The inspiration for the concept and title for “Venus as a Boy” came from one of most famous songs by Icelandic singer Björk. ‘Venus as Boy’ shows the different nuances of Love, both under the garments of men and women in love. Playing with traditional Soprano/Mezzo operatic repertoire, the singer appears disguised as a boy first, and performs arias and couplets from trousers role of Italian and French opera. In the second half, the singer returns acting as a Diva, and engages in romantic French chansons and operatic repertoire typically coquetish, up to the final piece that connects both halves of the soirée.
Playing with acting and props, the Café-Concert is a vivid depiction of love through centuries and vocal styles, and an enticing excursus of cross-gender theatrical roles that are typical of Western, but not only, performing arts. The Café-Concert ‘Venus as a Boy’ has proven extremely successful and engaging and works particularly well in intimate locations such as small theatres venues, café chantants and concert halls.
A Sample Programme:
Venus as a Boy
Stephano’s aria from Roméo et Juliette, libretto by J. Barbier (Act III, Scene 2).
Cherubino’s canzona from Le nozze di Figaro, libretto by L. Da Ponte (Act II, Scene 3)
Siebel’s aria from Faust, libretto by J. Barbier (Act III, Scene 1).
Smeton’s aria from Anna Bolena, libretto by F. Romani (Act I, Scene 9).
Dalila’s aria from Samson et Dalila, libretto by F. Lemaire (Act II)
Erika’s aria from Vanessa, libretto by G. C. Menotti (Act I, Scene 1)
Venus’s aria from One Touch of Venus, libretto by O. Nash (Act I)