[Negotiating attraction: Gaëlle Arquez (Armide) and Stanislas de Barbeyrac (Renaud) in Gluck’s “Armide”, Vienna/Staatsoper 2016. – Photo Credit: Michael Pöhn/Wiener Staatsoper]
What is it that draws us to a person? To what degree is gender a construction? Where do we end and where does the other person begin, and is there a space of overlap in which we can truly see each other?
Continue reading “Review: The Prison of our Perceptions. Gluck’s “Armide” at Vienna Staatsoper (2016)”
[Luminaries, Deities, Divine Figurations of Affection: as detailed in one specific aria of Handel’s “Alcina”, Vienna/Staatsoper 2016]
Continue reading “Personal Notes on “Alcina”, Night #2″
[Curtain call for Handel’s “Alcina” at Vienna Staatsoper last night – Vienna, 2016.]
Yes, this blog will eventually be less monothematic and more coherent again, but not today (sorry about the lack of White Shirt Monday this week).
But perhaps Blue Skirt Monday can be a one-time exception?
It’s a testimony to the abysmal press treatment of this re-release by the Staatsoper that there is not a single press photo to find that I could have posted with this note. But thankfully, thadieu has last night’s curtain call covered, so I took a cap from there.
Continue reading “Alcina Afterglow”
Okay, so we just chickened out at the stage door at the sight of Ms. P., who was immediately greeted by Greek acquaintances.
We did not want to barge in and resorted to quietly fainting at a respectful distance and then slinked away.
Perhaps we will be braver on Wednesday and dare to say thank you for an amazing performance.
View from the floor after passing out over “Ah mio cor” all over again.
Oh Holy God. Less technical master display today, instead immensely emotional, very powerful portrayal.
thadieu and I are still completely overwhelmed.
(actually, the first thing thadieu said after the lights went on was “I need to rebook my flight to catch the last show, too”)
Magicians Du Louvre in the house!