The New Yorker:

How Christian Marclay created the ultimate digital mosaic.

By Daniel Zalewski

In the spring of 2017, when Renée Fleming appeared at the Metropolitan Opera as the Marschallin in Strauss’s “Der Rosenkavalier”—one of her signature roles—onlookers believed that she was making her farewell to staged opera, or at least to that particular opera house. It hasn’t worked out that way: the sumptuous-voiced soprano returns to the Met for the world-première production of Kevin Puts’s “The Hours,” based on Michael Cunningham’s novel of the same name, alongside such luminaries as the mezzo-soprano Joyce DiDonato, the Tony-winning singer Kelli O’Hara, the conductor Yannick Nézet-Séguin, and the director Phelim McDermott. If Puts’s opera sounds anything like the song he contributed to Fleming’s recent LP, “Voice of Nature”—a twinkling, soaring piece that capitalizes on her creamy upper register—it should give her fans exactly what they’ve been waiting for.(Metropolitan Opera House; Nov. 22-Dec. 15.)

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