#Like the effect of orchestra in these songs are just so beautiful

[yueasuka]

Synchronicity series in Miku symphony!!!!! ❤️❤️❤️❤️❤️❤️❤️

It has no vocal but the orchestra really did a great job in playing all parts.

[idontknowreallywhy]

Just chucking my rambling about the soundtrack of SOS2 in a separate post rather than buried in the showdown reblogs… mostly because I’m impressed by how many things there are to say even though I don’t feel like I mentioned half of them!!

🎵🎵🎵🎵🎵🎵🎵🎵🎵🎵🎵🎵🎵🎵🎵🎵

Musically (which is my particular obsession, especially as I also listen to the episodes a lot in the car so don’t have the picture to tell the story)… SOS2 though is next level.

It has all the themes, plus the new ones from Calypso/Braman but it shifts and develops them.

We have Four launching to the theme in 5/4! That’s so clever, it really sets me on edge as it makes it clear something is OFF. The scene before when they are discussing Braman adds to this edginess because the quiet tremolo strings in the background just tip it off comfortable.

The search / chase / trap cues are brilliantly executed… the chaos crew themselves could have been written a lot better, but the theme is a very clever and flexible one (much like the mechanic’s was - the Fosters clearly love a baddie) and it’s well incorporated here, especially in how it is blended with the ‘underwater’ soundscape and then with the tension music as the choir backing happens and the pulse increases… your high panic from the upper voices, strings and solo trumpet… the sense of inevitability and hugeness from the lower end of the orchestra… till it all culminates in what is effectively a musical scream… and then the strings give us quiet pain.

Then the silence.

Oh the silence.

There is no musical background as Fuse approaches. It’s just water and rocket noise. Which in such a musically rich episode is jarring, it makes me hold my breath.

Then when he sees Gordon and we hear the start of the string and horn backing for the elegy… I like to think it’s a turning point for Fuse, him realising this is bad, having regrets at the same time the audience are desperately worried for Gordon. But they are brave - they start the mourning song but they stop it! When it cuts back to the Chaos Cruiser and the Hood deserves no music.

It’s only when Fuse asks whether Gordon will be ok that we get the music back and… oh my.

THAT ELEGY.

Look I know I have raved about this before but holy moley it’s beautiful.

But but - notice - where the hood got only engine noise & no music, once the chaos cruiser is gone and it cuts to Thunderbird 2 we have all music no sound effects. I believe it’s the only time in all 3 seasons where the soundscape is entirely bare but for music. The Fosters talked about what a privilege it was to be given sole charge of what the audience hears at that key emotional moment. Thunderbird 2 silent??? The Tracys silent - they communicate only by looks. The music speaks their agony for them. The rockets on Thunderbird 2 fire but there is no sound from them. Virgil says Thunderbird Two is Go but we don’t hear it fly overhead.

The Thunder is gone.

The theme develops as FAB 1 is in shot and the sound effects coming back is another little shock - like you’re waking from a bad dream to find out it’s real.

The Rescuing Gordon cue gives us part of the elegy theme with Gordon’s launch again, back it’s back in a slow 4/4. Because Two is there and Two is safe and stable. BUT… it’s still not quite right - listen to the strings… not the semiquavers in the bass but the single broken notes over the top - slowly rising and then falling - they aren’t on the beat! Every time the note starts just a little sooner than it feels like it’s supposed to. They have a plan, they know what to do, but agh they are also in a rush and there’s a sense of fumbling desperation. So. Flipping. Clever. I didn’t notice it until maybe the 30th time of listening.

The strings climax at the point the pods lock on and we hold our breath… and as Penny cuts Gordon free so does the music - they really play around with the speed here, the new string tune that comes in… with too many notes to fit into the 4/4 pattern it’s like the beat pauses but the melody continues until with a *gasp* she has him and the pulse restarts.

When they get him into Two’s med bay it seems like the music is gonna stop, like it does on the Chaos Cruiser but no. There is a single, quiet, sustained note… the orchestra doesn’t let Gordon go.

I mean I could go on all day… Shadow V Chaos, wonderfully scored too… the fact the Braman’s Sacrifice theme (from when he steered the Calypso into the sea) soars in and combines with Kayo’s theme as she gives up her advantage over the Chaos Cruiser to turn and save him. Lush. The soft family theme at the hospital… aaah.

But one final thing…

The ending.

Because I have listened to this hundreds of times and STILL the goosebumps.

Brains brings up the data - We have the insistent pulse of the familiar theme but then a slow minor key string version of Braman’s sailing sailing song. Then as they start to realise what’s going on that fades and Jeff’s theme starts! Are we going to get it? It’s not totally clear… as Brains is trying to decrypt the hidden message the notes are held but as we see FAB we get the end of the melody! At last! JEFF TRACY! And it all rises and climaxes into the main theme at the end. PERFECT! BRAVO! *leaps from chair and dances*

[bargainoriley]

Ummagumma (1969)

Here are my thoughts on ummagumma! I also wrote my thoughts on atom heart mother but will be posting it a bit later today (I listened to both albums in the same day while on a flight)

1. Astronomy Domine - Live

The intro is very different but still sounds very awesome! I love the sound of the keyboard and guitar here as well! The wah-wah really adds a lot to this version. I also really like the improvisations here, but I still like the original more honestly.

2. Careful With That Axe Eugene - Live

I’ve never heard this song in full before! The keyboards and spooky groove at the beginning is really cool! Also the background vocals as well. Every instrument in this song is very very great (I especially love the use of cymbals here, and the keyboard, and the guitar, and the bass)! And once the scary/heavy beat drop hits this song becomes even better! I was legitimately head banging! The screams are really scary and make the song all that better (they made a shiver run up my spine)! How is this song spooky and really groovy and cool at the same time??? The improvisations are also really good. This song perfectly encapsulates a horror movie in my opinion.

3. Set The Controls For The Heart Of The Sun - Live

This version is pretty good as well, but the studio version is a little bit better in my opinion since the sound/music effects in the original version are very good and really contribute to the feelings/vibes of this song, and this version is really missing them. I really like the addition of the guitar and the keyboard improvising though.

4. A Saucerful Of Secrets - Live

Oooo I love how the bass plays part of the original synth intro here, it sounds very good and cool! The intro here sounds way cooler than the original. This version overall has a very different vibe from the original; and in this case I like this live version a lot more than the original! The church organ/choir part here is even better than in the original, and the song just sounds better generally on this album. I don’t know why I like this version more, probably maybe because it’s a lot more melodic than the original! I think the original is good, but sometimes the chaotic part in there gets tiring to listen to

5. Sisyphus part 1

Very ominous! I like the drums and cello here!

6. Sisyphus part 2

The piano here is great and beautiful! God Rick can play so well… this is making me realize even more how talented he was!! And then it suddenly gets very chaotic…

7. Sisyphus part 3

The chaos from the last part continues here! This part is honestly kind of really bad, but I think it has major meme potential! I can just imagine this playing in a shitpost, or it just kind of sounds like a shitpost itself.

8. Sisyphus part 4

Pretty ominous, but relaxing! OMG then suddenly the organ comes! So much for relaxing! After that it kind of gets pretty creepy and weird… I do not like it :( honestly sounds worse than the most dissonant/chaotic parts from a saucerful of secrets. The orchestra though at the end is really cool and badass!

9. Grantchester Meadows:

The bird sounds and guitar intro is very lovely. The vocal harmonies are also very lovely and relaxing! This song honestly reminds me a lot of Simon and Garfunkel. This feels like a major breather from the chaos that was Sisyphus… I really like this song! Feels especially relaxing as I’m in an airplane right now listening to this album.. Also what was up with the ending where someone just straight up slaps/kills a fly?? That was so random

10. Several Species of Small Furry Animals Gathered Together in a Cave Grooving with a Pict

Well that was…. a song. Very very bizarre! What were they even on to think of this??? The song kind of makes me laugh and uncomfortable at the same time… the second song that has major meme/shitpost potential/vibes.

11. The Narrow Way part 1

Very folky! I like this composition so far… the guitar here is lovely!

12. The Narrow Way part 2

Oooh, pretty heavy and ominous! I like it I like it, the melody here is especially cool.. so far this song with multiple parts is so much better than Sisyphus. This part honestly feels like you’re in a sci fi haunted house.

13. The Narrow Way part 3

I love the reverb guitar effect here!! This is the best part of them all! The reverb guitar and the entirety of the song honestly reminds me of later albums. The singing here is also very lovely. This part sounds very much like While my Guitar Gently Weeps.. probably because it is in the same key and used a similar melody to George Harrison’s song. The whole narrow way song with all its parts is really good and an underrated gem imo. So far one of my favorite songs on this album along with Careful with that Axe Eugene live and Grantchester Meadows. An absolute banger of a song!

14. The Grand Vizier’s Garden part 1

Feels like lord of the rings, very whimsical!

15. The Grand Vizier’s Garden part 2

Pretty ominous and weird sounding so far. Honestly feels like somebody is performing magic tricks. The melody after that intro is pretty relaxing though. When the windy melody started skipping I thought my phone was glitching. The drums being cut off and skipping feels like a sound collage almost… the drum groove/solo by Nick at the end though goes really hard!

16. The Grand Vizier’s Garden part 3

The beautiful orchestra ending the album is very fitting, but kind of underwhelming.

In general, I think the live sides of the album are very very different from the 2 other experimental sides, and I honestly liked the live sides better… because the experimental sides just weren’t my cup of tea most of the time. Except for Grantchester Meadows and The Narrow Way I didn’t really like the experimental tracks. I am also mixed on this album… I have to say this is my second least favorite album so far. More is only worse in my opinion because it is very forgettable except the underrated gems I like from that album (The Nile Song, Cymbaline, Green is The Colour). At least I’ll forever remember this bizarre album, and the fact that it is so bizarre and memorable makes it much better than More. It is also better than More because of the live sides alone (they are very very good). What I take away from this is that Ummagumma just has major shitpost vibes (including the album name itself) and that it was pretty tedious to listen to at times, but I felt it was definitely worth it for some underrated gems!

[etaleah]

Not to be an old nerd on main but I really think more young people should go to classical orchestra concerts.

It is wild to me that classical music has this reputation of being elitist when in fact it’s easily the most affordable kind of concert you can go to. Classical music orchestras are desperate to get young people in the door because the majority of their patrons are elderly and when those patrons die, the art of live classical/instrumental music will die with them if younger folks don’t show up to keep the concerts going. If you are under the age of 40, there’s a good chance that your local orchestra has a discount for you, and possibly a steep one at that. If you’re a high school or college student, you might be eligible for a student discount, which could be even better. And if you’re bringing family or friends, there might be group discounts.

But even if there’s no special deal, these concerts can still be surprisingly cheap, in large part because many of them don’t make you buy through the greedy extortion clusterfuck that is Ticketmaster. I literally got a front row seat at an orchestra concert for just TWELVE DOLLARS and heard some of the best music of my life while doing it. Music that is so amazing it can move you to tears. And that kind of pricing isn’t unusual in my city. Hell, there are even some concerts around here that are FREE.

It kills me to see young people feeling like they have to miss out on the joy of live music just because they can’t afford to shell out hundreds of dollars in Ticketmaster fees when a much easier and more affordable option is right there.

Also? The idea that classical music is solely the domain of White men from the 1800s is not true. There are women and people of color in the orchestras, in conductor/director positions, and there are women and POC composers from a range of eras whose work gets played. I attend a lot of orchestra concerts and I’ve heard beautiful music from all over the world from composers and performers in all kinds of demographics. I’ve heard music that was composed within my parents’ lifetimes and music that was about being queer. And I never paid much for any of it.

It’s true that these concerts aren’t very flashy. There’s no special effects, big screens, dance numbers, or sparkly outfits. But that’s the point. You’re meant to focus on the music and the story it’s telling, with no distractions. It’s one or two hours of relaxing songs that allow you to just let your mind wander and imagine. It’s much better for people with sensory issues who get overwhelmed easily, and it lets you safely get the cheap seats without any worries that you’ll be missing too much because you don’t really need to see what’s on stage, you just need to hear it. And if the venue is any good, you will definitely be able to hear from wherever you are.

Anyway support your local orchestra and fuck Ticketmaster up its ass.

[imsparky2002]

Barbie in the Nutcracker: First Thoughts

The following is my thoughts while watching this for the first time.

Credits look awful. Still, it’s 2001 and this is the first installment so I’ll give it a pass.

Only know the basic Nutcracker song and theme but nice that it uses an orchestra

Barbie herself doesn’t look too bad but her little sis… yikes.

Kinda weird to see these dolls moving like mocap performers.

Heh! Barbie’s voice actor has the same name as her little sister.

Kelly very clearly sounds like an adult woman trying to do a kiddish voice.

Lipsyncing is odd, looks more like generic flapping.

Surprisingly decent snow effects.

I’m assuming Clara’s parents are either dead or abandoned them. Or they could also just be on vacation.

Is it wrong that I find Grandpa cute? Gives off a very distinguished vibe. Especially that voice.

They call gingerbread houses “christmas boxes”? That’s… interesting.

Kinda wish they gave Clara a different voice from Barbie, or at the very least a different hairstyle.

The lighting is actually pretty good! Nice warm hues, makes me feel like I’m at a cozy inn.

Her little brother looks like the kids who played Fortnite and would tease me in high school. Of course his name is fuckin’ Tommy.

This CGI is reminding me of early PS2 cutscenes.

Aunt Drosselmayer’s got that 90’s Leo DiCaprio/Hugh Grant parting in her hair. Bleh.

Why is Clara the only blonde in the family?

Ooh! We’ve got some family drama between Auntie and Grandpa. This is getting juicy.

Elizabeth is giving me confident bisexual vibes with the voice and manner of movement. Bet you that’s why Grandpa doesn’t trust her.

Looking at the wiki I just found out that Trixie’s VA voices the Aunt, Starlight’s VA is Barbie and Cadence’s VA is one of the kids! Must be a Canadian production.

I will never not find the word “nutcracker” to be hilarious.

Clara, why tf are you fighting over a toy with your lil brother? You’re like… 17? 18? I dunno but it’s way too old.

Seriously they gave Tommy the most punchable face ever. Not that I’d ever punch a kid but I can see why other kids his age would deck him.

Magic shenanigans are ensuing.

I like the medeival look of the rats. The CGI actually fits them well.

Clara wakes up to see an anthropomorphic warrior rat right next to her eating something and is just like “goddamn it, git ya varmint!” I love it.

Oh, she thinks she’s dreaming. That makes sense to why she’s so calm.

Hmm… I feel like the Rat King should look a bit more evil, and larger as well. Still, TIM CURRY! I’m gonna LOVE this.

Woah! We’re getting a fight scene! A swordfighting scene to be exact!

Oooh the Rat King’s magic and can shapeshift his weapon. That’s metal AF.

Tim Curry putting everything into his performance as usual.

I’m kinda surprised we’re already getting a Nutcracker-Rat King battle. I’d have thought they’d save that sorta thing until the third act.

Did they really have to change it to Sugarplum Princess? Fairy just sounds more powerful.

Wow! This snowy cave is beautiful! Something out of a classic painting.

EWWW THESE LIL SNOW FAIRIES LOOK DISGUSTING!

Did this nutfucker not realize that an icy fortress would have ice for the walls?

The fairies doing ballet looks weird because they have nothing to stand on.

Please don’t tell me the small fairy is staying, I hate her.

Dance is currently reminding me of Fantasia.

“The fairies probably went off to make a blizzard somewhere”. The way he said that nonchalantly had me cackling.

The effect of Clara’s footsteps turning into flowers is beautiful.

Pimm sounds like he’s an absolute troll online. Also gives me Psychicpebbles vibes (though I know it’s not him).

Wow the Rat King is a straight up genocider.

Why do all the kids look like Kelly?

OH DEAR GOD THAT LITTLE BOY LOOKS HORRIFYING.

Wait Prince Eric? Are they legally allowed to call him that? We all know how much Disney loves copyrights.

Man these kids are little shits and their outfits are gagworthy.

Major Mint definitely got a big personality, and the voice actor does a good job with it.

Ok Mint is hilarious and is so far the best part of the movie.

Nice to see some Asian rep with Captain Candy.

Wow, Rat King turns his failed employees into stone. Dark!

The zoom in on the Rat King as he says “that’s it?” made me giggle.

Thomas Astruc looked at the Rock Golem and got his first idea for an akuma.

Wait how the hell does Clara know that the Nutcracker is Prince Eric? I mean I already assumed because of the plot of the original ballet, but how does she know?!

The bridge scene gives me the willies, since I’m afraid of heights.

Wow this flower fairy is the only kid-looking character that has a decent design.

Didn’t expect a song to be interrupted by an enemy.

Lol, the Major’s monocle falls off as he sees the giant.

Glad to see the fairies serve a purpose other than dancing. Kick that giant’s ass!

Captain Candy’s a better man than Mint, as he actually makes sure that he gets saved.

Once again, the island is beautiful! Reminds me of Oz with the colored roads.

Ooh clever! At first I thought the castle’s backdrop looked really fake but I just factored it was because it’s 2001 CGI. But it was actually a trap!

Nice we see a test of Clara’s character that she passed.

The invisble hand touching Clara’s hand is actually making me feel kinda teary-eyed internally.

The Rat King definitely has a Napoleon complex.

Loving the character arc for Nutcracker with his final duel.

Ah! So now the Rat King is growing. Fits for the climax.

Huh… Prince Eric looks more like Jimmy Pesto than a prince.

Lol Major Mint realizes he’s been shittalking the prince.

Huh, so Clara’s the princess? I guess it sorta makes sense since it’s her dream.

For those princes out there who are hated by the public, all ya gotta do is fight a giant mouse.

Mint and Candy got the moves! Best dancers of the entire movie.

The final dance between Eric and Clara is absolutely gorgeous.

The villain was taken down by a snowball… I love it.

God Kelly Sheridan and Kirby Morrow really put everything into the scene where Clara disappears.

Lol Kelly’s Canana accent shows up when she says “It’s not a story”.

“What’s all this foolishness about mice kings and bats, Clara? Enough of your womenly hysteria! Time for a lobotomy!” Grandpa, basically.

Actually now that he’s in a suit, Eric looks a lot hotter.

I’m surprised Barbie’s little sister had the attention span to listen to a 1 hour story.

I'll be making a full review of the film soon. Let me know thoughts in the comments and reblogs. @artzychic27 @msweebyness

[anghraine]

@heckofabecca tagged me in a meme to just list five songs on regular play and tag ten of my favorite followers! Thanks, Becca :)

I thought I'd mix things up a bit and go with my Obscurify data, which says my top five songs are:

Who Wants To Live Forever | Queen

Nevertheless, She Persisted | Audiomachine

Pompeii MMXXIII | Hans Zimmer and Bastille

Frostpunk Theme | Piotr Musiał

Mass Effect Theme | Jack Wall, Sam Hulick

I'm not super surprised, because I think "Who Wants To Live Forever" is one of the most beautiful rock songs ever and certainly one of the most beautiful by Queen (my favorite band!) and it's forever linked in my mind to my most beloved canon Tolkien ship, Aegnor/Andreth.

And I often listen to instrumentals or at least "epic" style tracks when I'm stressed or want to write in something other than silence, so I spend a lot of my music-listening time with groups like Audiomachine, video game soundtracks or covers of themes, that kind of thing. The atmosphere of "Nevertheless, She Persisted" in particular is perfect for a specific story project, so I've listened to it most of all! If I excluded background tracks for writing to, though, and just went with songs with lyrics I actively listen to, the final list would be:

Who Wants To Live Forever | Queen

Black Velvet | Alannah Myles

Under Pressure | Queen and David Bowie

This Is Who You Are | Trans-Siberian Orchestra

Love | Lana del Rey

Tagging: @ladytharen, @grumpyfaceurn, @irresistible-revolution, @inkandcayenne, @incognitajones, @kazaera, @lantur, @melyzard, @nanyoky, @ncfan-1, @nelayn, @liz-squids, @scholarlyhobbit, @sqbr, @steinbecks, @venndaai (wait, that's more than 10... anyway)

[blazeofnight]

PotO Italy (Trieste) review - Act 2

We did enter the intermission with high spirits: All I Ask of You did get us interested and on board, and despite some disappointing or confusing choices the first act was overall enjoyable. The solid vocal and acting performances surely didn't hurt, either.

No pictures this time since I'm at work and can't access Instagram, I'll add them later if I remember. You can find the review for Act 1 here.

The same disclaimer applies: I have not seen other replica productions in full, only pictures, but I have seen the West End production in March. I do consider using Broadway/West End/replica productions as the one and true standard to judge non-replicas unfair in general, but I think it's fair to use them as a comparison to try and understand how these changes affect character dynamics and stuff like that, and to help in trying to understand the reasoning behind the choices made.

My visual memory is VERY poor, so if you've seen the show too and notice I remember something wrong please tell me so I can correct it! Also this is a long post, so please consider how much you want to scroll before clicking the read more.

MASQUERADE/WHY SO SILENT

There are a couple of videos of Masquerade floating around, so I believe everyone interested in this specific scene already has seen them. I have to say that the videos and pictures do not capture just how a light, peaceful and joyous moment it is.

After ending Act 1 with ominous red lighting and a lot of sharp shadows, Act 2 opens with a soft diffused light, slightly yellow as to mimic sunlight. In the beginning they turned on the little constellation lights in the ceilings, and it was absolutely beautiful! Then as the song progressed the lighting got a bit stronger and they also used some of the seating are alights, to create this impression of the stage being bigger and almost overflowing towards the audience. For a split second, it did feel as if we too were part of what was going on on stage.

The scene opens as always with Firmin and André covered by cloaks and recognizing each other. André is wearing a regular fancy suit, and Firmin reveals a super poofy and VERY pink dress. I knew about this going in and tried to keep my opinion neutral, I'm happy to report it's not played for laughs beyond the initial reveal (you REALLY do not expect that after seeing André is dressed in a fancy but uncreative way), it really feels as if Firmin thought "Hmmm a fancy dress party, I don't see why I should not wear a nice, pink, huge dress!" and that's it.

The ensemble is dressed in what look like Venetian masks inspired costumes and they get on stage dancing with similarly attired mannequins. The effect is very nice and just the right amount of creepy, the mannequins move very smoothly so at times you really can't tell which figures are actors and which ones are mannequins.

At one point the sea of masks parts and the named characters appear. Madame Giry is dressed in her usual black dress, Meg is dressed like the music box's monkey, and Piangi, Carlotta, Raoul and Christine are dressed in "regular" elegant clothes. I can confirm Christine's dress is white, it looks pale yellow at times due to the lighting being warm for most of the scene. Christine's dress is actually pretty nice from what I could see, especially the lovely, decorated train. I have not checked but it could also be pretty historically accurate in general! Also, it moves beautifully when Christine is picked up by Raoul, I'm not sold on it being white but

There is a moment where Raoul and Christine are alone on the stage, golden confetti start pouring down from the ceiling and it looks extremely pretty, then you see that the ensemble didn't just leave the stage but spilt over into the galleries and near the orchestra pit! Between this and the lighting effects, it does look like the aim of this scene was easing the audience back into the "theatre world" after intermission, if so it does work quite well.

My one complaint is that the second half of Masquerade sounds very slow and I can't figure out why? For the title song getting sped up I do at least have other elements that help guess why, but here I'm completely stumped and it's driving me crazy!

The atmosphere in the scene is extremely relaxed and airy, so the sudden mood change at the Red Death's arrival is very jarring in a good way. I won't lie, I do miss the "traditional" costume, but considering how complex and time-consuming it must be to create and maintain, I do understand why they opted for a simpler solution.

So, the Red Death is just a red, formless cloak holding the huge Don Juan Triumphant manuscript. I actually liked it, it did remind me of the way Death or Destiny/Fate are often represented in illustrations, and it looks like the cloak is made in a velvet-like fabric that made the red even more intense and blood-like. The slow, ominous advance is still very effective and creepy, and when the ensemble falls over the figure only to reveal the cloak is empty it's a nice moment of old-fashioned stage magic.

But wait, Christine is not on stage, so what about the final verse? It turns out Christine was still in the audience, nearby the orchestra pit, made invisible by darkness and our attention being elsewhere. Then she gets suddenly illuminated and we see that the Phantom is actually standing beside her, he says the "your chains are still mine/You will sing for me!" lines, all very effective. I like this staging because it does make you feel that Christine's safety was all just an illusion, the Phantom can get near her whenever he likes and his illusions and tricks make him hard to stop. It makes it more believable that Christine is later willing to put herself at risk to make it all stop despite the huge emotional toll it takes on her, because we are shown just how Raoul could not help her here even if he wanted, despite his promise and willingness to protect her.

The second complaint I have about this scene is that at the very end you can clearly see and hear the Phantom just... running away from Christine and into the wings, which ruins the overall effect a bit. If they find a way to make him disappear more gracefully, then it'd be a perfect way to end the scene.

There's the interlude between Madame Giry and Raoul, and oh boy is Raoul PISSED. Other people have already commented that he doesn't play a super sweet, naive Raoul, but rather a more serious and mature one, and it's nice to see how Bradley portrays him as capable of great tenderness but also of having a spine. He's not politely requesting or pleading with Madame Giry, he's commanding it. This lady is withholding information that could be used to make Christine's life less scary and he won't allow it!

It's not my favourite portrayal of all time, but it fits well with the overall mood and themes and makes for a more tridimensional Raoul which is good in my opinion.

NOTES II/TWISTED EVERY WAY

This scene is set in the same way as Notes I, but since the mood is quite different I found that it being kinda showed in half of the stage wasn't as much of a problem. The stage set is once again angled to create a wall of the managers' office, but this time it gets used as Christine, more and more overwhelmed, leans against it in a dramatic fashion.

A couple of things I noticed: André does a long-ish pause after the first "But why not?" as if he needs a second or two to realize that something's wrong with Christine's refusal, it's a nice touch. Christine starts having her breakdown when everyone is asking her questions, Raoul gets all protective, and when he sings "They can't make you" he's GLARING at the others and physically putting himself between them and Christine (you can hear the quiet menace in his voice perfectly in the audio I took, it's amazing how much emotions Bradley puts in that line). Carlotta has a dark orange dress, which I like less than her green one in Notes I but it would be pretty with a bit more texture, chile Christine is wearing a cute green dress (the colour is a bit of a mix between sage and mint green, similar to the cloak she wears in Wishing).

After the Phantom's letter has been read (Madame GIry keeps silently mouthing the words throughout), Christine says "I can't. I won't do it" in a frankly panicked but determined tone (I don't remember if it's something in the current West End version, but I don't have it on my Original London Cast CD). It's pretty clear during the scene that what happened to the end of Masquerade shook her to the core, and now everything that reminds her of the Phantom or, worse, having to face him directly is a big trigger for her. Amelia has some truly great anguished and conflicted expressions in this scene.

The next part has some nice details: one of the managers (I don't remember who, sorry) bangs his hand on the table during the "We make certain our men are there!" verse, Raoul flips through the Don Juan Triumphant manuscript trying to find something to be used against the Phantom, and there is another perfectly timed longer pause before Raoul, André and Firmin ask Madame Giry to help them during which the three men exchange a meaningful look. Just before Madame Giry's cry of "Madness" turns the attention on her, Carlotta can be seen approaching a very strained Christine and opening her mouth as if to speak to her in a more regular, non-diva way, but then she gets interrupted and nothing comes of it.

Thanks to the way AIAOY has been changed, Raoul's bits in Twisted Every Way sound very sincere and not manipulative as sometimes they risk doing. His change of heart clearly comes 100% from realizing that this is a dangerous plan but Christine clearly can't be happy or even just serene knowing the person she rightfully fears can get to her whenever he wants. Christine's "I know I can't refuse" is truly heartbreaking, there's a sharp, painful intonation that really makes you feel her desperation and how trapped she must feel in this moment.

SITZPROBE

This one plays pretty close to what you can expect, there's not much that can be changed. BUT! Do you remember that Reyer is never seen? In this scene the piano is turned so you don't see him, apart from an admonishing hand when Piangi keeps missing his note. So when the creepy music starts and the piano turns revealing there's no longer anyone behind it, and it's playing on its own... let me tell you, it felt pretty chilling even knowing that the moment was coming!

WISHING YOU WERE SOMEHOW HERE AGAIN

Ok, this and Wandering Child are the scenes in Act 2 that need some work to be more than a vehicle for some nice singing.

Christine is wearing a mint green cloak with sleeves, I don't hate it BUT the sleeves make it bulky and a bit goofy at times. I think a sleeveless cloak works better for this scene since it allows for some more dramatic swishing and looks more elegant, but the one used is serviceable. Oh, no red scarf, but Christine has a red rose she puts...where?

The big issue here is that this scene is painfully empty, there's a projection of silhouettes of tombstones in the background but otherwise, there is NOTHING. Now, listen, I'm not a fan of the giant sarcophagus used in the West End, but having some tasteful fake tombstones, some weeping angels, etc., would go a long way to add visual interest to the scene and make it clearer that Christine is paying homage to her dead father, instead of just leaving a rose on the ground seemingly at random. Have her father's tomb be decorated with, say, an angel playing a musical instrument, maybe a violin, and you're set! and this would also be useful in the next song, so it's a 2x1 deal! Also, it would be nice to see this specific production lean into this scene's gothic aesthetic.

Vocally, as I said elsewhere, Amelia Milo's voice could use a bit more strength but she's not bad at all, and she does put a lot of emotion into the song. She starts mournful, but quickly ramps up the energy and you can really feel that this Christine is so ready to stop clinging to the past and face the future, a new life, that will be different from the one she knew but can make her just as happy if not more.

WANDERING CHILD/BRAVO, MONSIEUR

Ok, we have to talk about the angel wings. I tried to avoid this as long as possible, but the moment has arrived.

Why why why WHY does the Phantom hover while sporting a pair of black angel wings.

I suspect this... thing happens because there are no pyrotechnics in the scene. The use of flames, sparks and the likes in performances is STRICTLY regulated in Italy, especially in indoor venues, so I think these were added to have the Phantom do something "cool" in the scene instead of using the skull cane spray sparks everywhere.

The issue is, they are so random and don't fit the aesthetic of the rest of the musical at all! I would LOVE if there was a suggestion of wings: the Phantom appearing in front of an angel statue, or the wings being a shadow, so you're left wondering if this is Christine's suggestion showing itself to us. As it is now, it is something that throws you out of the show's immersion and that's the second worst crime a musical can commit in my eyes (the first one is being boring).

And another thing is, it is a nice effect, and it works well, I can see it fitting in nicely if they went in a different direction when it comes to themes and overall aesthetic. It's not bad per se, it's just misplaced.

The start of the scene, before the wings appear, isn't bad. Apart from still being empty, the fact that Christine is in a confused emotional state due to the stuff that happened between the end of Masquerade and now and so she falls again under the Phantom's influence is made quite clear, she even falls on her knees similarly to how she did in The Mirror. But then the wings come out, the Phantom starts to hover, Raoul arrives and everything gets confused. I admit I really don't know if something happened and I missed it, or if I was just confused by the scene in general. you could even tell the audience's applause sounded a bit uncertain.

So yeah, that's two other scenes that will need a bit of work to be made good. Luckily Wishing You Were Somehow Here Again just needs a proper background, and that in turn can help a bit with Wandering Child.

DON JUAN TRIUMPHANT/THE POINT OF NO RETURN

There are some interesting changes in this one, so first let's get the small stuff out of the way.

There is only one "Secure!" being shouted, and while there is the usual Phantom's projected voice effect you can tell that it's achieved differently since there are no speakers scattered across the theatre. The second one is a technical limitation so it's understandable and it's still cool, just a bit less impressive, but having 2-3 "Secure!" coming from the main doors is a very cool effect that I absolutely loved in London, it helps so much with the immersion and I wish they'd kept it. Also, the sharpshooter is not in the orchestra pit, but rather in one of the other boxes of the prop stage, which makes sense given the staging.

Sooo, let's get to the Don Juan Triumphant bit and the infamous cloak. First of all, I want to make clear that I've never been 100% on board with the classic disguise. It always looked to me out of place in the play-within-a-play, it is definitely something that the Phantom would use in the "real" world, but clashes with the clothing of the other characters we see in DJT and doesn't really make sense if you assume that Aminta is expecting yes a secret meeting, but not to be deceived. One could argue that the Phantom insisted the costume be this way, but then this would be suspicious and I'd find it strange that no one suspected it would be needed for something. So, in short, I don't dislike the classic costume but I don't really love it either because it's clear it's a costume made for us, the real audience, instead of the fictional audience/play.

I don't love the hat+cloak combo, either, but it makes sense in the way the scene is set. The atmosphere is quite convivial, the ensemble is not only setting the table but some folks (Passarino included) are sitting at it, it looks like they all just finished conspiring and laying the plot. The costumes aren't super elaborate, but I think they worked well in conveying that in the scene there are folks of different social extraction and ways of life.

Passarino's hat and cloak work well to signify that he's a dashing young man, yes, but he's also a working servant: these are believable attire for someone who has to travel or spend time outside, they do tell you something about this character that we see for a handful of seconds, but if we were watching the actual play it would be important to get a nuanced portray of the character!

So yeah, while I don't love this costume? It does look like something made for the play-within-the-play, not something made for PotO, if this makes sense. I do have some issues with the colour, it does work well with Aminta's red and white and it's an ochre yellow that does photograph horribly but isn't too bad in person. And yes, it's very wide and in a stiffer fabric than the classic cloak so it looks clumsier when the Phantom is standing still, but it looks fine when he's moving. Maybe making it in black and a lighter fabric could work, I'd personally love for it to be a dark red similar to Red Death's cloak but then it would be too similar in tone to Aminta's dress (where the red or pink paired with the white is Symbolyc and thus important).

So, yeah, it's not the best, it is a bit weird at first if you're used to the classic black cloak, but it makes so much sense if you consider this is a costume diegetic to the DJT play! Aminta's dress is also simple, a bit of a "generic young country girl", but it has a silhouette that's quite flattering on Amelia and it does its job of representing the young, innocent girl ready to embrace passion etc.

Ok, I think that's enough words spent talking about something that's not the actual music and singing of this piece! The Point of no Return starts sung by Paingi up until "You've decided, decided", then the Phantom takes over and Ramin does his "singing imitating Piangi's accent" thing for a while, before dropping it. I saw people complaining about this, it looks like during the first night the switch was a bit later, but as it is now it works. I think it could be improved by making the change a bit more gradual as it is for the various notes. I did see a lady that was clearly at her first viewing of the show making an "Oh!" surprised face when the voice change happened, so I think it works especially well for first-timers that don't know what will happen, but only that something is bound to happen.

Please don't ask me to tell you stuff about the blocking because I was distracted by everything going on to really take note of it beyond lots of touching, very sensual vibes overall, and a nice bit of leg from Christine at one point. A notable difference is that Christine does realize what's going on only at the end of the song. I do like the timing because it matches with the last "We passed the point of no return" and the music's shift. The song doesn't end abruptly because the Phantom has been unmasked, but quietly and sadly because now Christine knows and the Phantom has to choose what to do. And the Phantom chooses to reveal himself to her (not the unmasking, just taking off the hat).

Raoul jumps onstage, along with the police officer, and Christine moves in order to protect the Phantom. She's clearly terrified but still doesn't want to see him shot dead. What follows is, simply put, one of the saddest All I Ask of You reprises I've ever heard or watched.

I always kinda wondered, what exactly is the Phantom's aim here? Does he just want to share the stage with her? Does he plan to kidnap her again? Does he believe that if only Christine sees the (creepy) opera he's written for her and sings the (creepy) longing song he's written she'll just fall for him as if nothing ever happened? Does he have a plan at all?

I am happy to report that in this staging there is one, simple reply: this Phantom is utterly, completely broken. His music is no longer enough, he needs/wants his music AND Christine to perform him. He wants her to see him, to acknowledge him, yes she does recognize him first in the scene, but he still has the chance to just get out of there. Instead, he reveals himself because he so desperately hopes, against all odds, that singing again together with Cristine the music he composed for her will have changed her mind, made her see how much he cares, made her feel how he feels for her etc. It was honestly a heartbreaking moment to witness, but yeah reading "the Phantom reveals himself at the end of PonR" and seeing it in context is VERY different. 

The impression I got is that the Phantom spent six months spiralling into depression and THIS is the best he could come up with to try and make Christine speak to him again. He's desperate, and he knows it. You can feel it in his voice, you can see it in the way he's calm, almost resigned until the unmasking. For him, it all boils down to Christine's reply, to her accepting him or not. I don't think he's even stopped to consider what to do after she replies because that will be such a defining, world-changing moment. and I think that just for a moment the Phantom allows himself hope, the tiniest bit of it. Christine is clearly scared to death, but she's not running away. She's even protecting him, in a way. And then she unmasks him.

DOWN ONCE MORE/TRACK DOWN THIS MURDERER

The gondola does not disappear in the wings, so there's no quick change and Christine is in her AMinta dress. The Phantom does give her the veil, putting it on her head when he sees she's not doing it herself, and gives her what looks like a wedding dress but Christine is understandably thinking about her current predicament and when the Phantom sees she does not intend to wear it he just tosses it away and gives her the bouquet instead. I do like that there's no implication of Christine being forced to change, and it does keep intact the fact that the Phantom did have a wedding dress, veil and bouquet prepared for her.

When singing "A mask, my first unfeeling scrap of clothing" Ramin raised a hand to touch the disfigured side in a way that is just heartbreaking. I know I'm using this word a lot, but I feel it's true for this portrayal: a very physical Phantom with a lot of self-loathing, a lot of repressed emotions that get directed inwards with no way or no one to help express them, accompanied by the occasional outburst when they get simply too much to be repressed any longer. Isolated and emotionally stunted is the name of the game here, but in a way that makes you see just how deprived of regular socialization and company he was during his life.

Another interesting thing I noticed is that when Christine sang "It's in your soul that the true distortion lies", in the split second before noticing Raoul's arrival the Phantom raised a hand and was starting to reply to Christine, and I'd really, really like to know how he'd try to get himself out of that one! It was a blink-and-you-'ll-miss-it moment, but I found it interesting that this Phantom's reaction to Christine's accusation was not dismay or anger, but rather trying to talk it out.

Then our boy Raoul appears in all his damp, well-toned and bare-chested glory! Bradley Jaden is quite ripped, I think by now we've all seen the pictures, and let me tell you they do not do him justice. He's also barefoot, and he stumbles on the scene while very convincingly gasping after the swim in the underground lake.

The suspenders are still on because they are clearly used when he gets hanged by the Phantom, since in this scene he is literally hanging, his feet a good 50 cm or so from the ground. My guess is that the "Y" part of the suspenders on the back latches onto some kind of support built into the Phantom's bedframe to take pressure off the neck or something like that. It still looks extremely uncomfortable, and Bradley was clearly tensing a lot of muscles to maintain the position. So yeah, apart from the eye candy, it looks like a challenging thing to do while you're also singing and acting. I still have no explanation for why they did this instead of dampening his shirt, I guess they took a good look at Bradley Jaden's pecs and thought "Oh people will love that!" and asked him if he minded spending the last 10 minutes onstage half naked? I really don't know.

Raoul was convincingly rational (as much as possible) in this scene, he did get angry but it was also clear he was trying to keep his cool and reason if possible because his #1 priority was: to help Christine get out of there. And I think this creates a beautiful dynamic in this scene, where Christine starts angry and scared but then sees that Raoul is trying to keep his promise and jumped into a freezing lake to reach her and be at her side despite the danger. And this in turn gives her the strength to face her fear, which is now not just hypothetical but becoming very real, and find the will she needs to save Raoul in turn. They can save each other because they have built a reciprocal trust and do actively support each other during most of the second act.

Unfortunately, there is the choking. For those who don't know what I'm referring to, when Raoul comes in Christine tries to run to him and the Phantom stops her, and ends up choking her a bit before realizing what he's doing and letting her go. I really didn't like it in this instance. I think there are some actors that can make it work if they play a very aggressive, wounded Phantom that lashes out at the world, but I am having trouble fitting it in this portrayal where his negative emotions are clearly almost all directed inwards and where the Phantom tends to be quite gentle with Christine. Also, not only is he a murderer (twice), kidnapper, damaged property, and maybe kinda drugged Christine, but he's also physically abusive. Cool cool cool. I'd rather like it if they removed it.

When the Phantom realizes what he's doing he immediately lets Christine go (at least) and Christine tries to run to Raoul's side but he gets hanged by the Phantom. Christine gets PISSED in this version, while the Phantom is a bit more on the cooler, controlled side, and Raoul seems to sincerely regret his actions since they only made the situation worse. I have to say that even despite the distracting shirtlessness of Raoul, having him actually hanging instead of just… being mildly inconvenienced by a noose clearly big enough for his head to pass through does make it all a bit more believable. I do buy that this guy is really in a situation where he can't free himself.

I also really liked the "Angel of music, you deceived me /I gave my mind blindly" delivery: it's not angry but rather deeply mournful and regretful, since now it's Christine's turn to realize that her trust in the Angel of Music because of her clinging desperately to any scrap of her father's presence/memory is what led to all of this. In a way, this version underscores Christine's growth as she tries to become her own person without the influences of her father or of the Phantom guiding but also limiting her, it's one of the main themes and I liked how her realization is delivered here connects it clearly to All I Ask of You and Wandering Child conceptually.

So the big moment, the choice, arrives. In the preceding moments Raoul struggled even more frantically and now is losing consciousness, so when the Phantom delivers his ultimatum (a very weary, exhausted ultimatum) Christine just looks at Raoul one last time (she thinks) and this gives her the strength to decide and act.

After the kiss, the way the Phantom stands still for a while before sloooowly walking to Raoul and cutting the lasso is… I don't really know how to explain it. You take all the defeat, resignation and brokenness of when he revealed himself to Christine at the end of PonR and double or triple them, then add in all the self-loathing he displayed during the rest of the musical. He does now realize with crystal clear certainty that he'll never, ever have what he wants in the way he wants it, and this time he can't blame the world but only himself and his actions. He's beyond broke, beyond everything really. Weary and with nothing left to look forward to.

Raoul collapses to the ground, and Christine runs to him and physically helps him up and to the boat. No elegant, composed sitting: here Raoul and Christine are physically and psychologically exhausted, so there's no time for all of that as they almost stumble into the boat and it's the Phantom that shoves it away, sending them towards their freedom and out of the stage.

The Phantom sounds so distressed in the bit just before this, and the fact that the last "go now and leave me" is sung when he's alone on stage, having physically pushed away the one person that, despite everything and despite making the choice under extreme duress, was capable of staying beside him… ooof. You really feel that he has nothing left now, and maybe for the first time ever he truly wants to be alone, to disappear completely. Which of course makes the brief Masquerade reprise even more devastating than usual.

Now, the other big controversial change: the ring return. The Phantom is facing the other way when Christine comes in. It looks like she's debating whether to approach him or not, and then when he sings "Christine, I love you" she just leaves the ring and silently leaves. The Phantom hears something, turns, sees the ring and picks it up, and in that moment from off stage the All I Ask of You final reprise is heard, accompanied by a soft, golden light coming from above showing that Raoul and Christine are making their way to the surface and to the (metaphorical) light.

Why no interaction during the ring return? In this production, they are leaning a lot on the Phantom as being a toxic influence/relationship for Christine, not without its allure and charms, but also very dangerous and controlling. And when Christine sees him kill because he didn't get his way… well, she gets it quite quickly and actively tries to avoid him, but realizes that she's still pretty vulnerable to him and his influence. And I think not interacting with him at the very end represents her cutting off a toxic person, at this point any interaction would be dangerous to her, and an unkindness to him.

She knows she's still vulnerable to him, that despite everything he did she can still care about him because she's just that kind of person. At the same time, the Phantom did the morally right thing by pushing her away from him and it's clear it took him every ounce of willpower he had and he might not be able to do so again. So, when Christine hears him declaring his love to an empty room, she doesn't risk wasting all the effort they BOTH put in (plus Raoul, who literally risked his life for her) to say one last goodbye.

It's a big change, it does change the ending and their dynamic a lot, so I get it if you don't like it. But it makes sense, it has its place in the narrative of this specific production, and since it makes such a difference I think if you're used to the "regular" ring return you need to experience it after getting through all the previous emotional beats in order to be in the right mind space to accept it.

When the Phantom realizes that Christine is truly gone, he slowly makes his way to the bed and covers himself with the sheets as the ensemble (led by Madame Giry) bursts in. Meg approaches the covers and pulls them away, revealing an empty bed save from the Phantom's mask, which she brings to her mother who looks at it somberly, and they both raise it for the classic final "shot".

I am ambivalent about this choice. On one hand, I think it looks a bit silly and could probably be implemented better, on the other hand I think it's meant to be a reference to the Phantom letting himself die in the book, and I did like it as a metaphor for his death, and having the ensemble kinda witnessing it and him not being so alone in his final moments.

I've decided to make a different post for my opinion about the singing performances and my overall opinion about what works, what doesn't, and so on, which can also be a TL;DR of sorts since I realize not everyone is interested in a song-by-song comparison.

For now, I'll just say that if you go in expecting West End or Broadway levels of opulence you will be disappointed by the stage sets, costumes, etc., which are rarely memorable, at times flops, more often are ok and serviceable (meaning they are not distracting and don't get in the way of the performance, even if they're not anything special).

If you want to see the story and characterization you already know, then you can watch one of the tens of bootlegs available and enjoy the subtle changes each actor brings to the characters (I know I do!), but if you'd like a different take on the main characters and key scenes then this will get your brain going.

If you go in with a preset idea of what you want to get out of the experience, chances are there'll be areas where it underdelivers and interesting stuff you might not notice while if you go in without trying to force your expectations on the show, then you'll probably come away with some stuff you liked, some stuff that you're not so sure about but is interesting or might work with a change or two, and yes, some stuff you didn't like at all, or left you confused, or is just plain weird.

Overall it was a fun and interesting experience, the vocal performances were great, the acting choices captivating and I went home with some new interpretations of the main characters while thinking about if I can make a trip to Milan in October to see it again. Despite some major flaws, it is doing something interesting and engaging in its own way and I'd love to see it again knowing what to expect.

[fuck-you-upmusicbracket]

Queen Fly (Alice Schach and the Magic Orchestra)

I’ll put a curse on the beautiful mind of yours/So that you suffer forever in the afterlife and the next/The mud puppets blindly manipulated/Just like being manipulated by the darkest fate

"The combination of the lyrics (AND THE FACT THE ORIGINAL LANGUAGE OF THEM IS AN ENTIRELY ORIGINAL-TO-THE-ARTIST JAPANESE DERIVATIVE!! WOW!!!) and the music video ruins my fucking life in the best way possible. it's got such a powerful aura to it. Really sparks a creative engine for my art, since it has such a mystical vibe to it (just like all schach's works!)"

Bui Doi (Miss Saigon)

They’re called bui doi/ the dust of life/Conceived in hell/And born in strife/We owe them fathers and a family/A loving home they never knew/That’s why we know/Deep in our hearts/That they are all our children too

"It’s about racism and the effects of war and about how people treat children. He’s singing about a camp full of mixed race children that were born during Vietnam and were rejected or orphaned and it’s devastating"

Queen Fly submitted by @overstays

[bittersweetresilience]

songs from my playlist kitty section adrien and felukagami would listen to (5)

let's get some classical music in here

ADRIEN AGRESTE

"It is not meant to create a powerful effect; it is rather a Romance, calm and melancholy, giving the impression of someone looking gently towards a spot that calls to mind a thousand happy memories. It is a kind of reverie in the moonlight on a beautiful spring evening."

As a pianist, Adrien would definitely have heard of Chopin, a virtuoso of the Romantic period who composed primarily for solo piano. This is one of his two piano concertos, which Chopin performed himself at his final public appearance in Poland before he left for Vienna and Paris. I think Adrien would enjoy playing with an orchestra more than playing alone, and he would love the gentle musicality in this second movement as well as its interplay with piano and bassoon.

It's a classic dreamlike piano piece, which Adrien would listen to while unwinding. Unlike Debussy's later works, this one is not marked by exciting climaxes and color, but maintains a peaceful atmosphere. I imagine Adrien might have heard it first with his mother.

Let Adrien have fun playing piano with other people! He'd love these four hand piano dances so much.

FELIX FATHOM

"An hour ago I finished the score of two movements of a large symphonic composition. If I succeed in carrying it off, if I manage to complete the third and fourth movements, then perhaps I'll be able to call it my Seventh Symphony. Why am I telling you this? So that the radio listeners who are listening to me now will know that life in our city is proceeding normally."

Shostakovich's wartime compositions are some of his richest. This symphony is a requiem for the beseiged city in which he was living during the Second World War. After the Leningrad Philharmonic Orchestra was evacuated, the symphony premiered with surviving members of the Leningrad Radio Orchestra, most suffering from starvation and three of whom died during rehearsals; musicians, civilians, and military united to support the performance, which was broadcast to German lines by loudspeakers to silence their forces. Not only is it an incredibly powerful and moving piece, but it is also rich with history. Félix would listen to the full duration each time.

Félix is undoubtedly a violinist. He likes violin concertos. He likes skilled players. I wanted to fit Vivaldi in here as well but he did not want to admit to being even more basic than he already is.

LUKA COUFFAINE

"He's awake night after night, plays wonderful things, and can't tear himself away from the marvelous music he plays—there are so many ideas that one can't believe it is true, all of them so rich in possibilities for development, so full of life. But if I have been excited by all of this, I have also suffered too."

Luka and Sibelius are an absolutely divine match in my eyes. I chose this concerto specifically because Luka as a violinist means so much to me. Its technical aspects combine with its rhapsodic nature, and it is full of genuine emotion, as Luka would desire from any musical work. Originally composed during a dark and melancholy period of Sibelius's life, it was revised later on and gained its recognition and distinct beauty. Sibelius himself longed to be a successful violinist, but he was known far more for his compositions and in this sense was a failed musician. One might hear his grief and farewell to the instrument in this piece, his only concerto.

The trajectory of this symphony from mourning to triumph reflects the course of Mahler's life as he wrote it. Mostly I just want Luka to be listening to these sorts of masterpieces in order to learn from them. He builds and plays stringed instruments. Can we get some counterpoint or something?

TSURUGI KAGAMI

I have no reasoning for this but I know with all of my heart Kagami and Félix would both listen to Tchaikovsky. This recording specifically sneaks in a Romeo and Juliet overture they might enjoy roleplaying with. Such romantics.

Kagami would really enjoy quartets. They are uncomplicated in the sense of having only four instruments, which can be picked out and focused on one by one; simultaneously, they form a complete and interwoven whole. Listening to these would be comforting to her in their perfection through togetherness and even simplicity. As the father of the string quartet, Haydn would be a reliable choice.

(playlist masterpost)

[solarflareanon]

I'm Done! I've wanted to try making an animatic for forever! It was just a matter of figuring out how to get music into csp and that turned out to be Easier Than I Thought. Was I planning on animating my beautiful girl Jan to carol of the bells as my first animatic? No. But it happened to be the holidays when i started this and i wanted to finish it while i had the motivation.

So we get this! Definitely a learning opportunity, and I think i got better as i went along? I certainly got faster at figuring out how to get mind images onto the canvas and i'm genuinely very happy with how quite a few of the shots came out!

Program used: Clip Studio Paint

Audio used: Carol of the Bells cover by Trans-Siberian Orchestra

(story under the cut)

Jan (phur in purple) is attending the annual Ice Dancing Festival in a small town by a lake as she tries to do every year. The day is lovely, phurs of all ages are skating on the frozen surface of the lake and gathering in anticipation of the later competitions. A growing glow is all the warning the phurs get before the lake is cracked open and a hydra-like elemental tears it's way from its seal beneath the lake. As the revelers scramble their way to shore across the shifting ice, Jan runs towards the hydra hoping to stop it before it makes it into town. As she throws her power at it, hoping to destroy it with sheer force, it only proves to make the situation worse and the onslaught of its many heads proves overwhelming. Thrown into the freezing lake and dazed, Jan is at first despairing over her inability to stop the hydra. She then takes a moment to realize she shouldn't try to destroy it so much as restrain and reseal it. She takes hold of the residual sealing magic of the lake and races to intercept the hydra before it can reach shore. With the full might of her magic bent towards pulling it towards the middle of the lake, the hydra proves easier to manage. It is still with no small effort that Jan is able to drag it under and reseal it under the ice, making it a problem for another day. Whether the festival will continue, or they'll call it off this year, remains to be seen.

This was mostly an excuse to animate the fight scene that plays in my head whenever this song comes on. It's more of a slice of life self-contained scene with no real effect on the overarching lore of the world. Jan is a long-time character of mine who acts as a sort of avatar of myself (she isn't a sona, more like a warlock/patron sort of vibe) and ends up living a very long time. This scene takes place on a day off earlier in her life when she's is still learning a lot of the lessons that shape her through the ages, this one being a simple: sometimes problems require a little more creative thinking and a little less brute force to solve.

[sweeneytoddblog]

Review of 2023 Sweeney Todd cast album

The other day I noticed that this was revival was announced a year ago now. I have been waiting so long that I had to remind myself not to have impossibly high expectations.

Overall, it's a decent album and it gets the job done: good performances, good orchestrations, and stylistically is more similar to the original show than any of the other cast recordings. However, I am not sure I would consider it the definitive album.

This is going to be a brief and not-super-detailed review, just wanted to get down all my major thoughts!

For me, the highlight is Josh Groban. No, I haven't seen him live, but I cannot imagine disliking him on vocal performance alone. If I go back to listen to this over the 1979 album this fall, it will probably be because of him. My other favorites were John Rapson as Beadle Bamford (so over the top it was amazing) and Nicholas Christopher as Pirelli.

With the amount of times that somebody said "26 piece orchestra" when promoting this show, I made sure to pay special attention to the instrumentals. The orchestrations were beautiful, but I was also disappointed, because I remembered hearing several new orchestrations in the live recording, and I was excited to hear them professionally recorded for the first time. Sadly, they didn't make an appearance.

One issue I had was the accents, and hey, NO ONE'S accent is perfect in this. But in the case of Annaleigh Ashford, it is a major distraction. Her bizarre pronunciations actually take away from her singing at times. She also came in at lower energy than I was expecting, and I suspect she was focusing too hard on the dialect (I cannot say how this compares to her stage presence). This being said, she still has a better voice than a lot of Mrs. Lovett's, and definitely a unique take. And I will say that there were still times I felt I could understand what she was saying better than Angela Lansbury.

Personally, I don't think authenticity to Cockney accents is really that big of a deal with this show, especially with such an American cast, so I could have done without (I mean, Len Cariou and George Hearn don't even attempt British accents to begin with, and I usually don't notice.) This is also something I noticed with Maria Bilbao, who is an excellent Johanna other than her weird vowels.

The lowest point for me is Jordan Fisher, who really sticks out like a sore thumb among the rest of the cast. I felt he was noticeably lacking in vocal power. On a more personal level, I also am just not a huge fan of Gaten Matarazzo's voice, and I dislike Ruthie Ann Miles' characterization of Lucy.

Overall, the album feels like it was designed as a collection of singles rather than a comprehensive recording of the show. There were several choices that tipped me off to this:

The arrangement of songs such as "Johanna" and "Not While I'm Around" to make the lyrics flow more seamlessly as a "stand-alone" song rather than a piece of the plot

Omission of plot-relevant dialogue and sound effects

Absence of some shorter ballads, "Wigmaker Sequence," and most of "Parlor Songs" (which REALLY sucks because we rarely even see the full version that appears in this show anymore)

When I listen to Sweeney Todd, I usually listen to the whole album in one go (or maybe just Act 1, or just Act 2.) So for me this direction wasn't what I wanted or expected. Personally I enjoy all the dialogue on the 1979 album as it helps to immerse me in the story, and I also think it would be helpful for anyone unfamiliar with the show.

The more glaring issue is that Judge Turpin's role is greatly reduced. Without any of his scenes with dialogue or "Mea Culpa," I feel like I barely know who the character is based on this album. He appears a few times, lacks his big solo, and we don't really hear anyone talk about him that much. I don't know, I'm tempted to go back and see what his presence is like on the other cast albums now? But he seemed to be somewhat forgotten amongst all the characters.

I have listened to the whole thing twice now and I can't say for sure whether I will come to prefer it over other albums and casts. But I definitely found it to be worth revisiting, and Josh Groban's Sweeney in particular has me in love. However, I have a feeling that the 1979 album will always be first in my biased heart.

[mirror-to-the-past]

My Personal Top 10 KH Music Ranking That Nobody Asked For, because really, I could talk about music all day. So, here we are! :D

(1-5 are songs that overwrote some part of my brain chemistry. 6-10 are amazing and still give me happy brain syndrome upon listening to.)

1. "Nachtflügel" - KH3

Objectively incredible feat of musical composition that should go down in history- that piano work is ridiculous. I don't even know what to say, really. Went into a trance-like state while listening to this for the first time. If this was able to usurp "Enter the Void" for me, you know this is good. When that beautiful, soaring melody comes in around 0:40, you just wanna cry. When that lower, mournful motion comes in around 2:10 mark, just... godly. It's like flying but with darkened angel wings; don't know how else to describe it- menacing but free. I'm bad with describing how music makes me feel, because it's often just so MUCH. Very dynamic, excellent, showstopping, etc. Can't wait for Shimomura to ascend to musician heaven in a chariot of fire.

2. "Enter the Void" BBS

When I first heard this I was filled with such unparalleled levels of energy that I can't communicate effectively. The rhythm from the drums and horns is something primal that you feel in your soul. Feels so heroic. I am going to war /positive. When the strings hit around a minute in, I feel like I'm flying. Around 1:50 in, when the orchestra comes in after that brief break, I legitimately almost cried from the euphoria, haha.

3. "Forze Dell'Oscurita" - BBS/KH3

That intro is just godlike. Not much more to say. Spiritually froth at the mouth with all the Xehanort-related motifs present here. Both versions are awesome AF, with me maaaybe picking the KH3 version if I had to, purely because of that flute trill at the beginning, and those horns.

4. "Musique pour la tristesse de Xion" - 358/2 Days

Beautiful mixture of Riku and Kairi's theme. When it gets to Kairi's leitmotif, the melody is so dreamy and ethereal- absolutely gorgeous.

5. "The 13th Reflection" - KH2

So hype. That's it. So hype. Grandiose and beautiful both in original forms and remastered version. I go bonkers. It's got that Final Fantasy percussive pattern I love.

6. "Enter the Darkness" - BBS Version

The usage of Ventus', Roxas', and ESPECIALLY how Sora's leitmotifs come into the melody are excellently executed and exhilarating. And don't get me wrong, I absolutely love the addition of the electric guitar in the KH3 version, but the original hits in its own way that the other version didn't. And shout-out to that part of "Unbreakable Chains" with Sora's leitmotif but super jazzy and darker in tone. Love that.

The cutscene where this track first started playing in DDD is forever tattooed in my mind, because the visual and musical transition into the fight was magnificent. It's got Destati, it's got Ansem KH1 fight theme. It's good shit.

7. "L'Eminenza Oscura I" - DDD or KH3 version. Both rock.

"You can try."

*WHOOOSH*

*PIANO LIMIT BREAK*

("You can't protect ANYTHING." Damn Ansem, chill out, Riku's just sixteen. Stop capitalizing on his insecurities.)

8. "Sacred Distance" - DDD

The usage of a mournful, trailed off version of Dearly Beloved's piano is so poignant for this ost, as encountering this track after finding out "Dearly Beloved's" significance to Sora and Riku's connection and seeing Sora's dangerous position in the plot at TWTNW signifies that the broken down parts of Dearly Beloved's melody littered throughout the song is no coincidence. It gives the stark feeling something is wrong/missing. I look like that "Patrick Bateman listening to music with his eyes closed" meme while listening to this track. That violin part...

9. "Treasured Memories" - KH1

In the words of someone who overheard my playlist: "That sounds like something I'd play while depressed to stay depressed." It's been immortalized in my mind since. It also reminds me somewhat of the City Ruins piece from NieR: Automata. Very serene and melancholic.

10. "Lazy Afternoons" - CoM version

I loved this version with the leading harmonica so much I didn't care for the KH2 version nearly as much as a result. Y'know that part of Ratatouille where Ego eats the dish and he gets mentally zapped back to his childhood? That's what this song felt like.

Honorable Mentions:

a. "Forze Del Male" - KH1 Version

It just can't be beat. That opening is on par with FFIX's "The Dark Messenger" in terms of memorable villain organ theme intros, for me.

b. "My Heart's Descent" - DDD

My favorite version of the "Dive into the Heart" melodies. Feels dreamlike (lol, wonder why) and so very Important in a way beyond my petty understanding.

c. "The Eye of Darkness"

Cool combat rendition of "Dive into the Heart."

d. "It Began With a Letter" - KH1

So soft. Feels like home.

e. "Keyblade Cycle" - DDD

GROOVIN'.

[terrainofheartfelt]

Lit™ Opera Lit - Abridged

for @clarasamelia

Jo enabled me into doing this though I’ve been tempted to for a WHILE, so here, have an Opera Primer Playlist, by me. A few notes before we begin:

This says Abridged, because the original Lit™ Opera Lit on my spotify is….5 ½ hours long, and I didn’t want to throw ALL that at someone new to the genre. So. (It is public on my spotify if you wanna take a peek)

Also, this is not a music history survey, and is therefore very biased to my tastes as a lover of romantic opera and as a trained mezzo soprano. #lowvoicesupremacy

And there is sooooooooooooooooooo much more I want to share so if anyone has any questions or wants a rec of something else please feel free to ask and I would be happy to answer! 

Actually, new ask game time: send me a pop culture media thing and I can relate it back to opera in 6 degrees or less. 

*means I’ve sung it before!

Okay, onto the playlist

Overture – La forza del destino, Verdi

You gotta start off an opera with a good overture right???? And this one is a fave, BY a fave. Overtures are sort of a…musical trailer of everything you’re going to hear in the show before it starts. It’s a sneak peek, it’s the opening credits, it’s a goddamn shame we don’t do them anymore. For real I went to a concert earlier this fall and the orchestra played the overture to The Sound of Music and it was glorious and I remember thinking “they don’t make em like this anymore!” Anyways, idk much about Forza because there’s no mezzos, but it’s a gutwrenching tragedy with glorious music, and this overture FUCKS

“Gira la cote!”* — Turandot, Puccini

First things first, lemme just say this outright, yes, this opera is racist. All white European composers were perpetrators of Orientalism in their music, Puccini being one of the more notorious. As such, opera is a thing that you have to engage with critically, but I don’t want to make that sound like it’s “work,” because I don’ twant to prolong this thing that you have to perform some sort of intellectual labor before you can enjoy opera, but you have to give it the same grace and critical eye you give other media, fuck I run a gossip girl blog, it’s like that, you know? Okay, sermon out of the way, this opera is about a Chinese princess, who vows to never marry because, honestly men have given her very little reason to want to, so she poses this challenge: if a man wants to marry her, he must answer three riddles, and if he gets even one of them wrong, she takes his head. This chorus is the opening of the show, when her latest failed suitor is about to get his head chopped off, the chorus of her subjects love the free show, and are shouting “gira la cote! / sharpen the blade!” and, reader, it fucks. 

“Měsíčku na nebi hlubokém (Song to the Moon)” — Rusalka, Dvořák

It’s the little mermaid!!!!!!!!! No, seriously, it’s based on the same myth. From my sweet Czech prince, Tony, this masterpiece tells its own spin on a Slavic version of the fairytale. This is, effectively, the “part of your world” song, Rusalka begs the moon to pass on a message of love to her human prince. And it is…one of the most glorious arias ever, to the point that sometimes I’m like “ugh, overdone” but really, it’s gorgeous, and when sung right, transcendent. 

“Čury mury fuk” — Rusalka, Dvořák

Ježibaba, aka Baba Yaga, aka Ursula, sings about how she’s gonna poison the beautiful sprite Rusalka. Fun fact: the saying for mezzo roles is: witches, bitches, and britches, because the archetypes low-voiced women always sing in opera are always either witches, bitches, or pants roles (women playing a male character, usually a teenaged boy). I was more a Mistresses and Princesses mezzo meself, so really…just bitches….

“Amami, Alfredo” — La Traviata, Verdi

Verdi is my absolute favorite, my opera blorbo, I love him so very much. The way he writes emotion into his orchestra is just hnnnnnnnnnnnnnnnnnnng. Anyways. Traviata is perhaps the most popular opera in the world (tied with Carmen). If you don’t think you know it, you do. It’s based off Dumas’ La Dame aux Camellias, and the direct inspiration for the film Moulin Rouge! (though not the musical, evidently, it’s fine I’ve ranted about that elsewhere). AND, it’s featured in the garden party scene in Princess Diaries 2: Royal Engagement! What you here Anne Hathaway listening to there is the grand ending to the famous aria “Sempre libera,” but to me, the most sublime moment in the opera is this one, in Act II, Violetta’s lover’s father comes to plead with her to leave his son, Alfredo, because Violetta is a courtesan and therefore a detriment to the noble family’s reputation…yeah. And Violetta agrees, not wanting to send Alfredo’s family into poverty or ruin the reputation of his little sister (that she’s never met btw, fuckin catholics), plus, it’s hinted that Violetta already knows that she is dying of tuberculosis (consumption), so she decides to leave and go back to her old life, and when Alfredo returns as she’s trying to write him a farewell letter, she has this outburst of emotion. It’s brief, but, jesus christ—

Amami, Alfredo, quant'io t'amo. Addio. / Love me, Alfredo, how I love you. Goodbye.

"Bevo al tuo fresco sorriso" — La Rondine, Puccini

Another opera based of the lady of the camellias! (She was indeed a real person, Marie Duplessis, I read a biography about her! It’s so fascinating!) This one has a bit of a different plot and play out, but the theme is the same. There’s actually some dispute about there being multiple endings to this opera (Turandot too I guess, but I digress) Magda, a glamorous courtesan of Paris, bored of her gilded cage, puts on a disguise and goes out for the night, and meets up again with the hot young poet who came to her house party earlier that night, they share a drink, meanwhile Magda’s maid has a drink in the same bar with her tenor lover, what results is this, what me and my friends call The Best Quartet Ever. it sounds exactly like falling in love in Paris. No offense, but tswift could never.

"È amabile invero cotal giovinotto” — Rigoletto, Verdi†

Hi, it’s me with my low voice supremacy agenda again. There’s a much more famous quartet, but. My house.  Based off of a play by Victor Hugo, Rigoletto is a jester who has enough of his boss’ bullshit. His boss being the Duke. What puts him over the edge? The scumbag of a Duke seduces Rig’s daughter, Gilda, and now Gilda thinks she’s in love, but Rig has worked for the Duke long enough to know that, best case, she’ll have her heartbroken.  But that is all just BACKGROUND for this scene. Rigoletto hires an assassin-slash-bartender to take care of the Duke for him, so this guy, Sparafucile, gets the Duke drunk, but now, unfortunately, the assasin’s sister, Maddalena, has a crush on the fuck. She demands that her brother spare the duke’s life, but Sparafucile promised Rigoletto a body. So while a storm hits, Spara tells his sister “fine, the next person that knocks on the door, i’ll kill instead.” Gilda, of course, overhears all of this, and decides that what she has to do his take the place of the man she loves, and knocks on the door (babygirl, it’s NOT WORTH IT) †I’ve never done one of these roles, but I have been in the opera!

“Pourquoi me réveiller” — Werther, Massenet

An underrated, imho, French tragedy. Is it because the heroine is a mezzo? Who’s to say.  Based off Goethe’s Die Leiden des jungen Werther, it follows the tragic star-crossed love of Werther, the poet, and Charlotte, the woman who loves him, but for ehr family’s financial security and stature marries another man she doesn’t love. This moment in the opera comes after Charlotte’s two barn-burner arias, when she looks over her letters from Werther and realizes the depth of her feelings, Werther comes to see her in this moment of vulnerability, and recites this piece of poetry. It’s sexy and angsty and the build-up to the explosion of emotion that’s about to take place.  And because I’m me, I’ll just say: it’s dair-coded.

“Pietà! perdon!...O don fatale” — Don Carlos, Verdi†

Verdi wrote this opera for the bisexuals!!!! So, there’s a big ol’ convoluted love pentagon going on in the court of Phillip II of Spain, but what you need to know in this scene is: Eboli, a courtier and friend of the queen Elisabeth de Valois (daughter of Catherine de Medici, fun fact), frames Elisabeth for cheating on her husband with her stepson (complicated, I know). And Eboli is acting out of homoerotic jealousy because she wanted Carlo (the stepson) herself, and what is a rival if not a crush you’re mad about having? After her subterfuge blows up in her face, Eboli throws herself at Elisabeth’s feet begging for mercy (“pietà”), and confesses to setting Elisabeth up, and even, sleeping with the king. Elisabeth is heartbroken and furious at the betrayal, and banishes Eboli to a convent. Once alone, Eboli curses the beauty she was born with that brought her here, and laments that she’ll never see Elisabeth again (GAY). And then, she realizes there’s still a chance to save Carlo, who’s been jailed for treason.  This opera is in my top 5 favorites, and this excerpt has one of my top 5 favorite musical moments, the low strings after Eboli confesses, the pain and betrayal you can FEEL in the strings and it’s so !!!!! I am not capable of being normal about it. I’m listening while writing this and CHILLS (Also, I saw this live very recently and it was extraordinary! And they did something interesting with the supertitles and the acting that implied that – rather than a presumed consensual encounter – Phillip assaulted Eboli, which paints her aria cursing her looks in an entirely new light!!!!!) †I’ve not done this publicly, but it was in my repertoire

“E qual via scegliete?” — Tosca, Puccini†

I tried to keep this brief and not put on too many things, but I can’t not put Tosca on here! This is my second favorite part of the opera (my first favorite is the finale, but that’s like, only 30 seconds, so), and it fucks. Floria Tosca, a famous singer in Rome, is put in an impossible position by absolute dirtbag Scarpia, who takes her lover Mario Cavaradossi political prisoner. Cavaradossi, a republican and therefore enemy of the Italian state, is sentenced to death, but Scarpia promises he’ll set C free if Tosca spends a night with him. She’s heartbroken by this choice, but she agrees. She insists that Scarpia sign the paperwork granting the both of them safe passage out of Rome, and he also promises that the firing squad will fake C’s death to give them a cover to escape. The tension in this scene is delicious, and it builds and builds, and the STRINGS. While Scarpia is writing, Tosca takes a knife from his dinner table. When it’s done and her and her lover’s escape is promised (Scarpia will actually betray her one more time, but she doesn’t know that yet), Scarpia moves to put his arms around her (gross, I know), and says “Tosca, finalmente e mio! / Tosca is finally mine!” and she STABS him. Rather than being raped by this absolute toilet plunger of a man, she KILLS him. She stabs him, and he cries out and goes down, and she taunts him, telling him to “feel the kiss of Tosca” and she stands over him saying “Muori, muori,” in this raw, low voice like die, bitch! It is sooooo thrilling to watch. This is a scene I will never get tired of. In a genre where women characters are too frequently brutalized for nothing, seeing a woman kill her would-be rapist is just — so satisfying.  †I’ve only been in the chorus of this opera

“Ohimè!... morir mi sento!”(Scena del giudizio) — Aida, Verdi

Regrettably, my favorite mezzo recording of this (Dolora Zajick) involves both James Levine and Placido Domingo, both of whom are pieces of shit! I’ve selected Cossotto’s instead, but if you come away from this playlist knowing one thing, it’s that James Levine and Placido Domingo are pieces of shit whose supposed skill is not worth all the pain and misery they caused. And now back to the music! Also, this opera has a racist history that companies are still working to move away from. They could work a little bit faster, tbh. A favorite opera and a dream role for me, tbh. Amneris, daughter of the king, gets carried away with jealousy when she discovers the man of her affection, Radames, is in love with her servant Aida, a prisoner of war who turns out to be a princess of an enemy nation. Amneris’ fury gets Radames and Aida caught. Taken by regret and pain and, let’s face it, more homoerotic angst, Amneris eavesdrops on Radames’ trial before the elders, and her dread builds as Radames refuses to speak in his defense. He’s sentenced to death—buried alive—and Amneris and the orchestra react viscerally to the sentence. Like her pleas for mercy when the scene hits its climax, those pietas…

“O furibonda iena…Quest’ultimo bacio”* — La Gioconda, Ponchielli

UNDERRATED OPERA OF ALL TIME. No but really. This is just…everything. This is a grand opera masterwork by this guy, Amilcare, who was Puccini’s teacher, and so few people know about it which is a SHAME. But, understandable, it’s notoriously hard to produce, and expensive, since the finale of Act II involves sinking a pirate ship…but the MUSIC.  It’s another convoluted and vaguely homoerotic love triangle. Laura and Enzo were in love, then pulled apart. Enzo sought comfort in a singer, known only as La Gioconda, and she is madly in love with him, but when Laura comes back into his life, that’s it for him. There’s ship burnings and evil husbands and a ballet (which you may know as the K-9 Advantix commercial song), but it all comes to this finale. Though she vowed Laura was her rival, Gioconda learns that Laura saved her mother once, and was under her mother’s blessing, noted by the rosary Gioconda’s mother gave her, that Laura always carries with her. So, bound by honor to her mother and desire to see her ex Enzo happy, Gioconda schemes to help Laura fake her death to escape her abusive husband, and gets Enzo to come to them just as Laura’s waking up from her sleeping draught (think R&J, but happier ending).  Enzo comes in spitting mad, thinking Gioconda is responsible for his Laura’s death, and Gio—who’s going through some shit of her own—is ready to let him kill her, and then Laura wakes, and calls Enzo’s name, and the relief in the orchestra is PALPABLE, while Gioconda sings quietly to herself “oh darkness, hide me.” After they’ve reunited, Gioconda tells them the rest of her plan, she’s got a boat to get them out of the city, and from there they can start a new life. Through her own pain and grief, in an act of unbridled selflessness and compassion, she tells them: “Amatevi. Siate felici. / Love each other. Be happy.” and they thank her and promise to remember her. And, I mean, how often does the mezzo get to win like that?

LITTLE WOMEN* (2005) MY BELOVED. It’s not on spotify, but I couldn’t not put this opera on this playlist for you, Jo <333 so, please see below for youtube links. the story is already important to me, and being in the opera when I was in college only made it even more so, and it’s a forever favorite and forever special in my heart. This is the only contemporary opera on this list, and it’s a wide and varied field, but in many ways, it’s a host unto itself (but if anyone wants to hear more contemporary stuff, I’d be happy to share!) Now, LW has a mixed reputation amongst operaphiles, who’s to say why? Misogyny, misogyny is why. But more than that, LW is such a domestic drama in a way that is not really conventional in opera, with its fantasy plots and royal characters and otherworldliness about it, but LW has always been about the small intricacies of family, which is why when Greta Gerwig put in that line about domestic struggles and joys in her film I felt so fucking SEEN. It is a technically challenging work, rife with lots of 21st century music toughness that makes the music hard to learn, but it’s absolutely not inaccessible to listen to. But, you know, call a spade what it is, a goddamn shovel, and LW is an opera with a majority women cast. You can count the men in the show on one hand, and that combined with its lack of a typical “operatic” story, and it’s challenging 21st century sound, makes lots of people keen to dismiss it. But those people, are WRONG. It’s a beautiful opera, meaningful and powerful and it sounds pretty, and I will die on that hill. 

“Perfect as we are” — Little Women, Adamo

Jo has a total of…three? arias in the show, and this is the second. After a meeting of the pickwick club and a chat with Laurie, Jo is in her attic trying to write her next “potboiler,” but keeps getting distracted by what she and Laurie were talking about, mainly, the possibility of Meg being in love with Laurie’s tutor, Brooke. It’s another hint at the main conflict of the opera (which is plainly stated in the next selection). Jo is happy with her family and her best friend, and she doesn’t see why any of it has to change. But it won’t be up to her. I love this one because it goes back and forth between Jo trying to write and find the right words for her story, and monologuing at an invisible Laurie, and her monologue helps her find that word and then she’s back in it. It’s so whimsical and just very her. I love it so much. Low voice supremacy

“Things change, Jo”

THIS ARIA!!!!!! Jo is so upset when Meg decides to marry John Brooke, and she plaintively sings “Why don’t you love me anymore?” and her big sister says, “Of course I love you!....but once I saw him, once he looked at me….I can’t explain it, Jo. I love you. Things end – no,” and that’s the lead in to the aria. She’s trying to explain her heart to her sister, and the poetry of it is glorious and the MUSIC. It’s a plea, really, a begging for Jo to understand her side: childhood was always going to end, and what a happy ending. The “Things change, Jo,” leitmotif is repeated over and over again. It’s the central conflict: Jo versus Change. Laurie repeats the motif when he proposes to Jo, Beth repeats it as she’s dying (her death aria is EXQUISITE I just can’t include it here because it makes me too emotional), and interestingly, when Laurie and Amy are abroad together, he sings the dissonant three-note motif, and then Amy resolves it. “Things change, Amy.” / “And a good thing too.” GENIUS. Adamo is a genius. 

My best friend from college sings this aria and also preaches the gospel of Adamo’s LW to me, and she texted me out of the blue the other day: If someone doesn’t like Things Change Jo…they’re misogynist. I don’t make the rules. And she’s right. It may sound like I’m coming down hard but I have heard so many people (mostly cismen) talk down at this opera and at people for liking it, and I’m over it. It’s good!!!!!! This isn’t me trying to say “you better like this or ELSE” but “I have so much love for this and it means so much to me personally and so I dearly hope you’ll give yourself a chance to like it too.”

“Let me look at you”* (Quartet)

THEE finale! Jo is alone in her attic again, and she finally surrenders, to her grief, to the current of change running through her life. Surrounded by the ghosts of her sisters, she makes peace with each of them, and they sing about how life has pulled them to separate goals, but they will always still have the love between them. I want to cry even as I’m writing this, it’s so beautiful and so meaningful. Jo ends the quartet with the exact same line as the end of her aria above “how grateful I am,” but it means something different now!!!! And she echoes the melody of “perfect as we are” a minute later, when Bhaer knocks on the door and asks if now is a good time, she sings “Now is all there is.” best finale ever. Except tosca, maybe.

I sang the role of Marmee when I was in the opera, but on my senior recital, this was my closer, and I sang it with 3 of my closest friends who were also graduating that year. Our groupchat is still called the March Sisters. And. AND. my friend who sang Meg is getting married next summer, and we are all bridesmaids. She really did find her knight 😭😭😭😭😭

[queersekai]

Updated favorite commissions as of Hoshi wo Tsunagu + general commission opinions

Ichika - Made to Order. Overall her commissions are fine, though I prefer the VS versions of both Pulse of the Meteor and Hoshi wo Tsunagu (the tuning man... the tuning). Still not the biggest fan of her

Saki - Teratera/Show Off. Commissions overall are great. Stella is a close second place for me; I prefer the VS version of From Tokyo; and Aioi made me cry, it's beautiful

Honami - Still very close between Stage of Sekai and Flyway. Not a huge fan of Hare wo Matsu, probably because I'm just not big on Orangestar. Then again I'm not super huge on halyosy and then we got Flyway and it blew me away so. Edge still goes to Stage of Sekai though

Shiho - Voices. Yuyoyuppe is one of my favorite producers. However, Shiho literally does not have a bad song. You could put any of hers in the top spot and it would be correct

Minori - Tenshi no Clover. Worldwide Wander is right behind it. Dream Place and Teammate are both fine, but the latter especially really isn't my thing. I'm not a huge HoneyWorks fan. My opinion on Dream Place may go up when the full version is released

Haruka - If. Ai no Material is dragged down by MEIKO, and Float Planner is fine. Don't have much to say about her, but I do hope her next song is better. Her commissions tend to be more just good rather than great imo

Airi - Momoiro Key. Icedrop and More! Jump! More! are also very good. Still don't like Parasol Cider. Something about it just annoys me and I don't know what. It's just not for me

Shizuku - It's between Metamo Re:born and I Am, We Are. Color of Drops is fine, and Luka's tuning is surprisingly good in it

Kohane - Hitsuji ga Ippiki. Very funky, very Kohane. Beat Eater is also fantastic, and I think I'm in the minority of people who actually genuinely like Flyer. It makes me happy

An - Gekokujo/Giant Killing (yes that is the official translated title at least according to Apple Music). So... this song and event leaked around the time of my grandmother's funeral. I'm still grieving the loss, but this song has helped so much. Awake Now and Machi are both fantastic, and Forward is fine, though I want more of the guys

Akito - Kashika. Can't wait for the full version in three weeks (as of posting this). Akito is like Shiho, though; you could put any of his commissions as the top one and they'd be right. Let's hope that continues

Toya - Rad Dogs. Still hasn't been topped. Mirai is good though, and I recognize why people like Utsuro wo Aogu, even though I still don't like it that much. Hoping this Hiiragi Magnetite commission is his and it's good

Tsukasa - Mr. Showtime. I do not like Tsukasa--or WxS, really--that much. It's the character voices that get me most of the time. However, HitoYama made a banger. I can't stand Tondemo Wonders because of the sound effects, and I prefer the VS version of Eighty-Eight

Emu - Hoshizora Orchestra. Yeah I'm revising my opinion there. I cried when I listened to it with the lyrics. Made me feel warm. Once Upon a Dream is criminally underrated, and Niccori Survey Team's Theme is rightfully loved

Nene - Hakoniwa no Coral. Hot take, this is her first good commission. I do not like OSTER Project or kinoshita much, so that really knocks down Nijiiro Stories and Glory Steady Go for me. I wanted to like Hoshizora no Melody so badly because I like Polypho, but I can't stand them speaking in rhythm rather than singing, and I think MEIKO's tuning is some of the worst in the game here

Rui - What Kind of Ending Do You Want? I honestly flip between his songs though. He's like Shiho and Akito; any of them ranked as the best is the right answer

Kanade - Samsa. Don't get me wrong, I love both Kanade Tomosu Sora and Tricologe. But... KAITO. And Teniwoha. But yeah you also can't go wrong with Kanade

Mafuyu - Engeki. This song. I cried. Enough said. Jackpot Sad Girl is one of the best early game songs, Saisei is criminally underrated, and while bug is overrated and overplayed, it earned that. You can't go wrong with any of her songs in my book, though I'm aware I'm in the minority there. Still don't get the hate for Saisei though

Ena - Nomad. Just... beautiful. But her other songs are also great and again you can't go wrong. Do you see a pattern here?

Mizuki - Kitty. So funky. I think you know what I'm going to say here based on the last three though. Also don't get the hate for kimi no yoru wo kure. Like, at all

Can you tell I love Niigo?

[because-its-eurovision]

What are in your opinion the top 3 finnish esc performances?

Also who fo you think are the most attractive / hottest finnish contestants ever? I need this for science👀 (if you are comfortable answering)

What a lovely ask! 🖤 I picked three performances based on styling (clothes, hair, make-up, jewellery), choreography, staging and lightning choices, camera angles, vocal performance and charisma of the singers and back-up singers & musicians, and how well all of of those support the melody, lyrics and structure of the song. I suck at making definitive rankings so these are in chronological order 😄

1977: Monika Aspelund - Lapponia

Lapponia tells the story of a beautiful witch maiden in Lapland and the man who falls in love with her, and Monika really acts out the lyrics to the camera with her expressions. The blue and white (Finnish flag colours my beloved) styling with Lapponia brand jewellery is very simple yet stylish in a Nordic way and fits the song well. Vocal performance of both Monika and the back-up singers is near perfect considering she was suffering from angina at the time and still managed to hit the high note. Choregraphy again is simple but works and compliments the epic chorus, and the end frame is possibly the greatest of Finland's Eurovision history. There's a reason why this is still my favorite entry of all time.

1990: Anneli Saaristo - La Dolce Vita

Once again: simple yet effective. The song is a great combination of melancholic Finnish mindset with Spanish and Italian influences. The main melody flows effortlessly and her low, dark and full voice is perfect for that. Throwing in the acoustic guitar and some flamenco claps for Mediterranean flavor when she is singing about beautiful sweet life in the chorus. Staging is beautifully balanced with the guitar players on both sides of Anneli and she really pops with the red outfit and makeup, bringing out the passion of the song. And listen to the horns and violin sections of the live orchestra! The ending pose is the cherry on top. One of the most succesfull Finnish entries ever and deservedly so.

2021: Blind Channel - Dark Side

Dispite some slight mishaps in the vocal performance, as a whole I love this performance to bits. The background screens with them hanging upside down in white clothes so the stage is not too dark. The combination of red and black. The contrast between Joel and Niko that was purposefully built by giving Niko the rapper look with darker hair and Joel the rocker look with blonder hair. The pyros right from the start and throughout the song. The choreography that looks natural and effortless despite being rehearsed hundreds of hours. The text JOIN in Joonas's guitar, when I first saw him lifting it in their second rehearsal clip I got chills. How they make Niko's and Joel's height difference work by putting Joel behind Niko to whisper like a demon. How dynamic and full of energy the entire performance is and how they are giving their ALL. Joonas & Olli walking to mid stage to join the HU HU HU choreography with Niko & Joel. Aleksi's hairflip. Joonas's hairstyle and clothes and the guitar spin. Him lifting the guitar for the slow part and how Olli looks at the camera. Kneeling Joel. JOIN on Niko's palm. How the energy builds up for the final chorus and them all making the huge jump together, perfectly timed with the pyros. The "headshot" move. Joonas & Olli just spinning and running from opposite directions across the stage during HU HU HU HU, twice. The final scream & pyro combination. 😭😭😭🖤🖤🖤 MY BOYS DID THAT

I'm glad you didn't ask for top-3 hottest contestants, because that would be impossible 😄 Some of those whose looks I've appreciated are Blind Channel (2021), The Rasmus (2022), Käärijä (2023), Sebastian Rejman (2019) and Jarkko Ahola (Teräsbetoni 2008). Boys of Softengine (2014) were adorable, as well as Paradise Oskar (2011) 🥰

[itsallhoney]

My Top 48 Albums of 2023 (So Far)

We’re just past the halfway point of the year and I wanted to share my favorite albums of the year so far. I've been listening to a lot of new releases as a sort of personal project but I've found a lot of albums that I really connect to and feel passionate about that I would like to share with other people that might like them as well.

Every album has a short review or description, of varying quality. I touch on themes where I feel they are relevant and try to describe the sound where I could and where I felt that the genre is maybe too broad. This isn't something I've done before so it was mostly an exercise in getting any thoughts down at all.

The list is in alphabetical order (by artist) and the album covers are also arranged in that order so if there’s a cover that stands out to you it should be relatively easy to find.

titles + descriptions below

100 Gecs – 10,000 Gecs (hyperpop)

I expect hyperpop to be very electronic but this album brings in elements of ska and hardcore that I just thought were a lot of fun.

2. Alice Longyu Gao – Let’s Hope Heteros Fail, Learn, and Retire (hyperpop)

This is absolutely wild, and a masterpiece. It perfectly captures what it feels like to be in your 20s in America right now. If you already like the 100 Gecs album then you should check this out.

3. Aly & AJ – With Love From (pop)

This is a 70s pop/soft-rock inspired album and probably their best album to date.

4. Andy Shauf – Norm (indie pop)

It’s a concept album about God losing faith in humanity, but seeing a glimmer of hope in a man called Norm who is stalking an unnamed woman because his faith in God is pure. Sonically it’s very dreamy, but grows more discordant as the story goes on.  Shout out to the clarinet.

5. Anna B Savage – in|FLUX (art pop)

Haunting and beautiful (alto) vocals -- seriously her voice is impressive. Emotionally poignant and poetic lyrics. Masterful composition, it’s not the main focus but it’s still really intricate.

6. Blondshell – Blondshell (indie rock)

This is a 90s alternative inspired album. It’s raw and witty and real.

7. boygenius – the record (indie rock)

I’m not describing this because all of you sad tumblr gays know what it is already. I listen to all three of the boys, but Lucy is my boy. So, I do prefer the groups songs + Lucy songs, but I truly love all most of the songs on this album and if this were a ranked list it would be in the top ten.

8. Braids – Euphoric Recall (experimental pop)

This one is ethereal in a way that sounds like it comes from space (I feel like I often use ethereal in a spritely way).

9. Caroline Rose – The Art of Forgetting (indie rock)

At it’s core this is a breakup album. It’s about completely breaking down and building yourself back up again. It’s a piece of art that is meant to be experienced whole.

10. Cusp – You Can Do It All (indie rock)

It’s got that sort of 90s indie rock sound. A little shoegazey, some twinkly guitars. And it’s a no skip album.

11. Emilíana Torrini & the Colorist Orchestra– Racing the Storm (chamber pop)

This is one of the most unique albums I’ve ever heard. Torrini’s voice has a haunting/ethereal effect. I want to call it otherworldy, but I also want to say that it’s very organic and feels like nature so do with that what you will. If you like Secret by The Pierces, I don’t know if you’ll like the whole album but I think you’ll like the opening track.

12. Emma Tricca – Aspirin Sun (chamber folk)

I’m worried that people might get confused and think I understand art when I merely appreciate it. I just let this album wash over me and it is an experience.

13. Falso Nove – Horta da Luz (indie rock)

This is a concept album and it’s probably really strong thematically, it’s about the search for light. But I liked it fully based on the music (because I don’t understand Portuguese). The arrangements are really full and they swell with emotion, you get a story even without the words. The vibes on Cacos are immaculate. But I can be swayed by any song with a saxophone.

14. Fran – Leaving (indie folk)

Climate anxiety and isolation. It’s mostly folk but occasionally veers into ethereal.

15. Gretel Hänlyn – Head of The Love Club (indie rock)

What this album is, is an artist on their second album trying to discover their sound. But what she achieves is an album that effortlessly blends a lot of different styles and eras of music into something that feels both cohesive and modern. It sounds like a lot of different things but every song sounds like it goes together. Also a great vocalist.

16. Indigo de Souza – All of This Will End (indie rock)

It’s an album about mortality, loneliness, and self doubt. It feels like she captures some deep truths about humanity, but maybe she just perfectly captures what it’s like to feel bad all the time.

17. Innerlove. – Roscoe (emo)

They’ve got that 4th wave emo/Midwest emo sound. It perfectly captures that mid-twenties malaise and it came out at the perfect time in my life.

18. Janelle Monáe – The Age of Pleasure (pop)

Words cannot express how much it means to the 19-year-old me, writing queer analyses of the Metropolis series and listening to “Q.U.E.E.N.” every day, to see Janelle Monáe be so loudly and unapologetically queer. They are hot and this is good pop music.

19. Jess Williamson – Time Ain’t Accidental (country)

This is a break up album and it's about finding yourself again after losing yourself in another person. There are so many lines that cut me to the core. The twang is strong and that’s a bonus.

20. José James – On & On (jazz)

This is a jazz reimagining of Erykah Badu songs and it is so good.

21. Joseph – The Sun (folk pop)

A vulnerable album about the mental health struggles that the sisters have gone through in recent years, but it’s more about the recovery. About seeing the light again.

22. Joy Oladokun – Proof of Life (folk pop)

A little more pop than I was expecting, but in the Americana revival way that seems to be having its moment right now. It just radiates positivity and feels like a much needed album right now.

23. Kara Jackson – Why Does The Earth Give Us People to Love? (folk)

This is Bob Dylan shit. Great poet and lyricist.

24. Kari Faux – Real B*tches Don’t Die (rap)

It’s an album about grief, but not in the way you would expect. Grief is a thing that permeates every part of life, but life continues and that’s how it’s reflected on the album. There are songs where she fully reflects on loss right next to songs about going out with friends, or dating, that feel like a celebration of life.

25. Kesha – Gag Order (pop)

Gago Order captures every emotion at once. It feels like you’ve just passed through the eye of the hurricane and now you’re right back in the storm.

26. Khamari – A Brief Nirvana (r&b)

If you’ve been waiting for a new Frank Ocean album, try this.

27. Labrador – Hold the Door for Strangers (alt country)

This feels like middle-aged man divorce music, and definitely sounds like something my dad would like. There are a few lines on this album that absolutely took me out and I go back to these songs frequently.

28. lusillón – Pensado mucho y mal (indie pop)

This is just really sweet indie pop.

29. Marlody – I’m Not Sure At All (art folk)

This is a really gorgeous album. It’s piano-driven, very emotional, and she has a very ethereal voice. I think fans of Weyes Blood will probably enjoy this.

30. McKinley Dixon - Beloved! Paradise! Jazz!? (jazz rap)

A prolific album that is in part an ode to Toni Morrison, hence the title. It is just as much a portrait of life in America today, in a way that highlights the ways in which Morrison’s writing is still relevant. There are also some really good beats on this one. Shout out to the flute.

31. M(h)aol – Attachment Styles (post-punk)

Queer and feminist punk rock.

32. Miss Grit – Follow the Cyborg (alt pop)

If you like sci-fi pop using robots as a metaphor for queerness, like Janelle Monáe’s early albums, then you’ll like this.

33. Miya Folick – ROACH (indie pop)

Another one about grief, isolation, losing yourself/finding yourself, and resilience. Everyone is going through it these days but I’m a fucking cockroach and you can’t kill me.

34. PACKS – Crispy Crunchy Nothing (indie rock)

A series of vignettes with a kind of dirty lo-fi sound. The songs are a little on the short side but they leave you feeling satisfied.

35. Petite Noir – MotherFather (noirwave/experimental)

Petite Noir created a new genre, and cultural movement, known as Noirwave when they began their first project and this album is a continuation of that.  It uses punk aesthetics, mixed with jazz, R&B, afrobeats to create something new and explore the identities of the African diaspora and Pan-Africanism. And it sounds damn good.

36. quinnie – flounder (indie pop)

This is an album for the sad queer girls. It’s sweet and vulnerable and a really great debut.

37. Rebecca Black – Let Her Burn (dance pop)

Whatever you think you know about Rebecca Black, forget it and just listen to this album (or better yet go watch her perform it live). This is fun dance music.

38. Samia – Honey (indie pop)

This is literally a Samia stan account. I truly think Samia is one of the best lyricists in the game right now. The girl can paint a picture with her words. The album is beautiful, and vulnerable, but also fun, and everything I needed this year.

39. Shalom – Sublimation (indie pop)

This is perfect indie pop. It’s fun and danceable with lyrics that are clever, honest, and emotional.

40. Shego – SUERTE, CHICA (indie rock)

This is a fun album. I will admit that my Spanish is rusty (that’s an understatement), I can tell you that some of the songs deal with mental health but in general I listen to this for the vibes. The album is a little punky, although the single with Natalie Lacunza has a slightly dreamy indie pop feel and “Steak Tar Tar” is a dance track (and absolute masterpiece).

41. Steady Holiday – Newfound Oxygen (indie pop)

Another case of this being exactly what I needed to hear in the moment. Another album about recovery and finding yourself again.

42. Tiny Microphone – Other Cities (indie pop)

If I could only recommend one album from this year it would be this one. If you just moved to a new city or you’re still getting over a break up -- and you’re struggling -- this one is for you.

43. Transviolet – Body (indie pop)

The first half is light and, dare I say, happy. The back half is a little darker and cathartic. The whole thing is danceable and fun.

44. Twin XL – H Y P E R F A N T A S I A (synthpop)

I was emo in the MySpace/neon pop punk era and the natural progression for a lot of those bands was to move into synthpop in the 2010s. If you enjoyed those vibes, if you’re an After Laughter enjoyer, check this out. Be emo and dance about it.

45. Wednesday – Rat Saw God (alt country)

This album is a collection of Southern Gothic stories, some personal, some observational. The music goes hard but the band doesn’t shy away from their country roots.

46. Y La Bamba – Lucha (psychedelic rock)

This is an album about embracing queerness as an adult. About what it means to be a queer and nonbinary as a Chincanx person and what it means to be Chincanx in Mexico. It’s about processing trauma and struggling with PTSD. And it’s about trying to take up space as a person with all of those identities in the music industry, and the world.

47. Young Fathers – Heavy Heavy (experimental rock)

This album radiates joy and positivity and it will make you want to dance.

48. Yves Tumor – Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds) [experimental rock]

The first time I heard "Echolalia" I thought, this shit fucks. I would say the same about the rest of the album.