White Shirt Monday: Trajectories

Reasons to smile this summer, or “appropriate reaction in case Vitellia is trying to get into your pants”: Dorothea Maria Marx (Vitellia) and Mareike Morr (Sesto) in the Tobias Ribitzki staging of Mozart’s “La clemenza di Tito” for Staatstheater Hannover, Hannover 2016.]

There is a German saying about Hannover: It’s a good place to switch trains. Not to get off the train.

“You didn’t get off in Hannover this June”, a friend from the area wrote to me, as I had travelled past his turf, on the issue of this “Tito” production (which shows that Ribitzki has worked with Ingo Kerkhof, to whom we owe some very nice White Shirt memories).

…I guess I could have.

Summer White Shirt spirit in the trailer linked above (I swear, the singers and directors are getting younger and younger – eventually this blog will turn into an Opera Cougar space where I will make inappropriate comments about cute mezzo sopranos half my age and shake my cane at the ideas of fresh-faced directors who could likely be my children. I’m hard at work towards the “funny little hats and eccentric attitude” stage of life that will allow me my tone and the whole bottle of schnapps at family Christmas reunions to keep me quiet or else), and a few more caps for your enjoyment below:

Since there should be symmetry in relationships, have some more trajectory with intent (and more reasons to smile):

tito hannover 07.png

[If “Tristan & Isolde” were a 19th century French operetta, this would be Act II. Possibly, there would be  only Act II, and Brangäne would make the hors d’oeuvres and eyes at the Shepherd Boy. Who would also be sung by a girl. And we’d all get Offenbach. – Mareike Morr (Sesto) and Dorothea Maria Marx (Vitellia) in Mozart’s “La clemenza di Tito”, Hannover 2016]

tito hannover 01.png

(To quote an old friend of Jewish faith: “…and as any Jewish mother would say to you when presenting something to you on a silver platter: Take two. They’re small.” (which is a quote that fits into an amazing amount of situations) – Dorothea Maria Marx (Vitellia) and Hanna Larissa Naujoks (Annio) proving that villainous Roman sopranos get all the ladies action; “La clemenza di Tito”, Hannover 2016.]

tito hannover 05.png

[Reasons to smile, reasons to scream: Potayto, Potahto. – Mareike Morr (Sesto) and Dorothea Maria Marx (Vitellia) in Mozart’s “La clemenza di Tito”, Hannover 2016]

tito hannover 06.png

[Sesto apparently having an idea: eager White Shirt mind hard at work. – Also: Is it just me or is Marx channlelling a fair amount of Paget Brewster here?!
– Mareike Morr (Sesto) and Dorothea Maria Marx (Vitellia) in Mozart’s “La clemenza di Tito”, Hannover 2016]

tito hannover 04.png

[Same, Sesto. Same. – Mareike Morr (Sesto) and Dorothea Maria Marx (Vitellia) in Mozart’s “La clemenza di Tito”, Hannover 2016]

Ah, isn’t it lovely to be back at the office Mac with its ginormous screen and its capping function.

6 thoughts on “White Shirt Monday: Trajectories”

  1. Sesto’s hair is weird, Vitellia’s dress looks immensely uncomfortable, but that top pic is, well, yes. Also, they seem to be having an awful lot of fun for an opera seria. 🙂


    1. I still can’t get over how young the Sesto and the director are. But I still prefer the real hair to a wig – a much less stilted feel (perhaps also adding to the “fun” part?)



    2. judging by the high/oblique cut it shouldn’t be as uncomfortable as it appears. I for one like it a lot (not sure I’d wear it… though making corsets is one of the most rewarding fashion exercises, I have found. Rewarding in many ways 😉 ).

      anyway, wow, such good times in Tito! Someone must’ve spiked their drinks at Tito’s Vesuvius party or something. I would love to see this. There’s definitely an operetta feel about it, ha.

      They could stage Ma che, sempre l’istesso?? with Sesto closing Vitellia’s corset and then playfighting and Vitellia saying “nah, I’m kidding, I don’t really like Tito, I just wanted to see what you’ll say.” Then Sesto goes into Come ti piace imponi just to show how chivalrous he is which makes her change her mind “you know what, maybe you should kill Tito after all.” And after Parto she turns to us and instead of Vedrai, Tito, vedrai she says “I just sent him off because he’s so hot when he gets all murderous!” And Vengo! Aspetatte! Sesto! is played to the tune of the cancan. Then they can have that ambiguous erotic interaction during the Act I finale (she can slip her hand in funny places when she tells him Taci, forsennato!). I know, I get carried away… But I enjoyed the Hanover joke!


      1. Le clemenzeretta di Tito! You should get on that, dehggi. I particularly look forward to the First Act finale “murder can-can” with something à la “we burn, we burn the campidoglio, lalalalalalala…”


        Liked by 1 person

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