White Shirt Monday: Wenn eine Sach’ ein End’ hat

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[“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.

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[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]

28 thoughts on “White Shirt Monday: Wenn eine Sach’ ein End’ hat

  1. Getting ready for the big night! We toured the front of the house this morning, and I’m glad, because I was so overwhelmed by joy I could barely stand. I am sure tonight will be more swooning than anything, but I will let you know what we see.

    Stop all the clocks, indeed. Oh if only.

    Liked by 4 people

    1. but so many more great moments to come, so no stopping the clocks. And I think it is impossible to enjoy this more than you do. 😉 Loving the hourly updates over at your fangirl resistance place, too.

      Liked by 1 person

      1. Yes, as soon as I wrote that about stopping the clocks I thought, “Yes, but where?” 😊 You can’t, actually, and have the actual experience. 😊 And we are here for that, so bring it!

        Liked by 3 people

  2. I totally plan on watching this the minute it’s available on Met On Demand. Would love to do it with you all if others are into it!

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    1. Sure! And I suspect this one might make an appearance in less capitalist surroundings, too. But on demand would be fine; I’d do a liveblog.

      Liked by 1 person

      1. Whatever works for the most amount of people! I found myself wondering how to arrange childcare so I could go see the Live in HD, when I gleefully realized that Live in HD meant Internet availability down the road!

        Liked by 1 person

      1. It would be great if you could make it, too, Laura! We will have to coordinate dates on a bigger scale for this.

        >

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  3. I had connectivity issues so didn’t get to comment here during, managed just to get my posts posted at my place. 😊 But I hope we all get to watch this together because I have a lot to say! Besides swooning, haha!

    Liked by 2 people

    1. Probably for the move from 1750 to 1911? But otherwise: my thoughts exactly. 😉 (currently traveling through fog and snowfall to make it to a certain Ariodante tonight – scenery in front of my train window is WILD)

      >

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      1. That surely looks very interesting in terms of staging, too bad there will likely be no video. Looking forward to your review and your impressions on Dumaux live, have fun!

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        1. Not Dumaux, sadly, he’s already in another production, but we’ll get to his Polinesso next Feb in Vienna, multiple times.
          Haller is supposed to be very good (she was also the Ruggiero) in the latest Wieler/Morabito Alcina rerun, but I’m really primarily going for the staging (friend had a spare ticket and I said ‘I have absolutely no time, but yes!’ – current paper (I hate footnote formatting on the tablet) is suffering a little from pithy mood due to overstuffed ICE, but at least I am productive).

          Liked by 1 person

          1. don‘t want to make you envious (or only a tiny little bit 😉 – shall have the pleasure to hear him as Polinesso in Salzburg one day before Clemenza. But no reason at all to envy me, broke my ellbow last week…

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            1. oh, so sorry to hear that – in your case, that must be sort of worse than breaking a leg?! I hope it’s a clean fracture, and that you’ll recover quickly.
              (at least it won’t hinder you in enjoying the Dumaux Polinesso!)

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    2. I would say not at all as plushy as it seems. Will be sharing more thoughts about this soon at my own place, but I don’t think it’s only the shift to 1911. Carsen makes some distinctive choices about that shift.

      Suffice to say as we were walking out at the end, an older patron said “some productions they should just never get rid of.” She didn’t seem pleased with the new one. 🙂

      Liked by 1 person

  4. How odd, that until this conversation the thought never occurred, as surely it did to von Hofmannsthal –
    Werd ich zum Augenblicke sagen:
    Verweile doch! du bist so schön!
    Dann magst du mich in Fesseln schlagen,
    Dann will ich gern zugrunde gehn!
    Dann mag die Totenglocke schallen,
    Dann bist du deines Dienstes frei,
    Die Uhr mag stehn, der Zeiger fallen,
    Es sei die Zeit für mich vorbei!

    With HD, of course, nothing need be mit dieser Stund vorbei.
    In that line, slow progress through this text finds it interesting:
    http://blogs.faz.net/central/2013/12/30/die-aelteste-inszenierung-im-repertoire-der-met-285/

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    1. Thank you for the article – the art of side clause shade exercised to perfection.

      On the Faustian note: both written by men if privilege, one within a more imminent situation of loss of social structure, yet the male character projects (impossible) perfection into the future, to then recognize it in the labor of others, while female character is afraid of losing a happiness she HAS claimed and keeps claiming for herself as a lived reality.

      Liked by 1 person

  5. Very true – and in its truth, a structural basis for the Gretchen story, otherwise less ambitious than Faust’s self-presentation before it. The Marschallin, of course, understands the limits on both sorts of desire.

    Liked by 1 person

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