The Metropolitan Opera is a vibrant home for the most creative and talented singers, conductors, composers, musicians, stage directors, designers, visual artists, choreographers, and dancers from around the world. Each season, the Met stages more than 200 opera performances in New York. More than 800,000 people attend the performances in the opera house during the season, and millions more experience the Met through new media distribution initiatives and state-of-the-art technology. In 1995, the Met introduced Met Titles, a unique system of real-time translation. Met Titles appear on individual screens mounted on the back of each row of seats, for those members of the audience who wish to utilize them, but with minimum distraction for those who do not. Titles are provided for all Met performances in English, Spanish, and German. Titles are also provided in Italian for Italian-language operas.

The Metropolitan Opera was founded in 1883, with its first opera house built on Broadway and 39th Street by a group of wealthy businessmen who wanted their own theater. In the company’s early years, the management changed course several times, first performing everything in Italian (even Carmen and Lohengrin), then everything in German (even Aida and Faust), before finally settling into a policy of performing most works in their original language, with some notable exceptions. The Metropolitan Opera has always engaged many of the world’s most important artists. Christine Nilsson and Marcella Sembrich shared leading roles during the opening season. In the German seasons that followed, Lilli Lehmann dominated the Wagnerian repertory and anything else she chose to sing. In the 1890s, Nellie Melba and Emma Calvé shared the spotlight with the De Reszke brothers, Jean and Edouard, and two American sopranos, Emma Eames and Lillian Nordica. Enrico Caruso arrived in 1903, and by the time of his death 18 years later had sung more performances with the Met than with all the world’s other opera companies combined. American singers acquired even greater prominence with Geraldine Farrar and Rosa Ponselle becoming important members of the company. In the 1920s, Lawrence Tibbett became the first in a distinguished line of American baritones for whom the Met was home. Today, the Met continues to present the best available talent from around the world and also discovers and trains artists through its National Council Auditions and Lindemann Young Artist Development Program.

Almost from the beginning, it was clear that the opera house on 39th Street did not have adequate stage facilities. But it was not until the Met joined with other New York institutions in forming Lincoln Center for the Performing Arts that a new home became possible. The new Metropolitan Opera House, which opened at Lincoln Center in September 1966, was equipped with the finest technical facilities.