This painting is inspired by the character Isolier in the opera Count Ory by Rossini (the recent production by Seattle Opera was called The Wicked Adventures of County Ory).
Isolier is what is known as a “trouser role”, meaning that the conventions of opera dictate that the audience is supposed to assume that the character is a young man, when it is in fact played by a woman. [Back in the day, the roles were played by castrati – yes, young men who were castrated before puberty to retain their higher vocal range. That practice thankfully became illegal, and the roles then went to women, usually mezzo-sopranos (not too high in the vocal range)].
In 1828, when Rossini wrote this opera, Isolier would have been understood, absolutely, as a young male. But, to our 21st century understanding, the role can perhaps best be described as “gender fluid”.
Recent productions have used costumes to suggest a rabble-rousing – and dare we say *butch* – side to the character, dressing Isolier in clothing inspired by 1970s rock androgyny (think Freddie Mercury, David Bowie, the Rolling Stones), as well as punk, and female rockers like Joan Jett and Chrissy Hynde. The costumes use tight-hugging leather and popped collars, mixed with tall boots and well-placed spikes. Isolier sports an enormous codpiece, yet the tight costumes show off female curves. Isolier’s hair is long, tending toward the layered and shaggy. In short, there is something bad-ass and butch about Isolier that is worn right there on the sleeve.
Isolier is in love with a woman, Countess Adele, and in fact ends up in bed with her. Shortly after, Isolier ends up in the same bed with both Adele and Isolier’s own boss, Count Ory. (This scene is played for comedy, and in the opera, no one cares one way or another).
This work was also inspired by my recent trip to the Met…and someone asked me if my currently bald head had anything to do with this depiction…am I Isolier???
I don’t know where this work is going…all I can say right now is that this character intrigues me.