#ryan speedo green

[djkerr]

Christine Baranski is a long time supporter of The Metropolitan Opera. She appears in this video promoting The Met's Live in HD offerings. 🎭

🎥 @metopera via IG

[culturalappreciator]

[negrolicity]

An Opera Singer Jabs and Weaves | The New Yorker

[operaportugues]

Champion (Terence Blanchard) - MET, 29/abril/2023

Uma história sobre o perdão. Ópera completa com legenda em português.

1. Crie login gratuito no site https://www.metopera.org/

2. Instale o programa “Bigasoft Video Downloader Pro” Ele permite download do Metropolitan Opera.

3. Seriais Vá ao menu “Ajuda” - “Registrar” e digite um serial no campo “Código de Licença”.

4. Adicione um destes 2 links abaixo no programa Bigasoft para fazer o download. Ao usar a opção https://ondemand.metopera.org, o Bigasoft solicitará em janela pop-up que você digite seu login/senha do site do MET. https://ondemand.metopera.org/performance/detail/a8ba44f0-b86e-539e-8ef6-8006e70d9eab https://www.metopera.org/season/on-demand/opera/?upc=810004203228

5. Download da legenda em português: link.

Um momento pode mudar sua vida inteira. Esta é a lição que o boxeador peso-médio Emile Griffith aprende na ópera Champion, de Terence Blanchard. Ao iniciar sua carreira como boxeador na década de 1950, Emile guarda um segredo: ele é bissexual. De alguma forma, um colega lutador, Benny "Kid" Paret, descobre o que Emile deseja esconder do mundo e o provoca com esse conhecimento antes de uma luta. Enquanto estão juntos no ringue, Griffith desfere 17 golpes devastadores em sete segundos que levam seu oponente ao hospital, onde ele morre em decorrência dos ferimentos. Enquanto as expressões de masculinidade tóxica ditam não apenas a vida pessoal, mas também a profissional, Emile é assombrado por uma sociedade que o celebra por matar um homem, mas o condena por amar um.

Um homem gentil que originalmente veio para a cidade de Nova York em busca de uma carreira criativa na fabricação de chapéus, ele é atormentado pela culpa a partir daquela noite. Emile Griffith se viu limitado em todas as direções pelas expectativas da sociedade: o que deveria fazer, quem deveria amar e quando era considerado aceitável acabar com a vida de outra pessoa. Esta produção do Met lança uma nova luz sobre Griffith, mostrando a riqueza e a amplitude de sua vida em diferentes estágios e fora do boxe: Como afirma o libretista Michael Cristofer, "Emile Griffith nunca quis ser um lutador campeão mundial". O dramaturgo ganhador do prêmio Tony declarou: "Ele queria jogar beisebol. Ele queria fazer chapéus. E, acima de tudo, ele queria cantar. Trazer sua história de perdão e redenção para o Met, para ser cantada neste grande palco, o teria deixado muito, muito feliz."

Champion foi a primeira ópera composta por Terence Blanchard - após inúmeras trilhas sonoras de filmes de alto nível e muitos anos como artista de jazz de destaque - e retrata os conflitos e as crises na vida do boxeador Emile Griffith. Quando Blanchard foi inicialmente abordado para escrever uma ópera, esse tema surgiu como a história que ele se sentiu mais inspirado a musicar. Ele viu as dimensões verdadeiramente operísticas na confluência de amor, violência, morte e perdão e, ao trazê-las para o palco, combinou idiomas musicais contemporâneos e clássicos para criar um mundo sonoro totalmente novo, que ele caracteriza como "ópera no jazz".

Terence Blanchard fez história em 2021 quando sua peça Fire Shut Up in My Bones tornou-se a primeira ópera de um compositor negro a ser apresentada pelo Met. O sucesso esmagador dessa produção fez com que o compositor e trompetista de jazz vencedor do Grammy voltasse na temporada seguinte para a estreia no MET de Champion, sobre o boxeador da vida real Emile Griffith. Nesta produção, o baixo-barítono Ryan Speedo Green estrela como o jovem lutador premiado, que luta contra demônios dentro e fora do ringue, enquanto o baixo-barítono Eric Owens retrata o eu mais velho de Griffith, assombrado por um momento crucial de seu passado. O diretor musical Yannick Nézet-Séguin rege esta nova produção de James Robinson, que também apresenta o barítono Eric Greene como o oponente que Griffith inadvertidamente mata. Aviso de conteúdo: Champion aborda temas adultos e contém linguagem adulta.

Informações sobre esta produção

Cast Sheet

Programa

Live in HD Transmission Transcript

Love and Boxing

Press-release

A Closer Look at the Champion Show Curtain

Ária "What Makes a Man a Man"

“Oh Boy Dat Boy Is Happy”

Dueto "I Don’t Need a Friend"

Ária "Hagen’s Hole"

“Gonna drive a fast car”

“Seventeen Blows”

The Drag Queens of Champion

Champion Public Events: Highlights

Educator guide

Preconceito, provocação, pressentimento e redenção

A História de Benny "kid" Paret

----------------------------------------- Documentário "Ring of Fire: The Emile Griffith Story" - De 2005, é emocionante e imperdível! Sem legenda. - IMDb ----------------------------------------- Mar. 24, 1962 - Emile Griffith vs. Benny Paret III (cenas fortes!) - O roteiro era o mesmo: Paret começava melhor, Griffith terminava melhor. - Foi assim no primeiro duelo, em 1º de abril de 1961, quando Griffith sofreu nos assaltos iniciais, mas saiu como vencedor por nocaute no 13º dos 15 rounds. - O segundo encontro veio em 30 de setembro de 1961, e Paret igualou o retrospecto com uma controversa vitória por decisão dividida, o que fez Griffith pedir a revanche. - O terceiro episódio foi marcado para 24/março/1962, com transmissão ao vivo para todo o país. -----------------------------------------

Personagens principais: - Emile Griffith - Jovem Emile Griffith - Emelda Griffith, mãe de Emile - Howie Albert, treinador de Emile - Kathy Hagan, dona de um bar - Benny 'Kid' Paret / Benny Paret Jr, boxeador / seu filho - Luis Rodrigo Griffith, filho adotivo e cuidador de Emile - Sadie Donastrog Griffith / Prima Blanche - Pequeno Emile (Emile quando jovem) - Anunciador do ringue

Sinopse

Ato I Em seu apartamento em Hempstead, Long Island, Emile Griffith está lutando para se vestir. Sofrendo de demência, ele está confuso e assombrado por seu passado. Luis, seu filho adotivo e cuidador, lembra-o de estar pronto para uma reunião importante com Benny Paret Jr.

No final da década de 1950, Emile é um jovem novamente em St. Thomas. Ele anseia por encontrar sua mãe, Emelda, e fazer sucesso nos Estados Unidos como cantor, jogador de beisebol e designer de chapéus. Emile se muda para Nova York. Quando ele encontra sua mãe, ela fica confusa, sem saber ao certo qual dos sete filhos abandonados ele é, mas muito feliz. Na esperança de encontrar um emprego para Emile, ela o leva para conhecer Howie Albert, um fabricante de chapéus. Howie vê uma oportunidade: Emile tem a constituição física de um boxeador, não de um fabricante de chapéus, e ele se propõe a treiná-lo como lutador. Desistindo de seus outros sonhos, Emile rapidamente se transforma em um talentoso peso-médio. Solitário e confuso com seu sucesso, Emile chega a um bar gay em Manhattan. Kathy Hagen, a proprietária, dá as boas-vindas a Emile em um mundo que o assusta e o atrai. Emile confia em Kathy, revelando alguns demônios de seu passado. Quando menino, sua cruel prima fundamentalista Blanche o obrigou a segurar blocos de concreto sobre a cabeça como punição por ter o demônio dentro de si, uma punição que o transformou em um homem de grande força física.

Em 1962, Emile encontra Benny "Kid" Paret em uma pesagem para a próxima luta. Kid Paret zomba do carismático Emile, chamando-o de "maricon", uma palavra espanhola depreciativa para homossexual. A sós com Howie, Emile tenta falar francamente com ele sobre o motivo pelo qual essa palavra o magoou tanto, mas para Howie isso é algo sobre o qual ninguém no mundo das lutas quer falar. Howie o deixa e Emile se pergunta o que significa ser um homem. Emile e Paret se preparam para a grande luta. Paret continua a provocar Emile, que acaba desferindo dezessete golpes em menos de sete segundos e deixa Paret em coma.

Ato II De volta ao quarto de Emile no presente, Emile é assombrado pelo fantasma de Kid Paret, que ainda questiona seu antigo adversário.

No final da década de 1960, Emile está desfrutando de uma forte sequência de vitórias em todo o mundo. Títulos, troféus e dinheiro rolam, mas ele continua perturbado pela morte de Kid Paret. Ele tenta viver bem e, negando sua própria identidade, aceita uma jovem noiva, Sadie, embora todos, inclusive sua mãe Emelda, que se lembra de sua própria infância nas ilhas, o alertem contra isso.

No início da década de 1970, após o casamento, a sorte de Emile parece ter mudado. Ele agora está em uma longa sequência de derrotas e começa a apresentar sinais de "cérebro de boxeador", ou demência relacionada a trauma. Howie percebe que os dias de Emile estão contados e tenta consolá-lo, mas Emile rejeita Howie, bem como sua esposa e sua mãe. Em vez disso, ele busca conforto no bar de Kathy. Do lado de fora, na rua, ele é insultado por um grupo de bandidos. Eles o espancam violentamente, agravando suas lesões cerebrais.

De volta ao presente, Emile revive o pesadelo do ataque. Luis tenta confortá-lo. "Isso foi há muito tempo", diz Luis. Em um parque da cidade de Nova York, Emile pede perdão a Benny Jr. Luis diz a Benny que, desde aquela noite terrível, Emile tem lutado para encontrar paz com o que fez e com quem ele realmente é. De volta à casa, as vozes e as lembranças diminuem. Emile Griffith, o ex-campeão dos pesos médios, agora pode viver um dia de cada vez.

[trascapades]

🥊🎼 #ArtIsAWeapon #MetSoBlack

We enjoyed our evening at the opera! @terence_blanchard 's "Champion" closes at the @metopera on May 13. #DiscountTicketOffer to see "Champion - use code CHAMPION50 at www.metopera.org to purchase $50 tickets.

•

Bass-baritones Ryan Speedo Green @speedogreen and @EricOwensOpera star as the prizefighter Emile Griffith at different points in his life, alongside an extraordinary cast that also features soprano Latonia Moore @lamoooore, mezzo-soprano Stephanie Blythe @sblythe327, @MetOperaChorus and @MetOperaBallet with Met Music Director @nezetseguin conducting James Robinson’s dramatic staging, and choreography by @CamilleABrown.

#Champion #MetOpera #TerenceBlanchard #OperaWithJazz #BlackOpera #TraScapades

[infinitelytheheartexpands]

good work, everyone

[joaquimblog]

MET 2021/22: BORIS GODUNOV

MET 2021/22: BORIS GODUNOV

Copyright: Marty Sohl/The Metropolitan Opera Amb quasi un mes de retard avui us parlaré del Boris Godunov que es va representar el dia 9 mes d’octubre al MET de Nova York i que va significar la primera de las òperes de la temporada 2021/2022 que es retransmetien als cinemes. Degut a les restriccions de la pandèmia el MET va decidir escurçar la durada del espectacle original escenificant la versió…

[fyeahgustavo]

Aida on PBS

The Met’s production of Aida is airing on PBS January 20.   Check local listings for exact times and possible encore presentations.

Isabel Leonard on hosting duty.

[raventheempress]

So, I had another one of my crazy-ass dreams...

So, I have to tell you about this dream I had the other night, because OMG.

Basically, I had another one of my "Raven had pizza way too close to bedtime again and OD'd on lactose" induced dreams, of which are always bizarre and vivid. The dream was really oddly "animated". Think like, a really awesome blend of Young Justice and the Speed Racer movie (which was fuckng amazing and people are dumb for not thinking so. The way it was filmed and the effects were fantastic and a great way to make a live action movie feel animated. I loved it.), so obviously it was absolutely fabulous.

So, as usual in these dreams, I was being chased by assassins. Today's assassins, were played by Bob Barker (from The Price is Right) and David Hasslehoff (from Baywatch). Bob was wearing his usual suit with a thin little microphone glued to his hand, and David was in his Baywatch garb with his little floatie device and everything. 

As we were running, they were attacking me, as one would expect. Bob Barker's weapon of choice was to toss uncastrated cats at me. They would cling to my shoulders and cough hairballs on me before getting bored and jumping off, making room for a new cat. I kept yelling that I always get my pets spayed and neutered, but no sympathy was won. 

[For you youngin’s, Bob Barker always ended the Price is Right with the encouragement to spay or neuter your cats because he was sad at how many cats get euthanized because of over-population and castrating them curbs that]

David Hasslehoff was tossing tubes of Blue Lizard sunscreen at me. Some of the bottles would burst open and blind me with the lotion, the rest would increase the concussion. Other times, actual blue lizards were flung. They would sit on my shoulders or on top of my head and smack me in the face with their tails until the tails fell off and the lizards turned green and ran away. Yeah, I don't know either...

I was saved by Batman. Batman was played by both Adam West and Dwayne "The Rock" Johnson. Adam was in his usual suit and the Rock was wearing the BTAS era suit style. You know how in dreams, it can be like you are watching a movie? It was like that and every time that Batman was off screen for a half second, it would switch between Adam and the Rock, even mid-sentence. It was weird but hilarious. Of course, Batman needs his Robin. Tonight, the part of the Boy Wonder was played by Ryan Reynolds, in the old school costume with the booty short speedo and elf boots and everything. Yes, he did work them just as much as you expect, and yes, he and the Rock as the new Batman and Robin is the newest thing I never knew I wanted so desperately.

So, they put me into "protective custody", which basically means they took me to the Batcave and left me under the "watchful" eyes of the robot dinosaur and Michael Jackson (who was wearing an insanely awesome costume that was a combination of a Peter Pan outfit and his jacket from Beat It). Michael, was an awful bodyguard, spending his time moonwalking on the ceiling while the dinosaur gnawed on a giant bone, so obviously, I was kidnapped. I was brought to an amusement park and locked in a house of mirrors. While I never found out the "why", the "who" that put the hit out on me was Two-Face. Now, Two-Face's body wasn't built enough to be the one and not skinny enough to be the other, so I'm not sure who it belonged to, but the faces were played by Arnold Schwarzenegger and Neil Patrick Harris. (I have no idea who my brain hired as the casting agent for this dream, but I think they really went overboard)

At this point, things got fuzzy. There was a Scooby-Doo style chase through the amusement park to a mash up of Beck and The Beastie Boys. I'm pretty sure some other things happened. Somehow, I got rescued by the Flash, who was played by William Shatner, who immediately insisted I repay his heroism by marrying him. He used the same punctuated speaking style as he did in Star Trek and only spoke in puns. After rescuing me, he continued to badger me with marriage proposals... or is it marriage proPUNsals? Ha! I made a funny. Anyway, more things happen that I can't remember, but Shatner starts getting really really demandy with the proposals and I'm rescued from him by Aquaman. He pulls me into the ocean, that magically appeared in the center of a random lake, and because I'm not Atlantean or part fish, I drown, because Bill Gates (Aquaman) isn't nearly as smart in my dreams as he claims to be in real life.

So, there you go. Crazy dream, yeah? Though I seriously need Tim Burton to team up with the people who made Speed Racer so they can cast the Rock and Ryan Reynolds in the next Batman film. It would be so freaking amazing. I need it to happen!

[culturalappreciator]

Ryan Speedo Green

[negrolicity]

Terence Blanchard's 'Champion' premieres at the Metropolitan Opera : NPR

[monotonous-minutia]

Celebrating black/POC opera singers

Here’s Grace Bumbry being my favorite Eboli: 

Lawrence Brownlee sings “Je crois entendre encore” from Pearl Fishers

Jessye Norman’s “When I Am Laid In Earth” from Dido & Aeneas

Ryan Speedo Green sings “Solche hergelaufner Laffen” from Die Entführung aus dem Serail

Kathleen Battle as Zerbinetta (with a bonus: Jessye Norman as Ariadne)

apparently I can only upload five videos on one post so more to come later! Feel free to reblog with your favorites!

[blackonbroadway]

Porgy and Bess (Sept. 23rd, 2019 - Feb. 1st, 2020)

Theatre: The Metropolitan Opera, Lincoln Center, NYC Production:James Robinson Music By: George Gershwin

“One of America’s favorite operas returns to the Met for the first time in nearly 30 years. James Robinson’s stylish production transports audiences to Catfish Row on the Charleston waterfront, vibrant with the music, dancing, emotion, and heartbreak of its inhabitants. “If you’re going to stage Gershwin’s opera, this is how,” raved the Guardian when the new production premiered in London in 2018. David Robertson conducts a dynamic cast, featuring the sympathetic duo of Eric Owens and Angel Blue in the title roles and an all-star ensemble that includes Golda Schultz, Latonia Moore, Denyce Graves, Frederick Ballentine, Alfred Walker, and Ryan Speedo Green. “ [X]

[davidmann95]

Thoughts on this week's comics?

Once & Future #1: On the final day of my local comic book store’s operation (don’t worry, I’ve I think found a new place close to where I work) they finally got the sixth and last printing of this baby, and what an odd comic. I absolutely dig it, but just in terms of pacing and the rhythms of the dialogue, this feels much more to me like a Morrison joint than Gillen? Maybe it’s just because I associate Dan Mora with Klaus. Anyway, I’m late to the party on this one but yeah, it’s good.

No One Left To Fight #4: It hasn’t been as good as the first issue got me to hope, and I don’t think it’s going to change that with apparently just one issue left, but this is still solid and definitely worth a look once it drops in trade for DBZ fans.

DIE #8: Gillen’s always been a guy who works best for me on reread, but between this and Peter Cannon he’s working overtime lately to jump a few notches even further upward in my estimation. And I cannot believe a monthly comic, even one with breaks built in, can look this gorgeous.

Marvel Comics #1001: God what a shitshow! I repeatedly referred to Marvel Comics #1000 as nothing short of a minor miracle, and I’ll stand by that. But while that was an exceptional if by no means perfect realization of its intent as a celebration of Marvel’s history, this is a truly shameless dumping ground, with only two teasing story-lite bookending Ewing pages to lure in chumps like me. I think there’s something like 3-4 notably at least *okay* other stories in here, with everything else ranging from empty calories to bizarre to total crap. Worst I’ve spent about dropping my money on a book in some time.

Fantastic Four #15: I’ll admit to being a little perplexed about the strength of the negative reaction to the title right now. I’d be the first to admit it’s a complete embarrassment in the context of being the Richards families’ grand return, but it’s perfectly fine superhero comics, even if I’ll likely drop it after this arc.

Absolute Carnage: Immortal Hulk #1: The gold standard of event tie-ins - it fits well with the event, with the main book (even if Ewing’s assured nothing plotwise here is going to feed back into the main title...though honestly, I’m a touch skeptical depending on how Absolute Carnage proper goes, I could see something in here playing out in Immortal while requiring fairly minimal explanation), and it hits us with an extra little dose of seeing how the current status quo plays with Marvel at large since it’s typically in isolation without diluting the flavor of either side. A+.

Bizarre Adventures #1: Actually really good but it should be a federal crime that the initial solicit promised a Chris Onstad story and this didn’t deliver, without even at least some sort of formal apology.

Daredevil #12: Oh, Willie. WhatEVER are we going to do with you?

House of X #6: Okay, I’ve tried to avoid blanket “anyone who doesn’t like these books just doesn’t GET IT, MAN” statements, but I haven’t been subtle in finding a lot of the criticisms of how the X-Men are changing up how they operate/express themselves as a minority metaphor...charged. I’ve already had reason recently to think I was being too broad even with that though, but with this issue? The idea that Professor X was psychically manipulating people into going along with this seemed like a dumb, boring as shit way of reckoning with the new status quo, but maybe that merits a rethink, because holy shit. Anyway this is still fire and I can’t believe I give a fuck about the X-Men now, one issue left until this run properly starts. Jesus.

The Immortal Hulk #24: I’ll admit I’ve been finding the conclusion of the General Fortean story merely excellent rather than mind-blowingly transcendent recently, and while I wasn’t disappointed I was ready for things to properly kick back into high gear. THAT IS CERTAINLY NOT A PROBLEM ANYMORE, TRUE BELIEVERS.

Batman #80: I’m still down for it, both this bit in isolation as the triumphant comeback lead in to the finale, and the run as a whole. And while I think he’s been doing his best work in a VERY long time recently and I’m glad to see he’ll be joining Tynion, I’m glad Daniel is taking a backseat to Mann, Romita Jr., and soon Janin for concluding City of Bane, given it’s now also the ending of King’s time on Batman proper even if he’s still finishing his story elsewhere.

Lois Lane #4: It’s extremely weird that this is a Renee Montoya book co-starring Lois Lane but if Greg Rucka wants to write a Gotham Central/52 followup I’m not gonna...question it.

Legion of Super-Heroes: Millennium #2: DANG! Taken as a whole with the first issue given it clearly should have been a big one-shot, this is easily the best thing Bendis has done since the DC jump outside the Superman books, and I’m properly pumped for Legion now. Jeff Dekal and Ryan Sook in particular take my breath away once apiece in here.

The Green Lantern #12: With the season finale on the stands, I’d say it’s now more than fair to call Green Lantern Morrison’s weakest superhero output of the 21st century. Which doesn’t mean it’s not a hoot, it’s still Morrison, but again, I’ve yet to see anything at all that convinces me Morrison isn’t doing this on autopilot in-between his TV commitments. Admittedly Morrison on autopilot has its own unique charms, just spraying odd archetypal superhero concepts and sci-fi jargon at you to fill up space; this feels like one of his ad-hoc superhero teams such as the Status Quorum or the Cometeers or one of the throwaway Multiversity Earth ideas slouching to a sort of independent pseudo-life and throwing off neat ideas like an isotope bursting radiation, not fully-formed but perhaps in its own way all the more beautifully off-kilter and primally iconic in the process. Not enough to make up for the absence of him actually trying, you understand, but certainly unique and still an experience I enjoy every month. Please god though, don’t let this and Wonder Woman: Earth One Vol. 3 whenever that happens be his last major superhero works. One last Justice League story, Arkham Asylum 2 like he said, Superman Squad, something.

Doom Patrol: Weight of the Worlds #4: Venom exists in the DCU and it’s an evil speedo, this is objectively a perfect comic book. I liked the original Way run a lot even if I could never remember what was going on, but I’m stunned with every issue what a level-up this second volume has been, at least for my money.

Justice League #33: I think the book’s sagging a bit at the moment, since Justice/Doom War is clearly a feint for whatever the real finale is going to be in 2020 and I don’t think Snyder/Tynion work quite as well as an apparently full-on writing team as they do when simply trading off issues and letting their individual strengths shine. Still the best straight-take capeshit on the stands though, make no mistake.

Young Justice #9: If Namoi was the return of the Bendis who tried writing sincere stuff near the end of his time at Marvel but was too burned out at that point to make it work anymore, this is the Avengers guy who’s freewheeling and kinda screwing around where he should be getting to brass tacks but still has his moments. I might end up dropping this book, but it’s still at least got me through the end of this arc.

DCeased #5: This book’s been disappointing me more than a bit the last couple issues given how good it SHOULD be with how much it plays into Tom Taylor’s greatest strengths. The ending on this one, however? Is one I’m going to remember forever, and Trevor Hairsine sells the absolute hell out of it. Propelled to my favorite of the week just on the back of that.

[blackkudos]

Ryan Speedo Green

Ryan Speedo Green (born 1 April 1986) is an American bass-baritone opera singer.

Life and career

Green was born in Suffolk, Virginia, and grew up in low-income housing and a trailer park. He was sent to juvenile detention at the age of 12 after he threatened to stab his mother and brother.

Green earned a Bachelor of Music degree at the Hartt School of Music, and a Master of Music at Florida State University. He won several singing competitions. In March 2011, he was one of the five winners of the Metropolitan Opera National Council Auditions. Following an article by Daniel Bergner in The New York Times about Green and his win in that competition, HarperCollins expressed interest in publishing his biography. It was published in October 2016 with the title Sing for Your Life: A Story of Race, Music, and Family. In 2014 he received the George London Foundation Award, won first prize of the Gerda Lissner Foundation, was a finalist in Palm Beach Opera's singing competition, and graduated from the Metropolitan Opera's Lindemann Young Artist Development Program.

Green sang the Commendatore in Don Giovanni at the Juilliard School in New York and at Opera Colorado in Denver where he was Resident Artist in 2010–11. There, he also sang Colline in La bohème and Don Magnifico in La Cenerentola. In 2012, he sang Colline for Central City Opera. In 2014 he sang Zuniga in Carmen for the Wolf Trap Opera Company in Vienna, Virginia.

He made his Metropolitan Opera debut in 2012–13 as Mandarin in Puccini's Turandot, followed by Parsifal as a Grail Knight. The following season at the Met saw him as the Bonze in Madama Butterfly and as the Jailer in Tosca. In 2014–15 he sang Rambo in The Death of Klinghoffer at the Met. Green returned to the Met in 2016 as Colline.

In 2014 Green became a member of the Vienna State Opera. His roles there included Angelotti in Tosca, Sparafucile in Rigoletto, Basilio in The Barber of Seville, a Jew in Salome, Fouquier-Tinville in Andrea Chénier, a Monk in Don Carlos, Titurel in Parsifal, the King in Aida, Timur in Turandot, and Varlaam in Boris Godunov.

He appeared as guest artist in Opéra de Lille's 2016 production of in Il trovatore as Ferrando. Later that year, Green debuted at the Salzburg Festival in Die Liebe der Danae as one of the Kings.

In concerts, Green has sung in Handel's Messiah, in Mozart's Requiem and Coronation Mass, in Verdi's Messa da Requiem. He sang several times in Beethoven's Symphony No. 9, first in 2014 with the Philadelphia Orchestra.