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.
Rheingold.
1. Wotan visits Erda
2. The Giants helpers
3. The gods deprived of apples
I’m going to go with Boheme, I think, purely on the basis of the easel.
I say “Magic Flute” or “La Calisto”
Lulu? (Because of the easel.)
Clearly, this is the Mary Zimmermann production of La Traviati, coming to the Met in 2014:
Photo One: Violetta telling Papa Germont that she has found happiness in the countryside with Alfredo (the horse being a symbolic reminder of the absent Alfredo).
Photo Two: Zimmermann sees Zefferelli’s dancing cows, and raises the ante!
Photo Three: Parigi o cara
Oops, Traviata (maybe that was a Freudian schlepp)
Travesty-ata?
ROSENKAVALIER !
1. The Marschallin converses with Ochs.
2. The red satyr is the Italian Tenor singing his aria.
2. Servants at the von Faninal mansion awaiting Octavian’s arrival.
Dawson lo sa, ma nol dirà, tra la la…
Looks like La Calisto.