And ZOMG IT WAS AMAZEBALLS. The overture was perfect. Brisk and invigorating to begin with, then sliding through all the different themes and character motifs with insidious allure. I was giddily clapping (silently!!!) along to the du-da-da-dah duh duh duh da da-da-da-dah duh da-da-da-da-duh-dah part every time it played.
There were splendid dancers from New York who opened act 1 and and act 4 with some exquisite and passionate latinesque dancing. I was fanning myself internally at the devastatingly sexual homoeroticism of the dancing when the male toreador dancer and the male bull dancer squared off. There were lots of slow, controlled, precision-engineered lifts. I'm not going to lie - it was a slashy pantywetter if there ever was one.
I'm dining at my favorite après-opéra restaurant. Waiting for theater district parking to thin out, is the rather watery justification. Meal is here!
I DARE you to listen to it and not get it stuck in your head. Not getting the Carmen prelude stuck in your head is my infallible Voight-Kampff test.