[ Here, have some Saturday Night thoughts on Monday morning (and that’s as much tagline as I will allow myself at this hour). – Joyce DiDonato (Romeo) in the originally Munich-premiered Vincent Boussard production of Bellini’s “I Capuleti e i Montecchi”, San Francisco 2012. – click to enlarge]
While I personally find the Boussard production somewhat stilted and aseptic the more I rewatch it (especially in the restagings), there’s no doubt that a good mezzo can make a great night even out of the no-touchy-touchy approach (but imagine how if could have been WITH some touching to boot!) – an approach which did not work for Cuzco, and the only one it did really ever work for was Heiner Müller in his Bayreuth “Tristan”, but he had Waltraud Meier a Isolde, whom you could cast as a potted plant and it would be riveting night. (Yes, this post got about 3 pop culture references away from me already. Sorry.)
If I just go by the above screeshot, I’m still not quite sure whether it is a really gay 1980s Dutchman-meets-Phantom-of-the-Opera mash-up with synthesizer orchestration (and references to the Thundercats theme song?), or a new vocal portal the OUAT cast fell through to come out with a much sexier Hook who suddenly has chemistry with his female screen partners, or possibly a visualization of Francine N Furtner of the Rocky Horror Picture Opera (“Don’t dream it, sing it.”), but I would be here for all three of the above. Repeatedly.
[Also: seriously, how much better would OUAT be with a female Hook who respects her love interests (and their love interests) AND looks good in leather and guyliner)?]
If this Flying Mezzo Dutch(wo)man would invite you onto their Belcanto Love Boat after dark, would you really throw yourself into the seas rather than into her arms?
Rhetorical questions that truly matter on Monday mornings! – Is it time for a drink yet?