Jul 13
Agrippina the Elder study testing out a new painting process and finally not using the flat brush in procreate
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Agrippina the Elder study testing out a new painting process and finally not using the flat brush in procreate
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When Caesar Lives Rent-Free in the Christian’s Mind
Praying for Nero, Submitting to Authority, and Keeping Christ on the Throne Brent Pollard Roman Emperor Nero is a deeply fascinating core figure in ancient Roman history. Suetonius, an ancient Roman historian, included Nero’s life and deeds in his chronicle of the emperors of the Julio-Claudian dynasty: Nero’s father, Domitius, was of extremely poor moral character; when Nero was born, his…
Watched Lion in Winter last night.
The scene in Philip's bedroom reminded me greatly of Handel's Agrippina (the part where Poppea has enough closets for everybody).
WAIT. PALLANTE AND NARCISO + LOTARIO AND UGONE. MAYBE. I DON'T KNOW. FECK.
reading dean's ( predictably ) summary of agrippina, musing to myself about why the hell i keep seeing bits of flavio in it ( and not only musically ). then i realised- they're both that same sort of anti-heroic comedy, no? flavio feels more light-hearted, but still. same type of humour. irony. the lines of plots getting tangled. and then there's the thing with guido and ottone both being sung by iestyn davies the sort of "good guys" of the whole thing. and the sleazy male sopranos, vitige and nerone, who act as their foils.
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my thoughts on met opera agrippina, in summary
there are ghosts. things are always better with ghosts.
blocking is stronger in the second half than in the first. in retrospect, i feel like that may be meant to reflect something.
cheese stairs...
i really, really like agrippina
character played by iestyn davies is, predictably, a shmookiepoo
hallucinations of lombard royalty in the composition
cocaine baby
small poppea noises give me life
pallante and narciso should be put into more Situations
agrippina act 3!
scenes 1 and 3 are short recitatives, so you know the drill.
scene 2
it's blue again. and we have tony again. and the weird lip background again. i think only two people who read my blog are going to get this, but... fabricated world, anyone?
poppea's dress is nice
ottone's aria was skipped?? noooooooo
scene 4
straaaange buzzing noise...
...preceding the arrival of rome's favourite drug addict.
love how ottone pops out ( no pun intended ) from the closet to deliver that one aside and then poppea shoves him back in.
and now things are diverting from the libretto again. i should go look for a new one. be right back.
act 2 of agrippina :D
scene 1
narciso and pallante with walkie-talkies has me in tears
the balance of colours and shadows on the stage here is also really good. and the shapes! and the shapes. lots of squares and rectangles in everything.
scene 2
ottone!! and he comes right in with an aria AND backup dancers. i love this.
and poor pallante walking in to find all of this going on. and there's the fact that he looks like a backup dancer who missed rehearsals, too.
scene 3
whooh boy. here come the others.
and the chorus. i think agrippina refraining from singing is a nice detail.
nerone, my favourite cocaine addict!
scene 4
( voice of a guy who's only ever seen akhnaten, seeing a set featuring a large round sun, a lone flight of stairs, and lots of yellow ) oh my goodness, this is just like akhnaten
where is anthony roth costanzo when you need him?
anyways, anyways, i digress. so far, i feel like the staging in act 2 has been better than in act 1. more organised and dramatic.
love how nerone is standing a little crooked and staring at claudio like that while claudio is in front of him.
and back to the matter of staging and colour balance- i also really like how the white parts of ottone's outfit make him stand out against the crowd.
ottone going around asking the others for help and them just rejecting him through entire arias jsdaklfhsjd
i'm not sure why they switched the positions of nerone and poppea's respective rejection arias, though.
i really like kate's performance here.
something about how poppea, in this scene, dresses the way agrippina would.
parallel structure, neat!
scene 5
tony :(
the way he delivers the last line of the accompagnato is gorgeous. and when he goes low on the beginning of "voi, che udite" <3
and now he's in the void. but not the glossy black one with cold lighting that every bayerische staatsoper production is set in ( ironically, he wasn't in a glossy black void when he performed this scene in the bayerische staatsoper agrippina. that scene was coldly lit, but not in a void. also, i'm still waiting for the recording of that one to appear. )