In the opera season, we have about two months left to go. What do we have to look forward to? Plenty, fortunately.

The Met’s “Tristan und Isolde” is continuing. On its opening night, the two principals had a terrible time. But things change in opera, and it always pays to show up. And James Levine can be counted on to lead a superb performance — maybe even an unforgettable one. “Ernani” continues too. This is a Verdi opera, not heard every day, or every decade. Sondra Radvanovsky is the soprano, and she is a worthy Verdian. The men include Thomas Hampson and Ferruccio Furlanetto — proven veterans with a great amount to give.

On April 16, “Un ballo in maschera,” staged earlier in the season, will return. Dmitri Hvorostovsky, the Siberian tiger, is Anckarström; and Stephanie Blythe should be a special treat as Ulrica. And on May 9, “Macbeth” will start up again. In the role of Banquo will be René Pape, the extraordinary German bass. And Maestro Levine should give a class performance.

How about operas not yet seen at the Met this year? On March 27, the company will begin “The Gambler,” by Prokofiev. In the pit will be Valery Gergiev, who leads this opera as well as anybody. And among the cast will be Larissa Diadkova, the very exciting, very musical mezzo-soprano. Also, this opera is short, at under two hours (minus intermission). If that’s a consideration, keep “The Gambler” in mind.

Starting on March 29, we will have “La Bohème.” Big deal, right? It will be a big deal if Angela Gheorghiu is up to her par as Mimì. Opposite her, as Rodolfo, will be Ramón Vargas. Starting on April 11, the Met will stage “Satyagraha,” Philip Glass’s opera from 1980. It treats the life of Mohandas Gandhi. And portraying Gandhi will be Richard Croft, the excellent and much-underrated lyric tenor. Later in April — on the 21st — the Met will bring us “The Daughter of the Regiment,” by Donizetti. Natalie Dessay, the high-flying French coloratura soprano, will be the “daughter.” And who will be tackling the famous, or infamous, nine high Cs? That will be Juan Diego Flórez, the Peruvian tenor. Smart money says he’ll nail ’em. And Felicity Palmer, the magnificent British mezzo, will also be on hand.

Speaking of high-flying coloraturas, Diana Damrau also returns to the Met. Starting on April 26, she will appear in Mozart’s “Abduction from the Seraglio.” And she ought to be delicious: dazzling, daring, and delicious. She is born to sing her role, Konstanze. Joining her onstage will be Matthew Polenzani, a sweet and smart lyric tenor. Starting on May 3, we will have “La Clemenza di Tito” (again, Mozart). The bad news is, James Levine will not be in the pit. But the good news is the cast: which includes Mr. Vargas, Susan Graham, and Heidi Grant Murphy.

And if you missed “The First Emperor,” Tan Dun’s opera, last season, you can catch it at the end of this one: Starting May 10, Plácido Domingo, the ageless Spaniard, returns in the title role.

How about across the plaza at City Opera? Verdi’s “Falstaff” opens tonight. It is his last opera, a farewell “burst of hilarity,” as someone once called it. “Falstaff” is both a great opera and highly unusual. The more you live with it, the more you appreciate it, I find. And, starting on April 8, you can see “Candide,” Leonard Bernstein’s opera-musical. The piece can be grating as hell, in my judgment. But it undeniably has some wonderful tunes.

And Dicapo Opera Theatre will stage one of Puccini’s “American” operas. That’s “La fanciulla del West,” or “The Girl of the Golden West,” and the starting date is April 10. What’s another of Puccini’s American operas? Well, “Manon Lescaut” has an act in the “Louisiana desert.”

Finally, be aware of a concert performance of “Edgar,” to be given on April 13. The organization is OONY, or Opera Orchestra of New York; and the venue is Carnegie Hall. “Edgar” is an early, brief, and little-known Puccini opera. It contains some absolutely splendid music. And OONY has enlisted some splendid singers. They are Latonia Moore, a warm, personable, talented young American soprano; Jennifer Larmore, the noted American mezzo; Marcello Giordani, the noted Italian tenor, and Stephen Gaertner, a young American baritone who has left positive impressions in this city and elsewhere.

It would be absurd to say that, in the long history of recording, you have a favorite track. But I’ll tell you this: If you can beat Leontyne Price’s recording of “Addio, mio dolce amor,” from “Edgar,” you have an amazing track indeed.