Productions are in order; bold indicates a debut; I may have omitted some one-off cast combos. On the whole: as exciting as this season is weak.
Norma (new David McVicar production)
Radvanovsky, DiDonato, Calleja, Rose / Rizzi (September-October)
Rebeka, DiDonato, Calleja, Rose / Rizzi (October)
Meade, Barton, Calleja, Rose / Colaneri (December)
Having middling '90s throwback Carlo Rizzi in the pit instead of the 2013 revival's Riccardo Frizza is about the only less-than-thrilling element of this opener. Three premiere principals who've proved not only star-quality sound but bel canto mastery, interesting alternate ladies afterwards... And David McVicar is not only an brilliant director but one who has done great things with Sondra Radvanovsky particularly, from 2009's Trovatore to 2016's Donizetti queens.
Les Contes d’Hoffmann
Grigolo, Morley, Hartig, Volkova, Erraught, Naouri, Mortagne / Debus (September-October)
I rather liked Grigolo in this season's Romeo, but this Bart Sher show requires him to sustain a character for longer stretches than the Gounod opera, making his choppy sense of phrase more of a liability. Still, there are enough elements that could go well (including new-to-the-house Irish mezzo Tara Erraught as Niklausse) on top of an excellent production.
Schultz, Lewek, Castronovo, Werba, Van Horn, Kehrer / Levine (September-October)
Müller, Lewek, Castronovo, Gunn, Walker, Kehrer / de Waart (November-December, family version in English)
The conductors should make both the regular and "family" versions work. Besides returning names (including Kathryn Lewek, the best Queen of the Night I've ever heard), South African (by way of Juilliard) soprano Golda Shultz's debut as Pamina should be interesting. Incidentally, Rene Pape is scheduled for one performance of Sarastro on October 14.
Blue, Kele, Popov/Borras/Thomas, Meachem/Simpson, Rock, Soar/Rose, Plishka / Soddy (October)
Hartig, Kele, Thomas, Meachem, Rock, Rose, Pliskha / Soddy (November)
Yoncheva, Phillips, Fabiano, Lavrov, Rose, Plishka / Armiliato (February-March)
Some new faces debuting in this eternal Zeffirelli production, most notably Oxonian conductor Alexander Soddy and American soprano Angel Blue. But the surest bet is the last cast, with young Americans Susanna Phillips and Michael Fabiano in roles they've made their own.
Dyka, Agresta, Alvarez, Morris / Rizzi (October-November)
Serafin, Yu, Alvarez, Tsymbalyuk / Armiliato (March-April)
Some unexpected casting choices here. Oksana Dyka, decent but somewhat faceless in this season's Jenufa, at least has done Tosca and Aida here before. The alternate Turandot, Martina Serafin, was last seen here as an enchantingly responsive Marschallin! Since then she's taken on the really big parts, though not at the Met: Abigaille, Brünnhilde, Lady Macbeth, and Turandot. Could go well... or not. Hei-Kyung Hong reprises one of her signature roles once with each cast.
The Exterminating Angel (new Tom Cairns production)
Luna, Echalaz, Matthews, Bevan, Coote, Rice, Davies, Kaiser, Antoun, Portillo, Moore, Gilfry, Burdette, Van Horn, Tomlinson / Adès (October-November)
The two prior operas of Thomas Adès have not lacked good music nor good libretti: it's the combination of these into an interesting, human opera that hasn't quite come off. Perhaps a show based on a Luis Buñuel movie (and directed by the librettist) will do the trick. There is, in any case, an impressive lineup of British and American vocal talent involved.
He, Zifchak, Aronica, Bizic / Bignamini (November)
Jaho, Zifchak, Aronica/Chapa, Frontali / Armiliato (February-March)
So after doing one emergency sub performance (for Ruth Ann Swenson in Traviata) at the Met in 2008, Ermonela Jaho never appears here again... until a decade later, when she headlines a revival of Butterfly. The fall run brings new Italian conductor Jader Bignamini.
Pérez, Borras, Finley / Villaume (November-December)
Ailyn Pérez, an outstanding Mimi this season, takes a full-on star vehicle opposite Gerald Finley. They don't quite have the name recognition of Renee Fleming and Thomas Hampson, for whom this show was made, but this could be one of the stealth successes of the season.
Stoyanova, Semenchuk, Antonenko, Furlanetto / Levine (November-December)
I don't recall recurring concert performances scheduled as part of the season before, but if any plotless piece could work this way, it's Verdi's famously dramatic-operatic Requiem. These shows will be almost a generation after the April 29, 2001 performance at Carnegie that everyone who attended will still wax on about (shouldn't the Met or Carnegie release a recording of this at some point?). Levine then had Renee Fleming, Olga Borodina, Marcelo Giordani, and Rene Pape at or near the height of their powers (though Giordani was a bit of a weak link, and I'd like to have heard how Ramon Vargas did in a similar performance on the Met's Japanese tour). Here it looks like Aleksandrs Antonenko will be an upgrade at tenor, but mezzo Ekaterina Semenchuk - another singer not seen at the house for a while - is an odd choice, not having impressed in her appearances so far.
Le Nozze di Figaro
Plachetka, Karg, Willis-Sørensen, Pisaroni, Malfi / Bicket (December)
Abdrazakov, Sierra, Yoncheva, Kwiecien, Leonard / Bicket (December-January)
The names in the latter cast may be more recognizable, but I suspect the former (with debuting German soprano Christiane Karg as Susanna) may provide more of Mozart's ensemble glory.
The Merry Widow
Graham, Groves, Chuchman, Portillo, Allen / Stare (December)
Graham, Groves, Chuchman, Stayton, Allen / Stare (December-January)
Not a bad cast for the most cast-proof show the Met has debuted in decades. Who knew that comic timing drives comedies? Young American conductor Ward Stare debuts in the pit.
Hansel and Gretel (family version in English)
Oropesa, Erraught, Zajick, Siegel, Kelsey / Runnicles (December-January)
McKay, Gillebo, Zajick, Siegel, Croft / Runnicles (December 28)
Good casting for a kids' piece.
Tosca (new David McVicar production)
Opolais, Kaufmann, Terfel / Nelsons (NYE-January)
Netrebko, Alvarez, Volle / de Billy (April-May)
Netrebko, Alvarez, Gagnidze / de Billy (May)
I believe Sondra Radvanovsky was originally supposed to headline this new production, which attempts to wash away the much-hated Luc Bondy version of 2009. Instead we get Kristine Opolais, the least interesting part of both Richard Eyre's wretchedly bad Manon Lescaut and Mary Zimmerman's otherwise-brilliant Rusalka. (She has succeeded in more direct Puccini, though.) But perhaps it doesn't matter - except as a what-if - when Jonas Kaufmann and Bryn Terfel have shown themselves of carrying this piece on their own. And though she has less male star power, I think Tosca might be a very good part for Anna Netrebko.
Semenchuk, Alagna, Lučić; Kurzak, Alagna, Gagnidze, Arduini / Luisotti (January)
Westbroek, Alagna, Lučić; Kurzak, Alagna, Gagnidze, Arduini / Luisotti (January-February)
I'm not sure whether the Alagna who shows up will be the no-voice one of the Manon Lescaut premiere or the respectable-sounding and insightful one of the end of that run and Butterfly, but his inconsistency has been characteristic since the beginning of his international career. McVicar's rendering of the double-bill is outstanding, and San Francisco's Nicola Luisotti has done magical things in his too-rare Met appearances.
Yende, Polenzani, Luciano, D'Arcangelo / Hindoyan (January-February)
Both Yende and Polenzani have an emotional transparency that should work excellently in this piece.
Lee, Agresta, Rachvelishvili, Kelsey, Kocán / Levine (January-February)
Lee, Agresta, Rachvelishvili, Salsi, Youn / Levine (February)
Anita Rachvelishvili moves up a vocal weight class with her first Met Azucenas (she did her first performances of the part recently in London), opposite two baritones moving up from Marcello to Di Luna. But with outstanding Korean spinto Yonghoon Lee in the title role and Levine in the pit, this is yet another promising staple.
Vogt, Herlitzius, Mattei, Nikitin, Pape / Nézet-Séguin (February)
The most significant revival of the season. Yannick Nézet-Séguin will go from "Music Director Designate" to the actual thing in 2020, but he's debuting German repertory cornerstones until then. This spring it's Flying Dutchman, but next year he'll lead the first revival of the most significant and successful Met Wagner production in a long, long time: Francois Girard's 2013 Parsifal. (Not least in that success was Daniele Gatti's intensely concentrated conducting, so there's a lot to live up to there.) He has the low-voiced end of the original cast, with Peter Mattei's Amfortas, Evgeny Nikitin's Klingsor, and René Pape's Gurnemanz all returning. The new parts of the cast are significant as well: dramatic soprano Evelyn Herlitzius finally makes her Met debut as Kundry, and Klaus Florian Vogt returns to Wagner a dozen years after making the most stunning - and most stunningly ignored - Met debut of our era as Lohengrin. (Vogt does return to the Met before this, in next month's Fidelio.)
Meade, DeShong, Camarena, Abdrazakov, Green / Benini (February-March)
Good cast for a Rossini rarity. After her scheduled performances of Italiana this season went to debuting Italian mezzo Marianna Pizzolato, I do wonder whether Elizabeth DeShong will in fact sing these performances as Arsace.
Goerke, van den Heever, Schuster, Morris, Petrenko / Nézet-Séguin (March)
Christine Goerke's titanic concert performance of this early Strauss opera with Andris Nelsons and the Boston Symphony (October 2016 at Carnegie) dwarfed the dull, homogenized new Met version last season. The change from Salonen's civilizing version to Yannick Nézet-Séguin's characteristic visceral style should do much, and Goerke's ability to sing through the cacophonic title part lyrically can't be missed, but full success may require a revival stage director unafraid to depart from Chereau's drab vision.
Così fan tutte (new Phelim McDermott production)
Majeski, Malfi, O'Hara, Bliss, Plachetka, Maltman / Robertson (March-
Though the cast looks good and the visuals interesting, David Robertson was responsible for the worst-conducted night of Mozart I've ever heard at the Met, so I'll wait and see. The production is new to the Met but already debuted at ENO.
Lucia di Lammermoor
Peretyatko, Grigolo, Cavalletti, Kowaljow / Abbado (March-April)
Pratt, Grigolo, Cavalletti/Salsi, Kowaljow / Abbado (April)
Yende, Fabiano, Kelsey, Vinogradov / Abbado (April-May)
I was listening to Pretty Yende last night in Puritani, thinking that the Met should hire her for Lucia... and here we go. She gets the better Edgardo in Michael Fabiano as well: the role depends far too much on line and phrase to expect much on the whole from Vittorio Grigolo (though the Italian will surely deliver exciting high notes).
Yoncheva, Beczala, Domingo, Petrova, Vinogradov, Belosselskiy / Levine (March-April)
Sonya Yoncheva's manner is a bit on the chilly side to get all the pathos of the title part's great duets, but the men involved should make much of this early Verdi.
Cendrillon (new Laurent Pelly production)
DiDonato, Kim, Coote, Blythe, Naouri / de Billy (April-May)
So, we're officially in the part of Joyce DiDonato's career when she makes big houses put on silly shows. Good cast, seems charming enough, and though Laurent Pelly (Fille, Manon) hasn't done a really good production here, he hasn't made any terrible ones either.
Roméo et Juliette
Hymel, Pérez, Deshayes, Hopkins, Youn / Domingo (April-May)
Interesting cast, very good production, but Domingo in the pit is a deal-breaker. If you have the itch, just see Yende and Costello next month (which has many fewer good alternative options than spring 2018).