Tilman Michael has fulfilled a long-held dream by becoming the new choir director at the world-renowned Metropolitan Opera in New York. This appointment follows the impressive 17-year tenure of Donald Palumbo, who significantly shaped the opera's choir during his time. Michael, originally from Stuttgart, Germany, kicked off his first season with the Met by leading Beethoven's acclaimed opera 'Fidelio,' which is set to be broadcast live on Saturday, March 15, 2025.
Prior to his prestigious new role, Michael spent ten years as the choir director at the Frankfurt Opera and garnered international experience at notable opera houses across Mannheim, Dresden, Moscow, Vienna, and Buenos Aires. His experience also includes serving as an assistant at the Bayreuth Festival, as well as having held engagements at the Hamburg State Opera right after completing his studies.
Reflecting on the transition, Michael expressed, "The choir feels the change and is excited for this new era to begin." Taking the helm at the Met, he noted the significance of following someone who had been at the institution for such a long stretch—an experience not lost on the choir members. He elaborated, "Donald Palumbo is a remarkable colleague, and after 17 years, it’s natural for the ensemble to welcome fresh leadership. I sense there is excitement about ushering in this new phase."
Interestingly, Michael's ascent to this role diverged from conventional hiring processes. Upon learning of Palumbo's departure, he did not formally apply, acknowledging the often informal nature of hiring within the opera community. It was through established networks within the industry—where everyone knows one another—that he received an email inviting him for discussions.
"I was positively shocked by the offer—it’s an incredible honor to be among the candidates," he remarked, reflecting on his initial thoughts when he was approached. Michael spent one week visiting New York as part of the evaluation and selection process before securing the position.
Now, having been in New York for six months, Michael has settled, albeit not without challenges. He described the early days as surreal, saying, "It was hard to believe I was actually commuting to the Lincoln Center to rehearse at the Met. Initially, there was so much bureaucracy to tackle—from finding housing to figuring out healthcare and how to obtain my Social Security number. We've adapted but it still feels new. The first real New York winter came with plenty of snow, adding to our exploration of the city with the kids. I still occasionally pause and think, ‘Wow, I’m really here!’"
But amid this personal triumph, the current political climate in the United States weighs on his mind. "We hope for openness, tolerance, and diversity, but these values seem unwelcome at the moment," he mused, highlighting the concern shared among many artists. Despite these challenges, Michael believes the Met’s independence provides security against the volatile institutional shifts happening nationally. "Being part of the Met, especially set against New York's backdrop—which voted differently from the rest of the country—reassures us. We’re more needed than ever," he stated.
Outside of his commitments at the Met, Michael is also keeping tabs on plans to establish a new opera house back home. The project, initiated by philanthropist Klaus-Michael Kühne and financed through the Kühne Foundation, has garnered much excitement. "It's thrilling to witness developments back home, especially since I maintain many friendships with colleagues and have worked with some of the new leadership at the Hamburg State Opera," he expressed.
The new opera house promises to be strategically positioned, unlike his prior experiences where accessibility was often questioned. Despite being centrally located, it can lack the cultural ambiance he hopes to see integrated. "With past projects like the Elbphilharmonie proving success, I’m excited to see how this new venue will fit within Hamburg's cultural expansion," he concluded. Michael's optimism about both his role at the Met and the future of opera, both locally and abroad, showcases his dedication to the art form as he embarks on this significant chapter of his career.