Shakespeare’s Antony and Cleopatra has long been one of the most intoxicating tragedies in the canon—a sweeping tale of obsessive love, political ambition, empire-shaking betrayal, and tragic self-destruction that blends raw passion with the cold machinery of power. Few works capture the intoxicating clash of personal desire and imperial duty quite like this late Shakespeare masterpiece, often called his most “adult” tragedy. In May 2025, the Metropolitan Opera brought this epic to life in a bold new form: John Adams’ contemporary opera Antony and Cleopatra, making its highly anticipated Met debut after its 2022 world premiere at San Francisco Opera and a stop in Barcelona. This production, conducted by Adams himself, arrives as the composer’s fifth work at the Met—a remarkable testament to the company’s embrace of living composers in an era when new operas are no longer rarities.
The focus keyword “antony and cleopatra opera review” reflects a surge of interest in this production, especially among Shakespeare enthusiasts, opera aficionados, and those curious about how one of America’s greatest living composers tackles the Bard. Critics have been divided: some praise the propulsive score, stellar leads Julia Bullock (Cleopatra) and Gerald Finley (Antony), and innovative staging; others find it relentlessly forward-moving yet emotionally distant, with the dense Shakespearean verse occasionally sagging under the music’s drive. This comprehensive review draws on major critical voices—from The New York Times, Vulture, The Guardian, and more—to offer a balanced, expert assessment. Whether you’re a longtime Adams fan, a Shakespeare scholar exploring modern adaptations, or simply wondering if this opera captures the tragedy’s essence, we’ll explore its strengths, flaws, and lasting significance.
Background on John Adams and His Operatic Journey
John Adams stands as one of the most influential American composers of the past half-century, renowned for blending minimalist rhythms with lush orchestration and incisive dramatic insight. His breakthrough came with Nixon in China (1987), a landmark that turned recent history into opera, followed by the controversial The Death of Klinghoffer (1991) and the brooding Doctor Atomic (2005). These works often drew from real events, collaborating with librettist Alice Goodman or director Peter Sellars for politically charged narratives.
Antony and Cleopatra marks a significant shift: Adams’ first foray into classical literature and the first opera where he wrote his own libretto without major collaborators (with input from director Elkhanah Pulitzer and dramaturg Lucia Scheckner). The text adapts Shakespeare’s play directly, preserving much of the Elizabethan verse while incorporating passages from Plutarch, Virgil, and other classical sources for historical depth. Adams deliberately avoided Samuel Barber’s 1966 Antony and Cleopatra—the disastrous opener of the Met’s Lincoln Center era—to forge his own path.
The score evolves Adams’ signature style: driving minimalism, intricate rhythmic propulsion, and natural declamation of text. From the 2022 San Francisco premiere (where it was praised for its orchestral richness but critiqued as straightforward), revisions for the Met trimmed about 20 minutes (mostly from Act I) and added choreography, tightening the pacing for greater dramatic impact. This evolution reflects Adams’ commitment to refinement, much like Barber’s post-1966 revisions.
The Production at the Metropolitan Opera
Directed by Elkhanah Pulitzer (who helmed the original SF production), the Met staging reframes the ancient story through a contemporary lens of mediated power, propaganda, and cultural clash. Antony and Cleopatra embody diversity and transformative love, while Caesar (Paul Appleby) represents nationalist authoritarianism—elements that resonate in today’s political climate.
The visual spectacle is a highlight: Bill Morrison’s projections create stunning, cinematic backdrops; Mimi Lien’s sets and costumes blend ancient grandeur with modern minimalism; and David Finn’s lighting adds dramatic depth. Annie-B Parson’s choreography energizes crowd scenes with marching ensembles—sometimes evoking fascist salutes or Maoist precision—which critics have called both sinister and occasionally vapid.
Adams conducts with precision, drawing exceptional playing from the Met Orchestra. The result is a visually arresting, high-energy production that runs through June 7, 2025 (though as of January 2026, it’s concluded its run—check for future revivals or streams).
Cast and Performances: Strengths and Highlights
The opera was conceived for its leads, and the chemistry between Julia Bullock as Cleopatra and Gerald Finley as Antony proves electric. Bullock, a versatile soprano with a dark, centered timbre, delivers a poised yet volatile Cleopatra—her diction superb, her low register glowing, and her high outbursts hair-raising. Critics rave about her ecstatic lyricism and dramatic urgency, especially in death scenes. Finley, a veteran Adams interpreter (Oppenheimer in Doctor Atomic), brings robust emotional depth to Antony: commanding yet fraying, with inward intensity that captures the hero’s tragic unraveling.
Supporting roles shine: Paul Appleby as a slimy, ambitious Caesar; Elizabeth DeShong as the poignant Octavia; Taylor Raven as the loyal Charmian; and others like Alfred Walker (Enobarbus) and Brenton Ryan (Eros) add ensemble strength. The Bullock-Finley duets—built on their prior collaborations—elevate intimate moments, making the lovers’ passion feel immediate and relatable.
Musical Analysis: What Makes Adams’ Score Stand Out?
Adams’ music is relentlessly propulsive: swirling winds, ominous brass, and sinister percussion drive the action forward. The score synthesizes his career—minimalist energy meets rich textures—while setting Shakespeare’s verse naturally. Strengths include riveting love scenes and haunting orchestral moments; the second act, in particular, offers expressive depth.
Criticisms center on the forward momentum sometimes lacking inward reflection, making dense text feel sagging. Compared to Barber’s lush romanticism (with booming battle drums), Adams opts for leaner, modern martial rhythms—marching basses and horns. While not a traditional aria-filled opera, it rewards close listening with subtle psychological impact.
Strengths, Flaws, and Critical Reception
What Works: Technical polish, visual innovation, passionate leads, and modern relevance (power dynamics, love vs. duty). The score’s engineering and the Met Orchestra’s excellence are widely praised.
What Falls Short: Mixed reviews note emotional inertness despite drive; the libretto’s constraints limit complexity. Zachary Woolfe (NYT) called it “sags” despite trimming; Justin Davidson (Vulture) found it “elegantly executed” but “mysteriously unmoving,” with dancers and score outshining singers. Others lauded Bullock/Finley’s heat and the production’s spectacle.
For Shakespeare fans, it offers a fresh lens on themes of passion, politics, and tragedy—though not a flawless masterpiece.
Should You See It? Who Is This Opera For?
Ideal for contemporary opera lovers, Adams enthusiasts, and those interested in Shakespeare adaptations. Not for traditionalists seeking lush melodies. Runtime around 2.5-3 hours; best for those appreciating rhythmic drive and political subtext. Practical tips: Prime seats for projections; future streams possible via Met Opera on Demand.
John Adams’ Antony and Cleopatra is an ambitious, musically sophisticated addition to the repertoire—not without flaws, but a compelling modern interpretation of Shakespeare’s epic tragedy. In an era of bold new works at the Met, it reinforces Adams’ legacy while inviting reflection on love, power, and empire. Explore the opera, Shakespeare’s play, or recordings for deeper insight.
FAQs
How does John Adams’ Antony and Cleopatra compare to Samuel Barber’s? Adams’ version is leaner and more modern, avoiding Barber’s romantic lushness. Barber’s 1966 premiere flopped due to staging excess, but revised editions have merit.
Who are the main singers in the Met production? Julia Bullock (Cleopatra), Gerald Finley (Antony), Paul Appleby (Caesar).
Is the opera faithful to Shakespeare’s play? It adapts the text closely, preserving verse while condensing for operatic flow.
When and where was the Met premiere? May 12, 2025, at the Metropolitan Opera House.
