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Verdi’s glorious Shakespearean comedy features a brilliant ensemble cast in Robert Carsen’s celebrated staging. Baritone Michael Volle sings his first Verdi role at the Met as the caddish knight Falstaff, gleefully tormented by a trio of clever women who deliver his comeuppance. Reuniting after their acclaimed turns in the production’s 2019 run are soprano Ailyn Pérez as Alice Ford, soprano Jennifer Johnson Cano as Meg Page, and mezzo-soprano Marie-Nicole Lemieux as Mistress Quickly. Soprano Hera Hyesang Park and tenor Bogdan Volkov are the young couple Nannetta and Fenton, and Maestro Daniele Rustioni conducts.

Verdi’s glorious Shakespearean comedy features a brilliant ensemble cast in Robert Carsen’s celebrated staging. Baritone Michael Volle sings his first Verdi role at the Met as the caddish knight Falstaff, gleefully tormented by a trio of clever women who deliver his comeuppance. Reuniting after their acclaimed turns in the production’s 2019 run are soprano Ailyn Pérez as Alice Ford, soprano Jennifer Johnson Cano as Meg Page, and mezzo-soprano Marie-Nicole Lemieux as Mistress Quickly. Soprano Hera Hyesang Park and tenor Bogdan Volkov are the young couple Nannetta and Fenton, and Maestro Daniele Rustioni conducts.

Program

Mendelssohn Selected Songs Without Words for Piano

Schubert “Ballet Music No. 2” for Violin and Piano from Rosamunde, Fürstin von Zypern, D. 797 (arr. Kreisler) (1823, arr. 1917)

Liszt “Die Forelle” from Six Melodies of Franz Schubert for Piano, S. 563 (1844)

Previn Vocalise for Soprano, Cello, and Piano (1995)

Ernst Grand Caprice on Schubert’s “Erlkönig” for Violin, Op. 26 (1854)

Mahler Rückert-Lieder for Mezzo-Soprano, Violin, Viola, Cello, and Piano (1901-02)

Korngold Quintet in E major for Piano, Two Violins, Viola, and Cello, Op. 15 (1921)

John Harbison November 19,1828 for Piano, Violin, Viola, and Cello (1988)

The murderous Don Giovanni deceives women with impunity, leaving destruction in his wake. This Don Juan is not just a rakish cad but someone much more sinister. Mozart and Da Ponte’s masterwork explores vengeance and unsatiable desire. Glamour, grit, and the glow of neon infuse this film noir production in which Kristine McIntyre directs the action on the stage and Jan Latham-Koenig leads The Atlanta Opera Orchestra.

The murderous Don Giovanni deceives women with impunity, leaving destruction in his wake. This Don Juan is not just a rakish cad but someone much more sinister. Mozart and Da Ponte’s masterwork explores vengeance and unsatiable desire. Glamour, grit, and the glow of neon infuse this film noir production in which Kristine McIntyre directs the action on the stage and Jan Latham-Koenig leads The Atlanta Opera Orchestra.

The murderous Don Giovanni deceives women with impunity, leaving destruction in his wake. This Don Juan is not just a rakish cad but someone much more sinister. Mozart and Da Ponte’s masterwork explores vengeance and unsatiable desire. Glamour, grit, and the glow of neon infuse this film noir production in which Kristine McIntyre directs the action on the stage and Jan Latham-Koenig leads The Atlanta Opera Orchestra.

The murderous Don Giovanni deceives women with impunity, leaving destruction in his wake. This Don Juan is not just a rakish cad but someone much more sinister. Mozart and Da Ponte’s masterwork explores vengeance and unsatiable desire. Glamour, grit, and the glow of neon infuse this film noir production in which Kristine McIntyre directs the action on the stage and Jan Latham-Koenig leads The Atlanta Opera Orchestra.

Renée Fleming makes her highly anticipated return to the Met in the world-premiere production of Pulitzer Prize–winning composer Kevin Puts’s The Hours, adapted from Michael Cunningham’s acclaimed novel. Inspired by Virginia Woolf’s Mrs. Dalloway and made a household name by the Oscar-winning 2002 film version starring Meryl Streep, Julianne Moore, and Nicole Kidman, the powerful story concerns three women from different eras who each grapple with their inner demons and their roles in society. The exciting premiere radiates with star power, with Kelli O’Hara and mezzo-soprano Joyce DiDonato joining Fleming as the opera’s trio of heroines. Phelim McDermott—who most recently wowed Met audiences with his staging of Philip Glass’s Akhnaten—directs this compelling drama, with Met Music Director Yannick Nézet-Séguin on the podium to conduct Puts’s poignant and powerful score.

Renée Fleming makes her highly anticipated return to the Met in the world-premiere production of Pulitzer Prize–winning composer Kevin Puts’s The Hours, adapted from Michael Cunningham’s acclaimed novel. Inspired by Virginia Woolf’s Mrs. Dalloway and made a household name by the Oscar-winning 2002 film version starring Meryl Streep, Julianne Moore, and Nicole Kidman, the powerful story concerns three women from different eras who each grapple with their inner demons and their roles in society. The exciting premiere radiates with star power, with Kelli O’Hara and mezzo-soprano Joyce DiDonato joining Fleming as the opera’s trio of heroines. Phelim McDermott—who most recently wowed Met audiences with his staging of Philip Glass’s Akhnaten—directs this compelling drama, with Met Music Director Yannick Nézet-Séguin on the podium to conduct Puts’s poignant and powerful score.

Renée Fleming makes her highly anticipated return to the Met in the world-premiere production of Pulitzer Prize–winning composer Kevin Puts’s The Hours, adapted from Michael Cunningham’s acclaimed novel. Inspired by Virginia Woolf’s Mrs. Dalloway and made a household name by the Oscar-winning 2002 film version starring Meryl Streep, Julianne Moore, and Nicole Kidman, the powerful story concerns three women from different eras who each grapple with their inner demons and their roles in society. The exciting premiere radiates with star power, with Kelli O’Hara and mezzo-soprano Joyce DiDonato joining Fleming as the opera’s trio of heroines. Phelim McDermott—who most recently wowed Met audiences with his staging of Philip Glass’s Akhnaten—directs this compelling drama, with Met Music Director Yannick Nézet-Séguin on the podium to conduct Puts’s poignant and powerful score.

Renée Fleming makes her highly anticipated return to the Met in the world-premiere production of Pulitzer Prize–winning composer Kevin Puts’s The Hours, adapted from Michael Cunningham’s acclaimed novel. Inspired by Virginia Woolf’s Mrs. Dalloway and made a household name by the Oscar-winning 2002 film version starring Meryl Streep, Julianne Moore, and Nicole Kidman, the powerful story concerns three women from different eras who each grapple with their inner demons and their roles in society. The exciting premiere radiates with star power, with Kelli O’Hara and mezzo-soprano Joyce DiDonato joining Fleming as the opera’s trio of heroines. Phelim McDermott—who most recently wowed Met audiences with his staging of Philip Glass’s Akhnaten—directs this compelling drama, with Met Music Director Yannick Nézet-Séguin on the podium to conduct Puts’s poignant and powerful score.

Renée Fleming makes her highly anticipated return to the Met in the world-premiere production of Pulitzer Prize–winning composer Kevin Puts’s The Hours, adapted from Michael Cunningham’s acclaimed novel. Inspired by Virginia Woolf’s Mrs. Dalloway and made a household name by the Oscar-winning 2002 film version starring Meryl Streep, Julianne Moore, and Nicole Kidman, the powerful story concerns three women from different eras who each grapple with their inner demons and their roles in society. The exciting premiere radiates with star power, with Kelli O’Hara and mezzo-soprano Joyce DiDonato joining Fleming as the opera’s trio of heroines. Phelim McDermott—who most recently wowed Met audiences with his staging of Philip Glass’s Akhnaten—directs this compelling drama, with Met Music Director Yannick Nézet-Séguin on the podium to conduct Puts’s poignant and powerful score.

Renée Fleming makes her highly anticipated return to the Met in the world-premiere production of Pulitzer Prize–winning composer Kevin Puts’s The Hours, adapted from Michael Cunningham’s acclaimed novel. Inspired by Virginia Woolf’s Mrs. Dalloway and made a household name by the Oscar-winning 2002 film version starring Meryl Streep, Julianne Moore, and Nicole Kidman, the powerful story concerns three women from different eras who each grapple with their inner demons and their roles in society. The exciting premiere radiates with star power, with Kelli O’Hara and mezzo-soprano Joyce DiDonato joining Fleming as the opera’s trio of heroines. Phelim McDermott—who most recently wowed Met audiences with his staging of Philip Glass’s Akhnaten—directs this compelling drama, with Met Music Director Yannick Nézet-Séguin on the podium to conduct Puts’s poignant and powerful score.

Renée Fleming makes her highly anticipated return to the Met in the world-premiere production of Pulitzer Prize–winning composer Kevin Puts’s The Hours, adapted from Michael Cunningham’s acclaimed novel. Inspired by Virginia Woolf’s Mrs. Dalloway and made a household name by the Oscar-winning 2002 film version starring Meryl Streep, Julianne Moore, and Nicole Kidman, the powerful story concerns three women from different eras who each grapple with their inner demons and their roles in society. The exciting premiere radiates with star power, with Kelli O’Hara and mezzo-soprano Joyce DiDonato joining Fleming as the opera’s trio of heroines. Phelim McDermott—who most recently wowed Met audiences with his staging of Philip Glass’s Akhnaten—directs this compelling drama, with Met Music Director Yannick Nézet-Séguin on the podium to conduct Puts’s poignant and powerful score.

Renée Fleming makes her highly anticipated return to the Met in the world-premiere production of Pulitzer Prize–winning composer Kevin Puts’s The Hours, adapted from Michael Cunningham’s acclaimed novel. Inspired by Virginia Woolf’s Mrs. Dalloway and made a household name by the Oscar-winning 2002 film version starring Meryl Streep, Julianne Moore, and Nicole Kidman, the powerful story concerns three women from different eras who each grapple with their inner demons and their roles in society. The exciting premiere radiates with star power, with Kelli O’Hara and mezzo-soprano Joyce DiDonato joining Fleming as the opera’s trio of heroines. Phelim McDermott—who most recently wowed Met audiences with his staging of Philip Glass’s Akhnaten—directs this compelling drama, with Met Music Director Yannick Nézet-Séguin on the podium to conduct Puts’s poignant and powerful score.

Musicians from the Met Orchestra
Jennifer Johnson Cano, mezzo-soprano
Kevin Puts, host

Program

Kevin Puts — Selections from The Hours

Mozart — "Non più di fiori," from La clemenza di Tito

Kevin Puts — Credo

Kevin Puts — Seven Seascapes

Kevin Puts — Of All the Moons

Shostakovitch: Trio for violin, cello & piano, Op. 8
Brahms: Zwei Gesänge Op.91 for mezzo-soprano, piano & viola
Brahms: Songs for mezzo-soprano and piano
Von Ewiger Liebe Op. 42
Unbewegte Laue Luft Op. 57 No.8
Chausson: Chanson Perpetuelle, for mezzo-soprano, piano & string quartet
Elgar: Quintet for piano and strings, Op. 84

Jennifer Johnson Cano, mezzo- soprano
Kobi Malkin, violin
Carmit Zori, violin
Misha Amory, viola
Tony Rymer, cello
Janice Carissa, piano

Hilary Purrington
Words for Departure

Walker
Lilacs

Beethoven
Symphony No. 9

Nathalie Stutzmann, Conductor

Talise Trevigne, Soprano

Robin Tritschler, Tenor

Leon Košavić, Baritone

Atlanta Symphony Orchestra Chorus

Hilary Purrington
Words for Departure

Walker
Lilacs

Beethoven
Symphony No. 9

Nathalie Stutzmann, Conductor

Talise Trevigne, Soprano

Robin Tritschler, Tenor

Leon Košavić, Baritone

Atlanta Symphony Orchestra Chorus

Hilary Purrington
Words for Departure

Walker
Lilacs

Beethoven
Symphony No. 9

Nathalie Stutzmann, Conductor

Talise Trevigne, Soprano

Robin Tritschler, Tenor

Leon Košavić, Baritone

Atlanta Symphony Orchestra Chorus