#barbara hannigan

[fanchonmoreau]

A favorite song, a favorite singer. Barbara Hannigan singing Kurt Weill's Lost in the Stars. And if anyone asks, I would defend that wig to the end of the Earth.

[reginasbread]

Barbara Hannigan singing and conducting Kurt Weill's Youkali with Göteborgs Symfoniker

[aschenblumen]

Alban Berg, Sieben frühe Lieder (4. Traumgekrönt). Orquestación de Reinbert de Leeuw. Rolf Verbeek, director Barbara Hannigan, soprano

[delphixphotos]

Barbara Hannigan in Winterthur, conducting and singing La Voix Humaine/Poulenc and Metamorphosen/Strauss

Canon RP + 24mm-150mm

[cruinneachadh]

[fredfinch]

heard someone on the radio mention this interview and knew I had to share it over here. love her mind.

[mozart2006]

Ludwigsburger Schlossfestspiele 2023 - Barbara Hannigan

Foto ©Reiner Pfisterer Fra gli appuntamenti più attesi dei Ludwigsburger Schlossfestspiele 2023 c’ era sicuramente il ritorno di Barbara Hannigan, Continue reading Untitled

[assortedmelons]

Celebrity Melons

[tapecase-space]

let me tell you

[marvelousmrm]

Defenders #91 (Hannigan/Perlin, Jan 1981). The Mandrill dominates Valkyrie again and pits her against Hellcat.

[gouldblogger]

CLAUDIO ABBADO and MARTHA ARGERICH, 1968.

[delphixphotos]

Diptic.

Impressions of the video camera checks yesterday before our third performance (in a row!!!) of La Voix Humaine, Theater Chur with Musikkollegium Winterthur. Photo credits delphix

[cartridgeconverter]

Don Giovanni La Monnaie 2014 - or, my nomination for the worst Don Giovanni production to ever exist

Let me be clear: do not watch this prod.

Director - Krzysztof Warlikowski Leporello - Andreas Wolf Donna Anna - Barbara Hannigan Don Giovanni - Jean-Sebastien Bou Il Commendatore - Willard White Don Ottavio - Topi Lehtipuu* Donna Elvira - Rinat Shaham Zerlina - Julie Mathevet Masetto - Jean-Luc Ballestra

Content warning: this prod exists solely for shock value, so it contains just about every disturbing thing possible. Notably: rape/sexual coercion, domestic violence, incest, blackface.

*You ever notice that this was one of the last stage productions Topi ever did before he became a full-time conductor?

The overarching issue with this production is that it focuses on being shocking and disturbing to the point of incoherence. This can be traced to misogyny - all of the female characters are sex addicts and/or insane. This is exaggerated so much that neither the "rape" (it's not a rape) nor murder at the beginning of the performance is Don Giovanni's fault, basically defeating the entire purpose of the play.

There is never a moment that isn't sexually explicit, lest you forget that the director knows what sex is, guys. Sometimes the characters have sex or sexual moments on stage during scenes (Non mi dir is happening during oral sex), while at other times half-naked background dancers appear seemingly randomly to, I guess, fulfill the naked people quota that every regie prod needs. Also, one of them is in full-body blackface. Just for fun.

Probably the most typical character in this interpretation is Elvira. This is a low bar to cross. She is portrayed as an overly emotional, unstable stalker, but these traits are just her original text being portrayed in the least charitable manner possible. There isn't any contradiction with the original story, which is what the best case scenario is here.

Instead of being a young, poor couple, Zerlina and Masetto are a prostitute and her pimp, respectively. This also completely removes the class dynamics at play between the characters. Masetto is very rich and rather emotionally detached from Zerlina, which means his aria makes no sense. He isn't even angry, just mildly peeved. After all, if they're not in a relationship, and Giovanni is one of his clients, none of this should upset him.

Both of these examples can be chalked up to typical director edginess, but this production's portrayal of Anna is simply a demonization of the character due to misogyny. Not only is she portrayed as responsible for the rape in the first scene, but she is the one forcing herself onto Don Giovanni, instead of the other way around. The production goes on to imply that she had an incestuous relationship with her father. Meanwhile, Ottavio is depicted as the victim of her emotional, physical, and sexual abuse. Throughout the show, she threatens him with a gun; after the epilogue, she shoots him.

:v

If you want to depict abuse in Don Giovanni, there's plenty of options. Obviously, the relationship between the Don and Leporello is very controlling. One could also make the point that Zerlina and Masetto have an unhealthy dynamic, such as in Peter Sellars's production. However, Ottavio? Ottavio is, textually, in no such position. He is (besides Giovanni himself), the most powerful character because he is an upper-class man. Even in a modern setting, this shouldn't change. By making Anna the instigator of all the violence in the plot, it completely does away with the commentary on misogyny while instead demonizing the women.

Also the singing is bad.

In conclusion, Ottavio look out! Oh no he has airpods in he can't hear us