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.
12 pieces since 2016 — in 5 roles, at 3 companies, most often at Metropolitan Opera.
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.
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.
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.
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.
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.
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.
Kiss Me Kate is a sophisticated soufflé of a show: a comedy of manners, requiring effortless verve and elegance in the playing.
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