[“No shoes on the bed!”, and other imminent losses: Elīna Garanča (Octavian) in Strauss’ “Rosenkavalier”, NewYork/MET 2017. – Photo Credit: Ken Howard]
After the superlatives heaped onto this production on the website and in the just-this-side-of-fangirling reviews, I am already preemptively exhausted (why does something always have to be ‘the grandest’? Why cannot it not simply be grand, an then perhaps to some, it will be the grandest for personal reasons? Painting things in absolute ruins the finery of details).
One of the ((I call fangirl mood!) write-ups takes a very Werdenberg approach of farewell and future’s past (Artist Of The Week: Elina Garanča Says Goodbye To Trouser Roles With Octavian In ‘Der Rosenkavalier’) instead of focusing on the joys of the present.
But if we look at the entire Octavian/Marie-Theres’ set-up, much of it is a question of who is comfortable with which situation at what point in time (pro tip: stop the clocks). Since tonight, two of our crowd will be in the house/in direct contact with this show, I’ll leave the floor to their very in-the-moment happiness (feel free to hijack the entire comments’ section, ladies) – I am very curious to see where, away from the gigantic set-up and the gloss & glamor, the moving moments of this Carsen staging lie.
[The lucky coffee cup, and haven’t I seen that exact pose in Baden-Baden? Signature move! And now I won’t be able to cross-check it in a future production, darn it. – Elina Garanča (Octavian) and Renée Fleming (Marschallin )in Strauss’ “Rosenkavalier”, New York/MET 2017. – Photo Credit: Sara Krulwich/The New York Times]