The Schwetzingen “Poppea” (2017) impromptu Liveblogging Thread

poppeasneakpeek.jpg

Now live from Schwetzingen on ARTE: Monteverdi’s “L’incoronazione di Poppea” with La Venexiana.

(Spontaneous liveblog, after all.)

Cast List:
Giuseppina Bridelli – Nerone
Emanuela Galli – Poppea
Xenia Mejers – Ottavia
Filippo Mineccia – Ottone
Salvo Vitale – Seneca
Luca Dordolo – Lucano
Alberto Allegrezza – Arnalta
Alessio Tosi – Nutrice
Vittoria Giacobazzi – Virtù & Damigella
Lucia Cortese – Amore & Valletto
Riccardo Pisani – Soldato & Liberto
Silvia Rosati – Fortuna & Drusilla
Sophia Patsi – Cori
Massimo Altieri – Soldato, coro familiari
Davide Benetti – Mercurio & Littore

La Venexiana
Davide Pozzi – Harpsichord, Conducting

273 thoughts on “The Schwetzingen “Poppea” (2017) impromptu Liveblogging Thread”

      1. yeah, but you know, after my Carnegie Hall experience i have a feeling you wont hear straining much any more because everything will be geared toward the microphone rather than in-haus projection. This is how thinner singers will be picked more often as well, for the camera…

        Like

        1. yes, good point. And that was such a nice guy get–up. With flair. At times it out-cenciced the Cencic.

          Like

  1. Is that Gonzalez Toro? I swear I have met older women in Madrid with that exact gesture repertory. Also nice tone (at least in the stream)

    sorry, it is an all Italian cast (or nearly all Italian) – Alberto Allegrezza. Which would also be a fabulous Drag name. Credit where credit is due. I edited the cast list into the post now.

    Liked by 1 person

      1. can you say White Shirt ( a little big off the shoulders. Well, not everyone has a seamstress like the Prince of Pontus!)

        Like

          1. oh, and on that note, I think I have figured out what “semi-staged” means: “bring your own costume” (since there is no tie to a house and its tailoring department)

            Liked by 1 person

          2. jeah, i realized that last weekend, and would like to commend Brigdelli on thewhitr shirt! but thosebalck trousers with the strange belt needs upgrade. jeans would have been much more compelling.

            Like

          3. I guess if you’re Nerone, go for gold? And heels? – And with the oversized shoulderline, I’d say borrowed from someone (with good taste in white shirts). Or I am so old by now that I missed another ‘trend’.

            Like

          4. I’ve been sneak peeking Poppea.. but not so much.. mainly was looking for dance sequence.. and then got stuck on the duet where dancing took place..
            on that slight oversized white shirt of Nerone’s, i really like actually. it was worn with fine taste (to me at least)! untucked half way.. un-ironed and all.. nice contrast with black jeans..
            a tiny bit (un)related, since i finally put the ze gif bar, now one can admire the _other_ Nerone’s push up!

            Like

          5. next life, perhaps, This life, I am already doing the pull-up bar. With varying degrees of success.

            Like

    1. just to inform y’all , since i have listened to this duet (Nerone Lucano) more than a few hundred times…, that it is nearly identical to the one in Paris with the omission in the libretto.. (otherwise called the “brokeback mountain” moment (by me).. but will listen again later to understand implication)

      Like

    1. jeah, but read above, they cut the libretto in the same place i think! will have to investigate more, my first reaction was Nerone actually pining about the loss of Seneca and revealing some feeling there…

      Like

          1. God yes, exactly that. I only manage the first act last night, but already so many new details – but that “uncompromised enthusiasm” really is foremost, in so many moments.
            Also the simply fact that from the get-to, she seems to have harbored a crush on Diana at least. No playing awkward, just being over the moon for the moon goddess.

            Liked by 1 person

  2. Poppea, there are things to do on a floor, but sleeping is not really one of them, unless it involves prepositions.

    Like

        1. jeah. i also realize why the CTs are so popular these days too: they’re on screen, hence their voices are on mic . and then the “competition”, “have a dick you will get the job” filter..

          Like

  3. “I will stab Poppea, and I’ve got a silk nightgown and a butter knife for the job!”
    Well, unless you’re Joan Crawford, that’s not going to fly.

    Like

      1. sorry to disappoint your expectations: my first part has no sound and I have no idea why. But it is nothing which cannot be repaired in case they will not have it online later or Thadieu has not succeeded, I could still record the sound from the SWR2 transmission on the 21st and syncronize it. Sorry!

        Like

        1. thank you so much for trying! 🙂
          thadieu seems to have gotten pt. 1, Leons was at at, and now it even seems ARTE will have it on demand (let’s hope they don’t temper with the sound)

          Like

        2. thanks Brigitte. I think i managed the whole thing, sound and all. I like how they recorded it: the mics were just above the orchestra, away from direct sound from singers, so hopefully no saturation… just done part 1 compression. Will send email when done with entire thing.

          (ps- the no sound thing: sometimes I have to fake a capture just 1 min before to ensure the sound is in order, coz there’re so many strange “switches” all of the sudden that can cause missing sound.. but this time, i woke up just in time!)

          Like

      1. what? you dare to refuse my order? (from the psychological intimidation method school)

        (i’m not doing a good job of capping… she was really great, i realllly like her, both musical phrasing and body + facial gestures. subtle and driven)

        Liked by 1 person

          1. yes, i trust your capturing technique. i’m only “browsing” through the videos and capping on the fly… let me now focus more on Nerone…

            Like

  4. Ottavia should ahve given the buter knife to Drusilla, she’d have gotten the job done.
    (and our Ottone is indeed last Sunday’s Endymion – I like his Monteverdi Ottone better than his Handel Agrippina one)

    Like

  5. Just looked it up, Emanuela Galli was indeed in a Monteverdi Vespers with Herreweghe I watched a while ago, and she stood out to me, in expressiveness, but then, it could also have been because of her quite striking looks

    Liked by 2 people

      1. The thing that sometimes bugs me in Pur ti miro is the repetitive “si, si, si, si” but here it felt like all those “si”s had a meaning.

        Liked by 1 person

    1. jeah, i have now 15GB total of video! will do compression and drop off tonight! feel free to share with others as needed.. then we can schedule a proper time to re-watch later? (3 weeks from now? i might cheat)

      Like

      1. let’s compare schedules I make it through Mon/Tue, ok? And thaaaaaaaank you for your capturing wizardry!

        Like

  6. “Big node for gender/de-gender/cross gender staging, too”, that I hardly found it in this production, sorry. I can tolerate sloppy production due to budget concerns, but I can not stand when it comes to slipshod performance. At one point, Poppea (i.e. Ms. Galli) was having a hard time when Nerone (i.e. Mr. Bridelli) had no clue how she should embrace Poppea. So, Poppea had to pull her hands over her and move them over her upper body.

    And that’s not how I describe “paying care for their partner”, let alone leading a lady.
    So as a final word, please allow me to share two videos below for the last time, to give you an idea how I see this (feel free be judgmental about me, I can not help it, I am incorrigibly romantic):

    @:)

    Like

    1. Oh no, I try to avoid all kinds of being “judgmental” – which, I hope, shows in the discussions here at large, in trying to respect specific circumstances of specific singers vs. personal likes and dislikes, and in always trying to be kind and open-minded.

      To your point, and to be fair: this production was not actually staged, and the “semi” efforts are usually left up entirely to performers on the go (without a month or two of stage concept work). So, yes, there is a lot of unfocused cues.
      Another point – specifically for the scene you called out – is, in my experience, that unless cues are clearly agreed upon, it is common in an on-the-go situation (especially one depicting intimacy or abuse) that singers leave movement up to a (singing) stage partner to have them set the comfort level.

      thadieu commented on one specific instance (screenshot) of set feet and open body posture lead, which I would agree on. My own point then wasn’t referring to this production in particular beyond this moment, but to physical posture as a possibly transgressive node in general. But this is an issue that thadieu and I have been talking about across a wide range of posts for a long time, so perhaps we have become a bit shorthand there.

      Liked by 2 people

    2. Thanks, Anik, for your eloquent explanation. as Anik explained, i think it was more a conversation Anik and I have been having for a while about dancing in general, and just on the screen cap in particular (balance, angles). I also realize these singers are doing things dynamically (while trying to phrase their music) and i have become much more appreciative for how adaptive they can be on the fly.

      A bit unrelated to dancing, but on “caring for your partner”, on the example you mentioned, i’d even interpret it differently. In fact i was enjoying the slight difference in “who is taking charge” in the relationship, and for what intention. At times (like in this case, i even commented it with “balance, she is boss”) I can work them into the flow (my mind does quite a bit of on-the-fly processing on live performances) . But I think what matters here is how the two singers react to each other, and that they remain committed rather than “acting” or being “afraid” of looking certain ways or “doing it for the show”, and 1 layer further, that their characters are believable..

      (a year ago we went on and on about how MP and PP were reacting to each other and why it worked for some of us to a very deep level, with what we interpret as also deep caring for partner (both stage partner and character partner). This “care” perhaps is a subjective word because, for example, for some one looking for a macho trouser role display, it would likely be a big disappointment. However, the sensibility and vulnerability displayed by the “flawed” characters brought out to us how care was taken place while also possibly having lapses of withdrawn / letting your partner hanging out to dry due to own fear.)

      Liked by 1 person

      1. You are the eloquent one here, Dr. T!

        I can feel a Paris Mitridate mood coming on 🙂
        Ah yes, care and vulnerability, perhaps best explained as offering a cue and then letting the other person decide if and how to pick it up (I have to think of JDD’s Carnegie Ariodante right now)? And to focus the energy on a stage partner first instead of outward in a pose?
        Perhaps – as I have said before about stagings I enjoy most – not necessarily everything working out or being clean, but things honestly being tried out (again: vulnerability)

        It is an the interesting realization that even among our core perspective (queer and gender-conscious), our attention is drawn to different things, resulting in different readings. There must be more than one layer offered to enable this?

        Being adaptive on the fly: I would – especially if we do another, “official” liveblog on this one – like to revisit this particular “Pur ti miro” since, to me, it is a fantastic example of bodies following music and resulting in an ultmately convincing portrayal.

        Liked by 1 person

  7. I did not mean to offend anyone you know. If I did, I am terribly sorry. Please accept my sincere apologies and small goodbye vid. from Anderson and Roe:

    Like

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s