Metropolitan Opera 21 May 2024 - The Hours | GoComGo.com

The Hours

Metropolitan Opera, Metropolitan Opera, New York, USA
All photos (10)
Tuesday 21 May 2024
7 PM

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: New York, USA
Starts at: 19:00

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Overview

Pulitzer Prize–winning composer Kevin Puts’s hit new opera, which played to sold-out audiences during its world-premiere production last season, triumphantly returns. The original trio of legendary divas—sopranos Renée Fleming and Kelli O’Hara and mezzo-soprano Joyce DiDonato—reprise their celebrated portrayals of three women from different eras whose lives are connected through Virginia Woolf’s novel Mrs. Dalloway. Bass-baritone Kyle Ketelsen also returns as the dying author Richard, and Kensho Watanabe conducts Phelim McDermott’s gripping staging of this heart-wrenching drama, adapted from Michael Cunningham’s acclaimed novel and the Oscar-winning film it inspired.

World premiere: Kimmel Center for the Performing Arts, Philadelphia, March 2022 (concert version, performed by The Philadelphia Orchestra); Metropolitan Opera House, New York, November 2022 (staged production)
A compelling new opera about three women in different times and places, The Hours is based on the Pulitzer Prize–winning novel by Michael Cunningham and the Academy Award–winning film adaptation that followed. Both the book and the film make heavy reference to an earlier novel, Virginia Woolf’s 1925 Mrs. Dalloway, which forms a sort of parallel background narrative, and the opera uses Woolf’s and Cunningham’s magisterial prose as a departure point from which to explore ambiguities and fluidities that cry out for musical expression.

The tripartite setting of the opera is an essential aspect of its story. The first locale is Richmond, a quiet suburb of London where Virginia Woolf lived with her husband, Leonard, as she was writing Mrs. Dalloway in 1923. The second setting is Los Angeles in 1949, where Dan and Laura Brown are struggling to conform to a proper mid-century American suburban life. The third setting is Manhattan at the end of the 20th century, where Clarissa Vaughan is preparing to throw a party for the poet Richard who faces the late stages of AIDS.

In adapting The Hours for the operatic stage, Puts sought to follow the shifting perspectives between the heroines while maintaining their separate dimensions. The music for and around each of the heroines has a distinct style: a stripped-down quality for Woolf, with harmonic shifts mirroring her fraught mental instability; an appropriately light-pop sensibility for the oppressive suburban conformity surrounding Laura Brown; and a rich, colorful soundscape for Clarissa that evokes the vibrancy of New York City. Initially, these worlds exist as separate musical entities, but over the course of the opera, they transcend the boundaries of time and space and increasingly overlap.

Based on the book by Michael Cunningham and the Paramount Pictures film

Commissioned by the Metropolitan Opera and The Philadelphia Orchestra

In collaboration with Improbable

History
Premiere of this production: 22 November 2022, The Metropolitan Opera House, New York City

The Hours is a 2022 opera in two acts with music by Kevin Puts and an English-language libretto by Greg Pierce, based on Michael Cunningham's 1998 novel and its 2002 film adaptation, both with the same title.

Synopsis

The story is about a single day in the lives of three women: book editor Clarissa Vaughan in New York's West Village in 1999; novelist Virginia Woolf in Richmond, England, in 1923; and housewife and mother Laura Brown in Los Angeles in 1949.

Act 1
The chorus sings fragments of the opening line of Virginia's novel Mrs. Dalloway (the working title of which was The Hours): "Mrs. Dalloway said she would buy the flowers herself."

Clarissa and her partner Sally are preparing their apartment for a party in honor of Clarissa's best friend, Richard, who later that day is intended to receive an award for his recently published novel. Richard is seriously ill with AIDS, and Sally questions whether he will be able to come. Clarissa insists he will be able to attend. Clarissa goes out to buy flowers at a nearby shop. On her way she passes through Washington Square and notices the unusual singing of a Man Under the Arch. By chance, she encounters Walter, a writer of gay romances who knows Richard and whom she invites to the party. Walter also expresses doubt that Richard is well enough to attend the party.

In her house in the London suburb of Richmond, Virginia has awakened and entered her office, anxious to begin her new novel. Her husband Leonard, a proof editor, is concerned about her health and tries to get her to eat some breakfast, but she refuses. She considers the many roles he plays in her life.

Clarissa arrives at the flower shop, and the florist Barbara kisses her on the mouth. Clarissa briefly imagines what it would be like, if Barbara and she were lovers, and they would never need to leave the shop. She finds the flowers she wants and departs for Richard's apartment.

In her office, Virginia finds it difficult to begin her novel and thinks of central London and its many diversions, so different from her drab existence in suburban Richmond. Overcoming her hesitation, she starts to write.

In Los Angeles in her bed, Laura Brown is reading Mrs. Dalloway. She feels guilty that she is avoiding her duties as a wife and mother. Although it is her husband Dan's birthday, and he and their six-year-old son Richie are waiting for her in the kitchen, she resumes reading. Eventually, she goes down to the kitchen, where Dan and Richie express worries about her. Dan leaves for work.

Clarissa considers whether her relationship of almost eighteen years with Sally is fulfilling enough. Virginia cannot decide which of the characters in her novel will die. Laura allows Richie to help her bake Dan's birthday cake, even though Richie will surely spoil it, and feels even her efforts are inadequate.

Clarissa stops on the street on her way to Richard's and remembers the time she casually broke off their romantic relationship with simple, thoughtless words. She wonders what might have been if she had not done so.

She enters Richard's apartment to remind him of the party but finds him weak and forgetful. He calls her Mrs. Dalloway, since her first name is the same as the novel's main character. She dislikes the nickname because it is such a tragic story. He says he is unable to attend the party, but Clarissa reproaches him for not making more of an effort. He confesses he still fantasizes about whether they could have been lovers. Clarissa says she needs to leave and return to her apartment to put the flowers in water so they will not wilt.

In her kitchen, Laura is unhappy with the progress of the cake.

Virginia asks her cook Nelly whether a young girl who started the day happily could decide to commit suicide. Nelly says, if the girl became despairing, it was possible. Virginia engages in a suicidal fantasy, foreseeing her death.

Kitty unexpectedly visits Laura. The doctor has told her she has a growth inside her and needs to look at it. Can Laura feed her dog? Laura is sorry for Kitty, feels tenderness for her, and holds her. They touch their lips together, but after a moment Kitty pulls away.

Virginia, who has become anxious, stops writing and goes outdoors. Clarissa enters her apartment. Sally is thinking about how to arrange the chairs. Clarissa, worried about Richard, decides to go back to see him. Virginia, wanting to escape Richmond, considers whether to take the train to London or drown herself in the river. Laura, feeling stifled at home, takes Richie to Mrs. Latch, his sitter, and drives toward Pasadena with no plan.

Act 2
Laura enters a room at the Normandy Hotel with her tattered copy of Mrs. Dalloway and a bottle of pills. She recalls a bizarre encounter with the Hotel Clerk. While reading Mrs. Dalloway, she imagines Virginia heading to the river to kill herself. Laura considers suicide. Virginia, distracted by the voice of the Man Under the Arch, is found by Leonard, who expresses his fear of finding her dead and having to tell her sister Vanessa of his failure to save her. Virginia is disturbed by the intensity of his distress.

On her way to Richard's, Clarissa hears a choir singing lyrics seemingly directed at her. In front of Richard's building, she encounters Louis, Richard's former boyfriend, who can't decide whether to visit him. Louis recollects a summer the three of them were in Wellfleet, when he was shut out by their closeness, Richard only wanting him for his body, but Clarissa for everything else.

In her office, Virginia hears children talking and wonders if she's going crazy. In the garden, she finds her sister Vanessa and her three children: Julian, Quentin, and Angelica. Quentin has found a sick bird, which he thinks is still alive. They decide to make a bed of grass for it to die in. Virginia identifies the bird as female because it is "a bit more drab" than the males. She begins making the bed for the bird, adding roses picked from the garden. She realizes the bird is dead and begins manically making the bed, accidentally pricking Angelica's finger with a thorn. Vanessa and her children retreat, realizing the severity of Virginia's illness.

Laura in her hotel room rebukes herself for thinking of suicide when she has a young son and a baby on the way to take care of. She decides to remain alive and return to her obligations as a mother.

Clarissa lets herself into Richard's apartment and finds him on the window sill, five stories above the ground. She attempts to persuade him to come back in. He says he only wanted to write something good, not great. Something that would touch someone. He tells her he loves her, slides off the sill, and falls outside. Clarissa hesitantly peers out the window and realizes he is dead.

Clarissa appears in the street and bends over Richard's lifeless body. The chorus can be heard repeating and reassembling words and thoughts from the day. Laura leaves the hotel. Virginia realizes she is losing her mind.

Laura picks Richie up from the sitter, and he tells her he was scared because he thought, like Kitty, she had something growing inside her.

At their dining table, Virginia expresses her gratitude to Leonard for having given her "the greatest possible happiness."

Dan returns home to his birthday party and tells his family how happy they have made him.

At Sally and Clarissa's, the party has become a wake. Richard's mother, Laura, arrives and reveals she abandoned Dan and Richie and feels regret.

As the others leave, the three female protagonists, Laura, Clarissa, and Virginia sing a trio, realizing that in their connection to one another across different times and places, they are not alone.

Venue Info

Metropolitan Opera - New York
Location   30 Lincoln Center

The Metropolitan Opera is an opera company based in New York City, resident at the Metropolitan Opera House at the Lincoln Center for the Performing Arts. The Metropolitan Opera is the largest classical music theatre in North America. It presents about 27 different operas each year from late September through May. As of 2018, the company's current music director is Yannick Nézet-Séguin.

The Metropolitan Opera Company was founded in 1883 as an alternative to New York's old established Academy of Music opera house. The subscribers to the Academy's limited number of private boxes represented the highest stratum in New York society. By 1880, these "old money" families were loath to admit New York's newly wealthy industrialists into their long-established social circle. Frustrated with being excluded, the Metropolitan Opera's founding subscribers determined to build a new opera house that would outshine the old Academy in every way. A group of 22 men assembled at Delmonico's restaurant on April 28, 1880. They elected officers and established subscriptions for ownership in the new company. The new theater, built at 39th and Broadway, would include three tiers of private boxes in which the scions of New York's powerful new industrial families could display their wealth and establish their social prominence. The first Met subscribers included members of the Morgan, Roosevelt, and Vanderbilt families, all of whom had been excluded from the Academy. The new Metropolitan Opera House opened on October 22, 1883, and was an immediate success, both socially and artistically. The Academy of Music's opera season folded just three years after the Met opened.

The operas are presented in a rotating repertory schedule, with up to seven performances of four different works staged each week. Performances are given in the evening Monday through Saturday with a matinée on Saturday. Several operas are presented in new productions each season. Sometimes these are borrowed from or shared with other opera companies. The rest of the year's operas are given in revivals of productions from previous seasons. The 2015–16 season comprised 227 performances of 25 operas.

The operas in the Met's repertoire consist of a wide range of works, from 18th-century Baroque and 19th-century Bel canto to the Minimalism of the late 20th century. These operas are presented in staged productions that range in style from those with elaborate traditional decors to others that feature modern conceptual designs.

The Met's performing company consists of a large symphony-sized orchestra, a chorus, a children's choir, and many supporting and leading solo singers. The company also employs numerous free-lance dancers, actors, musicians, and other performers throughout the season. The Met's roster of singers includes both international and American artists, some of whose careers have been developed through the Met's young artists programs. While many singers appear periodically as guests with the company, others, such as Renée Fleming and Plácido Domingo, long maintained a close association with the Met, appearing many times each season until they retired.

Important Info
Type: Opera
City: New York, USA
Starts at: 19:00
Top of page