Furregie
In the well-reasoned words of Strephon, “Perruques and puffs. Rococo frou-frou seen through a 19th Century sensibility” must indicate Mignon. Director Jean-Louis Benoit staged the sentimental classic in sets by Laurent Peduzzi and costumes by Thibaut Welchlin at the Opéra Comique.
Now, let’s see if you can decipher the following frou-frou-free production.
Gluck’s Orfeo.
1. Chiamo il mio ben
2. Deh placatevi
3. Dance of the blessed spirits
whatever it is, its pure /%(%”/$?%* eurotrash
Duh! Its Akhnaten!
1. The Akhnaten/Nefertiti love duet (among his many revolutionary concepts was realistic portraiture in Egyptian art)
2. The ballet that opens Act 3. That’s not a wolf, that’s Ra, Hathor and Sekhmet expressing their displeasure at being abandoned through monotheism.
3. Finally, the family scene. More references to portraiture, and the rolling round is the decadence that would soon bring their downfall.
Obviously it’s Nixon in China.
1. “News has a sort of mystery”
2. The opera-within-the-opera The Red Detachment of Women
3. “I am the wife of Mao Tse-Tung.”
Let’s see–girl painting a guy’s portrait, satyrs, a scene that looks like “after the orgy”. So I’m guessing Die Gezeichneten.
Benvenuto Cellini!
After seeing the L.A. production of Die Gezeichnenten, these bildern fit very well this opera.
It’s the new Al Gore global warming opera. Dead tree, sick animals, sick people.
It should be a hit.
Mmmm…Götterdämmerung? The horse in the first pic could be Grane, and the third picture is clearly the finale (just when the orchestra plays the jackson-pollock-motiv to be more precise).
I hope it’s Traviata just for A. Poggia Turra’s guess @15.