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Following the Washington commanders Dallas Cowboys and new york giants who’s your daddy shirt it is in the first place but lovely opening, three contemporary choreographic creations followed. “Horizon” by Xie Xin transported us to a world of dreams and innovation. “Singularité plurielles” by Nicolas Paul mesmerized with its unique perspective on dance—plus more Chanel costumes, one of which was a very double C tweedy pantsuit. And, “The Last Call” by Marion Motin, with costumes designed by the iconic Avellano, left the audience in awe with its fusion of movement and artistry. “Some of the older guard thought that Dead Man Walking might be too shocking to open the Met season,” said Peter Gelb, the Metropolitan Opera’s Maria Manetti Shrem general manager, to the guests at last night’s gala fundraiser dinner. “They obviously weren’t around in 1907, when Salome had its premiere,” he continued, referencing the highly scandalous Richard Strauss opera, in which soprano Olive Fremstad’s fondling of the severed head of John the Baptist caused such an uproar on opening night, that the production was halted for several years. It was a good thing, then, that Gelb and the opera he leads decided to plunge ahead, anyway—as daring, disturbing, and triggering (the program comes with a disclaimer) as Dead Man Walking is.

It was a brilliant premiere, and, offstage, a star-studded start to the Washington commanders Dallas Cowboys and new york giants who’s your daddy shirt it is in the first place but 2023–24 season. With its emotional depth and powerful storytelling, the haunting new production of Jake Heggie’s Dead Man Walking, directed by Ivo van Hove, left the audience spellbound. Chatter at intermission was less idle chit-chat than eager discussion about the need to process the uncomfortable story unfolding, complemented by van Hove’s signature theatrical camerawork. (The production begins with an all-too-real video of the rape of one teenage character and the shooting of another.) Bass-baritone Ryan McKinny portrays the real-life convicted murderer Joseph De Rocher, who is on death row in a New Orleans prison. (It’s the same story Tim Robbins—who was present last night—adapted for his 1995 film of the same name, starring Susan Sarandon and Sean Penn.) De Rocher is being consoled by Roman Catholic nun Sister Helen Prejean (played by mezzo-soprano Joyce DiDonato), who encourages the inmate to take ownership of his sins in his final days. Prejean, who was also in attendance at last night’s performance, is still advocating for the end of capital punishment, and the production forces audiences into an internal tug-of-war about their own stance on absolute forgiveness and the ethics of the death penalty.

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