Metropolitan Opera tickets 4 July 2025 - The Winter's Tale - ABT | GoComGo.com

The Winter's Tale - ABT

Metropolitan Opera, Metropolitan Opera, New York, USA
All photos (10)
Select date and time
2 PM
From
US$ 109

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Ballet
City: New York, USA
Starts at: 14:00

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Ballet company: American Ballet Theatre
Creators
Composer: Joby Talbot
Choreographer: Christopher Wheeldon
Librettist: Christopher Wheeldon
Author: William Shakespeare
Overview

The Winter’s Tale is an award-winning modern ballet classic, packed with emotional turmoil heightened by a compelling score and atmospheric designs.

King Leontes of Sicilia is crippled with an all-consuming jealousy when his friend, King Polixenes of Bohemia, comes to stay with him and his wife Hermione. What follows is a tale in which a marriage is destroyed, a child is abandoned, and all hope is seemingly lost for two lovers.

Receiving its New York Premiere during ABT’s 2025 Summer season, The Winter’s Tale is an award-winning modern ballet classic, based on Shakespeare’s play and packed with emotional turmoil and compelling atmospheric designs, featuring choreography by two-time Tony Award® winner Christopher Wheeldon and an original score by Joby Talbot.

Wheeldon's ballet is a dance version of William Shakespeare's play The Winter's Tale (1609–11), considered by scholars one of his "problem plays," difficult to classify as tragedy, comedy, romance, or a combination of all three. The first three of its five acts are filled with intense psychological drama; the last two are lighthearted and comedic, concluding with a happy ending. It tells a complicated story of jealousy, loss, love, joy, redemption, forgiveness, and reconciliation. Shakespeare chose his title to signify to his audiences that the play was like a tale told in company gathered by a fireside on a winter's evening. A fictional invention—not true, but entertaining and morally instructive.

History
Premiere of this production: 10 April 2014, Royal Opera House, London

The Winter's Tale is a ballet in three acts choreographed by Christopher Wheeldon to a commissioned score by Joby Talbot. With scenery and costumes designed by Bob Crowley, lighting designed by Natasha Katz, and special stage effects designed by Daniel Brodie and Basil Twist, it was a co-production of the Royal Ballet and the National Ballet of Canada and was first presented at the Royal Opera House, London, on 10 April 2014.

Synopsis

Following a brief setup scene the play begins with the appearance of two childhood friends: Leontes, King of Sicilia, and Polixenes, the King of Bohemia. Polixenes is visiting the kingdom of Sicilia, and is enjoying catching up with his old friend. However, after nine months, Polixenes yearns to return to his own kingdom to tend to affairs and see his son. Leontes desperately attempts to get Polixenes to stay longer, but is unsuccessful. Leontes then decides to send his wife, Queen Hermione, to try to convince Polixenes. Hermione agrees and with three short speeches is successful. Leontes is puzzled as to how Hermione convinced Polixenes so easily, and so he begins to suspect that his pregnant wife has been having an affair with Polixenes and that the child is Polixenes'. Leontes orders Camillo, a Sicilian Lord, to poison Polixenes. Camillo instead warns Polixenes and they both flee to Bohemia.

Furious at their escape, Leontes now publicly accuses his wife of infidelity, and declares that the child she is bearing must be illegitimate. He throws her in prison, over the protests of his nobles, and sends two of his lords, Cleomenes and Dion, to the Oracle at Delphos for what he is sure will be confirmation of his suspicions. Meanwhile, the queen gives birth to a girl, and her loyal friend Paulina takes the baby to the king, in the hopes that the sight of the child will soften his heart. He grows angrier, however, and orders Paulina's husband, Lord Antigonus, to take the child and abandon it in a desolate place. Cleomenes and Dion return from Delphos with word from the Oracle and find Hermione publicly and humiliatingly put on trial before the king. She asserts her innocence, and asks for the word of the Oracle to be read before the court. The Oracle states categorically that Hermione and Polixenes are innocent, Camillo is an honest man, and that Leontes will have no heir until his lost daughter is found. Leontes shuns the news, refusing to believe it as the truth. As this news is revealed, word comes that Leontes' son, Mamillius, has died of a wasting sickness brought on by the accusations against his mother. At this, Hermione falls in a swoon, and is carried away by Paulina, who subsequently reports the queen's death to her heartbroken and repentant husband. Leontes vows to spend the rest of his days atoning for the loss of his son, his abandoned daughter, and his queen.

Antigonus, meanwhile, abandons the baby on the coast of Bohemia, reporting that Hermione appeared to him in a dream and bade him name the girl Perdita. He leaves a fardel (a bundle) by the baby containing gold and other trinkets which suggest that the baby is of noble blood. A violent storm suddenly appears, wrecking the ship on which Antigonus arrived. He wishes to take pity on the child, but is chased away in one of Shakespeare's most famous stage directions: "Exit, pursued by a bear." (It is not known whether Shakespeare used a real bear from the London bear-pits, or an actor in bear costume.) Perdita is rescued by a shepherd and his son, also known as "Clown."

"Time" enters and announces the passage of sixteen years. Camillo, now in the service of Polixenes, begs the Bohemian king to allow him to return to Sicilia. Polixenes refuses and reports to Camillo that his son, Prince Florizel, has fallen in love with a lowly shepherd girl: Perdita. He suggests to Camillo that, to take his mind off thoughts of home, they disguise themselves and attend the sheep-shearing feast where Florizel and Perdita will be betrothed. At the feast, hosted by the Old Shepherd who has prospered thanks to the gold in the fardel, the pedlar Autolycus picks the pocket of the Young Shepherd and, in various guises, entertains the guests with bawdy songs and the trinkets he sells. Disguised, Polixenes and Camillo watch as Florizel (under the guise of a shepherd named Doricles) and Perdita are betrothed. Then, tearing off the disguise, Polixenes angrily intervenes, threatening the Old Shepherd and Perdita with torture and death and ordering his son never to see the shepherd's daughter again. With the aid of Camillo, however, who longs to see his native land again, Florizel and Perdita take ship for Sicilia, using the clothes of Autolycus as a disguise. They are joined in their voyage by the Old Shepherd and his son who are directed there by Autolycus.

In Sicilia, Leontes is still in mourning. Cleomenes and Dion plead with him to end his time of repentance because the kingdom needs an heir. Paulina, however, convinces the king to remain unmarried forever since no woman can match the greatness of his lost Hermione. Florizel and Perdita arrive, and they are greeted effusively by Leontes. Florizel pretends to be on a diplomatic mission from his father, but his cover is blown when Polixenes and Camillo, too, arrive in Sicilia. The meeting and reconciliation of the kings and princes is reported by gentlemen of the Sicilian court: how the Old Shepherd raised Perdita, how Antigonus met his end, how Leontes was overjoyed at being reunited with his daughter, and how he begged Polixenes for forgiveness. The Old Shepherd and Young Shepherd, now made gentlemen by the kings, meet Autolycus, who asks them for their forgiveness for his roguery. Leontes, Polixenes, Camillo, Florizel and Perdita then go to Paulina's house in the country, where a statue of Hermione has been recently finished. The sight of his wife's form makes Leontes distraught, but then, to everyone's amazement, the statue shows signs of vitality; it is Hermione, restored to life. As the play ends, Perdita and Florizel are engaged, and the whole company celebrates the miracle. Despite this happy ending typical of Shakespeare's comedies and romances, the impression of the unjust death of young prince Mamillius lingers to the end, being an element of unredeemed tragedy, in addition to the years wasted in separation.

Venue Info

Metropolitan Opera - New York
Location   30 Lincoln Center

The Metropolitan Opera is an opera company based in New York City, resident at the Metropolitan Opera House at the Lincoln Center for the Performing Arts. The Metropolitan Opera is the largest classical music theatre in North America. It presents about 27 different operas each year from late September through May. As of 2018, the company's current music director is Yannick Nézet-Séguin.

The Metropolitan Opera Company was founded in 1883 as an alternative to New York's old established Academy of Music opera house. The subscribers to the Academy's limited number of private boxes represented the highest stratum in New York society. By 1880, these "old money" families were loath to admit New York's newly wealthy industrialists into their long-established social circle. Frustrated with being excluded, the Metropolitan Opera's founding subscribers determined to build a new opera house that would outshine the old Academy in every way. A group of 22 men assembled at Delmonico's restaurant on April 28, 1880. They elected officers and established subscriptions for ownership in the new company. The new theater, built at 39th and Broadway, would include three tiers of private boxes in which the scions of New York's powerful new industrial families could display their wealth and establish their social prominence. The first Met subscribers included members of the Morgan, Roosevelt, and Vanderbilt families, all of whom had been excluded from the Academy. The new Metropolitan Opera House opened on October 22, 1883, and was an immediate success, both socially and artistically. The Academy of Music's opera season folded just three years after the Met opened.

The operas are presented in a rotating repertory schedule, with up to seven performances of four different works staged each week. Performances are given in the evening Monday through Saturday with a matinée on Saturday. Several operas are presented in new productions each season. Sometimes these are borrowed from or shared with other opera companies. The rest of the year's operas are given in revivals of productions from previous seasons. The 2015–16 season comprised 227 performances of 25 operas.

The operas in the Met's repertoire consist of a wide range of works, from 18th-century Baroque and 19th-century Bel canto to the Minimalism of the late 20th century. These operas are presented in staged productions that range in style from those with elaborate traditional decors to others that feature modern conceptual designs.

The Met's performing company consists of a large symphony-sized orchestra, a chorus, a children's choir, and many supporting and leading solo singers. The company also employs numerous free-lance dancers, actors, musicians, and other performers throughout the season. The Met's roster of singers includes both international and American artists, some of whose careers have been developed through the Met's young artists programs. While many singers appear periodically as guests with the company, others, such as Renée Fleming and Plácido Domingo, long maintained a close association with the Met, appearing many times each season until they retired.

Important Info
Type: Ballet
City: New York, USA
Starts at: 14:00
Top of page