Last seen on the Met stage in the buff as the eponymous Akhnaten in Philip Glass’s Egyptian opera, the rock-star countertenor Anthony Roth Costanzo bares his soul only as the mortal whose song conquered the Furies. Ying Fang lends her pearls-and-cut-crystal soprano to the too-brief but pivotal role as the bride he braves Hell to reclaim. The soprano Elena Villalón makes her debut in the cherubic deux ex machina role of Amore (Cupid). The British early-music specialist Christian Curnyn conducts. First seen in 2007, the intriguing production, directed and choreographed by Mark Morris, places the choristers in bleachers above the action, in full view throughout. Isaac Mizrahi has dressed each one as a different historical figure: Moses, Cleopatra, Henry VIII, Beethoven, Lincoln, Liberace, Princess Di. They make a pretty picture, and they even make a point—”history is watching.” Tip: All ticketholders for the May 19 performance are invited to the Met’s family-friendly Spring Open House, which offers hands-on musical explorations and behind-the-scenes demonstrations by members of the backstage and artistic staff. —Matthew Gurewitsch