The Met’s Department of Live Arts commissions and presents new works of performance: music, movement, sound, and related hybrids. This singular body of work furthers The Met’s commitment to living artists, deepens connections between audiences and works of art, and introduces untested modes of performance. Live Arts has commissioned and presented programs by Julia Bullock, Bill T. Jonesand Lee Mingwei, Patti Smith, Faustin Linyekula, Oliver Beer, Leila Josefowicz, Anthony McGill, Rhiannon Giddens, Sting, Yotam Ottolenghi, Bijayini Satpathy, and many others.
Live Arts offers its programs through digital platforms and has garnered millions of views worldwide via YouTube, Facebook, and The Met’s website.
See the events calendar below for program dates and times.
MetLiveArts programs are made possible by the generous support of our MetLiveArts donors.
Ten years of Live Arts at The Met
MetLiveArts - Season
MetLiveArts presents a season that breaks new ground in museum-based performance.
MetLiveArts - Season
MetLiveArts presents works new and old that highlight the Museum’s spaces, objects, pasts, and futures.
MetLiv
The season includes a groundbreaking series of performances as part of The Met’s highly anticipated exhibition Flight into Egypt: Black Artists and Ancient Egypt, –Now. Other highlights include Johnny Gandelsman in the American Wing; a commissioned processional opera for The Met Cloisters; a commission by Joseph Keckler in the Petrie Court; and rare Renaissance repertoire in the recently reopened European Paintings galleries
(New York, September 10, )—The Metropolitan Museum of Art announced today the –25 MetLiveArts season, which will include world premiere performances and commissions created specifically for the Museum’s galleries at both The Met Fifth Avenue and The Met Cloisters as well as concerts in the Grace Rainey Rogers Auditorium. The –25 season will include the largest number of in-gallery, site-specific performances of any previous MetLiveArts season.
“The Met’s Live Arts program invites audiences to engage with our collection and exhibitions through vividly powerful and innovative performances,” said Max Hollein, the Museum’s Marina Kellen French Director and Chief Executive Officer. “The rich season ahead features an extraordinary array of commissions a
Live Arts at The Met
THE METROPOLITAN MUSEUM OF ART BULLETIN | VOLUME 80 | NUMBER 1
Tomer, Limor and Megan Metcalf with contributions by Adam Gopnik, Lee Mingwei, Bijayini Satpathy, Andrea Miller, Silas Farley, Louisa Proske, and Vijay Iyer
48 pages
30 illustrations
x 11 in
From the mid-twentieth century to the present day, The Met has been a popular venue for the performing arts and has hosted a wide range of world-renowned musicians, composers, and dancers, including Nina Simone, Merce Cunningham, Leonard Bernstein, and Twyla Tharp. Live Arts at The Met celebrates this rich history of performance at the Museum and features recollections by artists Lee Mingwei, Bijayini Satpathy, Andrea Miller, Silas Farley, Louisa Proske, and Vijay Iyer, who all share how their engagements with The Met influenced their music, dance, sound, or theater. An interview by Adam Gopnik with Limor Tomer, Lulu C. and Anthony W. Wang General Manager of Live Arts, provides additional context on the last decade of groundbreaking projects and suggests an exciting new future for performance at The Met.
How did you switch your allegiance to contemporary music?
Previously I’d had a fairly narrowly defined canon, but the class that really oriented me toward living composers was with Vincent Persichetti, when I was a master’s student. And then I worked with Joel Sachs on the first Focus! festival [in ], and my eyes and ears started to open even more. I started going to performances at BAM and listening to the music of [Juilliard alumni] Steve Reich and Philip Glass as well as Laurie Anderson and Meredith Monk. Those experiences proved to be extremely defining and path-setting. It’s not that I don’t adore Brahms and Beethoven, but I refuse to believe that the best that ever will be has already been written.
How did you happen to go into radio?
I didn’t have radio experience although I had been educated in a certain way by listening to WNYC when I was at Juilliard. When I was asked to join WNYC, they were interested in rethinking how to present classical music, and also because they were moving to a new facility with a live performance space. As it turned out, the way people engage with music and performance completely changed in the time that I was there because of the Inte
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