Review: The Prison of our Perceptions. Gluck’s “Armide” at Vienna Staatsoper (2016)


[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)”

Personal Notes on “Alcina”, Night #2


[Luminaries, Deities, Divine Figurations of Affection: as detailed in one specific aria of Handel’s “Alcina”, Vienna/Staatsoper 2016]

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Alcina Afterglow

curtain all thx to thadieu.png

[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”

Alcina 2g

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”)