Singular instance (perhaps not if we staged more Venetian Baroque)? Elena Tsallagova (Calisto) and Vivica Genaux (Diana) on the brink of some love duetting in Cavalli’s “La Calisto”, Strasbourg 2017]
It’s May 17th, it’s IDAHOT – International Day Against Homophobia, Transphobia and Biphobia (and Queerphobia at large). It’s a day to remember that we all have bodies, and that how we read or shape or stage these bodies, how we live our truths in relation to them, and to whom these our bodies react (and how), does not make anybody or any body more valuable or ‘truer’ than the other.
Continue reading “White Skirt IDAHOT”
They rarely talked about opera, but when they did, it was lesbihonest: many among you readers are likely familiar with the ‘media website about queer women’s interests, as written by queer women’, AfterEllen.
It is the largest of its kind, a rainbow dinosaur that has always been a solid presence. The site got more commercial in recent years, and its stance was at times not without issues, but it has always been a place by queer women for queer women (perhaps not equally for all queer women).
It came as a complete suprise to me that by the end of tomorrow, AfterEllen will turn stop being a fully staffed, daily-active website (as reported by chief editor Trish Bendix, and long-time contributor Dorothy Snarker). It will, by the looks of it, only feature occasional new content on a freelance basis – a fact oilily ommitted in a “False rumors!” post by AfterEllen’s parent company that now graces its front.
That sounds like a bitter and icky ending on a personal level (Bendix mentions that she wasn’t permitted to post her farewell, which informs about the new standards, on the website), and it is worrisome on an overall political level because it boils down to the same tiresome fact of the economization of everything: the site wasn’t profitable enough, so it’ll be pushed to the backburner. Simple as that. Because what could matter other than money?
Continue reading “Swan Song: Beyond AfterEllen”
[Marie-Nicole Lemieux, conducted by Jean-Christophe Spinosi,”Nel profondo cieco mondo” from Vivaldi’s “Orlando furioso”, 2007; clip with thanks to peristico70]
Vincerà l’amor più forte
con l’aita del valor.
Continue reading “Orlando”
“Deh, prendi un dolce amplesso” – Elīna Garanča (Annio) and Vesselina Kasarova (Sesto in the quintessential White Shirt “La clemenza di Tito”, Salzburg 2003. – YT clip with thanks to Arashi110]
Continue reading “Congratulations”
[It’s May 17th, it’s IDAHOT – International Day Against Homophobia, Transphobia and Biphobia (and I’d add “Queerphobia, Heteronormativity & Cisnormativity”).
A day to remember that we all have bodies, and that how we read or shape or stage these bodies, how we live our truths in relation to them, and to whom these our bodies react (and how), does not make anybody or any body more valuable or ‘truer’ than the other. Let there be respect, and let there be joy. And also, let there be gratitude for the space opera grants us to be who we are. – Susan Graham as Prince Orlofsky in
“Cats Reloaded” “ The Flamboyant” “Die Fledermaus”, New York/MET 2015. – Photo Credit: Ken Howard/Metropolitan Opera]
Continue reading “White Shirt IDAHOT”