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Subject: Re: Gay Pride Operas
From: Bob Rideout <[log in to unmask]>
Reply-To:Bob Rideout <[log in to unmask]>
Date:Thu, 29 Jun 2017 14:17:29 -0400
Content-Type:text/plain
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A very. brief comment on the "Baz" Boheme. It was very well sung by
the original TV cast, and it was, visually, the most totally convincing and
moving performance of the opera I have ever seen. I found it breathtaking
 in its focus and commitment.

They say "to each his own". I guess that's one explanation :-)

Bob

On Thursday, June 29, 2017, ANGELO MAMMANO <[log in to unmask]
<javascript:_e(%7B%7D,'cvml',[log in to unmask]);>> wrote:

> There was a Ballo production in Stockholm with Gedda which reportedly
> emphasized the actual
>
> sexual orientation of Gustavus .  He and Oscar were shown to be more than
> merely King and page.
>
> The San Francisco Opera Lucrezia Borgia with Fleming and Fabiano  showed
> unusual intimacy
>
> between Gennaro and Orsini.  Certainly there was more intimacy between the
> two than between
>
> any other characters in the opera.  I thought that the Boheme I saw on
> Broadway in the staging
>
> from the Australian Opera would be a little daring and show a possible
> same-sex relationship
>
> between Schaunard and Colline but it turned out to be perhaps the tamest
> and most boring I have
>
> ever seen.   I have seen more realistic and moving Bohemes from Amato
> Opera back in the 50's.
>
>
> Angelo from Boston
>
> >
> >     On June 29, 2017 at 12:08 PM Maxwell Paley <[log in to unmask]> wrote:
> >
> >     I think there's a big difference between an definite gay theme vs. a
> potential overtone of homoeroticism.
> >
> >     I've seen a homoerotic attraction portrayed between Don Carlo and
> Rodrigo that remains latent until Carlo realizes Rodrigo is dying. There
> was a particularly strong sense of that in a 1998 San Francisco production
> with Sergei Larin as Carlo and Anthony Michaels Moore as Rodrigo. Larin's
> Carlo erupted with physical affection for Rodrigo
> >
> >     Homosexuality has been implied in some productions of "Ballo in
> Maschera" that resort to the Swedish characters and setting, particularly
> with Gustavus. It does create some cognitive dissonance with regard to his
> passion for Amelia.
> >
> >     In both "Billy Budd" and "Death in Venice" there are interpretations
> that do or don't involve specific homosexuality. Sometimes it's clear that
> Claggart has repressed (or suppressed) lust for Billy, but it can also be
> portrayed that he's just incredibly jealous of Billy's ease, likeability
> and masculine beauty. Similarly Ashenbach can be experiencing an
> overwhelming sexual attraction to Tadzio, or Tadzio can represent a more
> abstract ideal of carefree beauty that is opposite to Aschenbach's
> previously heavily disciplined life.
> >
> >     Max Paley
> >
> >     Sent from my iPhone
> >
> >         > >
> > >         On Jun 29, 2017, at 08:18, Vesna Danilovic <
> [log in to unmask]> wrote:
> > >
> > >         I agree with the previous posters about some questionable
> inclusions though
> > >         don't want to criticize the article because the intentions are
> honorable,
> > >         except to say that the list curiously omits some openly gay
> themes or
> > >         characters such as, already mentioned, HARVEY MILK and DEATH
> IN VENICE. For
> > >         characters, we can also add Countess Geschwitz in LULU, the
> first openly
> > >         gay character in any opera (someone please correct me if there
> are earlier
> > >         examples). Or perhaps it would be a good occasion to celebrate
> those
> > >         musicians and composers who made strides toward the culture of
> tolerance in
> > >         many ways, including LGBT.
> > >
> > >         Vesna
> > >
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