When the New York City-based Metropolitan Opera began broadcasting live performances to movie theaters across the country 17 years ago, regional companies saw it as an existential threat.

If The Met — considered by many to be the nation’s biggest, best, richest and most-talented company — was going to be offering its fare in every major metropolis, how could smaller, local presenters compete? Some feared they could be put out of business the way small hardware stores were damaged by Home Depot.

But the opposite happened. The Met’s “Live in HD” productions have flourished. As predicted, opera fans near and far seized the opportunity to attend the company’s productions exactly as they were happening in New York — huge stars performing grand titles that were not pre-recorded.

Over the years, The Met has expanded its programs to theaters in smaller towns, and in countries across the globe. The company, which works with Fathom Events to make the productions happen, likes to mention that it has sold more than 30 million tickets, and its productions are often ranked weekly among the 15 highest-grossing box office attractions in the world.

The reason: its high-quality fare, which has stayed consistently listenable. This 2023-24 season, which kicks off Oct. 21, has highlights that will likely be irresistible to opera regulars, led by a new production of the popular “Dead Man Walking,” which stars one of the genre’s best-loved singers, Joyce DiDonato.

The happy ending to the story — though it is far from over — is that regional companies have done just fine. Sure, they have had their financial ups and downs, that’s the nature of being a classical music maker in the 21st century. And the pandemic hit them hard; opera audiences are older and, still, many have chosen to avoid going back to theaters. But companies have not suffered any significant customer losses that can be attributed to The Met.

I have to say, going to Met performances in Colorado can be a unique thrill, and it is easy to recommend giving it a try if you have not already. There are plenty of opportunities, since 19 movie theaters across the state now broadcast the events.

Sure, there can be downsides. Not every movie theater has the best sound and video equipment and quality varies. Not every set looks as good flattened into a two-dimensional format as it does when you see it in person.

There is also the start time. Since the action is live, shows begin when the actual curtain goes up in New York. In Colorado, that means getting to the theater at 10:55 a.m., and most people know right away if that is the kind of opera-going experience they are ready for. There is also a little more popcorn chewing in the audience than you would ever encounter at the real Metropolitan Opera House, where many of the old-school rules of etiquette still apply.

But if sitting down for a few hours of singing on a Saturday morning does fit into your cultural bandwidth, there are some advantages: no dressing up, shorter drives, easier parking.

And while The Met is far away, these events can bring you nearer to the action in some ways. The cameras are stationed around the venue so audiences get to see things from multiple angles, and there are actual closeups of singers’ faces, impossible options at standard opera venues that can easily have a few thousand seats.

Plus, there is a host helping to introduce and explain the art, usually one of the Met’s recognized singing stars, and there are extras like interviews with cast members during intermission.

While the main attraction of this series is the fact that it is live, opera fans can also enjoy a recorded encore presentation of each title on the Wednesday that follows the original transmission.

Getting back to the 2023-24 season, there are a few highlights to point out. In all, there will be eight titles broadcast, but these three are sure to be popular. Because seats are assigned, now is a good time to think about tickets.

“Dead Man Walking,” Oct. 21

“Dead Man Walking” is the opera that changed opera. The work, composed by Jake Heggie with a libretto by Terrance McNally, premiered in 2000 to great acclaim and sparked a trend of new American operas that has continued through today. The story is rich, about a condemned killer sentenced to death and the nun who saves his soul, and the music is memorable. Joyce DiDonato, whose voice has matured over the years, is in a perfect place to take on a starring role.

“X: The Life And Times Of Malcolm X,” Nov. 18

This 1986 title has been performed in various cities but finally gets a place on the stage of the country’s most-respected opera company. Composed by Anthony Davis with a libretto by Thulani Davis, the work has been lauded both for its dramatic power and its opportunities for talented singers, like Will Liverman, who will take on the lead.

“Florencia en el Amazonas,” Dec. 9

This opera, with a score by Daniel Catán, is one of the few Spanish-language titles that get produced regularly in the U.S. It was written in 1996, but only lately seems to have secured a place in the canon. What makes this Met offering truly appealing is the promise of hearing soprano Ailyn Pérez sing the lead. She is a bright star with a brilliant voice.

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