#Erin Morley

[infinitelytheheartexpands]

LISTEN ALL THE WAY THROUGH

[baliisarda]

Good afternoon everyone. Crying over this picture

[monstrousgourmandizingcats]

Erin Morley legs era (from her Instagram)

[amazingmaeve]

ANNIE & HUGHIE

1x07 the self-preservation society

[erstwhile-punk-guerito]

[joaquimblog]

LICEU 2022/2023: ALCINA (Kožená, Morley, Bonitatibus, DeShong, Contaldo, Rosen, Gancedo; Les Musiciens du Louvre-Minkowski)

Les Musiciens du Louvre, Marc Minkovski, Magdalena Kožená, Anna Bonitatibus, Elisabeth DeShong, Erin Morley, Mercedes Gancedo, Alex Rosen i Valerio Contaldo. Alcina Gran Teatre del Liceu 17 de febrer de 2023. Foto IFL Passar de la sorollosa Rambla, galdosament i grollerament carnavalesca, al món sonor de les subtileses handelianes d’Alcina, és tota una experiència gratificant i benefactora. És un…

[supercantaloupe]

Magic Flute Thoughts

i liked nathalie stutzmann's conducting a lot more in this than i did for don giovanni. granted i am much less familiar with zauberflote than i am with don g so i'm not like hyper picky about tempi or whatever yet but anyway i liked her

flute soloist! glockenspiel soloist! FLUTE SOLOIST!!!

i just like lawrence brownlee man idk what to tell you. i think he's neat. i think he's singing something here in the winter and i'll definitely try to get tickets to that if so

i really liked erin morley as pamina! actually i thought all the main cast did a good job no one stuck out to me as being particularly Amazing or Bad. kathryn lewek got a HUGE applause (and standing o) tho and i mean kudos it was her fiftieth performance like damn.

interesting choice to play the queen as physically frail as she did; i think it works and the performance is very good, although the heavy age makeup sticks out a bit on hd cameras lol

the queen's three bitches. i'm free on friday (twirling hair)

also i hope those three kids who played the old men get to borrow their outfits again come october because they have the funniest possible halloween costume opportunity in the world now

VERY funny to me that papageno's costume makes him look like he's drenched in bird shit

okay speaking of costumes. do i 100% Get It with the like suits and colors and everything....not really but i don't think i can say that i Get a lot about this opera tbh. what i did get was the very obvious dark/light symbolism going on with pamina and tamino wearing white and the queen and her cronies wearing all black. and i think zauberflote does benefit from some heavy handed symbolism bc what else is this show about actually without that....then again the fact that sarastro and his priests or whatever are all in dark colors too kind of undermines that a little so 🤷‍♀️

same thing with the whole reason vs superstition thing too like...sure you can claim Truth And Reason as good all you want sarastro but the constant invocation of isis/osiris and Mysterious Rituals kind of undermine what you're going for there lol. i think my point is that i don't feel like i really Get what zauberflote is like...going for, thematically. i mean i get the Themes but not a clear Point. maybe if i was an enlightenment era freemason i'd get it lol but alas i am not

that said......i didn't go into this one expecting a rock solid plot and honestly who does....it's zauberflote....it is very obviously not designed to work or be interpreted on a literal level and i appreciate that it never tries to ground itself in reality. that its plot and characters exist in a completely fantastic realm works and it works with the weird plot and its vague theming.

which itself is of course accomplished through good design and holy SHIT. this is truly the shining strength of this production. the design is INCREDIBLE.

the orchestra isn't totally onstage but they are raised up in the pit to the point where they are fully visible the whole show. i love an onstage orchestra so this made me very happy. and it allowed for actor/orchestra interaction which i also love!! like tamino coming down into the pit to hand the eponymous magic flute to the flute soloist and bring him onstage with him (i was wondering during the overture why the flutes and oboes were swapped places seating wise -- it's so the flutist can easily get onstage! delight!!), or when papageno brings his glockenspiel to the percussion soloist to play (the player being 'missing' at his last solo, making papageno play by himself, and he enters late with a cup of coffee...lmaoo). also stutzmann giving a big ol grin and thumbs up to papageno during his duet with papagena at the end. so sweet

also blocking around the orchestra seating of the audience and up the aisles! so much fun we love immersive theater

the set itself had this big flat platform in the center hoisted at each corner by a cord so it could raise/lower/tilt in any direction. made for some very neat staging with levels and slants and i enjoyed that, especially since the production forgoes any kind of traditional set pieces

papageno's birds were done in such a beautiful way omg...they have an ensemble in black wandering around stage and following him about when he's doing stuff and they each have a 'bird' made of a folded in half piece of paper that they flutter about stylistically (some of the orchestra members have some too that they flutter during his entrance aria). description does not do it justice, this was a beautiful way to stage it...so simple and evocative.

the designer was saying in the interview between acts that this production was meant to combine the high and low tech aspects of theater to connect present performance practice with the opera as it was originally done (hence the visible orchestra) and i looove that philosophy. and it worked here really well i think

THE FOLEY AND PROJECTION ARTISTS. STARS OF THE SHOW. i am not joking

they get to be onstage (albeit off to the sides) the whole show too and i love it. i love that the cameras on the broadcast kept cutting to them periodically to show off their work.

the use of live projection art was really well done -- he managed to make Writing On A Chalkboard captivating!!

and the foley. the FOLEY!!! i've done sound design and a bit of live foley before so i have a soft spot but wooow she did an amazing job and it was SO much fun to see all the props she played with to make the scenes come alive sonically. plus her little interactions with papageno were very funny. give her a tony award

i do think there were a couple of small moments here and there that didn't entirely work for me or a scene or two that dragged out longer than necessary but overall it was a joy to watch. the beautiful and whimsical design of the whole thing totally makes it worthwhile even if the plot itself is a bit lacking.

easily THE coolest production design i've seen the met do yet, and the best lighting and projections from them for sure. when it comes on demand i am forcing anyone i can to watch it with me bc that SET! the LIGHTING! the SOUND! the STAGING! it ticks all my boxes it hits all my buttons it was MADE for ME SPECIFICALLY

[operacomments]

two screenshots of elina garanca and erin morley in robert carsen’s production of der rosenkavalier, singing their act 3 duet perched on a big, ornate bed. first comment, from jaydoggy531, reads: “the set is absolutely beautiful. I love the colors, I love the costumes. I think I’m just slightly confused why they’re having this duet ON the bed. Though many parts of this opera are blatantly sexual, I didn’t think this one was?” second comment, from toottoot toot, reads “Robert Carsen just really likes giant beds.”

[infinitelytheheartexpands]

brb this is gonna be on LOOP in my head

[quinnmorgendorffer]

Yay for the Met broadcast having Erin Morley as Sophie again!!

[monstrousgourmandizingcats]

Ooh! I went to "Der Rosenkavalier" at the Met for my birthday once, too. The friend I hauled with me said why didn't I warn her it was eleven hours long and had nothing she could hum — I hope your housemate was more appreciative of Strauss's lyrical bounty. >.>

She was! Both of us are big Rosenkav and Erin Morley fans (and Lise Davidsen fans too now).

[mstanyawinslow]

[housesghastlymenhaunted]

CONGRATS TO BEN BLISS, ANTHONY ROTH COSTANZO, ERIN MORLEY, RYAN SPEEDO GREEN, AND BRENDA RAE - NEW RECIPIENTS OF THE MET’S BEVERLY SILLS ARTIST AWARD!

[mezzowatch]

Alice Coote as Octavian and Erin Morley as Sophie in Strauss’ Der Rosenkavalier, Met 2013

[laurajustynaabby]

You know the singers enjoy their job when...