White Shirt Monday: Cruise on the Bounty

[Does powder-blue count, as well? Anne Sofie von Otter and Philippe Jaroussky delivering the finest moment of a very, very fine night during Handel’s “Giulio Cesare”, Salzburg 2012]

Have you recovered from last night’s “Cesare” yet (available here for 59 days longer for free – run, don’t walk in case you haven’t heard it yet. Brew yourself a fresh espresso and then look for “Son nata a lagrimar”. Instant flight to heaven!)?

And have you recovered from this morning’s “Mort de Cleopatra” with Kasarova, also from Salzburg?

Never has May be so bountiful, and never have the Salzburger Pfingstfestspiele seen so much mezzo glory at once (it surely doesn’t hurt if the director herself is one).

But there’s more mezzo lore coming up still!

Tonight, you can catch Romina Basso and contralto Delphine Galou in Metastasio’s “Olimpiade” with a mix of music from composers who all wrote their own version of the libretto. Check in at our favorite radio station, BBC3, at 8.30 p.m. (GMT+1) to enjoy the ride. Details at the link.

And BBC3 continues to shower us with mezzo and Baroque goodness alike tomorrow, May 29th, with a Handel/Purcell recital starring Alice Coote for the vocal parts, live from Wigmore Hall, srating once more at 8.30 p.m. (GMT+1) Details also over at Eyes’ place.

Seriously: best. May. Ever!

8 thoughts on “White Shirt Monday: Cruise on the Bounty”

  1. Two broadcasts absolutely meriting „Salzburger Festspiele“ as destination of origin!
    A wonderful Berlioz this morning and a magnificent „Son nata a lagrimar“ ( 01:37:50 – on Arte for the next 59 days) !

    Though I think A.Scholl does not deserve the rather negative criticism he received from several reviewers and in various blogs (not in this one) , I’d like to propose this “Giulio Cesare“ to be relabelled “Cornelia e Sesto” !

    The mise-en-scène of course could be improved though I think the Salzburg audience was a little bit too huffy. But: a blended Scotch Whisky for Cornelia?! No money left for an appropriate Single Malt ?!
    Well, probably this is why such a polymath and noble widow left that bottle on stage just darting a last glance at it before facing up to fate (01:14:50).
    Kidding aside: truly great acting!


    1. yes, the wrong whiskey! that was my first thought, too 😀 leave itto this Cornelia to act her way around it…

      As for the staging: it is a tough work to stage; I think the idea was there, but the realisation went a bit awry… but not warranting the “Frechheit!” calls from the audience.)

      A stunning festival overall – really looking forward to 2013!


  2. The Red Label, I believe, was more geopolitical verisimilitude than a failure of character. Reportedly Dick Cheney’s favorite tipple, praised by Christopher Hitchens for its reliable availability in Beirut, Baghdad, and Tripoli, Johnnie Walker would be easy to get hold of in shattered circumstances, with the good stuff left back at base. Think Curio gave it to her?
    Compared to the attractively heroic but I thought not very nuanced Cesare that Scholl gave with Rousset in Paris a few years back, this Tony Blairish self-pleasure seemed wittier and–hard to say this after the crocodile–more biting.
    A triumph for Bartoli in her new role as Captain of the Bounty; here’s what’s coming next year: http://www.salzburgerfestspiele.at/en/blog/entryid/248


    1. this puts the whiskey in the “naturalistic/realistic props” corner, I stand corrected. Nowif everything had been presented with such attention to detail…!

      Given this year’s outcome, though, I don’t think Captain Cecilia has to fear a mutiny anytime soon.


  3. Hello! I am back from Salzburg – I wanted to witness the first festival season of Ms Bartoli – I attended the opera and two concerts – “Cleopatra Tragica” (La Mort de Cleopatre by Berlioz – incredible dramatic skills of Kasarova! which also included another rare and beautiful piece – Rinaldo by Brahms) and “Cleopatra Orientale” (mostly russian progam by Valery Gergiev and the Mariinsky Orchestra – I was very impressed by the exceptional acoustics of the Grosses Festspielhaus) (where Cecilia Bartoli also participated and sang two Mozart Arias!)

    The whole event was a big success and Cecilia Bartoli must be satisfied even if the staging of the opera was criticized. Personnaly, I found it funny and one was eager to see what is coming next (but it made me unable to listen seriously to the music…) However, Philippe Jaroussky’s singing was really very beautiful (and the duet also!)


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