[The Eisenstein morning frock from “Fledermaus”, this time not worn by a tenor
(and what if Alfred had been a mezzo?). Bonus points for the necktie. Anna Goryachova (Polina) in Stefan Herheim’s reading of Tchaikovsky’s “Pique Dame”, Amsterdam 2016.]
Timely reminder that ARTE Concert (and The Opera Platform) are livestreaming “Pique Dame” tonight, June 21st, at 6.55 p.m. (GMT+2). Mariss Janssons conducts.
It’s Herheim, so it will be thought-provoking and well-crafted and I would also watch it happily if it were entirely without mezzos and/or white shirts (I may have watched his “Rusalka” recently, and it’s simply a joy to see smart concepts and singers who engage with them).
But behold, there are white shirts! In addition to Herheim being Herheim, there is the overall angle here of staging “Pique Dame” as a Tchaikovsky biography of shorts, also addressing his queerness and the images reception history has chosen for that, down to the alleged drinking of cholera-infected water (in July, the new biography by Philipp Ross Bullock will come out, with an in-depth look into letters and diary entries – I recently heard him speak on the issue and his source material is incredible).
And in the course of this reading, we apparently a graced with not not one, but two mezzo sopranos sporting white shirts and neckties: Anna Goryachova as Polina, and, of the grande dames of Russian mezzoism, Larissa Diadkova as the Countess.
[Larissa Diadkova (The Countess) proving that white shirts and ties never go out of style and always count as an ace up your sleeve in the game. – Tchaikovsky’s “Pique Dame”, Amsterdam 2016.]