When an opera is based – more or less – on “real events”, I want to get slightly better acquainted with the facts as they have come down to us. I’m not a historian and you shouldn’t expect this to be a history lesson. It’s pretty much the fun facts a quick read on Wiki will reveal. I’m doing this because I like a bit of a backstory myself but I don’t always want to research things right then and there, so I’m grateful if someone’s written a brief synopsis.
First off, these folks are not Babylonians (they originate from the town of Babylon) but Assyrians (they originate from the town of Assur). They do fight (and win against) Baylonians, to whom they are related (ie, they are all Semitic tribes). They have the coolest BCE names ever.
Sammurāmat / Sammuramāt (811-808 BC) – Regent of Assyria, empire named after its capital city, 𐎠𐎰𐎢𐎼 (Aššur), during the Neo-Assyrian Empire (911-608 BC). At the time, the Empire was the largest of its kind and the most technically advanced nation of the Ancient World (hence the Hanging Gardens1; but apparently not savvy enough regarding basement lighting 😉 ). Women weren’t held in such high regard back then for it to be a common thing to rule as Regents, but the Wiki source speculates she was possibly accepted due to “politically uncertain times”. It appears she was a real person who ruled the empire – or at least was very politically influential – until her son’s coming of age (I could not quickly find what that age was). It isn’t clear how the legend developed, or, even better, how it spread further afield.
If you’re wondering where’s her picture – of course there is no picture, she’s a woman. But there is a large rock, known as her stele. Better that than nothing.
Shamshi-Adad V aka, Nino (824-811 BC) – King of Assyria, named after the rain/storm god of the region (Adad). He is the dude who campaigned against Babylonians and defeated them.
Assur-danin-pal aka, Assur – brother of Shamshi-Adad V, with whom he engaged in a serious power struggle when it came to succeeding their father, Shalmanasser III2. After some early victories which brought to his side 27 cities (including the famous Nineveh (𒌷𒉌𒉡𒀀 – I just love cuneiforms!) which will later become capital and end in fire and brimstone), he was eventually defeated and disappeared from chronicles.
Adad-nirari III aka, Ninia/Arsace (811-783 BC) – King of Assyria, was busy rebuilding the strength of the empire by campainging left and right, building a lot of things and allowing a breathing period for Israel, as long as they paid tribute to him. Sadly, the empire returned to a few decades of weakness after his death.
So, it’s pretty accurate, after all. Assur = bad guy, Nino = struggling with pretenders, Semiramide = ambitious queen, Ninia = recovered well.
- some say the Gardens were built in Babylon but others believe they were in Nineveh. So you see how it is, even historians don’t agree on their Assyria/Babylon. Of course it does not help that the Assyrians destroyed and then rebuilt Babylon and made it the capital of the Neo-Babylonian Empire (609-539 BC). ↩
- named after Shulmanu, god of the underworld, fertility and war. ↩
A propos of nothing, except I wanted to re-listen to this somewhat curious scene. Observe how back then it was done of peep show-style and now it’s all fluid sexuality. Let’s do a then and now – sorry for the bad quality video (then and now):
PS: just in case you thought the “blubber of love” in the background was something sprung out of Lauwers’ mind (also sorry for the tenor not staying in tune):
You know how I like the piss taken out of Wagner and I haven’t indulged in a good while. But a Ring is being forged at ROH, so I must pay my homage. This time I’ve modestly just “curated” a few quips and occasional back and forths from Le Guardian, the beacon brightening up boring afternoons at work.
Shakespeare, perhaps the world’s first psychic opera critic, summed up The Ring Cycle perfectly: “It is a tale told by an idiot, full of sound and fury and signifying nothing” (bergisman)
Just stupid. (Markus6974)
Anyone who is able to respond with an open heart to music and drama loves the Ring. (Shrimpandgrits)
Wagnerians are nut jobs. (rouputuan)
As I have said, I am tone-deaf. (Shrimpandgrits)
I’ll give this one a miss. Seen the Ring Cycle twice, tried my best, but far too long, tho with some nice tunes. (tatterdemelon)
Wagner? No! Utter dross. Mozart, Rossini, Bizet, even Verdi or Puccini on a good day. But Wagner? He should have been writing musicals, Cats or Phantom of the Opera. Fine, if you like that sort of thing, but it isn’t opera. (Linda Roberts)
You don’t really know much about music, do you?1 (LevNikolayevich)
Linda, I’ve marked your comment:
‘Wagner?’ Yes. 19th century composer, musically speaking not that controversial in the 21st.
‘Utter dross’ If you mean worthless then no it’s not dross, I encourage you to look up how much tickets cost for this production. If you mean artistic dross then I would like you to explain further.
‘He should have been writing musicals, Cats or Phantom of the Opera’ Ah, a good stab at humour there.
‘Fine, if you like that sort of thing’ A little condescending perhaps but thanks!
‘but it isn’t opera’ well, you can label it whatever you like of course but as it generally has to be performed in an opera house with operatic singers then you’ll forgive people for calling an opera from time to time.
Engaging with the subject: C
Encouraging people to listen to classical music: D
Ensuring people don’t think of classical music lovers as Snobs, Elitist, Close Minded: F2 (Henry Melbourne)
“Wagner – utter dross”
Doesn’t say anything at all other than you don’t like Wagner.
“….even Verdi or Puccini on a good day”
So not really a fan of Verdi either, not even Otello? I don’t know why you bothered coming here.3 (dwhitley)
This is such a poorly written article. It’s in desperate need of a decent sub editor. (Campagnolo)
They said the same to Wagner. (chris1958)
Some of my friends have sat through the Ring at Bayreuth, giddy from heat and discomfort. (Shrimpandgrits)
I had the ambition to try and ‘do the Ring’ for years and persuaded my spouse that we should give it a go…and it has turned out to be the greatest cultural experience of my life – no exaggeration! (PandaMonium13)
“You’d be surprised how calm and business-like it is”
I’m not surprised at all. Wagner’s Ring, is a huge, technical tour-de-force, a gargantuan gorging on one trumpet-blast after another mechanically melded into some pretty twittering and rustling cleverly connected to a dramatic dirge dovetailed into a bombastic blast of brother-sister incest and so on. Schubert’s Winterreise has more drama, musicality and artistic sincerity in an hour and a half, than the Ring’s sixteen hours of precision engineering. You have to be matter-of-fact to deal with it as a singer. People go to see the Ring like punters flock to motor shows. To be impressed and wowed. Not moved. (routputuan)
- knowing something about music won’t have an effect on one’s love or lack thereof of Wagner. ↩
- I have a special dislike for people who mark somebody’s comment like this. Talk about snobs, elitists etc. ↩
- I would say for someone who doesn’t like Wagner, Verdi’s Othello would be especially problematic. Why not say “don’t you even like La traviata?” After all, she said she could sit through Verdi “on a good day”. ↩
My first encounter with Lemieux was via my favourite Vivaldi aria:
Having to pass the test of a favourite is the tallest order for a anyone but she did it brilliantly. Since then I’ve kept an eye out for her stops in London. I eventually saw her as the Sphynx in Enescu’s Oedipe, testimony to her wide-ranging repertoire.
She didn’t sing this last night, but that aria is a surprisingly good example of her temper. She actually is like that in a recital.
MNL to late comers: (signals to Vignoles) let’s stop for a moment and greet the new arrivals. Please, take your seats.
MNL to people who haven’t turned their phones off: you have two seconds to turn it off.
MNL to people who rush out before the encores: bye-bye, see you soon!
Hahaha! What a heroine! Others (who had come on time, stayed until the end and had turned off their mobiles) enjoyed the attitude so much, the applause started to materialise at random times, which resulted in MNL requesting for people to applaud at appropriate times. Haha! That being said, she gave us a very sweet and emotional thank you in the end, so she clearly did appreciate people who were into the performance.
ps: I really enjoyed her choice of jewellery – black squares for the German rep, and silver “chainmail” for the French.
Marie-Nicole Lemieux contralto
Roger Vignoles piano
Robert Schumann (1810-1856)
Kennst du das Land? Op. 98a No. 1
Lied der Suleika Myrthen Op. 25
Franz Schubert (1797-1828)
Der Musensohn D764
Gretchen am Spinnrade D118
Ludwig van Beethoven (1770-1827)
Wonne der Wehmut Op. 83 No. 1
Die Trommel gerühret Op. 84 No. 1
Fanny Mendelssohn (1805-1847)
Über allen gipfeln ist Ruh
Hugo Wolf (1860-1903)
Frühling übers Jahr
Kennst du das Land
Ernest Chausson (1855-1899)
Gabriel Fauré (1845-1924)
Chant d’automne Op. 5 No. 1
Déodat de Séverac (1872-1921)
Hymne Op. 7 No. 2
Gustave Charpentier (1860-1956)
La mort des amants
Claude Debussy (1862-1918)
Le jet d’eau
Henri Duparc (1848-1933)
L’invitation au voyage
La vie antérieure
more Goethe one of which was Connais-tu le pays?
So much vitality! And a surprising amount of cheerful songs; most singers have a tendency to take themselves very seriously in these recitals – which might just be their personality and we probably love them exactly for that – but it doesn’t have to be that way. You can be funny and silly and show off your technique and understanding of the text at the same time.
I really liked the German songs, rather surprisingly, since usually if there is a selection of French and German and the singer is French, I’ll go for the French chanson – but somehow I felt the German stuff fit her better. How unusual! I don’t know if I’m right, because there was of course nothing wrong with the French stuff. Perhaps the juxtaposition oomphed the German material, which had more Lebenslust, dare I say, whereas the French songs were more languid (Le jet d’eau, for instance; though Les hiboux was very cool and so was Chant d’automne1). But, considering she returned to Goethe for the encores, it’s clear she enjoys the German rep a lot.
I was further surprised how much time she spent in the top region of her voice. She went from very conversational, typical “lieder singing”, to booming for effect (better turn that phone, off, buddy 😉 ) and from the top to very secure (but not super low) bottom on enough occasions but on the whole was more mezzo than contralto, not that’s a bad thing. There is a reason my mezzos-and-contraltos section is labeled thus. I also enjoyed her and Vignoles’ communcation with each other, which added to the charged allure of the evening.
Between Galoumisù two weeks ago and Lemieux last night, the French connection has been happily reestablished.
- I don’t know if this is about “pitting” Goethe and Baudelaire, because in literature I did enjoy Baudelaire a lot sooner than Goethe. To be fair, I have been behind in re-reading the classics in recent times… I won’t say “I didn’t have time” because that is a shitty/laughable excuse; I simply did not return to the readings of teenage years. ↩
Just when you thought the Semiramide season was over 😉
With this very famous and very difficult aria let’s do something I don’t normally do: let’s go way back, at least 25 years.
It’s hard to imagine something more technically competent but at the same time quite as lacking in charm, in spite of the chandelier-sparkly top.
Well, we can feel it’s sung by a human being. But do you feel the “gioia”? To me it seems like Callas is Medea regardless of the aria she’s singing. Also this aria is showing off how unpretty her voice was.
Hey, thadieu, wanna hear some kitschy ornaments up at the very top? Saying that, it’s the first time I can hear “gioia”. If she sounded a bit less… girl next door in tone and ornaments we’d be talking.
Hm, what’s up with these very unjoyous Semiramides? I like some of the things Devia does here dynamics-wise but she sounds downright pissed off Arsace is returning. Too much Donizetti? The Fenice choir sounds equally as grimly determined to put up with Arsace’s presence if it has to.
Finally, some proper joy even on the finale! I don’t know that I like everything she does here (I may be wrong, but, as far as style, I think Mozart suits her better) but I can definitely get down with the ethos.
On thadieu’s advice, let’s finish on an Antonacci note, to link the past and present:
It started yesterday, whilst I was merrily lounging in bed but I still got tickets to the Queen of Spades and Kat’a Kabanova at leisure just now. Kat’a is especially cheap (Queen is not). Here‘s the rest of your options.
So after that somewhat Pelleas at Glyndebourne, Herheim comes to ROH for the Queen of Spades, whilst it’s up to dehggi favourite Richard Jones to tackle Kat’a, which also sees Amanda Majeski’s debut at ROH. Very curious about this.
Oh, after only 10 months we’re back with a post featuring a few (!) tenors. But Rossini, though not made for tenors per se, is known for his earworms. You listen to it once and you must re-listen – about 20 times, or until neighbours start slamming their windows shut in frustration. Having shot down Scala at La Fenice 😉 and now feeling I was a bit (just a wee bit) unfair, I felt like I needed to re-listen for other opinions:
I know Blake was very popular in this rep in the ’80s and ’90s but his voice/way of singing rubs me the wrong way. The goat is randy even below the summit! Ok, this is very late in his career but he sounds like this in other videos. He can and dares do lots of things but none of them are pleasant to my ears. He seems to forget this is a seduction aria not a moment to throw notes like knives at a petrified damsel in distress.
The tone is rather nice but talk about lack of mementum for this “Indian Nemorino”.
JDF is a Capricorn. Coincidence? Nah-uh.
I like Brownlee’s tone best of the bunch. There’s no strangled goat bleating in the stratospheric heights but he covers the tessitura without issues, and he can sound really beautiful in the tender moments. BTW: are there any non-virtuoso Rossini arias?
But Kunde is also surprisingly pleasant to listen to, though I can hear some insecurity. I didn’t even know he used to sing in this rep.
…until the end of October 2019 😀 Get your fill of UNCUT late Rossini, all 4 hours of it.
You can’t go to a theatre like La Fenice and not think about its history. Staying true to the name, it resurfaced after three fires (1774, 1836 and 1996). What we see today is the house re-opened in 2004. So it’s both old and new. You may think it’s big because it has that compact design, but although the horseshoe is packed with seats, the stalls don’t go far back. The capacity is a mere 1126, according to Wiki. And yet, some of the operas now played with big orchestras in massive houses have premiered here1. Top belcanto WS favourites were first mounted here: Tancredi, I Capuleti e i Montecchi, as well as Semiramide itself.
Before we arrived for the very late 7pm2 start time, thadieu and I roamed the streets without much planning aside from 1) must have dinner some time before the opera and 2) must have gelato sooner rather than later. That eventually turned into an obsession for yours truly: find the 2 Euro 2 scoop gelato or else! You see, gelato gets more expensive the closer you get to the TripAdvisor sanctioned areas (all of sestiere San Marco, Ponte Rialto etc.). Tip: get your gelato early on (ie, closer to the bus station). I think I drove thadieu a bit mad with my stubbornness but cheap gelato was eventually found, eagerly consumed and then all was serene again 😉
We had a leisurely dinner of seafood at a Mom and Pops restaurant in a very quiet neighbourhood somewhere near the Arsenal. After that we strolled back with enough time to do some touristy shopping at the Fenice shop. It’s rather well stocked! They do La Fenice bags for 12 Euros and La Fenice t-shirts (off white, navy, black and red) for 19.99 Euros or thereabouts. There are magnets, cards, pencils, lots of books and CD/DVDs as well. We got the t-shirt – thadieu in navy and yours truly in red. You know I also got one of the magnets.
After getting our La Fenice fan fill, it was already time for the opera. As we were walking up the very cosy stairs I kept thinking “this is our floor” but thadieu just knew we had a long climb to our loggione seats. As with Teatro Malibran, the trick is to get first row in your area, no matter how high or low you’re sitting. We had seats in the central block of the top loggione and aside from an unfortunate pole (old school design…) – which could, in the end, be negotiated – we had excellent views. Ok, you had to lean forward a bit due to lights and railing, but nobody actually sat behind us3, so we didn’t have to worry about blocking someone’s view and we even stood for the most interesting duets/ensembles. The party in the loggione is very friendly, as is the Upper Amphi at ROH, the very top in Munich or at Theatre des Champs Elysees. It’s also mostly locals (of which there were plenty on the bus back to Mestre as well).
The orchestra were already busy tuning up. We noticed our main timpanist was a lady and she did a very good job during the night.
Semiramide: Jessica Pratt
Arsace: Teresa Iervolino
Assur: Alex Esposito
Idreno: Enea Scala
Oroe: Simon Lim
Azema: Marta Mari
Mitrane: Enrico Iviglia
L’ombra di Nino: Francesco Milanese
Conductor: Ricardo Frizza | Choir and Orchestra of La Fenice
Director: Cecilia Ligorio
The production looked to me “modernised Pizzi”, which turned out to be fine. It’s “generic period opera” costumes, with some black vs white business for the dancers/Semiramide or Assur’s attendants. As the opera progressed, Assur’s outfit morphed into “generic Bond bad guy” (ie, black and pretty tight). Arsace, who has been brought up to believe he’s Scythian, wears “generic BC foreign dude” wear, in other words “stuff put together to confuse sophisticated Babylonians” (a cow patch cape, two-tone wide leg trousers, platform shoes4 and a beret). None of this motley stuff detracts from Iervolino’s cuteness in this role ❤ or from her vocal awesomeness. THIS is Arsace.
Semiramide agrees, because in this production it’s pretty clear that these two are getting it on, though initially cute and disciplined Arsace stops Semiramide’s wandering hand before her touch becomes too distracting.
Arsace: I’d die for you [my Queen]!
Semiramide: oh, no, gorgeous, I’d rather you live for me (winks and lounges seductively). Come closer and tell me what you’d do to… I mean for me.
Arsace: like I was saying, I’d die for you! I’m a warrior…
Semiramide: oh, a warrior is exactly what I – by which I mean this empire – need(s). (strokes his thigh) You’re so strong…
Arsace: err, my Queen, I must tell you something…
Semiramide: I know what you’re going to say and the answer is yes! As long as you’re as faithful to me as you’ve been so far you can ask me anything – and I mean anything.
This goes on for a while, wine5 is involved and, well… what’s a young man to do when a beautiful and powerful woman his mother’s age offers him the world (literally and metaphorically)? Azema would have to hold down the fort against Idreno’s wooing by herself for a while. Though after his Ah dov’è, dov’è il cimento? (also known as dude, where’s the cement?!) she too is getting a bit frisky. Lesser known historical titbit: conversations about construction materials were pillow talk back in ye olde Babylonia. I mean did you think the Ishtar Gate and the Hanging Gardens built themselves?!
Speaking of which, why is Idreno expecting Semiramide to just give him the keys to the empire? He’s just some dude from India, pretty much on Arsace’s level, except he looks like he’s commanding an army of blingy tailors rather than burly warriors. Semiramide wears her “belcanto diva” dress but we all know belcanto heroines like their men heroic (except for Violetta). I would also say this Arsace is most definitely a man, any ambiguity present is not of the gender kind.
So even though they got pretty well acquainted the day before, Arsace is still stunned when Semiramide makes the big announcement (that she’s passing on the throne to him as well as wants to marry him).
Arsace: shit! How am I going to explain this to Azema?!
Luckily, the spectre of his father gets involved (after all a father should attend his son’s wedding even if he had to bribe Cerberus to get there) and the conversation suddenly turns horror-film style. Trope #1: being mesmerised by weird stuff:
Arsace (to the spectre): I feel compelled to touch you! Can I?
I mean the spectre looks pretty damn well preserved for having been dead for 15 years, except in dire need of a shower – like he’d come down a chimney rather that up a drainage ditch from the world below (come to think of it, this decision is for the best; the production had hinted at it earlier when the sacred fire went out and ashes poured out from the sacred ash plates. Later the temple virgins did a surprisingly poor job at cleaning the floor (what amateurs don’t soak the towels first?!) but let’s not get lost in details like Scala did in his cement).
Oroe is a very congenial high priest but I have a feeling he’s rigged this game from the getgo, namely he made sure the basement’s (is, burial chamber’s) electrical instalation wasn’t working. The last act boasts that famous trio that goes something like this:
Semiramide: it’s very dark in here, I can’t see my hand. I hope I don’t soil my finery before this ordeal is over.
Arsace: wow, it’s so dark in this basement! Even as a fearless warrior I feel my bowels loosen…
Assur: was it always so dark here? With my luck that stupid spectre will come back and scare me shitless.
All: it’s so dark in here, we’re pooping our pants!
thadieu: someone hand them flashlights already!
We’re lucky this is in flowery, 19th century Italian, thank you very much.
But flashlights do eventually appear, because somehow Oroe’s attendants are able to locate Semiramide and realise she’s been stabbed to death.
Oroe: arrest Assur!
Arsace: …OMG! Who did I stab, then?!
Like, dude…! What kind of army commander of the Babylonian Empire are you, stabbing randomly in the dark?! This production does not give Arsace a stuffed unicorn to hold.
So, after much noodling that didn’t even mention the eyeliner wearing male harem that gets Semiramide hot and bothered whilst she’s singing about how happy she is that sexy stud Arsace is back in town, how was the singing, the conducting and the house band?
Let’s start with the conducting: compared with Pappano, Maestro seemed more interested in keeping the forward movement – which he did. Occasionally (the overture, for instance) he turned the corners a bit too abrasively for my taste, where I would’ve preferred more detail/more legato. But 4 hours went fast. The singers were not hampered by the orchestra. The house band sounded good to me, all the solos went without hitch and the instrumental tones were pleasant to the ear.
The singing went like this, from best to not so good: Iervolino, Pratt, Esposito, Lim, with Scala sort of around the corner. Dude started a bit shaky, with some intonation problems and wobble at the very top, which made the cement aria appear unfocused both vocally and dramatically. I loved it when Brownlee sang it but here it seemed to just go on and on. To Scala’s credit, he got it mostly together as the night went on. But he’s not someone I’m in any hurry to hear again. The public loved him.
Both thadieu and I agreed Lim as Oroe has a very warm, secure, rounded bass but he doesn’t have that much to sing. That warmth and rondness made him feel wise and kind dramatically, which fit. Would listen to him again.
Esposito was the night’s revelation to me, as I have been mostly cold toward him until now. This is the smallest house I’ve seen him in, which I’m sure has something to do with it. In this absorbent6 environment and at this size his voice travelled very well and dramatically he was ideal. Maybe I just need to see him in bad dude roles 😉 The only unintentionally amusing moment came when Assur sang about the spectre’s pulling his (Assur’s) hair 😀
Pratt has the belcanto diva down pat, without coming off too cold. I wonder why ROH doesn’t hire her. As I mentioned elsewhere, I’ve enjoyed her excellent technique, ease with coloratura, beautiful, completely unforced – “blooming” (as per thadieu) – top and stylish touches of unfussy softer singing. Thadieu thought she applied too many ornaments but I disagreed. This is Rossini, there is no such thing as too many ornaments7; furthermore, even if you – which is me, quite often, lately – think Rossini did write too many notes, I didn’t feel like that in her case.
I guess thadieu liked JDD’s more psychologically exploratory approach – and certainly her lower notes, which, true, Pratt does not have – but this production is different and this Semiramide is a less conflicted heroine (until the end, where her conflict is more of the “omg, this is my child!” kind) and rather someone who is always trying to do what she has to do without overthinking it (that kind of thinking might’ve got her in this mess in the first place, but she’s a woman in charge of an empire, she can’t vacillate too much).
Even thadieu agreed that once she started interacting with Iervolino’s Arsace she “humanised”. Indeed, their interaction was excellent. I also thought her and Esposito’s Assur worked – something akin to a mutually destructive relationship. I mean, she still has the broader gestures of belcanto acting but within that frame she’s very effective.
That leaves us with Iervolino’s Arsace. Right after the entrance aria, thadieu and I were in agreement:
thadieu: I’m in love!
dehggi: this is perfect!
What can I say? She’s got everything: the whole range, the ease with coloratura, the wonderful warm contralto tone, the eveness from top to bottom and she can act. A pleasure to listen to/watch. Do yourself a favour and book a ticket to see her NOW. We’re lucky to have caught the Iervolino train this early 😀
After the opera finished, staff was eager to go home and pretty much rushed us out, hehe, somewhere in a narrow street at the back or side of the house.
thadieu: should we get the phone out?
dehggi: yes, because who the hell can navigate Venezia in the middle of the night?!
In the end we followed the crowd, comprised of orchestra members and audience, which took us back to Piazzale Roma more or less in no time. I have to say that nighttime walks through Venezia are the most romantic thing ever, even when you’re rushing to get the last bus. I was tempted to risk having to walk back to Mestre on the side of the motorway 😉 I mean, secluded little bridges, with not a soul in sight, Canal Grande in the darkness, the temptation to try and steal a gondola and glide into the night – you get the picture. With full moon to boot.
We passed a bunch of young people being loud with pizza (and beer?) in a piazza and that seemed the most incongruous thing ever to do in Venice.
thadieu: they’re missing a really great performance.
Youth is really lost on the young (I wouldn’t have cared about opera or, indeed, Venezia, when I was that age, either). But there’s a time for everything and right now I can’t wait for another reason to return ❤
ps: more pictures later, I wanted to get the post out.
- Ernani, Rigoletto, La traviata and Simon Boccanegra. ↩
- I don’t know what the deal is with the union in Venice, but Italians in general don’t seem to mind a show going well into the night (see Torino and Napoli). Semiramide is a long opera even with cuts, so our performance finished well after 11pm. ↩
- though people did shuffle around to get better views. ↩
- the Disco era alive and kicking up in the Caucasus! ↩
- and perhaps a bit of GHB… ↩
- kinda like in Munich, this is not a dry acoustics house. ↩
- whether you like it or not. ↩