Met Opera’s ‘Lincoln in the Bardo’ Premieres to Mixed Reviews

Key points

• The opera, based on George Saunders’s 2017 novel, premiered on October 19, 2026, at the Metropolitan Opera.
• It is the first opera commissioned by the Met from a female composer, a significant initiative by General Manager Peter Gelb.
• The production features a star-studded cast including Peter Mattei as Lincoln and Everett Sobers as Willie, with direction by Lileana Blain-Cruz.
• Critics praised the atmospheric staging, puppetry, and emotional performances, particularly Mattei’s aria ‘Dear Little Chap.’
• However, reviews criticized the libretto for being overly wordy, the music for lacking memorable melodies, and the structure for being unbalanced.

Background

The Met Opera recently launched the ‘Opera for All’ initiative with Mayor Zohran Mamdani to distribute 70,000 free tickets, aiming to broaden audience access. This season also opened with a new production of Verdi’s ‘Macbeth,’ which received mixed reviews regarding its psychological depth.

How outlets are covering it

The New York Times (Joshua Barone) lauded the production as an ‘imaginative, moving adaptation’ that successfully translates Saunders’s ghostly novel into an opera of distorted time, praising the lavish production. In contrast, TheaterMania (Zachary Stewart) found the work ‘mostly disappointing,’ criticizing the lack of memorable melodies and the libretto’s banal lyrics, while acknowledging the impressive visual design. New York Classical Review (George Grella) offered a nuanced view, praising the music and Mattei’s performance but faulting the libretto for being too wordy and the structure for being unbalanced, noting that the opera’s climax was stirring despite clumsy text. Playbill provided a neutral summary of the cast and production details, highlighting the significance of Mazzoli’s Met debut.

Why it matters

The premiere marks a historic moment for the Metropolitan Opera as the first commission from a female composer, signaling a shift in the institution’s approach to new works. The mixed reviews highlight ongoing challenges in adapting literary works to opera, particularly in balancing visual spectacle with musical and structural coherence. The production’s success or failure may influence future commissions and the Met’s strategy for new opera development.

What to watch

The production runs through November 14, 2026, with Michael Hurst replacing Everett Sobers in the role of Willie on October 31 and November 14. The Met’s 2026-27 season will continue with the premiere of Kevin Puts and Mark Campbell’s ‘Silent Night’ and new productions of Janáček’s ‘Jenůfa’ and Puccini’s ‘La Fanciulla del West.’