#they really didn't do much to make kelli look like a woman in her 70s/80s in that last scene though

[droughtofapathy]

"Welcome to the Theatre": Diary of a Broadway Baby

The Hours

May 21, 2024 | Metropolitan Opera House | Evening | Opera | Revival | 2H 40M

This is my second time seeing The Hours at the Met, the first being when it premiered in late 2022. I've seen a few operas in my day, and I once again must conclude that I do not care for this artform. It's a beautiful type of performance art with gorgeous vocals, but at my core, I am a lyrics person, and opera has a set style that doesn't jive with my love of Sondheim-cleverness. I also (speaking as an expert on nothing here) think English-language operas lose some of the best tonal qualities in languages where there are less consonants and more broad vowels. It's more difficult to project those consonants and the lyrics aren't as soaring. Maybe front orchestra seats aren't good for a more robust auditory experience? But I did notice there seemed to be projection issues for a number of the actors, though it could also be age factoring in. I love Renee Fleming dearly, and her tone and high range are as magnificent as ever, but just as I noticed last time around, she's not able to project at the same level that Joyce DiDonato (so incredible, my god) and Kelli O'Hara can. And Kelli doesn't project as well as Joyce, though that's also a voice part thing, I assume, in addition to just sheer training and experience. (I think they should be mic'ed, which is sacrilege, I know, but it's time.)

The story itself is beautiful, though it's not really a fun experience for me in having to keep looking back and forth between the action onstage and the lyric captions on the back of the seat. I think, ultimately, this show was more enjoyable the first time around not knowing anything. I'd never watched the movie, I didn't know the story, I didn't want to know. And so the big reveal moments floored me. The onstage quick-change for Kelli as she aged 40 years into the future was so astounding and delightful to see that first time. And when the trio finally coalesced in that gorgeous finale... Damn. This time was lovely, but less satisfactory. (But as always, Kelli O'Hara's voice is a sexual experience.)

Oh, and I will take a moment to recognize John Holiday, the countertenor in the 2022 production and the first four shows this season. His voice took that role and sent it into the stratosphere. The performer this time around was very good, but not in the same league.

Verdict: Artistically Amazing; Personally, No Thanks

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