The Paris 2016 “Mitridate (Reloaded)” Liveblogging Thread


Welcome to the White Shirt live comment thread for Mozart’s “Mitridate” from Paris/TCE 2016 *excited fangirl squealing* as staged by Clément Hervieu-Léger. Emmanuelle Haïm conducts Le Concert d’Astrée.

The production is starring a lot of sopranos, a counter mezzo and two tenors: Patricia Petibon (Aspasia), Jaël Azzarretti (Arbace), Myrtò Papatanasiu (Sifare), Sabine Devieilhe (Ismene), Christophe Dumaux (Farnace), Michael Spyres (Mitridate) and Cyrille Dubois (Marzio).

The production is available via ARTE, but has the sound slightly out of sync – this is a different cut than the version aired by ARTE in February. This new version comes with a choice of French or German subtitles that you will be able to read even without your glasses.

A libretto in Italian and English can be found here (you’ll have to read around the cuts, namely in the beginning, that the Paris production makes).

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Ah conoscermi tu puoi: “Mitridate” (Paris 2016) liveblog on Saturday

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[“Is it really still two full more days?”  – “Yes, I am afraid so.” – Even Ismene is already donning a white shirt of sorts in anticipation! – Sabine Devieilhe (Ismene) and Christophe Dumaux (Farnace) in Mozart’s “Mitridate”, Paris 2016]

Casual reminder that the susual suspects will convene this Saturday, Sept 24th, at 9 p.m. (UTC+2) to liveblog the 2016 Paris “Mitridate” with each other. Invitation open to all to read and comment along.

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Swan Song: Beyond AfterEllen

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They rarely talked about opera, but when they did, it was lesbihonest: many among you readers are likely familiar with the ‘media website about queer women’s interests, as written by queer women’, AfterEllen.

It is the largest of its kind, a rainbow dinosaur that has always been a solid presence. The site got more commercial in recent years, and its stance was at times not without issues, but it has always been a place by queer women for queer women (perhaps not equally for all queer women).

It came as a complete suprise to me that by the end of tomorrow, AfterEllen will turn stop being a fully staffed, daily-active website (as reported by chief editor Trish Bendix, and long-time contributor Dorothy Snarker). It will, by the looks of it, only feature occasional new content on a freelance basis –  a fact oilily ommitted in a “False rumors!” post by AfterEllen’s parent company that now graces its front.

That sounds like a bitter and icky ending on a personal level (Bendix mentions that she wasn’t permitted to post her farewell, which informs about the new standards, on the website), and it is worrisome on an overall political level because it boils down to the same tiresome fact of the economization of everything: the site wasn’t profitable enough, so it’ll be pushed to the backburner. Simple as that. Because what could matter other than money?

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White Skirt Wednesday: Friday Night Lights (and other livestreams)

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[Queen of pretty much everything: Patricia Petibon, here as Massenet’s “Manon”, Geneva 2016. – Photo Credit: Grand Théâtre de Genève/Carole Parodi]

Remember how after that Opéra Comiqe anniversary concert, I grudgingly agreed that, for Petibon, I would even watch a “Manon” because she managed to make the character interesting and relatable? Well, guess what ARTE is livestreaming on Friday: the recent Geneva “Manon”, staged by long-time Petibon collaborator Olivier Py. (start time: 7.25 p.m., UTC+2) According to all reviews I read: do not miss!

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Contralto Notes: Iervolino in “Tamerlano” in Ambronay

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Looks like Teresa Iervolino (depicted here with Christophe Rousset) rocked the house as Andronico in Tamerlano at the Festival d’Ambronay, and was particularly celebrated by the audience!

Review of Tamerlano at “Le progres” (in French)

Quoting the review by Antonio Mafra:

Mais samedi soir, le cœur du public battait pour la mezzo-soprano (presque un contralto) italienne Teresa Iervolino (Andronico). Avec son articulation idéale, son chant incarné et sa voix ample, chacune de ses interventions a redonné de la vigueur à Haendel. Une voix qui monte.

But Saturday night, the heart of the audience was beating for Italian mezzo-soprano (almost a contralto) Teresa Iervolino (Andronico). With her idea diction, her embodied sound and her ample voice, each of her phrases gave Handel back his rightful power. A voice on the rise!

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With a little umbrella or two: “Alcina” countdown

[Anja Harteros with “Dì, cor mio”, Handel’s “Alcina”; Vienna/Staatsoper 2010. – Clip with thanks to raganellabianca1]

Friendly uncasual reminder that today, it is exactly one month until the Adrian Noble-staged “Alcina” reopens at Vienna Staatsoper on Oct. 20th, with the luxury of once more having Les Musiciens du Louvre in the pit, with Marc Monkowski at the helm (who will chiefly be in town to direct the new production of Gluck’s “Armide” with Gaëlle Arquez).

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