To get this out of the way: no, this evening is not like “Alcina” (nothing will ever be like that formative “Alcina”), but if the legendary “Alcina” is one Baroque bookend of Wieler’s Stuttgart years, then this “Ariodante”, staged by Wieler and Morabito. may well be the other.
The concept looks at the intersection of class and enlightenment thought, juxtaposing baroque affect against classicist emotion and the question of identity warred between them. Literally: in a boxing/wrestling arena.
Continue reading “Wrestling Rousseau: “Ariodante” in Stuttgart”
[‘Heteronormativity: you’re doing it wrong’, and some more elaborate thoughts on the performance of La Cappella Mediterranea’s Teatro dei Sensi, featuring Mariana Flores and Giuseppina Bridelli, Venice 2015 (in the Sala Superiore of the Scuola Grande di San Rocco – so it’s not quite a church, but it is a confraternity building and this hall has an altar (and Tintoretto works because Venice isn’t kidding around))]
No, I’m not over this concert anytime soon. And I’ve been trying to pinpoint why.
Continue reading “Through Geschwitz’s Lorgnette: Cavalli cont’d”
[What did I say yesterday about more Tancredi? Here, have some Tancredi on your Tuesday, and keep me away from adjectives because I don’t want to upgrade my Cougar Badge to platinum in the first month already. – Teresa Iervolino with “Di tanti palpiti” from Rossini’s “Tancredi”, Brescia 2013. Clip with thanks to jovi1715]
Then again, I said more Tancredi, did I not?
Continue reading “Tancredi Top Tuesday: For Reasons”