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Of all the places to catch fireworks on New Year’s Eve, the Metropolitan Opera House is a somewhat unconventional choice. But just as the clock struck midnight on January 1, a minute-and-a-half-long firework display was launched from the building’s terrace. In concert with the bursts came a release of metallic red confetti inside; revelers at the Metropolitan Opera’s annual gala couldn’t have asked for a more New York way to ring in the New Year.
Earlier that evening, British theater director Carrie Cracknell’s reimagined Carmen debuted on the Metropolitan Opera stage. At 6:30 p.m., guests arrived at the theater for a fresh twist on Bizet’s tragic Anduliscian love story—but this was not your grandmother’s Carmen. In lieu of Flamenco stomps, fan whips, and frothy ruffled dresses, guests watched as Carmen “got low” in a pair of denim cut-offs and cowboy boots after clocking out from her job at an arms factory in an unnamed American border town. The idea behind the setting? To reframe Carmen not as a clichéed star-crossed heroine who perishes in a crime of passion, but as a woman who suffered from lethal domestic violence. “If you are looking too hard to situate it in one place, it becomes more difficult to realize that this could happen anywhere,” Cracknell said in a recent interview.
Starring in the role is Aigul Akhmetshina, a 27-year-old mezzo-soprano who is no stranger to the role. “This is the seventh production of Carmen for me. This season for me is full of Carmen; I call it ‘50 Shades of Carmen,’” she told Vogue ahead of this particular Carmen’s premiere.
After the performance’s abrupt ending (by Cracknell’s design), a select group of some 500 showgoers made their way to the New Year’s Eve Gala, set on the lusciously carpeted Mercedes T Bass Grand Tier. There, cast, crew, and Met Opera patrons gathered for a celebratory dinner and dancing. After a meal of beef Wellington and lots of Champagne, guests gathered on the dance floor to hear from the Met Opera’s general manager, Peter Gelb. “For those wondering how the Met can support such a lavish and massive production, these economically challenging times, we have several very generous donors who are dedicated to keeping opera alive,” he announced to the room.
Gelb had many thanks to give to arts patron Adrienne Arsht, who not only chaired the event but also came up with it years ago. “What better way to start a New Year than with the arts,” she tells Vogue. In addition to her generous funding, Arsht also lent a bit of creative flair to the decor: At each table, the host sat in a red chair, and within the white hydrangea floral centerpieces was a cluster of red roses—an ode to Carmen, she explains.
Gelb then went on to thank the evening’s three standout performers: Angel Blue, “a Met favorite…who sings like an angel”; Rafael Davila, “a heroic tenor with nerves of steel who saved our opening with a truly excellent performance” (Davila’s casting as Don José was announced mere hours before the show); and Akhmetshina, “an artist who made Met history tonight as the youngest singer to sing the title role in a new production…[and] now owns this role.” And in a splendidly timed delivery—one would expect nothing else at the Met—his remarks spilled into a countdown to the New Year. And there was a lot more to celebrate: the evening raised $1.8 million. Bravo!
