. Christopher Myers and Kaneza Schaal, together with New York-based company ArKtype, explore the lives of child refugees seeking a better life and the role that we all play in contributing to global migration.
The second Kennedy Center-commissioned play is How to Catch a Star, a multimedia and movement-based adaptation of the New York Times best-selling children’s picture book authored by Oliver Jeffers. Created and directed by Obie Award-winner Jared Mezzocchi, the play explores the wonders of friendship, discovery and chasing their dreams.
The third play commissioned by the Kennedy Center is She a Gem, running from February 15 to 24, 2019. Created by award-winning writer Josh Wilder, the play tells the story of four young women, living together in a transition home in an inner-city Philadelphia neighborhood, who come together to form a double-Dutch team to compete in a neighborhood pageant.
From March 15 to 24, 2019, the final Kennedy Center-commissioned play debuts, The Watsons go to Birmingham — 1963. Based on the work of historical fiction written by Christopher Paul Curtis, the story has been adapted into a staged concert reading created by Christina Ham. At a turbulent time in the history of the Civil Rights movement, a Flint, Michigan, family heads to Birmingham, Alabama, to spend the summer. Told from the point of view of 10-year-old Kenny, the story conveys the dramatic effects the 1963 Birmingham church bombing has in bringing a family together and enduring a tragic era in American history.
Kennedy Center’s Theater for Young Audiences on Tour will kick off in early 2019 with Me…Jane: The Dreams & Adventures of Young Jane Goodall. Audiences will be treated to a musical about the early and influential years of primatologist, conservationist and animal rights activist Jane Goodall. Follow young Jane and her toy chimpanzee Jubilee as they learn about the world around them and the importance of protecting all living species.
John F. Kennedy Center for the Performing Arts
Performances for Young Audiences
Chicago Symphony Orchestra
Founded in 1891, The Chicago Symphony Orchestra (CSO) is widely regarded as one of the world’s greatest orchestras. Bank of America’s global partnership with the CSO began with the historic 2010/11 season, when Maestro Riccardo Muti began his tenure as Music Director. Muti’s dedication to bringing live symphonic music of the highest artistic caliber to the broadest possible audience has served as the cornerstone of the CSO’s mission.
As part of our ongoing commitment to that mission, Bank of America is proud to be the Global Sponsor of all CSO main series classical concerts at Chicago’s Symphony Center, two signature fundraising events, Symphony Ball and Corporate Night, and exclusive corporate Global Sponsor of CSO tours, both domestic and international.
The CSO’s 127th season is one of celebration and exploration. Over the course of 2017/2018, CSO performances will mark the anniversaries of major composers, including the 150th anniversary of Gioachino Rossini’s death, the centennial of the birth of American composer Leonard Bernstein, the 150th birthday of Claude Debussy and the 200th birthday of Charles Gounod. 2018 also marks the sixtieth anniversary of the acclaimed Chicago Symphony Chorus and will be celebrated with performances of choral works by Franz Shubert and Rossini.
In April, beloved American composer and conductor John Williams will join the CSO for a special program that celebrates his significant contribution to the film world and the concert stage. Williams will conduct a program that features his Oscar-winning film scores performed by the CSO.
The season’s musical explorations include premieres of new works by three American composers: Mead Composer-in-Residence Elizabeth Ogonek; Pulitzer Prize-winner Jennifer Higdon and CSO viola and composer Max Raimi; and continued exploration of symphonies by Josef Anton Bruckner. In addition, fifteen guest artists and conductors will make their CSO debuts, including violinist Isabelle Faust, and conductors Giovanni Antonini, Jiří Bělohlávek and John Storgårds.
Muti bookmarks the CSO season’s weeklong residencies beginning with renowned violinist Anne-Sophie Mutter, who will join the orchestra in performances of concertos by Wolfgang Amadeus Mozart and Pyotr IlychTchaikovsky in September, and cellist Yo-Yo Ma for a performance of Dmitri Shostakovich’s Second Cello Concerto and Sergei Prokofiev’s Third Symphony in June.
In the 2017/18 season, the CSO also continues its tradition of touring with two major U.S. tours, beginning in Kansas City, Missouri in October 2017; followed by California performances in Berkeley, Costa Mesa, San Diego, Palm Desert, Santa Barbara and Los Angeles. For its second tour, in February 2018, the CSO will perform at Carnegie Hall; Washington, D.C.’s Kennedy Center; and the Artis-Naples in Naples, Florida.
Smithsonian National Museum of African American History and Culture
Founding Member and Dedicated Supporter
September 24, 2016, marked a signature moment in the history of the United States when the only national museum devoted to African American history and culture opened on the Washington Mall after more than twelve years of planning and development. Following an Act of Congress in 2003, which sought to establish the museum, work to raise funds and develop the museum’s plans began in earnest. The National Museum of African American History and Culture (NMAAHC) is the nineteenth Smithsonian Institution museum.
In 2011, a museum Council was formed. Brian Moynihan, Bank of America CEO, became one of its founding members. We would go on to become a founding donor in 2014 and to sponsor many of the historic opening events that took place throughout the fall of 2016.
Bank of America was an early supporter of the development of the museum. In 2013, we sponsored Save our African American Treasures, a national program dedicated to supporting historians, cultural anthropologists, and experts from the art world to identify and preserve items of historical and cultural significance tucked away in the attics, closets and basements of Americans across the country. Recognizing the significance of these artifacts, some owners chose to donate them to the museum, while others benefited from receiving an invaluable education on the meaning, value, and proper safekeeping of their treasured possessions.
Through the Art Conservation Project, Bank of America provided funding for the conservation of nine noteworthy works by African American artists. The works are featured in Visual Art and the American Experience, the only permanent art exhibition on the Smithsonian Mall dedicated to illustrating the critical role American artists of African descent played in shaping the history of American art.
From the Bank of America Collection, we were pleased to donate more than sixty photographs by Jeanne Moutoussamy-Ashe, the distinguished artist who, from 1977 through 1982, documented the unique culture of the Gullah community of Daufuskie Island in South Carolina.
In September of 2017, Bank of America signed on to become one of the sponsors of the museum’s first anniversary celebration. Most recently, we were proud to sponsor of one of the museum’s Black History Month discussions, Finding Common Ground.
Co-hosted by The National Museum of African American History and Culture and the National Museum of the American Indian on February 15, and moderated by Michel Martin, weekend host of NPR’s All Things Considered, Finding Common Ground focused on the complex, sometimes fraught, history of African Americans and Native Americans, and how their intertwined stories and experiences have become an essential part of the American identity. Speakers included Lonnie G. Bunch III, Founding Director of the National Museum of African American History and Culture, and Kevin Gover, Director of the National Museum of the American Indian.
The world’s most famous concert hall
Season sponsor and Musical Exchange program supporter
Bank of America is the proud Season sponsor of Carnegie Hall, home to the world’s finest orchestras; chamber ensembles; recitalists; world, jazz and pop artists; premieres; and special commissions.
Carnegie Hall’s mission is to bring the transformative power of music to the widest possible audience by featuring extraordinary performances on its three stages, leading visionary education programs and advocating for the future of music through the cultivation of new works, artists and audiences.
A common theme running through its 2017–2018 season is the influential role that music can play in changing the world. A celebratory Opening Night Gala concert by The Philadelphia Orchestra marks the 100th anniversary of Leonard Bernstein’s birth with performances of the composer’s Symphonic Suite, from On the Waterfront, and Symphonic Dances, from West Side Story.
A citywide festival entitled The ’60s: The Years That Changed America, inspired by writer Robert A. Caro, includes two offerings that explore the nexus of music, protest and social change: one featuring legendary singer-songwriter and activist David Crosby with Snarky Puppy, and another led by acclaimed composer, music director and producer Ray Chew with a lineup of prominent guest artists from the worlds of folk, rock, soul and R&B. The festival also features a performance by the Philip Glass Ensemble and new works premiered by the Kronos Quartet — one referencing Dr. Martin Luther King Jr.’s “I Have a Dream” speech and the other based on the works of author and activist Studs Terkel.
Carnegie Hall has appointed Philip Glass to hold its Richard and Barbara Debs Composer’s Chair for the 2017–2018 season. With this residency, the Hall joins the yearlong celebration of the eminent composer’s 80th birthday year, presenting performances that feature Glass classics and premieres performed by the Philip Glass Ensemble, Nico Muhly, American Composers Orchestra, and the JACK Quartet, plus the Louisiana Philharmonic Orchestra and Pacific Symphony in their Carnegie Hall debuts.
Carnegie Hall’s Perspectives series brings violinist Janine Jansen and pianist Daniil Trifonov to the fore. Jansen curates five concerts, featuring chamber music performances with an all-star roster of collaborators and concerto appearances with the Royal Concertgebouw Orchestra and The Philadelphia Orchestra. Trifonov is featured in seven concerts, including an exploration of Chopin; solo recitals; and collaborations with baritone Matthias Goerne, pianist Sergei Babayan, Kremerata Baltica, and cellist Gautier Capuçon. Together with the Mariinsky Orchestra, Trifonov premieres his own piano concerto.
It is Carnegie Hall’s core belief that as one of the world’s foremost cultural institutions, it has the responsibility to create world-class resources and share them free-of-charge. Carnegie Hall fulfills this goal through the extensive programing of Carnegie Hall’s Weill Music Institute (WMI). Expected to reach more than half a million people in the 2017–2018 season, WMI’s programs are specially designed for students, teachers, families, young musicians and audience members of all ages, and are offered at low or no cost to participants. WMI introduces audiences to music, trains and nurtures young artists, and harnesses the power of music to create opportunities for social impact, making a meaningful difference in people’s lives.
WMI has also created the National Youth Orchestra of the United States of America (NYO-USA), comprising the best instrumentalists, ages 16–19, and NYO2, an intensive training program for younger musicians, ages 14–17, that seeks to further expand the pool of young musicians in the U.S. who are equipped with the tools to succeed at the highest level. In 2018, NYO-USA returns to Asia for a tour with conductor Michael Tilson Thomas and pianist Jean-Yves Thibaudet. Now in its second year, NYO2 musicians will once again work with WMI partner Giancarlo Guerrero and The Philadelphia Orchestra.
Along with NYO-USA, WMI’s PlayUSA initiative supports additional young players nationwide through partner organizations that offer instrumental music education programs to low-income and underserved students.
With music education programs for grades 3–5, WMI’s Link Up program continues to grow, reaching over 400,000 students and teachers through partnerships with more than 100 orchestras across the country and around the globe.
Also growing, the Music Educators Workshop brings teachers from throughout the U.S. together to share best practices and cultivate a strong community through an intensive summer program, with ongoing support throughout the school year.
As part of its focus on social impact, WMI partners with the Arts for Incarcerated Youth Network in Los Angeles this season for Create Justice, a series of national forums that bring together a wide range of thought leaders, including representatives from nonprofit organizations, artists and policymakers to consider the role of the arts in juvenile justice reform, culminating in a March 2018 Carnegie Hall concert that features art and music created by young people.
Among WMI’s series of master classes and workshops for young professional musicians, the great mezzo-soprano Marilyn Horne celebrates her final season as artistic advisor for The Song Continues in January 2018, an annual festival dedicated to the art of the vocal recital. Ms. Horne will then pass the torch to soprano Renée Fleming, who will lead the series in years to come.
Alvin Ailey American Dance Theater
International Tour Sponsor
Bank of America is the International Tour Sponsor for Alvin Ailey American Dance Theater.
Enabling major American performing arts organizations to tour internationally is part of Bank of America's efforts to increase cultural understanding and open opportunities for dialogue through the arts.
Alvin Ailey American Dance Theater was founded in 1958 by dancer/choreographer Alvin Ailey to share the richness of the African-American cultural experience and the American modern dance tradition with the world. At each destination, thousands of people enjoy masterful performances and share cultural experiences with fellow audiences across the globe. Recognized by the U.S. Congress as a vital "Cultural Ambassador to the World," the company has performed for more than 23 million people in 48 states and 71 countries on six continents.
During its 2017 international tour, under the leadership of artistic director, Robert Battle, the Ailey company brought its uplifting artistry to a dozen European cities, performing throughout England, Wales, and Scotland, with inaugural debuts in Southampton and Canterbury, England, and returning to Salle Métropole in Lausanne, Switzerland and The Tivoli Concert Hall in Copenhagen, Denmark.
The company's 2018 International Tour dates, venues, and locations are currently being finalized.
Nation to Nation: Treaties Between the United States and American Indian Nations
Smithsonian National Museum of the American Indian
Bank of America is pleased to sponsor Nation to Nation: Treaties Between the United States and American Indian Nations, on view at The Smithsonian’s National Museum of the American Indian from September 21, 2014, through fall 2018.
Nation to Nation, 10 years in the making, brings together the largest historical collection of treaties made between the United States and American Indian Nations, along with more than 125 related artifacts, photographs and contemporary objects. It is divided into five chapters: Introduction to Treaties; Serious Diplomacy; Bad Acts, Bad Paper; Great Nations Keep Their Word; and The Future of Treaties.
Introduction to Treaties provides an overview of the vastly different perspectives held between non-native settlers and Native Americans, from concepts of land ownership, civic organization and leadership to the very nature and purpose of diplomacy.
Serious Diplomacy reveals the initial good intentions of settlers of the early republic, seeking security and peaceful coexistence. One of the earliest treaties on display is the Treaty of Canandaigua, signed in 1794 by members of the Iroquois Confederacy, Cornplanter, Red Jacket and Handsome Lake, and President George Washington. It allowed for the establishment of Indian territories and provided annual compensation to tribes in exchange for free passage through their lands and access to their harbors and rivers.
Bad Acts, Bad Paper highlights the events that transpired in the 1800s, when the United States’ territorial ambitions led it to craft treaties designed to confiscate Indian lands and push Native Nations west of the Mississippi. These nations also fell victim to the competing interests and conflicts between individual states and the federal government. Many states sought and won exemptions from federal treaties and went on to take the law, and Indian territories, into their own hands.
Great Nations Keep Their Word focuses on the 1900s, when the surviving Native Nations more successfully appealed for the enforcement of treaties and their rights. Efforts by Congress to nullify many pre-existing treaties were met with strong opposition and eventual defeat, while others would ultimately be struck down in U.S. courts. These victories helped to restore both the dignity and self-determination of the Native Nations.
The Future of Treaties focuses on the impact that existing treaties continue to have on relations between the United States and Native Nations and points to a future likely to be filled with both struggle and hope.
Thomas Jefferson peace medal, 1801, owned by Powder Face (Northern Inunaina/Arapaho), Oklahoma Bronze Copper alloy, hide, porcupine quills, feathers, dye, metal cones
Photo credit: Walter Larrim
The Met: HD Live in Schools
Major funding for The Met: HD Live in Schools is made possible by Bank of America, with program support provided through a partnership with the New York City Department of Education and school districts across the country.
Through HD Live in Schools, teachers, students and parents can experience the world's greatest conductors, directors, musicians and singers in riveting productions. The program, which uses opera to teach music, theater, history and English language arts, reaches students in five New York high schools and forty school districts in thirty states throughout the country. Teachers receive educator guides and annual training opportunities that enable them to conduct in-class workshops, which prepare students to attend live movie theater transmissions of operas-direct from the Met stage-all free of charge.
Each opera is chosen based on a variety of considerations, including the opera's applicability to the general curriculum and engaging content for young audiences.
In the 2017-18 season, students and teachers have the opportunity to experience dramatic new productions of Puccini's Tosca, Mozart's Così fan tutte, and Massenet's Cendrillon.
Tosca is set against the backdrop of Rome in 1800, during a period of political upheaval, warring empires, and competing ideologies. The lives of Mario Cavaradossi, an idealistic painter of noble Italian roots, Tosca, his passionate young lover, a singer who was raised in a Veronese convent, an escaped political prisoner named Angelotti, and his a malevolent pursuer, chief of police Baron Scarpia, converge to convey a masterful melodramatic tale. Renowned tenor Vittorio Grigolo, playing Cavaradossi, rising star Sonya Yoncheva, in the title role, and baritone Zeljko Lucic, in the role of Scarpia, take one of Puccini's most famous operas to new heights.
In Mozart's third collaboration with librettist Lorenzo Da Ponte, Così fan tutte, which premiered in Vienna in 1790, is a comedically dark portrayal of the many expressions of lust and love. Set in a carnival funhouse atmosphere evocative of Coney Island in the 1950s, a Christopher Maltman plays Don Alfonso, a wily cynic who bets two young military officers that their respective fiancées, who happen to be sisters, cannot be trusted to remain faithful to them. Conniving with the sisters' family maid, Despina, played by Tony Award winner Kelli O'Hara, Don Alfonso and Despina manipulate the fates of the four young lovers to win the bet.
For the first time in history, the Met presents Cendrillon, Massenet's operatic adaptation of the classic Cinderella, exploring the romance, magic, longing, melancholy, magic and romance of a young woman's world. Mezzo-soprano Joyce DiDonato plays the lead role, featuring the renowned Alice Coote in the traditionally male role of Prince Charming.
In addition, the Met will present revivals of Mozart's Die Zauberflöte (The Magic Flute), and Donizetti's comic opera, L'Elisir d'Amore.
Ambrogio Maestri in the title role of Verdi’s Falstaff
Photo: Ken Howard/Metropolitan Opera