White Skirt Wednesday: Swashbuckle

[Actual Disney Prince Holofernes (phrases I never thought I would utter!): Teresa Iervolino in Vivaldi’s “Juditha Triumphans”, Venice/La Fenice 2015]

Since I cheated on Monday and posted a female role (and not a trouser role) for White Shirt Monday, let me balance the scales and cheat again and post some long skirts for White Skirt Wednesday that, yes, may involve powerful women, but actually belong on warrior Holofernes, who is very much a trouser role. Cue fatal attraction.

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[a foreboding of ‘if she turns around, I will be too stunned to move’ turning into five glorious minutes of Iervolino’s Holofernes being indeed too stunned to move: Teresa Iervolino (Holofernes) and Manuela Custer (Juditha) in Vivaldi’s “Juditha Triumphans”, Venice 2015.]

I was rewatching this production today (for initial reactions, check the liveblog) and I was again blown away by how queer it can be read. I was sitting in front of my screen squealing in delight, “This is the gayest thing ever!” every few minutes, and by ‘gay’ I mean ‘lady gay’.

Vagaus and Holofernes talking about girls, while Vagaus is actually jealous and making eyes at Holofernes.
Vagaus still hitting on Abra and being tongue-tied around Juditha.
Abra and Juditha and the old ‘feudal lord and handmaiden’ trope.
Abra smoldering at anyone in sight.
And there is Francesca Ascioti showing up as the High Priest because was there not enough strutting yet?!
And then there’s Holofernes swashbuckling and skulking and scowling at everything, and staggering at the sight of Juditha.

My screen should have changed to a plaid pattern on default by the time the titles rolled.

Also, the next Disney movie called: they want their prince back.

19 thoughts on “White Skirt Wednesday: Swashbuckle”

  1. Good re-watch idea for the next days! (at the moment, most nights are occupied with warehouse 13 which became available at our streaming service and it was not even me suggesting it in the first place, but so much fun!).
    “Abra” Giulia Semenzato is managed by Allegorica I saw, so we may hope for joined projects with Prina/Invernizzi in the future?
    And can I have that title shot as a poster? Maybe thadieu can use her giant printer at work…

    Liked by 1 person

    1. ps- oh wow, now that i see that front photo on my laptop screen instead of tiny phone, yes, i’ll print a poster for myself! perhaps next time i’m heading your way, Agathe and Anik, i can drop off the poster for you 😉

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      1. We really need to get started on our 2017 opera meet-up plans. Antonacci, Hallenberg, Papatanasiu, Iervolino, DiDonato, Ciofi, Ernman, Prina, Galou, Mingardo…? Petibon?Haïm, Minkowski. Stutzmann?

        The new blog layout without the sidebar and the panorama photos was possibly the best decision of the year.

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        Liked by 2 people

      1. In conclusion, we clearly need a warehouse full of posters, with swords (or does fencing suit count?).
        You mean better just drop season 5? But we’re only at 2 yet, HG just joined the team, so hopefully some good times ahead first.

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  2. i was so happy when we finally saw thus together! was suuuch a swoony afternoon.. she could have sung Holofernes arias instead of cenerentola in that Berlin concert! (and still have the image of xpants exchanging sword with swashbuckle)

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    1. …of course Vagaus would have to be part of that Disney animated movie, too. As the token best friend. Or love interest? That was such a fun liveblog. My 2017 wish list includes hearing Iervolino live thanks to that. Holofernes would also have been a stunner at the AIDS Gala 😉

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  3. Great picture 🙂 I got Nox obscura, tenebrosa stuck in m head whilst in Paris and thadieu pointed me in Iervolino’s direction so I’ve watched the bits and pieces of it this past few days. Not bad, especially her. She’s allowed on my short Holofernes list 😉 (they should all come equipped with swords).

    Liked by 1 person

        1. …I guess that is part of the appeal? that he’s sort of non-toxic, even with the scowling?

          If I try to pinpoint it, one aspect I enjoy about Iervolino’s interpretation is that it is very physical in how the singing is tied into bodily reaction: you can *sense* what is being sung about. There is Juditha: he cannot move, turned sluggish by the sight. Before, there is the announcement of her: his pacing echoes his vocal line very clearly. I like that.

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