The blog restoration – caused by F*ckbucket changing their 3rd party hosting policy earler this summer – has now been largely finished (I have stopped counting the hours I’ve had to put into it), including the picture-heavy comment thread of Mitriversary The First (I am already looking forward to the second). And these photos above aren’t even a fifth of the caps involved in that thread.
There are only bits and pieces missing now in photo links, mostly the occasional screencap in a comment. You’re welcome to point any such incidents out to me, and I will fix them.
I have also repaired the entirety of the cap-heavy Marina/Esther posts, including the episode screenshot collections and the Against The Withdrawals “fotonovelas”. Turns out that with the layout change, the caps are now twice the size for your perusal in displaying.
Happy (and hopefully unperturbed) reading!
Meanwhile, in my ongoing attempts to repair the damage F*ckbucket policy change has done to my blog archives, I have ventured into the comment sections of a few of the liveblogs, repairing ‘illustrative caps of the moment posted to make finer points’.
“Fantasio” now counts with all its comment caps again (the following, in case you were wondering)…
Continue reading “Blog Restoration – Comments”
[The point in conversation where Juno needs a cold drink (and we do, too): Giunone (Raffaella Milanesi) and Calisto (Elena Tsallagova) having a heart-to-heart on sleeping with goddesses in Cavalli’s “La Calisto”, Strasbourg 2017.]
[Yes, screencaps. Consider yourself warned, but then again, why else are you all here?]
Continue reading “White Skirt Wednesday: Classic Cavalli”
[Why are the White Shirts called White Shirts? Between this and this, I rest my case. – Vesselina Kasarova (Orphée) in Gluck’s “Orphée et Eurydice”, Munich/BSO 2003. ]
Since work this week didn’t allow to post this for White Shirt Monday, let me make it up to you with an extended version, all courtesy of last week’s “Orphée” liveblog.
Warning: this post is heavy on screencaps. In fact, it consists of little more than copius screencaps. Consult your data plan before proceeding.
Continue reading “White Shirt Mothership”
[When the Trouser Mezzo would go very well with your couch color scheme, but simply won’t take a hint, and other #SemiramideProblems – courtesy of the live broadcast with Daniela Barcellona (Arsace) and Joyce DiDonato (Semiramide) in Rossini’s “Semiramide”, Munich/BSO 2017.]
(Screenshot Extravaganza for all those who couldn’t follow the stream last night due to the technical hiccups, featuring the Chorus of Bayerische Staatsoper Munich, Joyce DiDonato (Semiramide), Daniela Barcellona (Arsace), Alex Esposito (Assur), Lawrence Brownlee (Idreno), Elsa Benoit (Azema) Simone Alberghini (Oroe) and Galeano Salas (Mitrane)).
Continue reading “White Shirt Monday: Semiramide Problems (BSO Edition)”
[So, on a scale from one to ten, how straight does this image look to you, with 1 being narrow naysay, and 10 being unicorns galopping across a rainbow?
If you said 12, then we’re in for a lovely reading of Cavalli’s “Giasone”, with the subheaders #PerfectlyPoly and #KeepYourBinaryOutOfMyBaroque.
– Mariana Flores (Alinda) and Kristina Mkhitaryan (Isifile) in Cavalli’s “Giasone”, Geneva 2017]
Le Grand Théâtre de Genéve did not just put on that Petibon “Manon” this season, or Delphine Galou in a white suit in “Orfeo”, no, they went and had Serena Sinigaglia stage Cavalli’s “Giasone”, and if the director got one thing right, it is the relaxed pre-19th century approach to sensuality and sexuality as a nuanced hub of possibilities that can not be narrowed down to ideological boxes.
(this is not a review. this is just libretto queering in screencaps)
(all caps are tied in from Photobucket and will expand upon clicking. In case you need a closer look. For research.)
Continue reading “Through Geschwitz’s Lorgnette: “Giasone” from Geneva”