Women of the <em>Hours</em> Women of the <em>Hours</em>

In its first go-around in November 2022, Kevin Puts’s The Hours (libretto by Greg Pierce based on the novel by Michael Cunningham and the screenplay for the Stephen Daldry’s 2002 film was a box office bullseye for the Metropolitan Opera.

Hear the dance Hear the dance

I confess to being a “bad” dance fan: over the decades I’ve learned that if I don’t love (or at least like) the music, I won’t love the dance.

Getting to be a habit with me Getting to be a habit with me

Although somewhat flawed, Days of Wine and Roses draws from the same musical language that made Piazza so instantly distinctive, and it features a specificity that I noticed in Adam Guettel’s earlier breakthrough work, Floyd Collins.

Rebranding the Met Rebranding the Met

A quick survey of the Met website shows wide swaths of available seats for the upcoming performances of La traviata and L’elisir d’amore.  Only new works like The Hours and Fire Shut Up in My Bones have been achieving sold-out houses.

Unhappy ‘Hours’ Unhappy ‘Hours’

The film of The Hours failed to effectively weave together the novel’s trio of threads of interiority about suicide and secondarily literary creation. I wondered if an opera would stand a better chance at achieving that?  Based on Tuesday’s diva-encrusted stage premiere of Kevin Puts and Greg Pierce’s The Hours, its creators didn’t pull it off either.

Shining ‘Hours’ Shining ‘Hours’

Dramaturgically, The Hours is a mixed bag: I wouldn’t discard it, but I would want to fix it. But simply as an evening of gorgeous music and singing, it’s cordon bleu. 

Awaiting faith Awaiting faith

Faith. The title of this fourth and final chapter of Adam Guettel’s Myths and Hymns made me pause for reflection.

Aestival body Aestival body

Broadway star Kelli O’Hara stepped out of her comfort zone.

One more ‘Kiss’ One more ‘Kiss’

Kiss Me Kate is a sophisticated soufflé of a show: a comedy of manners, requiring effortless verve and elegance in the playing.

Too much, too soon Too much, too soon

Heartbeat is, after all, a company that loves to tinker.

The help The help

As Despina in the Metropolitan Opera’s new production of Così fan tutte, Kelli O’Hara injects much needed vitality into an otherwise lethargic evening.

Give my regards to Carthage Give my regards to Carthage

A semi-staging of Dido and Aeneas starring Broadway divas and frequent collaborators Kelli O’Hara and Victoria Clark seemed a screwy idea at best.