Carnival Performer Auditions Snakes for Metropolitan Opera

Zoe Ziegfeld, a former carnival performer who transitioned to opera acting, is overseeing the audition process for snakes intended to appear in the Metropolitan Opera's upcoming adaptation of Wolfgang Amadeus Mozart's "Così fan tutte." This production reimagines the 1790 opera with a 1950s Coney Island carnival setting, incorporating vibrant scenery and sideshow performers. Ziegfeld, who will also portray the snake handler in the opera, is tasked with evaluating the temperament and stage presence of potential reptilian cast members. The audition process involves Ziegfeld allowing each snake to move around them, including wrapping around their body and being hoisted overhead, to simulate stage conditions and assess the animal's comfort level with human interaction and performance demands. Ziegfeld emphasizes the importance of ensuring the animal is at ease with people and the theatrical environment, stating, "I need to know that the animal is comfortable with people and with what we are doing." In the competitive selection, a boa constrictor named Princess, described as a larger snake with a strong visual presence, was chosen for the role. Princess, a sun-glow boa constrictor with a yellow-peach coloration, will begin rehearsals on a trial basis. Ziegfeld noted in an email that this trial period is more about assessing their own capability to handle the animal on stage, stating, "We will be moving forward with Princess (the big sun-glow boa constrictor who is yellow-peach) in rehearsals on a trial basis! She is a wonderful snake, and the trial is not about her, but rather about me and my strength." A second boa constrictor, Nala, a slightly smaller brown snake, has been selected as Princess's understudy. This marks Ziegfeld's third engagement in the role of snake charmer for the Metropolitan Opera's rendition of "Così fan tutte." The original opera by Mozart, set in Italy, follows two Italian soldiers who test their lovers' fidelity by attempting to seduce them while disguised as returning soldiers. The Metropolitan Opera's adaptation retains the core plot but transplants it to the nostalgic and visually rich atmosphere of a 1950s Coney Island carnival, complete with its characteristic attractions and performers. Ziegfeld's background in carnival performance provides a unique and authentic perspective to their role and responsibilities within the production, bridging the gap between traditional circus arts and classical opera.