Assessing Yannick Nézet-Séguin’s Leadership at the Metropolitan Opera

Yannick Nézet-Séguin’s three-year tenure as the Metropolitan Opera’s music director has drawn a mix of opinions, as revealed during two recent Met Orchestra concerts at Carnegie Hall. The performances, at times impressive and perplexing, shed light on the ensemble’s ambiguous strengths and inconsistent quality under his leadership.

Since assuming his role in 2018, Nézet-Séguin’s demanding schedule, divided among the Metropolitan Opera, the Philadelphia Orchestra, the Orchestre Métropolitain in Montreal, and his duties as head of conducting at the Curtis Institute of Music, has raised concerns about his ability to consistently shape the sound of the ensemble. Moreover, the orchestra has been grappling with the aftermath of retirements during the pandemic, leaving it in a phase of rebuilding. Despite these challenges, Nézet-Séguin has made only 13 new instrumentalist hires during his tenure, reflecting a cautious approach to expansion.

A Complex Persona

While projecting an image of contemporary cool, as evidenced by his proudly displayed painted fingernails on Met posters, Nézet-Séguin has also embraced a traditional maestro role, referring to himself as the “father” of the company. Notably, in 2021, he took a stand in support of the orchestra’s musicians during a labor dispute, albeit after they had already been furloughed during the pandemic and had reached a deal for partial pay.