At times, the vocal writing can seem more restrained, especially in the first act. This was Blanchard’s second opera after 2013′s “Champion,” about boxer Emile Griffith, and the music is most colorful and moving in orchestral parts. 23 matinee from the Met, the last of eight performances, will be broadcast to movie theaters around the world.) “Fire” premiered in 2019 at the Opera Theatre of Saint Louis and was brought to the Met as part of a co-production that will travel to the Lyric Opera of Chicago in March and Los Angeles Opera in a future season.

A wrenching tale of child molestation in segregated northern Louisiana of the 1970s is is beautifully composed with nuances of shade and color. The evening was a triumph for Blanchard, a 59-year-old jazz trumpeter and composer who like Blow is from Louisiana. Blow, The New York Times opinion columnist whose 2014 memoir was adapted for the opera. And when it was over more than three hours later, about nine more minutes of applause for the cast, the composer, librettist Kasi Lemmons, the production team and finally Charles M. There was a minute ovation for the orchestra at the start, even before “The Star-Spangled Banner” was sung with many a shimmering high note.

The return attracted a far more diverse audience than usually attends the Met and was simulcast live to video screens in Times Square and Harlem's Marcus Garvey Park. After a historic gap of 566 days, the country’s largest performing-arts organization had resumed staged presentations in the start of the season scheduled to run until June 11.

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