There’s nothing quite like experiencing a show in person, and thankfully, New York City offers some of the best theater experiences in the world. Whether it’s Broadway musicals, plays, ballet or comedy shows, live theater offers something unique that recordings simply can’t capture. The ambiance of being there, surrounded by strangers who applaud, gasp, laugh, and even cry, is something almost impossible to quantify.
My first theater experience was attending the opera at the Metropolitan Opera House with my grandfather, Cantor Ira Greenberg, when I was just 7 years old. Since then, we’ve visited around a dozen times and seen a variety of operas. As I’ve grown older, my appreciation and enjoyment of each show have only deepened.
The Metropolitan Opera House originally opened in 1883 in Times Square in midtown on Broadway, where it operated for over 65 years. In 1966, the Met relocated to its current home at Lincoln Center on the Upper West Side, a grander building designed to provide top-notch acoustics. Each year, the Met stages around 18 different operas between September and June. It remains the largest classical music venue in North America.
Before delving into more detail, I’d like to highlight the differences between an opera and a Broadway show. Both feature singing, beautiful set designs and storytelling, but operas are usually performed in foreign languages, often Italian, and sung throughout without spoken dialogue. The singing is deeper, with a powerful tone that carries over an orchestra. Operas tend to tell tragic stories. In contrast, Broadway shows are in English, use pop instruments, and are designed for mainstream audiences. Overall, operas have an older, more elegant feel, while Broadway is more energetic. That said, I find operas relaxing, with engaging stories and characters.
I love visiting the Opera House with my grandfather, an expert passionate about opera since his teenage years. Back then, everyone dressed up, and while many still do, it’s now acceptable to wear sweatshirts and jeans as long as they’re not sloppy. On my last visit with Grandpa and my younger brother Gabe, who was attending for the first time, Gabe got upset seeing people dressed nicely while we weren’t, and said that next time we need to wear our best outfits. “Papa” (which we like to call him) loves sharing stories about his favorite singers and explaining how the acoustics work. He even used to go for free as a “claqueur,” applauding and cheering to make sure the performance was well-received.
What excites me most about the Opera House is its design and atmosphere. Despite being in the heart of Manhattan, it feels like a separate world. The large plaza has beautiful stone tiles in light and dark gray, arranged in a circle pattern resembling a pirate-ship wheel. Three buildings surround the courtyard: The left and right buildings, housing the New York Philharmonic and the New York City Ballet, feature tall vertical windows that make them look almost hollow. The central building is the Metropolitan Opera House, with its iconic five arched windows, looking almost temple-like. Its windows allow guests to peer in and glance at the enormous chandeliers and paintings hanging by the front. In the center of the plaza, a majestic circular fountain shoots up dozens of tall water spouts with bright lights causing the water to glow.
My grandfather and I usually park several blocks away from the Opera House and walk a few minutes to get to the building, as parking on the premises can be a bit costly. Before entering, tight security checks all visitors, and no bags are allowed, so it’s best to bring a jacket with pockets if you need to carry anything. Inside, a beautiful double-sided curved stairwell with gold handrails, white walls and red carpeting leads to the upper levels. Like the stair carpeting, the whole lobby is covered with red carpeting, and the walls are painted a golden hue, creating a luxurious atmosphere.
Wandering around the lobby and striking up interesting conversations with other guests is a great way to network before the show starts. Attendees come from diverse backgrounds and are exceptionally friendly. By the back, close to the theater doors, snacks and beverages are available from a bartender in a tuxedo. I usually opt for a gin and tonic to unwind. There are water fountains with paper cups shaped like mini ice cream cones, and nearby stairwells lead to restrooms, with old costumes displayed in the hallway. Note: Once the show starts, guests should wait for the intermission to use the bathroom, as the theater doors remain closed during the performance. Television screens in the hallways show the live performance for those locked out. Just before the show begins, employees walk through the lobby ringing chimes to signal the start.
Stepping inside the opera theater always takes my breath away. The theater is ginormous, with six different levels of seating and can accommodate 3,800 people, about twice as many as the largest Broadway show in New York! Like the lobby, all the seats are covered in red velvet. Dangling from the ceiling is a giant crystal chandelier, and the walls and ceiling are painted in a brownish-gold hue. The curtain, made of gold damask fabric, stands 65 feet tall. As the show begins, the theater lights turn off, except for the spotlights on the curtain and some lights by the orchestra. Before each part of the act begins, the orchestra plays a symphony of sounds as they tune up, with the concertmaster, the first violinist, leading the “Tune A.” Then the conductor steps out, bows to the audience, and the show begins.
My first show, and the one I’ve seen the most often, is “La Bohème.” The opera is about four poor artists living in Paris, trying to earn a living and survive the harsh winters, with a romance unfolding between one of the artists, the poet Rodolfo, and the seamstress Mimì. The most incredible scene is in Act I, set at a café, where 300 people fit onto the stage along with real animals, such as donkeys and horses. When I was a baby and toddler, my grandfather used to play a recording of “La Bohème” for me on TV, so I’ve likely seen the show a few dozen times. The first time I saw it with Papa was when I was in second grade, and since then, we’ve seen it together roughly five times. It’s a very enjoyable opera, with amazing set designs, costumes, and a heartfelt story.
Due to the large structure of the theater, it can be challenging to notice all of the subtle costume designs and character expressions when not seated close to the stage. For that, my grandfather brings binoculars for us to enjoy and zoom in on the show. It really adds a sophisticated element to the experience and also deepens my appreciation for the attention to detail in the show when I am able to hone in and observe the minor details better.
While snacks are sold in the lobby, eating in the auditorium is prohibited. One time, I went to the opera with my grandfather and Uncle Matty. An older gentleman sitting next to us, took out a bag of potato chips in the middle of the show and started eating them. A security attendant came over with a flashlight and warned him to put it away, which he did. A few minutes later, he took it out again and started munching, and this time the security attendant came back again and told him to put it away. This went on a few more times, until finally, the security attendant asked the gentleman to leave and eat outside. All the while, my Uncle Matty and I were cracking up, watching this gentleman keep trying to sneak his snack—and keep getting caught!
Two other shows I recently saw with Papa were “Rigoletto” and “Aida.” In “Rigoletto,” the titular character, a court jester, tries to stop his beautiful daughter, Gilda, from being courted by the evil Duke of Mantua. This opera had the most incredible stage set I have ever seen live, featuring a giant rotating platform that seamlessly switched between different scenes. “Aida” tells the story of a love triangle involving the Egyptian general Radamès, who is to marry the Pharaoh’s daughter but falls in love with the Ethiopian princess Aida, who was taken as a slave after Egypt conquered Ethiopia. I have always been fascinated by archaeology after watching “Raiders of the Lost Ark,” and since I have never been to Egypt, seeing the grand set in “Aida” with realistic Egyptian buildings, dozens of people in costume including warriors and monarchs, chariots with real horses, and even lights mimicking the bright desert daylight, made me feel transported right into ancient Egypt. Funnily, at one point during the show, I noticed that one of the horses was getting fussy, so I pointed it out to Papa and my brother Gabe, who was with us. Sure enough, within a few minutes, the horse became more and more agitated, forcing the cast to take it off the stage. Unfazed, the crowd burst into applause, a mix of support for the cast and humor that the horse wasn’t able to play the role as well as expected!
If you have never been to the opera, I highly recommend trying it at least once. There are many different shows, ranging from the ones I mentioned above to Shakespeare-based productions and more modern operas like “Champion,” which tells the story of an African American boxer. Don’t go expecting it to be fast-paced like Broadway, but expect a more laid-back, refined evening, where you can enjoying a well-told story in person on a beautiful stage with a talented cast. It is well worth the trip to the Upper West Side. On a side note, I have also been to the Philharmonic to hear a symphony, which I also enjoyed and found relaxing. However, it’s not something I would do often, as I prefer shows with a plot and storyline rather than just sitting and listening to music.
Hope to see you at the next performance! Arrivederci!
Admission: Some shows starting at $25, often around $30 and get more expensive closer to stage; Student Program Tickets—$37.50.
Showtimes: Vary by day but generally there is always a night show at either 7:30 p.m. or 8 p.m. and on Sundays an afternoon show
Address: 30 Lincoln Center Plaza, New York, NY 10023
Phone: (212) 362-6000
Website: www.metopera.org/calendar
Zachary Greenberg has been an avid reader of The Jewish Link since 2015 and a member of the staff since February 2022. Zachary is currently looking for a new full-time role in a business or data-related field. Beyond writing for The Link, he works part-time as director of the Keter Torah teen minyan for boys and as the TABC track coach. Zachary recently watched “Our Little Secret” on Netflix. Zack once met former New Jersey Governor Chris Christie. Please email him at [email protected] if you have any suggestions. Be sure to follow his Instagram page @FunZacktivities for more content!
