The full Moon was declining quickly as I walked back...

To the house but splendidly visible in all its features. Didn't even realize we were at that point-- it is the 15th or 16th day of the lunar cycle but I didn't make the connexion. 

The jays and the squirrel or squirrels are calmed down for the moment but they were shouting at each other for a few minutes after I returned and reloaded the window sill. The squirrel was gnawing away at one of the dog's bones: tooth-cleaning? minuscule remnants of cow? who knows. It is almost obnoxious, teeth scraping at bone. When the little monster (the dog) gnaws at such things, the sound is deeper and less noticeable punctuated by occasional clicks; the squirrel's sound is higher pitched and louder, like scratching at a chalkboard although not that high pitched.

Blogger is now fussing with the labelling nonsense. One had seen a list; now one must enter the wanted label. Perhaps, however, this has happened because I have made so many labels that the list is now hidden. Eh.

Mahler's Symphony no 2 is upcoming in about half an hour from Copenhagen; 'Resurrection' will be performed by the Danish National Choir and Symphony Orchestra conducted by Fabio Luisi with the soprano Elsa Dreisig and the mezzo-soprano Elisabeth Kulman, whose voice I know is exceptionally beautiful. 

From the Berliner Festspiele, the Ensemble Modern conducted by Sir George Benjamin will perform Benjamin's At First Light and then Wolfgang Rihm's Jagden und Formen, which I've never heard. This happened concurrently with the Mahler so it was always going to be backup in the event the Danish Radio screwed up.

 

 

I must say Terce and make breakfast before the Mahler begins.

 

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Post Sextam. The Mahler was lovely. Am at the moment enthused about New Guinea singing dogs. 

 

 

 

Will have to see, later on, if the dog here will notice the audio of the NGSD singing. 

 

The jay checked out three different peanuts just now before flying off with the first one. All three looked to be of similar size but the bird knows best. 

 

Mozart's Così Fan Tutte was sung at Salzburg; am listening to the Opèra de Lausanne's production of last Fall. I emboldened the sentences that caught my eye from the Arte website.

 

"Così Fan Tutte, ossia la scula degli amanti" ("All Women Do It or The School for Lovers") was Wolfgang Amadeus Mozart’s last collaboration with the Italian librettist Lorenzo Da Ponte after Don Giovanni and Le Nozze di Figaro. Although all three operas now count among Mozart’s greatest works, alongside Die Zauberflöte and Entführung aus dem Serail, the critical reception of this delightful opera buffa has been mixed. Tight-laced Victorians deplored its frivolous treatment of fidelity and lust, and neither Ludwig van Beethoven nor Richard Wagner could warm to it.

Fortunately, the Opèra de Lausanne has no time for such moral grandstanding. .

 

You won't find that sort of directness in New York these days. 

 

This new staging of Così is Jean Liermier’s second production for Lausanne after his My Fair Lady in 2015. Joshua Weilerstein, artistic director of the Orchestre de Chambre de Lausanne, pilots the orchestra through Mozart’s colourful score with Stéphanie Guérin (Dorabella), Robert Gleadow (Guglielmo), Valentina Nafornita (Fiordiligi), and Joel Prieto (Ferrando) in the roles of the tried and tested lovers

 

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