And it’s the great achievement of Puts’ “The Hours” and of director Phelim McDermott that, on a stage the size of the Met’s, it communicates intimate spiraling emotional journeys with the subtle, deft texture of thought and of memory. 22 and which will be playing in movie theaters as a Fathom Event, stuns in the way it brings these disparate, desperate characters together.
Dalloway,” and contemplate whether or not to end her life. Between the two women in time lies - quite literally - Laura Brown (Kelli O’Hara), who prevaricates to her small child about the day they were meant to spend together so that she may crawl, alone, into a hotel bed, read “Mrs. Dalloway,” a novel that Virginia Woolf (Joyce DiDonato) is writing in another section of the opera. With her wife (Denyce Graves, all marvelous warmth to counter Clarissa’s abruptness) she is planning a party, just as is the protagonist of “Mrs. As played by Fleming, Clarissa is a pragmatist, all business Fleming’s vocal performance is gorgeous, and shot through with the bustling sense that Clarissa is rushing to the next task, the next note.
Even those unfamiliar with the source material - Michael Cunningham’s 1998 Pulitzer Prize-winning novel, followed by a 2002 film adaptation - will have come to know Clarissa Vaughan, by this point, quite well, and to understand why this reverie is out of character.
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