[Does no brown after six mean that Sesto needs to take it all off except for the white shirt? And does that rule apply in Vitellia’s Roman boidoir, too? – Kate Lindsey (Sesto) in Mozart’s “La clemenza di Tito”. Paris, Théâtre des Champs-Elysées, 2014.]
In these current winter temperatures (Northern hemisphere, at least), a warm coat seems a very sensible idea. Of course, the idea of removing said coat might work even better against the winter cold.
The Paris “Clemenza” production (cool and impersonal as it came across with the interesting concept of never really allowing any privacy) by Denis Podalydès boasts a nice winter color scheme of browns and earthy tones that Kate Lindsey carries very well.
I found her to be a bit on the lightweight side for Sesto, particularly in the lower register. She sings beautifully, without strain, but is missing the color and darkness that makes e.g. Kasarova’s Sesto so fascinating to listen to. You can make up your own mind about this, as the production is still available for free streaming (no geoblocking seems to apply) at ArteLiveWeb. I particularly enjoyed the integration of Bérenice and the grand performance history of that iconic constellation.
(and yes, Lindsey does take off that coat eventually. And she also looks good in a white shirt and suspenders.)