JasonC3 said: "I love the Glass film score, but I don't need to see it replicated in a production that treats the materials differently. The music needs to serve the new story as written and how it unfolds."
I know, right? The world of opera has many examples of different composers creating their own versions of works.
I saw the premiere on Tuesday. It’s definitely worth seeing, and the music was accessible but beautifully complex. Kelli was in lovely voice; I felt like a proud parent watching their child succeed in something I didn’t know they were good at. I recommend it, even if opera isn’t typically your thing.
I was there on Tuesday as well. Kelli was sensational. Perhaps the best she has ever sounded. The Hours is so intimate and introspective so I didn’t understand why we needed a gargantuan chorus of a million people. They cluttered the stage and scenes more than helped. I would have much preferred it just be the three women and the supporting roles. Very glad to have seen it.
I saw the opera last night. Kelli was in beautiful, beautiful voice. It’s a gift to hear her perform anything. I thought all three leads were captivating. The show is a very slow burn. Particularly the first act. And I too found the chorus distracting. It was a lovely night at the opera though. If you’re a Kelli fan who only dabbles in opera or has never been, I’d still recommend.
I was there on Friday night, I thought Joyce DiDonato and Kyle Ketelsen were the standouts of the evening, like others I could have done without the chorus (and dancers) on stage for most of the performance. I wish they had put the warnings in bold when purchasing tickets though.
I’m selling a rear orchestra ticket for this Thursday at 7pm if anyone is interested because a friend is unable to attend. I’ll be at the performance so it will be an easy exchange. I paid $132 but am open to lower offers. Please DM if interested.
VanillaIceCream2 said: "I’m selling a rear orchestra ticket for this Thursday at 7pm if anyone is interested because a friend is unable to attend. I’ll be at the performance so it will be an easy exchange. I paid $132 but am open to lower offers. Please DM if interested."
Enjoyed the livestream in theaters over the weekend, and I was pleasantly surprised that the entire theater was full. The livestream even broke into the weekend box office top 10!!! (#7 at $791,374)
After some tepid reviews, especially around the chorus, I was bracing for a C+ production. I was pleasantly surprised to find it an A-.
Overall, I was overwhelmed by the sheer ACTING that our divas carried throughout the performance. Kelli O'Hara in particular was riddled with emotion. This is a show that almost requires a close-up viewing.
I saw this on Saturday--it was my first contemporary opera and first opera at the Met! I went in knowing that opera isn't traditionally mic'ed, but some performers did feel drowned out by the orchestra--especially Fleming. I was in one of the boxes in the balcony, so I wonder if the acoustics just aren't as great in those seats.
I was also impressed by O'Hara's acting (and vocals, of course), which came through even in a partial view seat all the way in the balcony!
StylishCynic said: "Overall, I was overwhelmed by the sheer ACTING that our divas carried throughout the performance. Kelli O'Hara in particular was riddled with emotion. This is a show that almost requires a close-up viewing."
I'm looking forward to revisiting it when they most likely air it on Great Performances at the Met. There was some lovely music but I was mostly underwhelmed by the storytelling and, perhaps because of the staging, everyone looked even smaller than usual from up in the Family Circle. Also, someone coughed throughout the entirety of the trio finally singing together at the end.
I can't compare it to the film but I felt like, for a story about three women, I was always outside the characters, observing them. It also could have been way more Sapphic. Frankly, you could just tell there were no women, let alone queer women, on the creative team. The Clarissa storyline was the strongest and the other two felt like afterthoughts. The use of the chorus (especially when they were just lying around) felt like it was part of a struggle to fill the stage. Having two locations simultaneously on stage was rarely effective, especially when one scene would effectively be dark while the other was active. I think it would have been a lot stronger in a smaller theater with more intimate staging.
Hello all. I am a huge fan of Fleming, and I was surprised how worn her upper voice sounded at times, at least on the HD (on Demand) Did it sound like this in the house ? Several times, at the end of Act I, and the trio in Act II, she appeared to be off the mark as far as intonation. Did they mention anywhere that she might have been under the weather. Perhaps at this point in her long and important career, the high lying parts of the role are no longer comfortable for her? Again maybe this couldn't be heard in the theater?