Figaro

[seekingferret]

"So the plot of the Marriage of Figaro," says ghost_lingering during the intermission between the second and third acts, "Is that the CEO has supposedly implemented a new sexual harassment policy, and he wants cookies for having done it, but he doesn't think he actually has to follow it."

"Yes. That is it. That is exactly the plot," I replied.



"I think I would like Cherubino less if he were sung by a tenor, but because he was sung by a mezzo I kept thinking of him as a lesbian, and I liked him that way," she later added, concluding that between Cherubino and Figaro this was in fact the first opera she'd ever seen where she didn't hate all the male characters.

Comments

[gwyn]

That's awesomely hilarious.

[cahn]

yeeeeeep that is indeed the plot!

I am pretty sure that if Cherubino were sung by a man who wasn't actively trying to act like a woman playing a man (as in the countertenor Cherubino I saw, whom I did like) I wouldn't like him at all.

Also, heh, I usually end up liking the baritone, as you know, but... I can't deny that the baritones often really have Issues as well.

I think the only tenor character I actually like is Don Alvaro. Tenors, man.

[seekingferret]

Aron in Moses und Aron, too.

[ghost_lingering]

Upon reflection, I did find Scalia surprisingly likeable in Scalia/Ginsburg, certainly moreso than I often found the actual Justice Scalia in reality. Though that might not be an apt comparison given that it is a modern work and there is no romantic or sexual plotline, unless, I suppose you read the "/" in fannish grammatical terms.

[ghost_lingering]

Re: Cherubino, the term "disaster lesbian" came to mind within the first minute on-stage and never really left. I love her (him) and will put up with the veneer of masculinity to do so.

[saraht]

If' you're talking about the Met Figaro, that Cherubino read *super* trans man (thus also obviously lesbian) to me.

[seekingferret]

Yup, the Met Figaro.