Sound and Clouds and Thunder (20)

[In dire need of female-bodied authority getting things done and being smooth as hell at it, too: Sarah Connolly (Cesare) singing “Va tacito e nascosto” from Handel’s “Giulio Cesare”, Glyndebourne2005. – Clip with thanks to mariandelochs]

We already managed about a 1/10 of this. Of course, with how the environmental politics and the Supreme Court nomination is going, we may not survive the remaining 9/10 nor be allowed to talk about it while tied to a kitchen isle in Post-Apokalyptic Nepotismia.

So use your rage as fuel and channel some Cesare to outmaneuver those who disregard the planet and basic human right, and take over. It might also attract a lady to you (if that’s what you’re looking for). Plan to get engaged after winning all the midterms sustainably!

Bonus:

[Did I mention “smooth as hell”. Sarah Connolly (Cesare) singing “Non è si vago e bello” from Handel’s “Giulio Cesare”, Glyndebourne2005. – Clip with thanks to mariandelochs]

6 thoughts on “Sound and Clouds and Thunder (20)”

  1. I love Connolly in this (scratch that – I love her in everything). She nails the mature confident masculinity of Cesare, and it’s so great to see in contrast to all the boy roles out there. Now I’m going to have to see if the full opera is still up on YouTube!

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    1. the “embodying hegemonic masculinity without having the underlying female body revert it to pageboy state” is a remarkable act of commanding a reading and I am particularly in this one in awe of her technique.

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      1. I was wondering why we don’t get more performances like this – it makes me think about your earlier note about how beards seem uncommon on pants roles because they may be too real, and thus threatening. In baroque operas the pants roles are at least heroic (instead of the later roles which are very much written to be boyish), but this one seems to stand out. Perhaps because the character itself is older? Even in my formative Rinaldo, Prina thrills by serving baby butch realness, and the character is heroic but still youthful.

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        1. The character being older is a centrsl point here – in renaissance/early Baroque, the ages of men had the lover before the warrior before the politician. And opera, even Baroque opera, trades mostly in lovers, hence youth – which then snuggles up comfortably to the “but please still let it be marginalized masculinity!” On the pageboy trope.

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  2. Ah! That totally makes sense. Also reminds me of yesterday, when Melisso rebukes Ruggiero for having discarded his sword and shield. In becoming wholly a lover is Ruggiero emasculating himself (or being emasculated by Alcina) and turning the clock back from the ideal trajectory of manhood?

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