[This is why. – Natascha Petrinksy as Countess Geschwitz in Berg’s “Lulu”, Bruxelles 2012.]
Warning ahead: This is not a very substantial post. At all. This is merely celebrating Natascha Petrinksy and the costume department of La Monnaie for a Geschwitz look that was distracting me from the performace-analyzing I was trying to do. And I mean that in the best possible way.
For starters, I didn’t know whether to tag this post “hot mezzos in skirts” or “hot mezzos in pants”, since that Act 3 outfit didn’t involve either:
(Act III appearance, London scene, bringing the painting of Lulu)
(Act III, London scene)
And then there was a whole lot of uncanny resemblance to Lana Parrilla’s Regina going on – including some Snow (*snicker*) Magic:
…some Royal Remorse:
..some shaking fists at the Season of Great Separation:
…some “I’ll be holding onto that gun in Sheriff Swan’s absence”:
…and, quite possibly, some really freaky Magic of
Backlines are the new necklines:
(Act II, Virgo shares scene)
Did I already mention legs?
(Act II, at the Schöns’)
Uhm, what legs?
(Act II – “Ich muss gehn, Frau Doktor”)
Either way, my new SwanQueen headcanon is that once, before settling on bland Daniel, Regina fell through the rabbit hole due to some of Cora’s magic and ended up in a world where everyone was singing dedecaphony and she fell in love with a no-nonsense blonde (because Regina has a type, down to the red jacket) named Lulu, who unfortunately turned out to be a sociopath and left Regina heartbroken.
(My apologies to anyone not into Swan Queen. Just ignore my comments and simply enjoy the photospread of Natscha Petrinksy’s Countess Geschwitz instead)