In a continued demonstration of support for Ukraine amid the ongoing conflict with Russia, the Metropolitan Opera has taken several notable actions highlighting the war’s human toll. Since Russia’s full-scale invasion on February 24, 2022, the Met has maintained a visible commitment to Ukraine, distinguishing itself from many cultural institutions that initially showed solidarity but later shifted focus.
During a recent performance of “Macbeth,” Met general manager Peter Gelb addressed the audience, reaffirming the company’s stance in support of Ukraine’s struggle for freedom and justice. The evening concluded with the Ukrainian national anthem, a ritual the Met has upheld consistently since the war began. The opera house also played a role in establishing the Ukrainian Freedom Orchestra, conducted by Keri-Lynn Wilson, who has direct Ukrainian heritage, further underscoring its engagement.
The Met’s actions extend beyond symbolic gestures. In response to the conflict, Gelb severed ties with star soprano Anna Netrebko due to her connections to Russian President Vladimir Putin. While other companies have reconsidered Netrebko after her public denunciation of the war, Gelb has criticized her statements as insincere and does not currently plan to re-engage her. Netrebko’s management disputes this characterization, asserting her consistent and honest position.
Most prominently, the Met has commissioned an opera centered on the war’s tragic impact on Ukrainian children. Titled “The Mothers of Kherson,” the work was conceived by Ukrainian composer Maxim Kolomiiets and American playwright George Brant. Conceived with remarkable speed for the operatic world, the piece premiered recently at the Polish National Opera in Warsaw, with a scheduled Met opening in April 2028. The location of the premiere holds particular significance, given Poland’s role as a refuge for many Ukrainians since the war’s onset.
“The Mothers of Kherson” draws from real events involving the forced separation of thousands of Ukrainian children from their families by Russian forces in late 2022. These children were placed in orphanages and often adopted abroad, a practice condemned by the International Criminal Court, which has issued arrest warrants for Putin and Maria Lvova-Belova, Russia’s commissioner for children’s rights. Lvova-Belova has denied wrongdoing, asserting parents could retrieve their children if they appeared in person.
The opera tells a symbolic story of mothers undertaking a dangerous, thousand-mile journey through Ukraine, Poland, Belarus, and Russia to reclaim their children. While the libretto, written in English, aims for broad international appeal, some critics view the choice to forgo a Ukrainian-language version as a missed opportunity to reinforce Ukraine’s distinct cultural identity amid Russian claims to the contrary.
Musically, Kolomiiets’s score incorporates Ukrainian folk elements and a recurring lullaby motif, designed to be accessible to the displaced families the opera represents. The production balances moments of levity and poetic imagery with stark depictions of hardship. Though praised for its emotional transparency and storytelling, critiques point to structural and pacing issues within the score and libretto, as well as staging choices that may require refinement before the Met presentation.
As the war persists into another challenging winter, “The Mothers of Kherson” stands as both an artistic response and a poignant reminder of the ongoing humanitarian crisis. The œuvre closes with a dedication to the over 20,000 Ukrainian children still unreturned, underscoring the enduring realities behind the mythic narrative portrayed on stage.