#Die Die Entführung aus dem Serail

[overture-contest]

Round 1, Poll 4

Propaganda for Die Entführung aus dem Serail:

None submitted.

Propaganda for Ranked, A Musical:

None submitted.

Feel free to rb with any additional propaganda and I will rb it here

[princesssarisa]

Opera on YouTube 6

Pagliacci

Franco Enriques studio film, 1954 (Franco Corelli, Mafalda Micheluzzi, Tito Gobbi; conducted by Alfredo Simonetto; no subtitles)

Tokyo Bunka Kaikan, 1961 (Mario del Monaco, Gabriella Tucci, Aldo Protti; conducted by Giuseppe Morelli; Japanese subtitles)

Herbert von Karajan studio film, 1968 (Jon Vickers, Raina Kabaivanska, Peter Glossop; conducted by Herbert von Karajan; no subtitles)

Franco Zeffirelli film, 1983 (Plácido Domingo, Teresa Stratas, Juan Pons; conducted by Georges Prêtre; English subtitles) – Part I, Part II, Part III, Part IV, Part V, Part VI

Metropolitan Opera, 1994 (Luciano Pavarotti, Teresa Stratas, Juan Pons; conducted by James Levine; Spanish subtitles)

Ravena Festival, 1998 (Plácido Domingo, Svetla Vassileva, Juan Pons; conducted by Riccardo Muti; Italian subtitles)

Zürich Opera House, 2009 (José Cura, Fiorenza Cedolins, Carlo Guelfi; conducted by Stefano Ranzani; no subtitles)

Chorégies d'Orange, 2009 (Roberto Alagna, Inva Mula, Seng-Hyoun Ko; conducted by Georges Prêtre; French subtitles)

Gran Teatre del Liceu, 2011 (Marcello Giordani, Angeles Blancas, Vittorio Vitelli; conducted by Daniele Callegari; English subtitles – ignore the silly references to Norse mythology and aliens that the translator threw in, they're not in the actual libretto)

Latvian National Opera, 2019 (Sergei Polyakov, Tatiana Trenogina, Vladislav Sulimsky; conducted by Jānis Liepiņš; no subtitles)

Die Entführung aus dem Serail

Dresden State Opera, 1977 (Armin Ude, Carolyn Smith-Meyer, Barbara Sternberer, Rolf Tomaszewski; conducted by Peter Gülke; no subtitles)

Bavarian State Opera, 1980 (Francisco Araiza, Edita Gruberova, Reri Grist, Martti Talvela; conducted by Karl Böhm; English subtitles)

Royal Opera House, Covent Garden, 1988 (Deon van der Walt, Inga Nielson, Lillian Watson, Kurt Moll; conducted by Georg Solti; English subtitles)

Salzburg Festival, 1989 (Deon van der Walt, Inga Nielson, Lillian Watson, Kurt Rydl; conducted by Horst Stein; no subtitles)

Théâtre du Châtelet, 1991 (Stanford Olsen, Luba Orgonasova, Cyndia Sieden, Cornelius Hauptmann; conducted by John Eliot Gardiner; French subtitles)

Vienna State Opera, 1989 (Kurt Streit, Aga Winska, Elzbieta Szmytka, Artur Korn; conducted by Nicolaus Harnoncourt; Hungarian subtitles) – Act I, Act II

Teatro della Pergola, 2002 (Rainer Trost, Eva Mei, Patrizia Ciofi, Kurt Rydl; conducted by Zubin Mehta; Spanish subtitles)

Gran Teatre del Liceu, 2012 (Christoph Strehl, Diana Damrau, Olga Peretyatko, Franz-Josef Selig; conducted by Ivor Bolton; Catalan subtitles)

Bankhead Theatre, 2018 (David Walton, Alexandra Batsios, Elena Galvan, Kevin Langan; conducted by Alex Katsman; English subtitles)

Theatro São Pedro, 2023 (Daniel Umbelino, Ludmilla Bauerfeldt, Ana Carolina Coutinho, Luiz-Ottavio Faria; conducted by Cláudio Cruz; Brazilian Portuguese subtitles)

Un Ballo in Maschera

Tokyo Bunka Kaikan, 1967 (Carlo Bergonzi, Antonietta Stella, Mario Zanassi; conducted by Oliviero di Fabritiis; Spanish subtitles)

Royal Opera House, Covent Garden, 1975 (Plácido Domingo, Katia Ricciarelli, Piero Cappuccilli; conducted by Claudio Abbado, English subtitles)

Teatro alla Scala, 1978 (Luciano Pavarotti, Mara Zampieri, Piero Cappuccilli; conducted by Claudio Abbado; Italian subtitles)

Metropolitan Opera, 1980 (Luciano Pavarotti, Katia Ricciarelli, Louis Quilico; conducted by Giuseppe Patané; no subtitles)

Royal Swedish Opera, 1986 (Nicolai Gedda, Siv Wennberg, Carl Johan Falkman; conducted by Eri Klas; sung in Swedish; Swedish subtitles)

Salzburg Festival, 1990 (Plácido Domingo, Josephine Barstow, Leo Nucci; conducted by Georg Solti; Spanish subtitles)

Leipzig Opera House, 2006 (Massimiliano Pisapia, Chiara Taigi, Franco Vassallo; conducted by Riccardo Chailly; English subtitles) – Part I, Part II

Teatro Regio di Torino, 2012 (Gregory Kunde, Oksana Dyka, Gabriele Viviani; conducted by Renato Palumbo; no subtitles) – Part I, Part II

Chorégies d'Orange, 2013 (Ramón Vargas, Kristin Lewis, Lucio Gallo; conducted by Alain Altinoglu; French subtitles)

Arena di Verona, 2014 (Francesco Meli, Hui He, Luca Salsi; conducted by Andrea Battistoni; no subtitles)

Cavalleria Rusticana

Giorgio Strehler studio film, 1968 (Gianfranco Cecchele, Fiorenza Cossotto; conducted by Herbert von Karajan; no subtitles)

Metropolitan Opera, 1974 (Franco Tagliavini, Grace Bumbry; conducted by John Nelson; no subtitles)

Franco Zeffirelli film, 1983 (Plácido Domingo, Elena Obraztsova; conducted by Georges Prêtre; no subtitles)

Ravenna Festival, 1996 (José Cura, Waltraud Meier; conducted by Riccardo Muti; Italian subtitles)

Ópera de Bellas Artes, 2008 (Alfredo Portilla, Violeta Dávalos; conducted by Marco Zambelli; Spanish subtitles)

Zürich Opera, 2009 (José Cura, Paoletta Marrocu; conducted by Stefano Ranzani; no subtitles)

Chorégies d'Orange, 2009 (Roberto Alagna, Beatrice Uria-Monzon; conducted by Georges Prêtre; French subtitles)

Gran Teatre del Liceu, 2011 (Marcello Giordani, Ildiko Komlosi; conducted by Daniele Gallegari; Spanish subtitles)

Mikhailovsky Theatre, St. Petersburg, 2012 (Fyodor Ataskevich, Iréne Theorin; conducted by Daniele Rustioni; English subtitles)

Vienna State Opera, 2019 (Younghoon Lee, Elina Garanča; conducted by Graeme Jenkins; English subtitles)

[opera-ghosts]

On July 16, 1782, Wolfgang Amadeus Mozart‘s opera was performed in the old Burgtheater in Vienna "The Abduction from the Seraglio" premiered.

The 26-year-old composer conducted himself. It was a great success. The portrait on the old postcard was also painted by the composer's brother-in-law Joseph Lange in 1782. The old Burgtheater was built in 1741 and destroyed in 1889.

[doyouknowthisopera]

[rwpohl]

entführung aus der lindenstraße, george moorse 1995

[coloursflyaway]

Good Enough

Pairing: Edwin Payne/Charles Rowland

Rating: T

Word Count: 4.000

Read on AO3

So, Edwin is in love with him.

Edwin loves him, and Charles genuinely never even considered the possibility of this, of them, before.

It might be because, back when he was still alive, his dad would have beaten the notion right out of him, but then again, his dad has been wrong about most things in his life, so fuck him.

So, Edwin is in love with him.

It’s… quite flattering, actually. To think that Edwin, who is beautiful and intelligent and educated, who can recite his favourite Keats poem by heart just as easily as tell you his favourite Mozart aria (it’s Konstanze, dich wiederzusehen from Die Entführung aus dem Serail, Edwin told him that, years ago), who knows spells and can read ancient Aramaic, who is the kindest, most brilliant person Charles has ever known, would love him.

Now, Charles knows that he is easy enough on the eyes, good with words and people, and has one hell of a swing if you give him a cricket bat, but the only reason he knows any Mozart aria is because Edwin showed them to him.

The only reason he knows Keats’ poetry is because Edwin would read them to him on slow, warm summer nights in the early 2000s.

The only reason he is here, is because Edwin let him stay.

So, it’s special, having someone like Edwin love him.

It’s fucking terrifying.

Because Charles is now holding the heart of the person he loves most in the world, and it’s a bigger responsibility than any he has ever taken on before.

He can’t fuck this up.

The thing is that nothing changes between them at all.

Charles isn’t sure if he expected it to, but what he is relatively certain about is that it most likely should. After all, it was an unexpected revelation, probably to both of them, definitely a shift in their relationship.

And yet, when Charles looks at Edwin, who is reading a novel whose name he cannot make out, curled up on the couch they have gotten for Crystal (and sometimes Jenny), he doesn’t feel different at all.

It’s still Edwin, his best mate, the boy that read to him when he was dying so he wouldn’t have to do it alone, who tries to smile whenever Charles shows him a new song he has fallen in love with, and occasionally fails hilariously at, who Charles would protect with his life and his soul and his cricket bat, no matter how high the stakes.

I love you the most, Charles thinks to himself, and smiles, because nothing about that has changed, either.

He has told Edwin that they would have forever to figure out the rest, and it’s the truth, technically speaking.

However, Charles doesn’t, because it’s Edwin and he has given Charles his heart and he doesn’t deserve to wait that long for an answer. It would be cruel in a way Charles cannot comprehend, and if there is anyone who doesn’t deserve more cruelty in their existence, it’s Edwin Payne.

The only problem with that fact is that Charles doesn’t know the answer.

He’s been thinking about it a lot, but the thing is, he’s never been in love before.

So he doesn’t really know what to compare his feelings for Edwin to, because, of course, they are greater than for anyone else, of course, Charles would sacrifice anything and anyone for Edwin, especially himself, of course, making Edwin smile is his favourite part of any day.

Because he loves Edwin, everything about him.

But is he, could he be, in love with Edwin?

Charles doesn’t know, nor does he know how to find out. It’s not like he hasn’t tried, but every novel he has paged through, every silly romcom he has watched, has been talking about butterflies in someone’s stomach, of seeing them in some new, golden light, of hearing violins playing when they speak, and Charles very much doubts that Edwin feels any of those things for him.

Otherwise he wouldn’t raise his eyebrows like that when he thinks Charles is being an insufferable little prick, he wouldn’t roll his eyes and tell him, “I know, Charles, you have told me a thousand times before”, whenever Charles brings up how much he wishes he could still taste things, or groan whenever Charles attempts to convince him to just try and let him put on some eyeliner.

(It’s just that Edwin would look so pretty like that, some kohl to bring out the warmth of his eyes, making them stand out even more than they do anyway.)

So all this talk of violins and sparkles and the need to give someone roses, if Edwin doesn’t feel that when he says he is love with Charles, then it’s pointless to consider, and anyway, those books and films describe people who have just met, not those who have known each other for twice as long as they were alive.

Maybe if he had just met Edwin, he would be hearing violins, Charles definitely thinks it’s possible.

Especially the violins in Konstanze, dich wiederzusehen.

“I just need some time alone”, Crystal says, putting on her jacket, while already opening the door. “And I am aware that that is a novel concept for the two of you, since you are basically attached at the hip, but for me, an alive human being, it’s really important to occasionally have a second of peace between almost dying and whatever we will have going on next.”

She stops to put on her shoes, almost falling over in the process, and Charles and Edwin share a look, a smile, and Charles thinks, I love you the most.

“Don’t follow me”, Crystal tells them, especially Charles, and it’s kind of cute, actually. “I’m going to get the biggest frappuchino Starbucks is legally allowed to serve me and I will not tolerate any ghostly company while doing that.”

Charles holds up his hands, still grinning, indicating his surrender in a battle he wasn’t aware they were fighting, and Crystal gives him a single nod before she walks out.

“So”, Charles starts, and turns around to face Edwin, who is already looking back, “what do we think this frappuchino she was talking about, is?”

Actually, there is one thing that changes between them after all.

It’s subtle, at least at first, but looking back, Charles isn’t quite sure how he managed to miss it for the few weeks that have passed. Maybe it was the shock of almost being forced to move on to the afterlife, the chaos of getting Crystal and Jenny settled in London, the fact that it seems to increase only slowly, incrementally.

Edwin has never been a physically affectionate person, completely contrary to how Charles is.

If it had been up to him alone, he would have hugged Edwin much more often, would have leant against him when they were looking through a book together, would have held hands to keep them from losing each other when things got hectic. But it wasn’t, and that was fine, so it was occasional touches instead, a hand on Edwin’s upper arm, his back, ruffling his perfect hair when he was doing something kind of dumb, kind of cute.

(That one always made him duck his head and smile, glance up at Charles through his lashes and allow a second to pass before he started fixing his hair again.)

Now, however, it’s… it’s not getting better, because there was nothing wrong with it in the first place, Edwin’s aversion to physical affection, but it is changing now.

It’s less that he initiates it, more than he allows it to happen more frequently. Sitting down next to Charles on the sofa instead of taking the armchair, allowing Charles’ hand to linger on his arm for a moment longer than expected, letting their shoulders brush when walking.

He’s not asking to be touched, not really, but something about it still makes Charles irrationally happy as soon as he catches onto it. Because Edwin deserves all the affection the world can offer, and Charles will always be here to give it to him.

So he reaches out in the morning, when the sun has just started to rise, and puts his hand on the curve of Edwin’s shoulder, right where it meets his neck, and points out that the clouds are turning the most beautiful pink. He throws his legs across Edwin’s lap when they settle down on the sofa at night, a book in Edwin’s hands, the tablet Crystal made him buy in Charles’. He pushes his fingers through Edwin’s hair, not to ruffle it, but just to pretend he can feel its softness against his skin.

It makes Edwin duck his head again, give Charles a little smile when looking up, and Charles thinks, I love you the most.

And thinks, I want to love you the most in every way you will have me.

“Jenny, I have a question”, Charles starts as soon as he has phased through the walls of her new butcher shop. It’s to her credit that she hardly reacts; the first time he had done that, she had thrown a meat cleaver right through his head. “What do you know about love?”

Instead of a knife, Jenny just throws him a weary look, an eyebrow elegantly arched. It makes Charles think of being scolded by the headmistress, a sensation that should be much more unpleasant than it is.

“Nothing”, Jenny answers and brings her cleaver down with a dull thud, separating flesh from bone, before looking up at Charles again. “No one ever knows anything about love and if they try to tell you otherwise, they are lying.”

There is a certain sense of finality in her voice and Charles knows he has been dismissed, no detention this time, but don’t dare to push it.

“Great”, he mutters, more to himself than to Jenny, “that doesn’t help me at all.”

“You should look at this, Charles”, Edwin says and turns the book towards him.

It’s late at night, Crystal having long since gone home and they are sat on the sofa, shoulders touching while they do their research. A new case has come up, and Edwin is trying to learn more about ancient Celtic runes, while Charles is pouring over a map of London’s underground; now, he looks up and at the page Edwin is showing him.

“We could add this to your bat”, Edwin explains, “it’s a rune for physical strength. Supposedly, it doubles whatever force you put into a hit.”

“Edwin, mate, are you trying to tell me I need help with hitting people?”

Charles is grinning, obviously teasing, and Edwin just scoffs, rolls his eyes.

And that is what Charles means; this isn’t birdsong and candle light, this is just how they always have been. This is what makes them them, even.

“Charles, do be serious”, Edwin replies, but there is affection in his voice, there is love. “I am perfectly aware that you can hit things very well, but that doesn’t mean that hitting them even better wouldn’t be an advantage.”

“I know. This is brills”, Charles concedes, and on a whim, nothing more than that, presses a quick kiss to Edwin’s cheek.

For a moment, he almost expects Edwin to admonish him, because this isn’t exactly something that they do, but instead he stares at him, before he ducks his head; Charles isn’t sure how he knows this, but if Edwin could, he would be blushing.

And it does something to Charles’ head, the thought that he would be able to make Edwin blush. It makes him stop dead in his tracks, look at Edwin not like he is seeing him for the first time, but like he could be looking at him for the rest of his existence and not get bored of it.

“Do you wanna do the honours of carving it? Since you were the one who found the thing?”, he asks just to say something, aware that his voice sounds slightly off, and thinks, I love you the most. I love you the most. I love you the most.

“Very well done, Charles”, Edwin tells him and clasps a long-fingered hand on Charles’ shoulder, peering down at the leprechaun he knocked out clean with his bat a few seconds before.

The rune really makes it pack a punch.

“I don’t think this will pose any further problems”, Edwin continues even as he crouches down to examine the passed-out form crumpled on the ground. He prods at it gently.

“It fucking better”, Charles replies, resisting the urge to pull Edwin away from the leprechaun, just in case that touching it might have some kind of magical side effect. “And if not, I’ll punch it right back out. I’ve got an Edwin Payne-improved bat after all, it won’t stand a chance.”

Just for good measure, he twirls the bat around once, twice.

This has always been one of his favourite parts of the job, the simple pleasure of knocking someone out before they get the chance to hurt his friends.

Edwin looks up at him from where he is crouching, and Charles grins at him, metaphorical adrenaline running through his non-existent veins still. He would punch out a bear if Edwin asked it of him.

Before he can say anything else, though, Crystal clears her throat from behind him, sounding decidedly less impressed.

“That’s really cool, yeah. New bat, I get it”, she says, walking around Charles so she, too, can see the unconscious leprechaun. “But you do remember that we actually wanted to talk to him, right?”

They get to talk to the leprechaun in the end, who turns out to be about as obnoxious as expected, but does admit to stealing the heirloom they were looking for for his pot of gold.

He even gives it back, but only after Charles has started twirling his bat again.

“And another satisfied customer”, Charles comments as they return to the agency, flinging his backpack into the corner.

“Client, you mean”, Edwin corrects, but still smiles at him, and pats the space next to him as soon as he sits down on the sofa. Charles flings himself down without a second thought, legs landing somewhere across Edwin’s laps, one of his hands settling on Charles’ ankles.

This is new, at least to some extent, and Charles loves it, the feeling of Edwin’s fingers on him. It feels right, somehow.

I just really love you the most, he thinks.

“Yeah, whatever”, he concedes and looks over at Crystal, who is watching them with something in her eyes that Charles cannot quite place. Not bad, per se, just…. Strange. “Doesn’t sound that good though, does it? And anyway, the most important thing is that they’re satisfied, right? Passed on right to the afterlife, no worries keeping them here any longer.”

“As if it’s only worries that could keep one here”, Edwin replies, his tone as dry as the desert, but making Charles laugh anyway. “We should be the best example for that.”

“You know what I mean!”, he shoots back, “It isn’t like with us, is it? Don’t think that the client was kept back by meeting the love of their life, were they now?”

It spills from his lips like nothing, without Charles thinking about it for a single second.

He’s still laughing, but Edwin’s fingers have stopped where they were gently stroking across the arch of his foot, and then Charles realises it, and for the first time, hears silence.

For the first time since they got back from Hell, they part when Crystal leaves.

The conversation had been stilted after Charles’...slip up? blunder? confession? and although it had been obvious that all three of them had been trying, it had been impossible to get things back on track.

So, Charles leaves with Crystal, telling Edwin he will walk her home, although that is something he has never done before, and Crystal lets him, although he is fairly certain she wouldn’t under normal circumstances.

She doesn’t need anyone protecting her from the city she grew up in after all.

“How do you know you’re in love with someone?”, Charles asks after they have walked in silence for a few minutes. He can’t think of a way to cushion the question, how to make it less awkward to ask, so he doesn’t bother with it at all.

“This is about Edwin?”, she asks, seemingly to clarify, and Charles nods mutely, not looking up at her. “I’m not sure. Especially not when it comes to the two of you. For Edwin, I could have seen from miles away that he was in love with you, even if he hadn’t reacted like he did when we first met. For you… you love him, anyone with eyes could see that, but if you’re in love with him, I think you have to figure that out yourself.”

“Do you know how it feels, though? Being in love?”, he asks, just in case Crystal can at least tell him that.

“I’m not sure”, she answers after a moment, then links their arms together, pulling Charles closer. “I think that’s different for everyone. But I’m sure you’ll be able to figure out what it feels like to you if you let yourself.”

He walks Crystal home, but when she asks if he wants to stay, Charles just shakes his head.

Edwin is back at the agency, and Charles isn’t sure exactly in which state, what he is thinking, and Charles cannot allow that. At least not for long.

What he does, though, is taking a little detour to the park not too far from their building.

It’s the first time he really pays it any mind, even if it’s most likely not the first time he’s been there, but now, Charles lays down on the grass, looking up at the night sky.

London is too bright for him to see many stars, but there’s a few of them; Edwin would surely be able to point out a constellation or two.

And that’s the thing, isn’t it.

Edwin isn’t here, and yet he is with Charles anyway, always, in every moment of his existence.

Sighing, he scrubs a hand down his face. There’s no way around it, it has to be now, and it has to be the right answer, the one he truly means, because Edwin deserves nothing but that.

No false hope, and no heartbreak that might be taken back along the line.

So, he thinks of Edwin, of his elegant hands and the swagger in his walk when he feels confident, of the colour of his hair and of his eyes, of the curves and slopes and sharp cuts of his face.

He loves that face, has seen it with every possible expression painted across of it, and still loves it.

The stars above are dim and partly hidden behind the clouds, so Charles lets his eyes slip shut, and imagines coming home to the agency and taking Edwin’s hands in his.

They would be just a little smaller than his own, his fingers slender and yet so capable, and if he could still feel, Charles is convinced they would feel cool against his skin.

He imagines pulling Edwin close and holding him like he has always wanted to, burying his face against the side of Edwin’s neck and pretending he can breathe in his scent. Having Edwin sneak his arms around Charles’ waist and cling to the back of his jacket, like he doesn’t want to let go again.

In his imagination, it feels a little like the hug they shared after being granted asylum on Earth, but it would be entirely different, because it wouldn’t be out of relief.

Instead, it would be just them, embracing to feel the other close.

And he thinks of pulling back from the hug, seeing Edwin smile and kissing the curve of his lips, nipping at them until he can make Edwin laugh and teasing his mouth open to lick into it.

It would be like kissing Crystal, kind of, only that-

Only that it wouldn’t be like that at all.

He runs back to the agency, as fast as his spectral feet can carry him.

Edwin is sitting right where he left him, almost like he hadn’t moved an inch since Charles walked out of the door, and he hopes to all deities he can think of that it isn’t so; knows, at the same time, that it is.

“Hi”, Charles greets, because he doesn’t know what else to say, and Edwin nods and gives him a smile, brittle and unsure and hopeful, all at once.

“Hello, Charles. Did Crystal get home safe?”, he asks, and it’s so painfully polite it makes Charles cringe.

“Yeah. Yeah, sure, of course she did”, he responds, trying to figure out how to begin saying what he needs Edwin to know, but Edwin beats him to it.

“Did you mean it?”, Edwin asks, breathes out the question like he still has lungs to do so, and it’s in that moment that Charles is more certain of his answer than anything else he has ever thought, because Edwin sounds small, sounds vulnerable and breakable and yet so fucking hopeful, and Charles wants to pick him up and cradle him against his chest and never let go again.

“Yes”, he says, and it’s sunrise and violins and bouquets of roses all at once, it’s a single word that changes the world around them. “Kind of. Let me explain.”

And Edwin nods, sits back with his hands in his lap and all Charles can think about is that those same hands belong holding a book, resting on the top of Charles’ legs, which should be flung carelessly across Edwin’s lap, just because Charles wants to be near him.

“You’re the love of my life, no matter what”, he starts, crouching down in front of Edwin so he can take his hands; they look so lost. “You have been for decades. I love you the most of anything in the world. I will always love you the most. Every time I look at you, it’s just that on repeat in my head. I love you the most.”

He ducks his head, laughing softly, because it sounds silly now that he says it out-loud, but when he looks back up, there are tears brimming in Edwin’s eyes, making them shine even brighter.

His lips are parted and for just a moment, Charles thinks about kissing them.

“And you know, I still can’t say that I am in love with you back, because you don’t deserve a lie, but what I can say, what I can promise you, is that I could fall in love with you. And that I want to. More than anything.”

A single tear rolls down Edwin’s cheek, glistening in the dim light, and Charles looks at him, and thinks, I do. I am. I love you the most.

“Could that be enough?”, he asks, squeezing Edwin’s hands in his. “At least for the start?”

And Edwin nods so frantically that more tears spill over, wetting his face, and Charles can’t help but laugh; how strange to think that making Edwin cry for once is not his biggest fear, but something that fills his heart with joy to the point of bursting.

“Okay. Brills, that’s-”, he replies, and can’t keep himself from smiling so wide it would hurt if he was still alive. “So, um. Can I kiss you? I really want to kiss you right now.”

Again, Edwin nods, and he is smiling, too, looks so happy that Charles thinks heaven must be overrated, because nothing in the whole of existence could compare to this.

He thinks of the scene he pictured in the park of holding Edwin close and how much in pales in comparison to this, to holding Edwin’s hands and watching him glow with love and hope and warmth.

And leans in to find out if the same is true for kissing him.

(It is.)

[aro-simp]

Hi! Y'all can call my Sean (he/it + cyber/glitch/[redacted])! This is a sideblog, I follow and like from @couple-of-assbutts

I'm plural, which may be talked about here occasionally, as fictive parts also partake in selfshipping. Plurality is a complex topic, don't berate us on how we talk about our own system!

We don't do shipcourse, and have no DNI!

I tag nsfw as nsft! Other than that I don't really have a tag system, tho I may tag some specific f/o's or sources.

All our posts are okay to be reblogged no need to ask permission :)

I don't have a consistent stand on sharing, so if in doubt about a specific F/O just shoot me an ask!

F/O list is beneath the Read More!

In brackets are shipnames I'll hopefully use for tagging purposes

Fictoromantic F/Os:

Inspector Lestrade - Sherlock Holmes [Clueless Love]

Bassa Selim - Die Entführung aus dem Serail (2022 Bielefeld production) [Felix Amor]

Tim Bradford - The Rookie [Tough Luck]

Queerplatonic F/Os (this list is not, and probably will never be, complete):

Captain Curly - Mouthwashing

Jimmy - Mouthwashing (fictive)

Pete "Maverick" Mitchell - Top Gun [PsyMav] (soulbonded)

Bradley "Rooster" Bradshaw - Top Gun: Maverick [RoosPsy] (introject)

Nick "Goose" Bradshaw - Top Gun [GoosePsy]

Jack Traven - Speed

Gregory House - House MD

Robert Chase - House MD

Lawrence Kutner - House MD

Ninth Doctor - Doctor Who

The Author - Doctor Who OC [Quill-N-Drill]

Simm!Master - Doctor Who [Your Lord And Master]

Captain Jack Harkness - Doctor Who

Rebecca Crane - Assassin's Creed

Desmond Miles - Assassin's Creed

Wyll - Baldur's Gate 3

Karlach - Baldur's Gate 3

Jonathan Crane/Scarecrow - Batman Begins

Bane - The Dark Knight Rises

Almond Cookie + Tea Knight Cookie - Cookie Run

Eddie Brock - Venom

Hobie Brown - Spider-Man: Across the Spiderverse

Gollum - Lord of The Rings

Shane - Stardew Valley

Javier Esposito + Kevin Ryan - Castle

Jerry Tyson - Castle

Ilya Sokurov - The Rookie

Jared Stone - Castle

Ivan - Die Fledermaus (2022 Bielefeld production)

Figaro - Barber of Sevilla (2023 Bielefeld production)

Agent Stone - Sonic

Adam - Hazbin Hotel

Sir Pentious - Hazbin Hotel

Reginald Thorpe - Moriarty

Rodney Lambert - Moriarty

Farengar Secret-Fire - Skyrim

Rune - Skyrim

Dr John Watson - Sherlock Holmes

Dorian Gray - The Picture of Dorian Gray

Henry Clerval - Frankenstein

Robert Walton - Frankenstein

Matthew Asquith - Sherlock Holmes: Der Erpresser von Edinburgh

Cicero - Skyrim

Crowley - Good Omens

Aragorn - Lord of The Rings

Gavin Reed - Detroit: Become Human

Jacob Frye - Assassin's Creed [Jaccup]

John Standish - Assassin's Creed [IT Noob]

Sexual F/Os (almost all my selfship have a sexual component, these however are exclusively sexual F/Os):

Cahir - The Witcher (Netflix)

Ancano - Skyrim

Julius Caesar - Asterix

Platonic and Familial F/Os (very very shortened version):

Viggo Grimborn - Dragons: Race To The Edge

Toothless - How To Train Your Dragon (Movies)

Oscar - Moriarty

Polly Danbridge-Burton - Moriarty

Ernest Fillmore - Moriarty

Natasha "Phoenix" Trace - Top Gun: Maverick

Robert "Bob" Floyd - Top Gun: Maverick

Dark Choco Cookie - Cookie Run

Red Velvet Cookie - Cookie Run

Simon "Ghost" Riley - Call of Duty

Ethan Hunt - Mission Impossible

Some random links:

TES OCs, Top Gun S/I

[catzy88]

Good Guy Rosenberg being concerned about Salieri and going looking for him when Salieri doesn't show up after the rehearsal of Mozart's "Die Entführung aus dem Serail".

And Rosenberg finding Salieri in one of the music practice rooms, curled up, scratching himself.

Salieri looking up, teary-eyed, "He is too good. I could never amount up to that."

[lyrics365]

Die Entführung aus dem Serail: "Konstanze, dich wiederzusehen"

BELMONTE Konstanze, dich wiederzusehen, dich! O wie ängstlich, o wie feurig Klopft mein liebevolles Herz! Und des Wiedersehens Zähre Lohnt der Trennung bangen Schmerz. Schon zittr’ ich und w***e, Schon zag’ ich und schwanke; Es hebt sich die schwellende Brust! Ist das ihr Lispeln? Es wird mir so bange! War das ihr Seufzen? Es glüht mir die w***e! Täuscht mich die Liebe? War es ein…

[alex99achapterthree]

I promised you more entertainment posts… how about a little bit of opera?

Here's a clip from Mozart's Die Entführung aus dem Serail (The Abduction from the Seraglio). The Pasha Selim is holding Konstanze captive and threatens her with torture for refusing his advances. Here she is berating and defying him. Spoilers… he eventually sets Konstanze and Belmonte, her fiancé free.

What makes this performance especially interesting is that the venue is Hangar 7 At Salzburg Airport, staged before an array of restored classic aircraft as theatre in the round.

I don't know if anyone else will be interested in this, but I quite like it.

[afactaday]

#aFactADay2024

#1286: on this day in 1782, Mozart's successful opera die Entführung aus dem Serail premiered. even though the first two performances alone brought in 1200 florins, Mozart was paid just a flat 450, and got nothing from subsequent showings. it did make him very famous though, with high praise from the likes of Goethe and Emperor Joseph II. the latter is storied to have said that the composition had "too many notes", although that's probably a mistranslation of "very many notes" (gewaltig viele Noten). which he may or may not have said. the false quote did make it into the 1984 film Amadeus though, so it must be fact, right?

[overture-contest]

Round 2, Poll 2

Propaganda for The Producers:

It's a big, classic overture which could totally pass for a Golden Age show if it wasn't written in 2001! Nobody does overtures like this anymore - except, apparently, The Producers. I was going to provide a timestamp for the best part until I realized I couldn't decide on a best part. Just listen to it!!

Propaganda for Die Entführung aus dem Serail:

None submitted

Feel free to rb with any additional propaganda and I will rb it here.

[princesssarisa]

@simone-boccanegra, @supercantaloupe, @notyouraveragejulie, @tuttocenere, @leporellian, @ariel-seagull-wings

[opera-ghosts]

Here we see a Postcard from 1906, with beautiful design.

[musicloves]

Mozart:

Clarinet Concerto

Oboe Concerto

Clarinet Trio

clarinet Quintet

Don Giovanni

The Marriage of Figaro

Eine Kleine Nachtmusik

The Magic Flute

Cosi Fan Tutte

Die Entführung aus dem Serail

Symphony 40

Symphony 41 ‘Jupiter’

Horn Concerto 4

Piano Concerto 21

Requiem

[loosealcina]

WOLFGANG AMADEUS MOZART’S DIE ENTFÜHRUNG AUS DEM SERAIL AT LA SCALA, MARCH 8, 2024

It might be old—possibly ancient news here, but the mandatory bit about my puzzlement, surprise, and thorough head scratching over this is still mandatory. If you contemplate the very nature of theater, a Strehler Entführung today is flat-out impossible. (I suspect you’re like, not again… the supreme here and now requisite of this art… alive and at full throttle for a moment, then immediately gone… the curse that is actually a blessing [and the most important one, on top of that]… Perhaps you’re even rolling your eyes a little bit right now, so I’ll spare you the bulk of the considerate if slightly overblown sermon I’d deliver on this topic). What was it like? I wouldn’t call this revival of Giorgio Strehler’s Die Entführung aus dem Serail (previously presented at La Scala in 1972, 1978, 1994, and 2017) a ghostly apparition or a shadow, ‘cause those words would suggest something uncanny/mysterious was going on, while the crucial idea was deprivation. A river without a drop of water maybe, or a Bic pen without ink. Or, quite simply: something that used to exist, but isn’t there anymore.

The orchestra conducted by Thomas Guggeis seemed to find an interesting way of merging into this tricky scenario. Crispness, precision, metallic hues were essentially ubiquitous. And another keyword has to be antiquity: their personal Entführung sounded like the respectful, neutral, deliberately dry rendition of an object that comes from—and in fact, stays in—the past. As for the cast of actors/singers, I had two favorite performers, and they both came with a minor but. Jessica Pratt (Konstanze) treated us to a number of superb, only spectacular high notes during the famously demanding Aria «Martern aller Arten/mögen meiner warten» (Act II), but she wasn’t as compelling when the degree of difficulty went down. Jasmin Delfs (Blonde) let her luminous, velvety timbre routinely steal the spotlight like it’s no big deal; but the commedia dell’arte element of the staging had a partially sadistic side—I mean, since Blonde is Konstanze’s maid, she embodies the perky servant (Colombina): she must move like a puppet, she exhibits an excruciating permanent bow, her entire backbone parallel to the ground, etc.—that made me marginally uncomfortable.