Louisa Proske is set to make her debut as a director at the prestigious Metropolitan Opera with her production of Verdi’s Macbeth, which will open the Met’s new season. Proske, who co-founded Heartbeat Opera, a smaller, innovative opera company, in 2014, was selected less than a year ago after another director stepped down. Met general manager Peter Gelb noted that Proske’s proven success at Heartbeat Opera and her ability to commit quickly made her the ideal choice. Proske recalled being asked if she could complete the project rapidly, to which she responded that she thrives on “impossible challenges.” For this production, Proske has collaborated with experienced designers and artists, including costume designer Montana Levi Blanco and set designer Jon Bausor, both of whom have previously worked at the Met. Choreographer Jorrell Lawyer-Jefferson is also involved. Proske’s deep understanding of Shakespeare’s Macbeth comes from her academic background—she wrote her thesis on the play while studying at the University of Cambridge. The cast includes notable opera singers such as baritone Quinn Kelsey as Macbeth, soprano Lise Davidsen as Lady Macbeth, tenor Freddie De Tommaso as Macduff, and bass-baritone Ryan Speedo Green as Banquo. The production will be conducted by Yannick Nezet-Seguin, the Met’s music director. The opera will run for 10 performances starting this Tuesday, with a live broadcast of the Saturday matinee on October 17 shown in movie theaters worldwide. Proske describes Macbeth as a tale about the corrupting desire for power, societal breakdown, and the descent into tyranny—themes she believes are especially pertinent today. She has drawn inspiration from Verdi’s own interpretation, which highlights the three main characters: Macbeth, Lady Macbeth, and the witches, who in this production are portrayed as greedy observers of the couple’s moral decline. The set design by Jon Bausor evokes a modern, war-torn landscape, featuring a large concrete wall with a hole blasted through it and rubble on either side. A revolving stage will be used for scenes in the castle and on the battlefield, while Blanco’s costumes reflect Shakespeare’s time, emphasizing themes of power through rich fabrics and styles. Although the Met offers a larger budget and stage, Proske aims to bring the same artistic values that define Heartbeat Opera—precision, creativity, and emotional intensity. Proske left Heartbeat in 2018 and returned to Germany, where she directed for four seasons at Oper Halle before freelancing across Europe and the U.S. Heartbeat Opera’s artistic director, Jacob Ashworth, expressed pride in Proske’s success and emphasized that smaller, experimental companies often influence larger institutions like the Met.