25/26 CLASSICAL SERIES
“EMILY – NO PRISONER BE”
THURSDAY, FEBRUARY 12, 2026 | 7:30 PM
SHANNON HALL AT MEMORIAL UNION
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WRITTEN FOR JOYCE DIDONATO AND TIME FOR THREE MUSIC BY KEVIN PUTS POETRY BY EMILY
DICKINSON
“I do not cross my father’s ground for any house or town.”
“I shall not live in vain.”
1. They shut me up in Prose –
2. I was the slightest in the House –
3. The Soul selects her own Society
4. Again – his voice is at the door –
5. Interlude No. 1
6. I dwell in Possibility –
7. I felt a Funeral, in my Brain
8. A bee I personally knew [Bee Scherzo No. 1]
9. Because I could not stop for Death –
10. I reason, Earth is short –
11. A little Snow was here and there
12. I tie my Hat – I crease my Shawl –
13. “Hope” is the thing
14. Interlude No. 2
15. The Props assist the House
16. There is a solitude of space
17. Could I but ride indefinite [Bee Scherzo No. 2]
18. So sets its Sun in Thee
19. Her face
20. Tell Her
21. His Feet are shod with Gauze – [Bee Scherzo No. 3]
22. Wild Nights!
23. There is another sky
24. ‘Tis true – They shut me in the Cold –
25. If I can stop one Heart from breaking
26. No Prisoner be –
They shut me up in Prose –
As when a little Girl
They put me in the Closet –
Because they liked me “still” –
Still! Could themself have peeped –
And seen my Brain – go round –
They might as wise have lodged a Bird
For Treason – in the Pound –
Himself has but to will
And easy as a Star
Look down upon Captivity –
And laugh – No more have I –
I was the slightest in the House –
I took the smallest Room –
At night, my little Lamp, and Book –
And one Geranium –
So stationed I could catch the Mint
That never ceased to fall –
And just my Basket –
Let me think – I'm sure –
That this was all –
I never spoke – unless addressed –
And then, 'twas brief and low –
I could not bear to live – aloud –
The Racket shamed me so –
And if it had not been so far –
And any one I knew
Were going – I had often thought How noteless – I could die –
The Soul selects her own Society –Then – shuts the Door –
To her divine Majority –
Present no more –
Unmoved – she notes the Chariots – pausing –
At her low Gate –
Unmoved – an Emperor be kneeling
Upon her Mat –
I've known her – from an ample nation –Choose One –
Then – close the Valves of her attention –Like Stone –AGAIN – HIS VOICE IS AT THE DOOR
Again – his voice is at the door –
I feel the old Degree –
I hear him ask the servant
For such an one – as me –
I take a flower – as I go –
My face to justify –
He never saw me – in this life –
I might surprise his eye!
I cross the Hall with mingled steps –
I – silent – pass the door –
I look on all this world contains –
Just his face – nothing more!
We talk in careless – and it toss –
A kind of plummet strain –
Each – sounding – shyly –
Just – how – deep –
The other’s one – had been –
We walk – I leave my Dog – at home –
A tender – thoughtful Moon –
Goes with us – just a little way –
And – then – we are alone –
Alone – if Angels are “alone” –
First time they try the sky!
Alone – if those “veiled faces” – be –
We cannot count – on High!
I’d give – to live that hour – again –
The purple – in my Vein –
But He must count the drops – himself –
My price for every stain!
I dwell in Possibility –
A fairer House than Prose –
More numerous of Windows –
Superior – for Doors –
Of Chambers as the Cedars –Impregnable of eye –
And for an everlasting Roof
The Gambrels of the Sky –
Of Visitors – the fairest –For Occupation – This –
The spreading wide my narrow Hands
To gather Paradise –
Because I could not stop for Death –
He kindly stopped for me –
The Carriage held but just Ourselves –And Immortality.
We slowly drove – He knew no haste And I had put away
My labor and my leisure too, For His Civility –
We passed the School, where Children strove At Recess – in the Ring –
We passed the Fields of Gazing Grain –
We passed the Setting Sun –
Or rather – He passed Us –
The Dews drew quivering and Chill –
For only Gossamer, my Gown –
My Tippet – only Tulle –
We paused before a House that seemed A Swelling of the Ground –
The Roof was scarcely visible –The Cornice – in the Ground –
Since then – ’tis Centuries – and yet Feels shorter than the Day I first surmised the Horses’ Heads Were toward Eternity –
A single Clover Plank Was all that saved a Bee
A Bee I personally knew From sinking in the sky –
’Twixt Firmament above And Firmament below
The Billows of Circumference Were sweeping him away –
The idly swaying Plank Responsible to nought
A sudden Freight of Wind assumed And Bumble Bee was not –
This harrowing event Transpiring in the Grass Did not so much as wring from him
A wandering “Alas” –
I felt a Funeral, in my Brain, And Mourners to and fro Kept treading – treading – till it seemed That Sense was breaking through –
And when they all were seated, A Service, like a Drum –Kept beating – beating – till I thought My mind was going numb –
And then I heard them lift a Box And creak across my Soul
With those same Boots of Lead, again, Then Space – began to toll,
As all the Heavens were a Bell, And Being, but an Ear, And I, and Silence, some strange Race, Wrecked, solitary, here –
And then a Plank in Reason, broke, And I dropped down, and down –And hit a World, at every plunge, And Finished knowing – then –
I reason, Earth is short –And Anguish – absolute –And many hurt, But, what of that?
I reason, we could die –The best Vitality
Cannot excel Decay, But, what of that?
I reason, that in Heaven –Somehow, it will be even –Some new Equation, given –But, what of that?
A little Snow was here and there Disseminated in her Hair –
Since she and I had met and played Decade had gathered to Decade –
But Time had added not obtained Impregnable the Rose
For summer too indelible Too obdurate for Snows –
I tie my Hat – I crease my Shawl –Life’s little duties do – precisely –
As the very least Were infinite – to me –
I put new Blossoms in the Glass –And throw the old – away –
I push a petal from my gown
That anchored there – I weigh
The time ’twill be till six o’clock
I have so much to do –
And yet – Existence – some way back –
Stopped – struck – my ticking – through –
We cannot put Ourself away
As a completed Man
Or Woman – When the Errand’s done
We came to Flesh – upon –
There may be – Miles on Miles of Nought –
Of Action – sicker far –
To simulate – is stinging work –
To cover what we are
From Science – and from Surgery –
Too Telescopic Eyes
To bear on us unshaded –
For their – sake – not for Ours –
Twould start them –
We – could tremble –
But since we got a Bomb –
And held it in our Bosom –
Nay – Hold it – it is calm –
Therefore – we do life’s labor –
Though life’s Reward – be done –
With scrupulous exactness –
To hold our Senses – on –
“HOPE” IS THE THING
“Hope” is the thing with feathers –That perches in the soul –
And sings the tune without the words –
And never stops at – all –
And sweetest – in the Gale – is heard –And sore must be the storm –That could abash the little Bird That kept so many warm –I’ve heard it in the chillest land –And on the strangest Sea –Yet, never, in Extremity, It asked a crumb – of Me.
The Props assist the House Until the House is built And then the Props withdraw And adequate, erect, The House support itself And cease to recollect The Augur and the Carpenter –Just such a retrospect Hath the perfected Life –A Past of Plank and Nail And slowness – then the scaffolds drop Affirming it a Soul –
There is a solitude of space
A solitude of sea
A solitude of death, but these Society shall be Compared with that profounder site That polar privacy
A soul admitted to itself –Finite Infinity.
I BUT RIDE INDEFINITE [INSTRUMENTAL; BEE SCHERZO NO. 2]
Could I but ride indefinite
As doth the Meadow Bee And visit only where I liked And No one visit me
And flirt all Day with Buttercups And marry whom I may And dwell a little everywhere Or better, run away
With no Police to follow Or chase Him if He do Till He should jump Peninsulas To get away from me –
I said But just to be a Bee Upon a Raft of Air
And row in Nowhere all Day long And anchor off the Bar
What Liberty! So Captives deem Who tight in Dungeons are.
SO SET ITS SUN IN THEE
So set its Sun in Thee What Day be dark to me –What Distance – far –
So I the Ships may see That touch – how seldomly –Thy Shore?
Her face was in a bed of hair,
Like flowers in a plot –
Her hand was whiter than the sperm
That feeds the sacred light.
Her tongue more tender than the tune
That totters in the leaves –
Who hears may be incredulous, Who witnesses, believes.
Going – to – Her!
Happy – Letter! Tell Her –
Tell Her – the page I never wrote!
Tell Her, I only said – the Syntax –
And left the Verb and the Pronoun – out!
Tell Her just how the fingers – hurried –
Then – how they – stammered – slow – slow –
And then – you wished you had eyes – in your pages –
So you could see – what moved – them – so –
Tell Her – it wasn’t a practised Writer –
You guessed –
From the way the sentence – toiled –
You could hear the Bodice – tug – behind you –
As if it held but the might of a child!
You almost pitied – it – you – it worked so –
Tell Her – No – you may quibble – there –
For it would split Her Heart – to know it –
And then – you and I – were silenter!
Tell Her – Day – finished – before we – finished –And the old Clock kept neighing – “Day”! And you – got sleepy – and begged to be ended –What could – it hinder so – to say?
Tell Her – just how she sealed – you – Cautious! But – if she ask “where you are hid” – until the evening –[Ah!] Be bashful!
Gesture Coquette –And shake your Head!
Wild Nights – Wild Nights! Were I with thee Wild Nights should be Our luxury!
Futile – the winds –
To a heart in port –Done with the Compass –Done with the Chart!
Rowing in Eden –Ah, the sea!
Might I but moor – tonight –In thee!
There is another sky, Ever serene and fair, And there is another sunshine,
Though it be darkness there; Never mind faded forests, [Austin,] Never mind silent fields –
Here is a little forest, Whose leaf is ever green; Here is a brighter garden, Where not a frost has been; In its unfading flowers
I hear the bright bee hum: Prithee, my brother, Into my garden come!
’TIS TRUE – THEY SHUT ME IN THE COLD –
’Tis true – They shut me in the Cold –But then – Themselves were warm And could not know the feeling ’twas –Forget it – Lord – of Them –
Let not my Witness hinder Them In Heavenly esteem –
No Paradise could be – Conferred Through Their beloved Blame –
The Harm They did – was short – And since Myself – who bore it – do –Forgive Them – Even as Myself –Or else – forgive not me –
If I can stop one Heart from breaking, I shall not live in vain; If I can ease one Life the Aching, Or cool one Pain, Or help one fainting Robin Unto his Nest again, I shall not live in vain.
NO PRISONER BE –
No Prisoner be –Where Liberty –[Her]self – abide with Thee –
Emily – No Prisoner
Be emerged through my collaboration with great performers from two different realms. The Hours—an opera based on the novel by Michael Cunningham with a libretto by Greg Pierce—was commissioned by the Metropolitan Opera and featured a trio of stars including Joyce DiDonato, who created the role of Virginia Woolf to rapturous acclaim. My creative work during the Covid-19 pandemic toggled between this mammoth project and another: a triple concerto called Contact for the dynamic string trio Time for Three. At some point during our work on Contact, the members of Time for Three (Nicolas Kendall, violin and vocals; Charles Yang, violin and vocals; Ranaan Meyer, bass and vocals) and I realized we were having too much fun and needed to look ahead to another project in the near future. When the idea of an album of songs arose, I had just the singer in mind! I had a strong feeling the deep musical intuition, largerthan-life personalities and fiercely creative minds of all four of these powerhouse artists might gel in a very special way. I wasn’t wrong.
But an album of songs based on what text? I stumbled upon this poem of Emily Dickinson and had the answer:
They shut me up in Prose –
As when a little Girl
They put me in the Closet –
Because they liked me “still” –
Still! Could themself have peeped –
And seen my Brain – go round –
They might as wise have lodged a Bird
For Treason – in the Pound –
Himself has but to will
And easy as a Star
Look down upon Captivity –
And laugh – No more have I –
Though Juilliard- and Curtis Institute–trained players of the highest caliber, the musicians of Time for Three exude the energy of a rock/ pop concert at its most exhilarating. I could imagine this energy right from the start, with “shredding” violin virtuosity ushering in Joyce’s first lines. The trio could even sing back her lines in counterpoint and provide harmonic support in the manner of Aretha Franklin’s backup singers. In short, I could see from the start this wasn’t going to be your grandmother’s Emily Dickinson song cycle.
The breadth of the entire work became vaguely apparent in my mind: a rather massive journey through Dickinson’s poetry framed by her refusal to be contained in “prose,” or—put less poetically—within the confines of conventional religious ideology, societal norms of the era, traditional social conventions, or even sexual identity. Though she famously cloistered herself in a room in her father’s house for much of her life, she would be a prisoner of nothing and no one.
To be sure, there is nothing groundbreaking in the choice to set Emily Dickinson’s poetry to music, and admittedly my mention of it caused a few eyes to roll in the early stages. In fact, according to David Nirenberg, director of Princeton’s Institute for Advanced Studies, who graciously hosted the five of us for two immensely productive workshops, there have been over 3,000 musical settings of Emily Dickinson’s poetry. It positively cries out to be sung. There is music in every line, every word, and in the spaces between the words. It inspires rhythm, harmony, melody, musical atmosphere—it leaps off the page in a way composers have been unable to resist.
So I simply began to set poems—some well-known, some more obscure—as I discovered them, writing quickly and with little sense of where each song might eventually appear sequentially in the cycle. This approach to form represented a departure from the way I normally work, and frankly, it made me nervous. Not until I began workshopping the various songs with Joyce and Time for Three did I discover we could allow the music to dictate the course of things. Historians have relied on Dickinson’s handwriting to make rough
guesses as to when in her life a poem was written, but we do not know the precise order. It seems she wrote them as the spirit moved her. So once I disavowed myself any obligation to preserve chronology or give the work a sequential thematic structure, isolated songs began to coalesce into small groups of songs.
Dickinson enjoyed a particular fascination with bees, judging from the number of poems written about them, so I found myself composing “bee scherzos” which serve the dual function of showcasing Time for Three’s virtuosity and giving Joyce’s voice a much-needed rest during this rather colossal cycle. In fact, I was delighted to find that, in her indispensable book Dickinson, Helen Vendler fittingly describes the following as a “winsomely playful scherzo”:
Bee! I'm expecting you! Was saying Yesterday To Somebody you know That you were due –
The Frogs got Home last Week –Are settled, and at work –Birds, mostly back –The Clover warm and thick –You’ll get my Letter by The seventeenth; Reply Or better, be with me –Yours, Fly.
These scherzos also serve as connective material between clusters of songs. Sometimes I even found myself flipping through Dickinson’s 1,800 poems to find one whose musical setting might close a “gap” in a similar way within the arc of the whole piece.
Though the intention of a poem like the wonderful “I dwell in Possibility –” is clear enough, others are more resistant to interpretation, at least for this composer. Again to quote Vendler, “like all capacious writers, she baffles complete understanding,” yet these more enigmatic offerings often create the most alluring space for musical setting. For example, the following:
So set its Sun in Thee
What Day be dark to me –
What Distance – far –
So I the Ships may see
That touch – how seldomly –
Thy Shore?
There is the sense of longing for something just out of reach, and there is the setting sun and the gentle rhythm of the tide. And for me, that is enough.
In my program note for The Hours, I described a rather metaphysical experience after spending so much time considering the predicaments and motivations of Virginia Woolf, albeit through a second-hand incarnation of the great writer formed in the mind of Michael Cunningham. It truly began to feel as if she was in the room with me as I grafted melodies and harmonies onto her story. I experienced something similar with the ghost of Georgia O’Keeffe as I mined hundreds of her letters to create The Brightness of Light for Renée Fleming. Emily Dickinson also stopped by my little third-floor office in Yonkers, New York (it’s getting crowded up here!). And when I visited Dickinson’s house in Amherst, Massachusetts, in summer 2024, I felt an odd familiarity and sense of recognition, though undoubtedly one formed by my own projecting and romanticizing. But this is, after all, what we do with our heroes.
—Kevin Puts
EMILY – NO PRISONER BE
Kevin Puts – Composer
Joyce DiDonato – Mezzo-Soprano
Time For Three – String Trio
Ranaan Meyer: Double Bass / Vocals
Nicolas Kendall: Violin / Viola / Vocals
Charles Yang: Violin / Vocals
Andrew Staples – Director, Lighting, & Sound Designer
Lars Braun – Stage Manager
William Reynolds – Lighting Designer
Colin Egan – Sound Engineer
Askonas Holt – Tour Management & Producer
Park Avenue Artists – Time For Three General Management
David Ross – Time For Three Tour Management
Metamorphoza – Dress Designer
Joyce DiDonato, Ranaan Meyer, Nicolas Kendall, Charles Yang – Producers
The creation of “Emily – No Prisoner Be” was made possible by the Lead Commissioner, Bregenzer Festspiele and Co-Commissioners Cal Performances at University of California, Berkeley, and University of California, Santa Barbara Arts & Lectures.
MEZZO-SOPRANO
Winner of multiple Grammy Awards and an Oliver Award, Joyce DiDonato entrances audiences across the globe in recitals, appearances with major orchestras, and on the operatic stage.
Her 2025–26 season includes season-opening concerts for both the Minnesota Orchestra and Montreal’s Orchestre Métropolitain, as well as with the St. Louis Symphony Orchestra in a Kevin Puts world premiere, House of Tomorrow. She returns to Musikkollegium Winterthur for performances of Rachel Portman’s Another Eve, and collaborates with Radio France for Mahler’s Rückert-Lieder in Paris and Dijon. She reunites with pianist Craig Terry for recitals at the Grand Théâtre de Genève and Suntory Hall Tokyo. DiDonato embarks on her first major tour of Australasia with the Melbourne Symphony Orchestra, Tasmania Symphony Orchestra, and New Zealand Symphony Orchestra. In the United States, she makes her Lincoln Center Theater stage debut as The Mother in Amahl and the Night Visitors, and makes her much-anticipated role debut at the Metropolitan Opera in Kaija Saariaho’s Innocence. Concert appearances include Mahler’s Symphony No. 2 with Yannick Nézet-Séguin and The Philadelphia Orchestra, and Mahler’s Symphony No. 3 with the Berliner Philharmoniker.
As DiDonato’s latest project, EDEN, completed a ground-breaking three years of global touring, the anticipation is only building for her next album release and touring project. The newly commissioned song cycle on this evening’s program had its world premiere at Bregenzer Festspiele in August 2025, with further performances across the USA, including Kansas City, Chicago, and New York’s Carnegie Hall.
Grammy- and Emmy-winning ensemble Time for Three (TF3) defies convention and boundaries, merging classical, Americana, and singersongwriter traditions into a singular, remarkable sound. Consisting of Ranaan Meyer (double bass, vocals), Nicolas “Nick” Kendall (violin, vocals) and Charles Yang (violin, vocals), TF3 captivates audiences worldwide with their virtuosic playing and insatiable appetite for creativity that expands typical perceptions of a string trio.
TF3 appears this season with The Philadelphia Orchestra and Marin Alsop, Louisville Orchestra and Teddy Abrams, and St. Louis Symphony Orchestra and Stéphane Denève. Their repertoire includes their newest commissioned concerto by composer Mason Bates, which received its premiere at Arizona
Musicfest, with subsequent performances with San Francisco Symphony and The Philadelphia Orchestra at Saratoga Performing Arts Center. TF3 also embarks with mezzo-soprano Joyce DiDonato on a project titled Emily – No Prisoner Be. Written by Kevin Puts and inspired by the vivid and introspective poetry of Emily Dickinson, the project received its world premiere at the Bregenzer Festspiele and will visit Carnegie Hall and other top venues across the U.S. this season.
TF3 won a Grammy Award for their album Letters for the Future, released by Deutsche Grammophon and featuring works by Kevin Puts and Jennifer Higdon, both recorded with The Philadelphia Orchestra. The trio has enjoyed additional collaborations with Ben Folds, Natasha Bedingfield, Branford Marsalis, Joshua Bell, Chris Brubeck, William Bolcom, and Arlo Guthrie.
TF3’s solo shows have been praised for their “joy, mastery, creativity and supreme artistry” (The Strad). Their concert special, Time for Three in Concert, was produced by PBS and earned the trio an Emmy Award.
The musicians’ affinity for creative boundary pushing, commitment to encouraging the next generation of musicians, and relentless pursuit of musical excellence has solidified them as one of the most exceptional groups on the scene today.
Pulitzer Prize– and Grammy-winning composer Kevin Puts has established himself as one of America’s leading composers, gaining international acclaim for his “plush, propulsive” music (The New York Times), and described by Opera News as “a master polystylist.” His work has been commissioned and performed by leading organizations around the world, including the Metropolitan Opera, Philadelphia Orchestra, Carnegie Hall, Opera Philadelphia, Minnesota Opera, and many more. He has collaborated with leading artists such as Renée Fleming, Joyce DiDonato, Joshua Bell, Yannick Nézet-Séguin, Marin Alsop, and Stéphane Denève, among many others.
In March 2022, Puts’ fourth opera, The Hours, had its world premiere on the concert stage by The Philadelphia Orchestra under the baton of Yannick Nézet-Séguin, and was hailed as a “historic event ... with a lush orchestration that hits you in the solar plexus” (The Philadelphia Inquirer). The Hours premiered to sold-out houses as a fully staged production at the Metropolitan Opera in November 2022, starring sopranos Renée Fleming and Kelli O’Hara, and mezzo-soprano Joyce DiDonato, and was called “a stunning triumph” by Variety magazine. The opera’s revival in May 2024 marked the first instance in the Metropolitan Opera’s history of a work returning the season after its premiere. Puts was invited to perform the final trio from the opera at the 2024 Grammy Awards, accompanying its three leading ladies on the piano.
Puts’ breakthrough opera Silent Night—for which he was awarded the 2012 Pulitzer Prize following its 2011 premiere by Minnesota Opera—was heralded
as “remarkable” (The New York Times) and “stunning” (Twin Cities Examiner), and has become one of the most-performed contemporary operas. Puts is known for other major works, including The Brightness of Light, a multi-media orchestral song cycle based on the letters of Georgia O’Keeffe, featuring Renée Fleming and Rod Gilfry, which premiered at Tanglewood in 2017 and received performances across the United States by the Boston Symphony Orchestra, New York Philharmonic, Los Angeles Opera, and many others. Written for Time for Three, his triple concerto Contact had its world premiere in March 2022 with the Florida Orchestra and subsequently received performances around the world. A recording of the piece by The Philadelphia Orchestra and conductor Xian Zhang was released on the Deutsche Grammophon album Letters for the Future and was awarded Best Contemporary Classical Composition at the 2023 Grammy Awards. Based on The Prophet by Kahlil Gibran, his House of Tomorrow for mezzosoprano soloist, chorus, and orchestra was commissioned by the Saint Louis Symphony Orchestra to commemorate the reopening of its renowned Powell Hall and was premiered in September 2025, led by music director Stéphane Denève with Joyce DiDonato as soloist.
Mr. Puts was named Musical America’s Composer of the Year in 2024. Since 2006, he has been a member of the composition faculty at the Peabody Institute. He also serves as Distinguished Visiting Composer at the Juilliard School as well as director of the Minnesota Orchestra Composer’s Institute. All works by Kevin Puts are published worldwide by G. Ricordi & Co., New York, a Universal Music Publishing Classics & Screen company.
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