[I case you’ve ever wished for young Annick Massis and
Julie Andews Diana Montague to fall in love over some misplaced shoes to a Rossini score, search no more. (You have, you just didn’t know it yet). – Annick Massis (Adèle) and Diana Montague (Isolier) in Rossini’s “Le Comte Ory”, Glyndebourne 1995]
Continue reading “White Shirt Monday: Sole-Searching”
Well, I don’t know about you, but I’d say Pride Month is kicking off just dandy, and heavy on the mezzos, too.
(Jamie Barton, delightfully one of us!)
Note to self: get conference invitation to NYC for June 30th, and a ticket for this. Possibly cancel paper, but keep ticket to this.
…and today in “just how gay is Donizetti’s Maria Stuarda“?
Loy/Rittershaus White Shirt levels: clearly set to stun.
(I have no idea what is going on here, but far be it from me to protest.)
Congratulations, Australia and Australian queers in particular.
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”