How does a boa constrictor audition for a Met opera?

Performance artist Zoe Ziegfeld who plays the part of a snake charmer poses for a portrait with a snake during auditions to select a snake for a part in an adaptation of Mozart’s “Così fan tutte," at the Metropolitan Opera in New York, Friday, Aug. 28, 2026. (AP Photo/Andres Kudacki)

NEW YORK — Pretty much everyone on stage at the Metropolitan Opera in New York must audition — even the snake who will briefly take centre stage in an upcoming adaptation of a Mozart classic.

In charge of deciding who gets the s-s-s-s-starring reptilian role is Zoe Ziegfeld, a carnival performer-turned-opera actor cast as the snake handler in the Met’s version of “Così fan tutte,” inspired by Coney Island in the 1950s.

Ziegfeld takes each snake, lets it slither and wrap around, then hoists the animal over their head, rehearsing what they will do under the bright lights at centre stage for each performance. Ziegfeld looks each one in the eye, almost face-to-face as they evaluate the snake’s demeanour.

“I need to know that the animal is comfortable with people and with what we are doing,” Ziegfeld said.

Princess slithers into her big role

In the cold-blooded competition, a boa constrictor named Princess won. She is a larger snake with a better visual presence on stage.

“We will be moving forward with Princess (the big sun-glow boa constrictor who is yellow-peach) in rehearsals on a trial basis! She is a wonderful snake, and the trial is not about her, but rather about me and my strength,” Ziegfeld wrote in an email after the auditions were over.

A slightly smaller brown boa constrictor named Nala from a second audition will be Princess’ understudy.

A Mozart opera set at a 1950s Coney Island carnival

This is the third time Ziegfeld has played the role of the snake charmer in the Met’s adaptation of Wolfgang Amadeus Mozart’s 1790 opera.

In Mozart’s original, two Italian soldiers decide to test their lovers’ fidelity by pretending to head off to war. They then disguise themselves and try to seduce each other’s girlfriends. In this version, the plot remains mostly the same, but the setting is a 1950s Coney Island carnival complete with vibrant scenery and sideshow performers.

Carnaval snake charmer turned opera performer

Ziegfeld came to the role honestly. They spent a couple of seasons on Coney Island doing eight snake-charming shows a day.

When they tried out several years ago, live snakes weren’t allowed in the audition space. So instead, Ziegfeld brought video of their snake-charming act, then hammered home their carnival sideshow bona fides by knocking a nail into their own nasal cavity in what was called the Human Blockhead act.

“The music’s different. The money is different. It’s a pleasure to entertain. And with snakes, it’s a delight to know that there are people watching who are in awe and people who are terrified. And those things happen at the Met and at Coney — so I would say they are more alike than different, to be honest,” Ziegfeld said.

Animals are important characters at some Met operas

The snakes came to their audition thanks to Nancy Novograd and her company All Tame Animals.

She got into the business when her horse appeared onstage at the Met in a production of “Carmen,” and now she provides the opera house with everything from elephants to insects.

The first two snakes to audition were a bit small. One might have clashed with Ziegfeld’s top. But the key is personality, Novograd said.

“Animals have to perform as do human talent. Sometimes they have a set type of behaviors that they have to demonstrate. And sometimes they just have to get along with the talent,” Novograd said. “So in this case, they have to be the right color, size, and Zoe has to like them.”

Collins reported from Columbia, South Carolina.

David R. Martin And Jeffrey Collins, The Associated Press