[Well, if you look at this out of context, it looks quite lovely, too. – Claire Boust (Younger Lady-in-Waiting (or what do we call her? Because this role as well as the Older Lady-in-Waiting assigned to Aspasia (who is portrayed by Agnès Aubé, I finally looked them both up, which was easy enough since they both have multiple acting credits, and I apologize for not doing so earlier) seem to be intended to be waiting staff, along with Mitridate’s two goons, whereas the two child actors seem to be two more of Mitridate’s children) and Sabine Devieilhe (Ismene) in Mozart’s “Mitridate”, Paris 2016.]
[Yes, I look like that at all my gal pals. – Claire Boust (Younger Lady-in-Waiting) and Sabine Devieilhe (Ismene) in Mozart’s “Mitridate”, Paris 2016.]
I know we’ve talked before about how this production emphasizes directing nearly all speech at someone, or have it framed by someone at least, and that does of course open up a lot of moments of connection and communication between all sorts of characters. It is another angle that offers layers to work with.
Come to think of it, though, Claire Boust also clearly is the closest this performance comes to integrating the smitten audience reaction: Her maid character gets to make eyes at all the ladies.
[That is some quality gal pal gazing right there, darling. – Claire Boust (Younger Lady-in-Waiting) and Patricia Petibon (Aspasia) in Mozart’s “Mitridate”, Paris 2016.]
In other news, I need a White Skirts tag. Also, since it is a ittle under two months until “Mitridate”, with a nearly entire different cast and another orchestra and conductor, will be available for free streaming from La Monnaie, there will be a weekly countdwon reminder (because the blogger may still have more screencaps than anyone would really ever need).
It appears now that it might not even be this staging?! La Monnaie mentions a “new production team chosen”, connected with le lab.
All right then. It appears that will simply get to see an all-new “Mitridate” production with two singers who also happened to appear in the Paris staging by Hervieu-Léger (which I will never be able to unsee). We will get a chance at comparing not just musical, but also scenic takes and, in two instances, the singer vs. production energy: what remains the same, what will be different…?
(of course, the most important question now remains: “Will there be The Shirt?”)