Auditions are a standard part of life at New York’s Metropolitan Opera — and even the animals appearing on stage have to prove they are right for the role.
A boa constrictor named Princess has been selected for a brief but eye-catching appearance in the Met’s upcoming production of Wolfgang Amadeus Mozart’s Così fan tutte, which reimagines the classic opera against the backdrop of a colourful 1950s Coney Island carnival.
Performance artist Zoe Ziegfeld, who plays the production’s snake charmer, was responsible for evaluating the reptiles. During the auditions, Ziegfeld handled each snake, allowing it to move and coil around them before lifting it overhead to recreate the movements required during the performance.
Beyond appearance, Ziegfeld said the animal’s temperament and comfort around people were crucial considerations.
“I need to know that the animal is comfortable with people and with what we are doing,” Ziegfeld said.
Princess chosen for the spotlight
Princess, a large yellow-peach sun-glow boa constrictor, ultimately secured the role because of her size, temperament and strong visual presence on stage.
Ziegfeld said Princess will initially participate in rehearsals on a trial basis, noting that the trial is intended primarily to determine whether they can comfortably handle the large snake throughout the production.
A smaller brown boa constrictor named Nala, selected during a second round of auditions, will serve as Princess’ understudy.
Mozart classic gets a Coney Island makeover
The production marks Ziegfeld’s third appearance as the snake charmer in the Met’s adaptation of Mozart’s 1790 opera.
The original Così fan tutte follows two Italian soldiers who decide to test the loyalty of their romantic partners. After pretending to leave for war, the men return in disguise and attempt to seduce each other’s girlfriends.
The Met production largely preserves Mozart’s storyline but transports the action to a 1950s Coney Island carnival, featuring colourful sets and an assortment of sideshow performers.
From Coney Island to the Met
Ziegfeld brings real-world carnival experience to the role, having previously spent several seasons performing as a snake charmer at Coney Island, sometimes appearing in eight shows a day.
When Ziegfeld originally auditioned for the Met several years ago, live snakes were prohibited inside the audition space. Instead, they presented video footage of their snake-charming performances and demonstrated another sideshow skill known as the “Human Blockhead” act.
Despite the contrasting surroundings, Ziegfeld said performing at Coney Island and appearing at the Metropolitan Opera have more in common than audiences might expect. Both involve entertaining people whose reactions can range from fascination to fear.
Animals take the stage at the Met
Princess and the other snakes were supplied by Nancy Novograd and her company, All Tame Animals, which has provided a wide variety of animals for Metropolitan Opera productions.
Novograd entered the business after her horse appeared on stage in a production of Carmen. Her company has since supplied animals ranging from elephants to insects.
For animal performers, appearance is only part of the audition process. Temperament, behaviour and the ability to interact safely with human performers are equally important.
In Princess’ case, the requirements were straightforward: she needed the appropriate colour and size, a suitable temperament and, perhaps most importantly, good chemistry with her human co-star.
With those boxes checked, Princess is now preparing to slither from the audition room onto one of opera’s most famous stages.
