Yes, I caved in at long last.
As an extension to the operatic side of Eye Bags, I am now also present on Twitter under @qlrgntte. (is ‘under’ even the right preposition? I am probably still getting this all wrong)
That handle is easily to decode as “queer lorgnette” among the regulars of this site, yet perhaps not to everyone at large. That’s fine.
Why Twitter, why now? – To blame is, in truth, that elusive “Meet in Galilee” concert performance of Alcina last Sunday. There is not much on it on the festival page itself, or its FB page. Some more can be gleaned through the channel of the graphic/video artist of the event, Naomie Kremer, while there is no mention even on the twitter account of Les Talens Lyriques or any of the involved singers – I got tuned onto this due to Iervolino being cast as Bradamante, and then Beaumont as Ruggiero… Piau got switched in in early Sept. as Alcina for Gauvin. A few visual impressions are available via Angela Calvini (thx!) on Twitter:
In short: information before and after the fact was night impossible to come by and as I awkwardly combed through Twitter mentions of the event and its participants, I realized this would be much easier if I joined up for the service. So here (or rather: here, and now also there) I am.
This Twitter will be focussing solely on the ‘queer opera love’ part of Eye Bags, simply because Eye Bags is catering to different crowds I feel I cannot unify there. (that’s also why I chose to use ‘Anik LC’ – using no name felt odd, but the full ‘Anik LaChev’ belongs foremost to my fiction writing and no matter which search engine you ask, the results will always be “lesbians in love!” (which is lovely, as results go))
Eye Bags itself is already an, at times difficult to handle, blend of overall opera and lesbian fiction (which started my online presence in the first place) and the occasional recipe – I have readers that come for the music critique and sneer at the fiction, or the queerness, or both. There are the true first readers of the early 2000s who forlornly wade through dozens of opera posts in search of my stories and yet are the only ones who get the Xena jokes. And then there are the visitors that really only came via a search engine to get a recipe and find that this is the strangest foodblog they have ever seen.
(If I get the hang of this Twitter thing, I may add an account for the fiction. Or one for academia.)
I cannot predict yet how @qlrgntte will turn out. I intend to follow bands and performers for easier updates (also for my blog writing), and to do my little part in amplifying the work of those I want to see promoted. I may say a thing or two now and then.
There will likely be some overlap between blog and Twitter – possibly sharing White Shirt Monday shots or other caps on both platforms, or tweeting some post links there/posting tweets here. Unless it will all turn out to be too much and I delete everything again. But until then, feel free to point me towards your own (queer) opera accounts or to houses, orchestras, artists and events of our shared interest.
When trying to settle on a sufficiently witty opera quote to frame this Twitter announcement (luckily, there is a slew of opera arias talking about ‘augelletti’: little birds), I stumbled across Vivaldi’s “Ercole sul Termodonte” in my library again, and across its very first duet, which takes place between two Amazons (mother and daughter, so we will have to get our ears out of the gutter):
Sereno il cielo,
e già con Flora.
Zefiro amante scherzando va:
già dalle fronde,
di nobil preda speme a noi dà.
It’s barely half a minute (starting at about 7:10 in the file above), but it’s about a happy spring day with a mild breeze, and from the bramble and from the waves, the little bird and the rushing stream do give us hope of noble prey.
It may have been 1723, but Vivaldi clearly had a foreshadowing understanding of Twitter.
The search for the duet on YT also brought be back to the promoting feature around the 2013 release of the Fabio Biondi recording. Amazons! Triple mezzo score! (Basso, Genaux, DiDonato) Historically informed Baroque!