#also it's not actually by Rossini but you know what? GREAT way to end an album

[infinitelytheheartexpands]

omg I love this

[sternbilder]

that holst post from earlier awakened the slumbering basic orchestra bitch in me and now i’m wild about classical music again all of a sudden for one (1) night only, i’m going through my old classical playlist and here are some unsolicited opinions?? recommendations?? top 10 piece rankings?? from yours truly, most of which i have played personally

10. rossini, barber of seville overture - SPEAKING OF BASIC let’s get this one out of the way, literally everyone in the universe knows this piece but it’s just so goddamn catchy and also fun to play?? sometimes it just gets stuck in my head at random times for no reason but i do not care it is welcome to live rent-free in my brain always

9. bizet, intermission from l’arlesienne suite no. 2 - ok this one is a slower piece and i never see anyone talk about it ever but imo?? highly underrated with a gorgeous, well-developed melody from beginning to end not to mention an INCREDIBLY satisfying build-up & payoff and ok maybe the ending is a little dragged out but that climax makes me cry real human tears pls give it a chance?? it kind of reminds me of a soliloquy in a musical where the main character like. breaks down and spills their entire heart out at the audience and it’s so dramatique™ and good

8. von suppé, poet and peasant overture - the violin part in this is SUPER fun but that’s not important compared to the fact that that cello solo is the reason i lowkey have a crush on every single cellist tbh,

7. dvořák, largo from the new world symphony - this is probably the most Basic Opinion on this list but idc i love this melody to death, even all the dumb corny choir boy editions of it, a+, top 10 songs to die to if i’m gonna b real

6. bruch, finale from violin concerto no. 1 - i just ADORE how the violin solo in this piece manages to balance being playful and light with being colorful and interesting, it def makes me wish i was good enough to be a soloist LMAO?? also this lush middle section (which kind of reminds me of the tchaik romeo & juliet a little bit??) makes me want to die, it’s so beautiful

5. dvořák AGAIN, slavonic dances op. 46 - everybody loves the brahms hungarian dances yes but my favorite “collection of folksy fun orchestra tunes” is DEFINITELY the slavonic dances, really all of them but ESPECIALLY no. 7 bc it starts off sounding like it should be accompanied with an animated montage of a dopey little cartoon knight or something plodding along, fantasia style, but then it swells into this GORGEOUS sweeping middle section for just a few bars then back to cute cartoon nonsense for the rest of the piece?? i don’t think i actually ever played no. 7 myself now that i think about it but i love it anyway. also no. 8 bc i love how FUCKING dramatic it is

4. rimsky-korsakov, capriccio espagnol - i got to play this for a summer camp once and again recently with my company orchestra, it’s so fun?? it’s so light and festive with great solos and great melodies and with all its short sections it’s both SO listenable but also v cohesive, i’m a huge fan

3. márquez, danzón no 2 - i think this is a pretty modern piece actually but i’ve also played this multiple times at this point and love it a lot, it has a lot of really great solo bits (like this sexy little trumpet solo) and it just makes me want to dance, i love watching dudamel conduct this bc he looks exactly the way i feel the entire time

2. shostakovich, allegro non troppo from symphony no. 5 - listen i know for sure this has some deep symbolic or ironic political meaning about something something living under an oppressive, propaganda-and-censorship-controlled state or whatever but it just. fucking rules. my favorite part is that eerie little part with the high violins near the middle which i’m SURE i fucked up when i played it back when i was a wee high schooler just kiddding it’s actually this OTHER part with the soaring violins but anyway. my favorite performance is the bernstein one bc it’s the only one i can find that’s as fast or aggressive as i remember it being

1. beethoven, egmont overture - i’ve always thought that if you threw a slow punchy drum loop over the beginning of this you’d get some epic trailer bgm tbh?? idk maybe a controversial opinion but this is my favorite beethoven symphonic work bc the entire piece is a BANGER that’s not only fun as hell but also incredibly listenable all the way through, and also the ending fucking slaps!! anyway not to be lowkey sacrilegious but here’s a space jam remix of the ending part which i love but my fellow orchestra members did not appreciate so now i am sharing it all with you all instead,

honorable mentions:

holst, jupiter from the planets - this honestly deserves to be on the list, i just didn’t want to talk about it AGAIN bc i already started ranting in the tags a little bit but really this is self-explanatory, the i vow to thee section is one of the most beautiful pieces of music i’ve ever had the pleasure of playing or listening to and that’s THAT 

saint-saëns, bacchanale from samson and delilah - danse macabre is also fun and carnival of the animals is ok but bacchanale is the saint-saëns piece that makes me go absolutely feral. it may be a go-to “we need something to spice up this concert program to make it not sound just Totally old and bland and white” but man. what an absolute party of a piece to play

mussorgsky, the great gate of kiev from pictures at an exhibition - i really love grandiose, epic pieces like this but this one in particular holds a special place in my heart bc (i think) this was the finale for my last high school orchestra concert which, while not the most rigorous group, was definitely the one with the fondest memories for me 😭i’m not gonna link it but i found a youtube clip of that performance and man. i miss.....this part through the end brings goosebumps to my skin and a tear to my eye aaaAAAA IT’S SO GOOD

[monotonous-minutia]

So I weirdly actually did a thing I said I was going to do.

Here’s a handy dandy list of Nozze productions to avoid if you, like me, love Cherubino, and believe he is a precious sunflower that needs to be protected at all costs.

After watching about 20 productions of this opera (though not all of them in full) I have compiled the following list.

Truncated because it got pretty long:

*Some of what is written here is subjective so I apologize if I end up disparaging a production you’ve seen and enjoyed. But I tried to stay objective and focus on the specific details that made the production safe or not for Cherubino.

**If you’re morbidly curious and want to know what, exactly, goes on in the first two listed here, perhaps message me first to ask before seeking them out to see for yourself, to prepare.

Salzburg 2006

Do not watch this one.

It’s weird, disturbing, and borderline sadistic. I can appreciate odd productions if they look at operas in new ways, try a different take, or magnify certain elements to bring in a fresh perspective. This production does none of that. It’s just weirdly disturbing for no apparent or forgivable reasons. I’ve spent a decent amount of time searching for answers on this one but none of the critiques I’ve found have any clue what this is supposed to be, so whatever the director was trying to say, their attempts failed miserably and left an atrocity in their wake. EVERYONE in this damn thing (except Cherubino) is a freaking asshole, the set is minimalist to the point of being irrelevant and confusing, and there’s this weird, winged Cherubino look-alike going around controlling people like puppets and making them do weird dance moves during their numbers. Obviously this director did not know how to embrace the concept that some people can just stand still while they’re talking or singing. Also, people hardly ever make eye contact and it’s unnerving, like they’re all zombies. There are a lot of other small, weird details that just keep building to make this thing a terrible production overall. The worst thing about it is poor sweet Cherubino. He’s an innocent, delicate flower that’s abused by everyone in unbearable ways. I don’t even want to go into it. I beseech you not to watch this because it’s honestly kind of traumatizing. Just pretend this one doesn’t exist and you’ll be okay. 

Redeeming factors: absolutely none. Cherubino is adorable and too pure for this world but that just makes the whole thing ten times worse because of all the terrible, terrible things that happen to him.

Dutch National Opera 2016

Proceed with caution for this one. It’s a shame because the production itself is pretty decent, and Susanna and the Contessa are great. The set is interesting—versatile, rotating, lots of doors that are utilized in interesting ways. It’s mostly portraying the somewhat-empty house that the cast is moving into it (at least that’s what I gathered). Reasons to avoid: Figaro is an asshole, the Count is downright gross, and Cherubino is treated terribly by almost everyone (except the Contessa and Susanna, bless them). The only part I like is the Act 2 scene between the three of them where they are all very sweet to each other and Cherubino is delighted to dress up and the kindness he’s shown here by the ladies makes up for some of the other things that happen. The worst stuff I won’t get into; I can’t talk about it without getting super upset. In general, Cherubino is terrorized by the Count on multiple occasions (physically threatened, punched, and thrown around), Figaro is super mean to him, and he doesn’t really get any closure at the end except that Barbarina dotes on him and he clearly loves her so we can imagine that he’ll be okay. It is a joy to watch him being super awkward, dreamy, and cheeky; I just wish he’d been given a better production.

My recommendation for this one, if you do want to watch it, is skip “Non piu andrai” and go right to Act II, although there’s one aspect that’s hard to explain without seeing that. For now let’s just say: there’s a reason Cherubino is wearing a beanie at the top of the second act, and it’s Figaro’s fault. You don’t need to know what else happens. (My rec: skip forward like ten minutes after the last recit, then seek backwards until you see Susanna sitting on a crate holding a remote which is the start of Act II. That way you don’t have to see the scene even in fast-motion.) At any rate please don’t watch that scene. I want to find the person who staged it and punch them. The rest is bearable; just be warned, it’s not fun or pretty.

Honesty hour: Figaro is mean enough too that I want Susanna and Rosina to run off together and just marry each other because their chemistry here is amazing. And take Cherubino with them and keep him safe and loved forever.

Redeeming factors: Interesting set, great leading ladies, insanely adorable Cherubino, and also it’s insinuated that the Contessa actually leaves Almaviva at the end; she even threatens him with his own hunting rifle and everyone else just watches in morbid fascination. She does put the gun down at the last second, but she doesn’t go to him after, so maybe he gets kicked out. We can only hope.

Salzburg 2015

Tbh this one’s just weird and probably not worth your time anyway. The set looks like the wall of the house was cut off so we can see all the rooms inside, upstairs and downstairs, at the same time. It’s an interesting device showing how all of the scenes interact, but it’s no utilized very well. There’s so much business in multiple rooms at one time that it’s hard to focus on the people who are talking and singing at the moment. The cast is mediocre. We get Pisaroni as the Count which should have been worthwhile but isn’t because of the weirdness of the production. It’s honestly hard to tell what or who anyone is supposed to be here. Plus there’s blatant abuse from the Count to the Contessa and it’s hard to watch especially because I’m more used to a huggable Luca and this doesn’t do him justice imo. Additionally, I typically stan gay Basilio, but here he’s got a thing for Cherubino, and Cherubino is super not into it so it just comes across as gross. Mostly Cherubino is just pushed to the sidelines (the Count literally locks him into the closet for most of the end of the first act). So it really minimizes his character in general and is disappointing to Cherubino fans.

Redeeming factors: Susanna is really cute, Figaro is nice, “Non piu andrai” is not sadistic, but this is mostly because everyone leaves the room when he starts singing it so he’s just talking to himself which is weird anyway. At least there is nothing Unspeakable although I do wish I could wipe this Basilio out of my brain. Also Margarita Gritskova as Cherubino being dapper and sweet and I’d say Pisaroni but I’m not a fan of him being the mean old Count when he should be playing those sweet Rossini baritone roles.

Salzburg 1995

Susan Graham is Cherubino and she’s super adorable, although she’s taller than almost everyone else which is awkward and amusing. However everyone is VERY mean to Cherubino. Even Susanna. He gets thrown around a lot which is just sad to watch. The production overall is kind of unremarkable and the picture/sound quality isn’t great either. Watchable but just be prepared for an annoying amount of meanness from characters who should be a lot nicer.

Redeeming factors: Susan Graham is amazing and adorable. That’s pretty much it. Someone tell me what is up with Salzburg and this opera, seriously.

Royal Opera House 2006

This Cherubino is a precious duckling who gets thrown around by everyone, especially Figaro, which is super sad. Honestly so many of these are ruining the character of Figaro for me. This one is watchable and decent except for Mean Figaro. The set is elaborate and detailed but sometimes the background action with the supers gets distracting. The rest of the cast is alright but I wish they would be nicer to Cherubino who hasn’t done one single thing to warrant the abuse. I recommend avoiding it for those reasons but it’s not as bad as some of the others.

Redeeming factors: Intricate, pretty set, Dorothea Röschmann being an adorable Contessa, and Cherubino being gawky and cute.

To balance out the depressingness here are some Nozzes that I highly recommend!

Garsington 2017

My absolute favorite, a pure delight. Though there are no big names here, the entire cast is amazing. The set is glorious, detailed without being distracting, super versatile to fit all the scenes, and the final act is actually in a garden and it’s just so PRETTY. The chemistry between Figaro and Susanna is lovely; they obviously adore each other and are a great team throughout all their plots. The Count is reasonably dislikable without being detestable, so the apology at the end is actually kind of believable (though it’s hard to pull off in general). He and the Contessa actually have an interesting dynamic so you can kind of see how they might make things work in the end (some of their arguments are more banter-y than mean and they actually make out briefly in “Susanna, or via, sortite” as if they’re kind of turned on by each other’s fury). The supporting cast is great too, full of personality and mischief. The staging is lighthearted, genuine, and intricate. THIS is what a Nozze should be! Cherubino is adorable, cheeky, super loveable, a SHAMELESS flirt, and best of all everyone loves him (except the Count obviously). Figaro is really nice to him too and “Non piu andrai” is really cute because he and Susanna are teasing him the entire time but it NEVER gets mean and it’s honestly so refreshing. Highly recommend this one!

Met 1998

Featuring my ABSOLUTE FAVORITE CHERUBINO, the incomparable Susanne Mentzer, as well as my favorite Contessa ever, Renèe Fleming. I could talk about those two forever. They are both individually fantastic and their collaboration is amazing. I died, to be honest. Also features an amazing Susanna courtesy of Cecilia Bartoli and a simply adorable Danielle de Niesse as Barbarina. Figaro is pretty mean to Cherubino especially during “Non piu andrai” (seriously what is it with directors and this number) but it’s nothing compared to so many others so it’s watchable especially because Mentzer is fantastic and she steals the entire scene without even saying anything because she’s amazing. Her Cherubino is just the sweetest, sassiest, most adorable, energetic, and expressive Cherubino ever to bless the operatic stage. She’s exactly what Cherubino should be in every way and the production fully supports it. Watching the entire Cherubino-Susanna-Contessa scene in Act 2 is one of my favorite things in the world. The production itself is classic, detailed and true to the period, busy without being distracting, and the rest of the cast is good too.

Liege 2018

A very cute production featuring a super sweet Figaro who teases Cherubino but is not mean to him. Cherubino is sassy and endearing and very much the flirt with every lady in sight, and is pretty popular among them. The rest of the cast is good too and we get a particularly sassy Susanna (whose chemistry with the Contessa is lovely). The set is simple but very pretty. Another lighthearted, sweet, and genuine portrayal that stays true to the heart of this opera.

Glyndebourne 1973

A classic; lots of familiar names, lush period set/costumes, and staging that’s simple but effective. Featuring the insanely adorable Frederica von Stade as Cherubino. Her smile melts my heart every time. A mostly nice Figaro and great leading ladies.

Obviously there are way more productions out there, and I’ve watched more than this, but these are the ones that to me are most noteworthy from one end of the scale or the other.

This list may get longer as I watch more, but I think I’m going to take a break from Nozze for a little bit (or more likely just re-watch the Garsington one and Mentzer’s Cherubino over and over again).

[stopforamoment]

Part Six: Her Tiger (Series Eleven, Part 6 of 16)

Series Eleven: It’s uh Movin’ Thing, but Still and All (Sixteen Parts) Part Six: Her Tiger (Series Eleven, Part 6 of 16)

Masterlist

Book: The Royal Romance (After Book Three)

Pairing: Bastien Lykel x OFC Rinda Parks Word Count: 1,115 Rating: R for Strong Language, References to Children Working through Grief with Bullying, Hints of Child Abuse or Neglect, Child Protective Services Author’s Note: Obligatory disclaimer that Pixelberry Studios owns the TRR characters and my pocketbook with those darn diamond scenes. OFC with all of her quirks is all mine. My apologies if Tumblr or I do something stupid when I try to post this. The keep reading link shows up on my laptop but not my phone. Ugh.

TRIGGERS: Reference to possible abuse/neglect of a child and Child Protective Services

Thank you @asherella-is-a-dork-3​ for always being my sounding board! Thank you @liam-rhys​ and @silviasutton1989 for still being a part of the journey!

Triggers: There are going to be some dark themes in this series that deal with the consequences of what happens when parents don’t put their children first. I promise I won’t get graphic, and I’ll tag each section accordingly. This will tie in with future events and another aspect of Bastien and Rinda’s personalities—as individuals and as a couple.

Series Summary: It’s the week of October 14th, the sixth week of the school year. Henry and Rinda are staying in Cordonia, which means that Rinda can now begin to move forward, and backwards, with professional and personal aspects of her life.

One inspiration while I wrote this was a quotation from Zora Neale Hurston’s Their Eyes Were Watching God: “Love is lak de sea. It’s uh movin’ thing, but still and all, it takes its shape from de shore it meets, and it’s different with every shore.”

The other was these lyrics from the song “I Dreamed a Dream” from Les Misérables: “But the tigers come at night / With their voices soft as thunder / As they tear your hope apart / As they turn your dream to shame.”

Chapter Summary: Bastien and Rinda recap their day—and establish some ground rules for sharing ice cream.

Her Tiger

“Tria, the things Henry was showing me that Stephan is doing . . .” “I know, Bastien. It’s bad. We’re all working with Child Protective Services, but it’s a nightmare. Meanwhile we’re documenting everything and praying they’re safe until we see them the next morning. How’s Drake holding up, though? It’s only his second week and he’s great, but it’s still hard for anyone to see it—especially the first time. I feel like he’s been thrown into the deep end, only seeing the ugly before he gets to enjoy any of the fun. I think helping coach football and being part of this week’s dance jam will help, but . . .” “Don’t worry about Drake. I promise, he’s fine. I saw that you—the security team—have a meeting with Liam and Riley next week. Drake told me that you asked him to set that up, and he was happy to do that. It’s going to be fine Tria, but those kids can’t wait until this weekend. Let me talk to Liam and fix things with CPS now.” He saw Rinda was about to protest. “Tria, don’t fight me on this. I promise I have time to mention this to Liam, and it won’t interfere with any preparations for Friday. Tria? I’m going to tickle you to make you look at me.” Rinda laughed and obediently showed Bastien her eyes, and he stared into them, waiting until he saw that they weren’t aquamarine anymore. “Thank you, Tria.” He gently kissed her nose. “You know it’s not fair that my eyes are such a strong tell?” Bastien chuckled. “It’s very fair. If you aren’t going to tell me what you’re thinking, it’s an easy way for me to at least see how you’re feeling.” He grinned. “Besides. You’ve been a very naughty Tria who withheld information from her Tiger, so he had no way of knowing how to help her.” Rinda laughed. He was such a goof when he referred to himself as “her Tiger” or “your Tiger,” but she also loved it. She loved that Bastien was her Tiger, and she was his Tria. And although Bastien couldn’t stay late, they still had time to share spumoni ice cream and talk about their day. Yes, her Tiger would eat right out of the carton with her, but they each had to have their own spoon. Rinda laughed. Of course, silly Tiger! You don’t share spoons, you muppet gobshite. You each take your own spoon and fight each other for the good parts. Just then Bastien scooped out some of the pink section of the spumoni, revealing a large chunk of cherry. “Aha!” Rinda actually muscled Bastien’s hand out of the way as her spoon dove in for the cherry bit. “Tria! You did not just push your Tiger’s hand out of the way so you could grab the good part, did you?” Rinda unabashedly ate the cherry bit. “Yup. All is far in love and war when it comes to ice cream, Tiger.” Bastien suddenly stood up, still holding the carton. “Bastien? Tiger? Wait. Please. I’m sorry. I’ll be a better food sharer. Your Tria is very contrite right now. I promise. Just don’t ask to look at my eyes to prove it.” Bastien went to the kitchen, but he came back with a bowl and put a very small spoonful each of chocolate, pistachio, and cherry ice cream in the bowl. He saw Rinda move in closer, and he slapped her hands away. Then he carefully examined the ice cream and made a production out of picking a pistachio nut out of the bowl and returning it to the container. He finally handed the bowl to Tria. “Here, sweetheart.” Then Bastien twisted away from Rinda and continued eating ice cream out of the container. Rinda was laughing too hard to even finish the ice cream in her bowl, although she did tell Bastien that he was the süßester und düsterster Tiger--sweetest and silliest Tiger. And she loved how he could always make her laugh. . . . . .

When they were done fighting over ice cream, Bastien asked Rinda about the tour of the university and what she thought about everything. And how did their discussion go with implementing some of the safety training in university classes? Bastien smiled when he saw how animated Rinda got. The University was absolutely amazing. So many opportunities and the collaboration that was already taking place. And it was so exciting to be in a college classroom again, and she thought that the initial discussions went well, but she, Collin, and Deirdre knew they really had to work to ensure instructors maintained control for this to work. And most importantly, she felt so horrible that she had to ignore her Tiger throughout the day, but was it okay? Bastien kissed her forehead and cheeks again and again, telling her how much it meant to him when she mentioned Rossini. How he was able to watch her teach, and it was so impressive. How he was busy with security at the duchy now, but everything was going well—although he was still furious that Riley insisted on keeping Gladys on at the duchy. Even though she lost her head position, it was still a security nightmare, especially considering how well Gladys knew the duchy. Ugh. Don’t even get him started. But most importantly, he wanted to tell his Tria again and again how glad he was that she and Henry were staying in Cordonia. But there was one other thing. And it was a big deal, so he didn’t want to mention earlier because he didn’t want to ruin their night. Vivian Trakas invited herself to the teacher appreciation dinner Friday night. Bastien drew back, afraid of how Rinda would react. But Rinda just gave a half-hearted laugh. “I already knew Tiger, but thank you. I purposely made other plans that night so I’d have an excuse not to attend. I know that’s disrespectful to King Liam and Queen Riley, but when the day is over and everyone has exited the school safely, no threats or attacks, I really just want to get away from all of it. And in all honesty, I probably would throat punch Vivian if I saw her in a social setting. Henry was right. She really is a right wagon.”

Wagon? Bastien made a mental note to Urban Dictionary, although he knew it was going to be challenging now that Rinda was starting to throw in some Irish insults. He’d check English and Irish meanings, just in case. There was no way he was going to interrupt to ask her.

[thesweatycollectiontyrant]

110 in the Shade

I decided to make it as pleasing as possible for myself to just profile each musical in alphabetical (and numerical? hence 110 in the Shade) order, starting with a gorgeous classic, 110 in the Shade.

Background Info

This is a musical that opened just after the Golden Age. It’s kind of in that area of musicals that people don’t really know how to refer to. Others in the area are a lot of Bock and Harnick musicals, like Fiddler on the Roof and She Loves Me, also, Jerry Herman favorites, Mame and Hello, Dolly!

Writers

The show has music and lyrics by the team of Harvey Schmidt who actually died exactly a week after my 18th birthday and Tom Jones who did not die exactly a week after my 18th birthday. Schmidt and Jones wrote other works together including, The Fantasticks (one of the longest-running shows in history), and the marriage profile, I Do! I Do! starring the likes of Robert Preston and Mary Martin (with a low Db), who were quite the duo, if you’d ask me. The book was by N. Richard Nash, who actually wrote a play called The Rainmaker, that was produced a few years prior.

Da System

The way I’m going to do this is that I’m going to write while listening. I’m always going to include the cast recording I chose to listen to.

Side note: Most of the time, I’m going to choose especially with classic musicals cast recordings that I feel have the best voices. ALSO, while I do listen to the entire show, I’m gonna just talk about highlights.

Who’s Singing?

For 110 in the Shade, I decided to go with a studio recording from 1997, starring Karen Ziemba as Lizzie Curry and Ron Raines as Bill Starbuck.

Time to dig into this loaded show.

Let’s Do This

For a while, I listened to the recording with Audra McDonald (one of my favorite voices of ALL time, period) as Lizzie, but eventually, I noticed that they transposed a lot of songs for her. Which by all means is okay although a bit surprising for a soprano, but I wanted to hear the way it was intended. I also wasn’t the biggest fan of Steve Kazee’s voice as Bill Starbuck (choppy vibrato), so I searched for a recording for something that is true to the original material, but recent. Thankfully, this recording served everything I was looking for. Another thing that’s funny listening to Karen Ziemba sing this instead of Audra McDonald are these two things: When I think of Karen Ziemba, I think of her phenomenal dancing and the fact that she’s an alto. When I think of Audra, I think of her amazing acting and the fact that she’s a soprano. It’s funny to me that they had Karen Ziemba do the part. Maybe, she was a soprano back in the day. However, despite her alto-ness, she really has quite the range and went OFF in this recording. Very pleasantly surprised.

As I listen to the score, I can say that it is incredibly picturesque. The Overture is both riveting and solemn. It reminded me a lot of Rossini’s William Tell Overture with the whole Morning section mixed with some Fireball. The orchestra is phenomenal. The orchestrations are very lush; something like a mattress that eats you up, but doesn’t make you sink. It’s very full for such a Western-esque score, and it’s perfect to me. It’s a lot like Copland’s Rodeo.

During the opening number, you find out from the Greek chorus (kinda) of townspeople. There’s a drought and it’s gonna be Another Hot Day. The opening number is special because it introduces many themes that happen all the way through the show. The interesting thing is that they introduce them in a way that it doesn’t get annoying to the listener. The motif is formed in many different ways all the way through the show. Also, most of the singing in this number is unison or counterpoint between the men and the women on different themes. The unison singing (while it can be beautiful at times) really gives you that bored sense of I Don’t Care What Happens Today Get Me a Palm Tree I’m Hot.

“Lizzie’s Comin’ Home” is very fun and gives you something you don’t get to hear as much. A trio between three men ("Sincerely, Me" anybody?), Lizzie’s father, H.C. Curry, and her two brothers, Noah and Jimmy. Nice harmonies at the end, and definitely something that could be performed in a concert/cabaret setting.

A few things happen: Lizzie gets her “I Want” song, addressed to Love, so she can get her a mans. The dudes sing about poker and stuff (which is actually a fun number, and a great example of a “Blow High, Blow Low” male ensemble number).

Then the male lead is introduced. Bill Starbuck(s)(?) claims to be a rainmaker (what about a coffee maker? wow now I need caffeine). He leads all the townsfolk in a SUPER DUPER FUN ensemble number that I honestly love, simply titled “The Rain Song”. It’s so exciting and something that you can listen to to get your blood pumping. WOW Ron Raines’ voice. Ooft. Love it.

“You’re Not Foolin’ Me” is a fun duet between Lizzie and Starbuck where they are doubting each other to the point that it’s comical, sort of Beatrice and Benedick meet “Anything You Can Do”.

“Raunchy” is the ultimate definition of a hoot. I don’t need to say anything else. Just watch Audra McDonald do cartwheels at Radio City Music Hall.

“Old Maid” serves as Lizzie’s nervous breakdown that she truly might never find love. She’s just met this guy who she thinks she might like, but she’s not sure, because she’s never really had a chance before, and now he comes along and she doesn’t know what to do, so she just resorts to imagining the thought of being alone forever. This is a fantastic example of amazing songwriting, from changing meter, repeated themes, chord voicing, orchestrations, character arc, everything. This is a great example of a song to give a superstar Soprano who has some fantastic acting chops.

Act Two traditionally opens with an ensemble number *squeals in excitement* called “Everything Beautiful Happens at Night”. It gave me some “Clambake” vibes, as it was written in waltz time, and has some really beautiful and interesting harmonies that just fed my musician soul like I had some Cracker Barrel. Then there’s a fun dance routine with either tapping or softshoe that sounded like tons of sweat, or as my high school theatre teacher called it, success.

Starbuck gets a really nice solo called “Melisande” which is a sort of tale he tells Lizzie. I’ll have to listen again to get specifics yikes but y’all know.

“Simple Little Things” is a nice little (kind of redundant, but still beautiful and necessary) solo for Lizzie.

Kristin Chenoweth made a little appearance in “Little Red Hat” which is more or less of a throwaway duet with one of Lizzie’s brothers, whom she is dating.

The Finale culminates in an enormous celebration by the ensemble when the rain finally comes and the temperature drops from 110 while they’re in the shade to a melancholy 100 in the shade. RIP I guess. The number has some fun A-flats for the Tenors and Sopranos. An interesting ending to a genuinely fun show.

Audition Songs

Cool thing about future posts. Most of the shows that I post about, I have access to vocal scores for, so if you’d like PDFs of songs for auditions or anything, just let me know, and I’d be more than happy to send to you! YouTube links will be posted with the title of the song.

Regarding this show in particular, while I mentioned that this is not in the Golden Age, per se, this is still a perfect show to take to an audition that asks for a Golden Age song.

“Love, Don’t Turn Away” - Lizzie, D4-F5

The song has a charming quality. Good idea for auditioning for a Rodgers and Hammerstein show, like Cinderella. It’s for a Soprano, but can easily be sung by a Mezzo, as it doesn’t go too high.

“Raunchy” - Lizzie, G3-Ab5

This song is so so so so so funny. Coincidentally, this would also be good for a Rodgers and Hammerstein/Bock and Harnick/Lerner and Loewe audition. Maybe something along the lines of Amalia Balash or Eliza Doolittle. The song is for a soprano. The situation is that she’s explaining to her dad how she’s gonna get her mans. There are some harmonies at the end between her and her dad that could easily be cut for an audition. That’s where the high Ab happens, so if you choose to cut the section where they sing the “Doo-doo-doo-doo-doo”s, the song goes up to a G5, which is only a half-step difference.

“Old Maid” - Lizzie, B3-G5

This song is featured in the infamous The Singer’s Musical Theatre Anthology: Soprano, Volume One. Disclaimer: I’m not hating on the series of books; I’m hating on the idea that many voice teachers across the country simply choose the same songs for their students to sing. While this is in the anthology, It is more of an unpopular one. Which is good *maniacal laugh*. This is a great song to show your dramatic acting ability, ladies. It’s an awesome song to take to a Weill or Bernstein audition because of its opus nature, but also it’s great to bring to an audition for the composers and roles mentioned in the above paragraph. This is a fantastic song.

“Melisande” - Starbuck, G2-G4

This song is pretty range-y, but it’s a story-telling song. It’s a good song to have fun with. Very appropriate for a Baritone or Tenor.

“Simple Little Things” - Lizzie, B3-E5

Not much to say about it other than I think it’s really pretty. Starbuck has a weird line at the end you can cut if you use it.

To Wrap It Up

This is actually a really fantastic show. I love the plot. Lizzie really grows up over the show, and shows that even people who are a little silly can find love too. This show is a really good choice for high schools. You can cast it as big as you need by adding to the townsfolk. Not sure if they have a lot of individual lines, but it could be solved easily. The revised version, offered by Tams-Witmark only has twelve characters. Crizzazy. I know the original version, also offered by Tams-Witmark has a similar get-up, but gives the option to add more to the ensemble. If you’ve got a dynamite soprano who can act really well, this is the way to go. It’s a very accessible show, and something that could really bring a group of people together.

Get it.

[janiedean]

for the meme thing... the first theon/robb meeting in a sweet something sparkled in those eyes of his from “You aren’t all right. And – you know it’s forbidden to treat servants like that? I mean –” to But then he wonders, why if he was the one Luwin wanted me to meet?

OKAY LET’S C/P BECAUSE THIS IS LONG-ISH I’ll just go piece by piece u__u

“You aren’t all right. And – you know it’s forbidden to treat servants like that? I mean –”

“I appreciate the sentiment, but I’m not – I mean. I didn’t – come into this willingly. But – that’s all I can say. It wouldn’t… work for me. But – that’s valiant of you. I suppose. M’lord.”

“I haven’t heard of lords named Snow,” Robb says, unable to keep amusement from his tone. He’s pretty sure that if Theon’s a commoner, he must have been very well learned at some point – it’s obvious that he has to put an effort in sounding like a commoner at all. “People just call me Robb.”

now, the first thing I should probably say about this that would make sense as far as the dvd commentary thing goes is that I had actually based it on the *opera* version of cinderella, not a specific version of the fairytale and not the live action movie (I wrote it before seeing it and then laughed my ass off because branagh TOTALLY knows his rossini and stole the part where they meet before and she doesn’t know who he is and he lies about her identity from the opera IT’S NOT IN ANY OTHER VERSION). which means I should probably link you the actual scene so you have in mind what I was watching/listening to while writing this. btw: the title was EXACTLY FROM THIS DUET so xD

just press play it should give you the love duet with subs. 

(also if you want a version with two people who are acting it a bit closer to how I’d imagine them being but you don’t mind not having the subs watch this one it’s lovely ;; there’s even the almost kiss lol)

obviously robb is the prince and theon is cinderella. you can most probably notice that they’re supposed to fall immediately for each other and that when they start talking she starts deflecting but obviously they couldn’t have the same dialogue so here the idea was that robb’s intrigued and theon’s pretty much surprised af that robb is giving him the time of the day. obviously since robb is observant he noticed that theon’s faking the commoner speech (same as roose did in canon ops). 

“Like the prince? Must be weird. I’m sorry, I –”

“It’s fine. Well, yes, everyone has joked about that at some point. But I guess being a knight is the next best thing.”

“Sure it would be. You have the valiant part down, anyhow.”

“Why, thank you.” Robb also can’t help smiling just a fraction, and then Theon does the same looking as if he’s not thinking about it, and gods but he does have has a nice smile indeed. If only he went all the way with it. “Does that make you the fair maiden?”

this one was just me expanding on the concept ie theon’s kind of having the conversation he’d have had with robb if they met in regular circumstances before remembering he shouldn’t, robb’s going with his ruse and looking like the prince charming he technically is even if he’s lying about it and theon actually smiles for real around robb OPS ROBB IT WORKED YOU CHARMED HIM. also I recycle the fair maiden joke for both theon and jaime half of the time but bear with me they are the fair maidens of their ships, so.

Admittedly, Robb had been trying to make him laugh – he gets a snort instead, and one that’s not quite amused.

“Sorry to shatter that fantasy, but unless you’re one, there are no maidens in this room.” And he sounds bitter as he says it, and Robb would really want to ask, but –

First, he hears noise from down the road – Jon must be getting here.

Second, someone calls for damned Reek again, which means that Theon should leave right now.

this actually was sorta mirroring the duet because in the original he asked her who she was and stuff and she stammered around and he was enchanted anyway except that obviously theon has a way darker backstory so I was trying to introduce the subtle past theon/ramsay stuff in robb’s pov because obv we know from theon’s but also the fact that theon’s actually showing emotion that’s not being demure or anything of the kind in front of robb even if he doesn’t realize it was supposed to be a thing, hopefully it was obvious. also I had to introduce poor jon at some point xD

Except that he just can’t let it go like this – damn, however this whole thing turns out, he’s going to make sure House Bolton dies with Ramsay the moment he steps up to his role.

And Theon seems completely miserable now, when just a moment ago he looked as if he was enjoying having their little conversation.

Well then.

that was basically robb being his prince charming self because OBVIOUSLY HE WOULD BE and of course theon just had to realize that he didn’t have too much time left with the guy who was making him feel like a normal person again oooops. also the thing was that in the original the moment they got called they still spent five minutes singing while the evil sisters were calling poor cinderella down so I figured those two could take some more time to get to know each other.

He takes a step closer, vowing to be quick. “I’m going to wait for the prince and let you go now, but allow me to say one thing first.”

“Sure.”

“Maybe there are no maidens in this room, but it doesn’t mean that there can’t be fairness somewhere, does it? And just so you know, I hardly think of myself as fair.”

I highly doubt robb in canon thinks he’s attractive himself (YEAH I KNOW) so it worked in this case since he wanted to tell theon that he was to him at least but admittedly the thing is that one of my favorite lines of the original duet is that they both look at each other while they have to leave and say I’m leaving my heart with him/her, it’s not mine anymore and I thought it was the that seemed appropriate ;)

He sees Theon’s eyes go so very, very wide, and before he can think twice about it he moves forward, presses a soft kiss to Theon’s cheek, tasting ash on his skin, and then turns his back to him and leaves the room before he can think twice about it and blow this mummer’s farce.

He doesn’t see Theon clutching at his cheek with his left hand for a moment before dashing up on the stairs.

But then he wonders, why if he was the one Luwin wanted me to meet?

... wow that should have been what if and I never noticed and no one else did now I feel horrible I WILL CORRECT IT ASAP GREAT THANKS FOR GIVING ME THIS SNIPPET X°DDDD

that said obviously since it’s robb pov I can’t say what theon’s thinking but hopefully you all figured out that he hadn’t been expecting it at all and that he was taken by surprise by robb doing the chivalrous/courteous cheek kissing thing, which on robb’s part was like... very spontaneous and possibly TOO SOON but hey he was supposed to be leaving his heart there, right? XD and then he was supposed to go like OH SHIT DID HE REALLY by touching his face (I like my body language guys) and admittedly if I ever got to direct that opera I’d have the cheek kissing happen but never mind that because it’s sadly not my job xD obviously theon also has to blow that joint so he can’t see the reaction u__u anyway the ending was one of my digs at the only thing in the opera that never made sense to me ie that the prince doesn’t immediately get a feeling that the person his teacher wanted him to meet is actually cinderella (later he asks his lackey if the two step-sisters are good choices and the lackey’s like ARE YOU SERIOUS THEY’RE TERRIBLE which I sort of cut off in my version ie they never actually think ramsay’s a choice XD) because it was like obvious so since robb’s a smart cookie he figured it out from the beginning u__u so I was already setting them up to figure it out early ;)

... and here you have it. you accidentally end up with HOW I REWORK OPERA STUFF INTO FANFIC OPS. xD

[astrodances]

(ok I had a whole thing typed up as a response but then technical difficulties happened and now I'm a little sad bc it was some really good hc stuff that I'll try to recapture here but nevertheless...)

THANK YOU!!!!!! Seriously, this whole set of comments/tags is so sweet and kind and nice and so are you and my heart is bursting with so much love and fluff and happiness!! ❤️💜❤️💜 I'm so, so happy you love it!! And your comment about the background in particular is making me all fuzzy inside because I spent so much time hanging around outside the Met years ago during my first semester of college (though ironically, I never actually saw a performance there (yet), save for some free outdoor viewings on a projection screen) - but that place is special and so your comment makes me feel like its essence is still with me after all this time. 😊🥰

Also, you most definitely can use it as a background!! I'm honored that someone would even consider using it as such, so thank you! 😄😊

And now...MORE OPERA BEAKLEY HC TIME!! (fair warning that this kinda goes all over the map and way beyond the boundaries of the original hc above - I was thinking about my answers all day yesterday and had fun thinking of these) (also warning that I'm just mainly going off the past year of Met opera streams that I've watched, so this is by no means exhaustive)

First and foremost, Beakley would love and perform in Wagner's Die Walküre as Brünnhilde, mainly because this is the role her DT87 self performed in the episode "Maid of the Myth" (and she was listening to "Ride of the Valkyries" at the beginning of "Magica's Shadow War"), and in DT17 her Shield Maiden persona in "Rumble for Ragnarok!" is based on that first episode/the opera. It's the role closest to her heart, the one that hooked her and made her pursue opera as a hobby both as a singer and a patron beyond just undercover missions (though those definitely still happen). Though I mean, it would be very awesome to see her take on a mission during a production involving this glorious machine - just imagine all the spy action sequences you could have with this. 😍

Puccini's Tosca - I include this partly because it was in a Bond film and partly because I watched it last week, but Beakley would make a great Tosca. Not only does she seem like a good fit for the role in general, but I think it would be really freeing for her to play? Like, besides all the spy-worthy corruption and drama, Tosca has some very emotional and desperate moments, especially in Act II. (Some Tosca spoilers ahead XD) She cries out for Mario while he's being tortured. She's at the mercy of Scarpia and has to give into his personal demands to save Mario's life and get them both safe passage out of the country, but then she kills Scarpia in a final act of desperation. Agent 22 can't afford to let emotions and love get in the way, to back her into a corner. "There are rules, protocols" to keep her on task and the mission at the forefront, to (hopefully) keep her in control of the situation and, either way, know how to deal with it in a rational, strategic manner. So, playing Tosca would be a great way to channel and express all those emotions she's been trained to keep at bay from time to time.

Rossini's Le Comte Ory - (Including this one because I watched it this week and I LOVE the Met's production of it and it's downright hilarious and I have ideas for it and Beakley now. I won't get too much into the plot here (essentially, the two main guys love the countess, and there’s misunderstandings, disguises, and jokes abound), but I highly recommend it to everyone!) So, adding a side hc to this hc, but one of my original background ideas for this piece was going to be that Agent 22 was begrudgingly saving Goldie's performance at her partner McDuck's pleas (which is what led to the speech bubble there - Scrooge would be helping on that mission). I left it vague in the end, but I like the idea of Goldie being Beakley's operatic rival/frenemy, because Goldie is already an established singer in the duck universe. ANYWAY, back to Le Comte Ory - Beakley would make a great Countess Adèle, but then I was thinking about who would play Count Ory and his page, Isolier (which is a trouser role - a male character performed by a woman). I had some different ideas, including Bradford as Ory and Heron as Isolier (bc yeah Bradheron as well and also the F.O.W.L.-S.H.U.S.H. dynamic here would make it a thousand times funnier than it already is). But what would also be funny, and what I settled on, is Goldie as Isolier (neither of them would be happy with that casting, and Scrooge would probably go into hiding for the duration of the production) and...Ludwig von Drake as Count Ory, if only because Ory is a knight that dresses up as a nun at some point, and Ludwig is already a very musical and hilarious character. 😂😂 Perhaps Director von Drake likes to accompany his agents on missions from time to time... XD

Alternate take: Goldie herself would also make a good Adèle, and based on that scene in “Moonvasion!” where Beakley dresses up as a boy (along with her pirate look from “Timephoon!”, which is similar enough to Isolier’s outfit in the production I watched), she could make a decent Isolier. So...feel free to switch their roles around here. :P

This would be an undercover mission for 22 probably, but going off of the side hc above, Goldie would definitely play Minnie in Pucinni’s La Fanciulla del West, because it’s a gold rush story (albeit, the California one). This would be the opera that would hook Scrooge, if nothing else. XD (Heck, maybe he would have to do some undercover work and sing the role of Dick Johnson opposite Minnie?? Delving into scroldie au territory hehe) Because of how nostalgic and lovesick it makes those two, this is the one opera Beakley probably hates. XD

There was another opera I watched earlier this month that was pretty fun - Strauss’ Capriccio. It gets very meta about opera and the performing arts in general, so I think Beakley would like that one for the story itself.

Based on the air of mystery surrounding the name “Bentina Beakley,” what if that came about as her stage name?

That’s all I have for now, but this was a lot of fun! I’m glad to have provided a bit of nostalgia for you with the opera touch! :D I’d also be interested to hear any of your own headcanons for shows Beakley would be into!

Thank you again for all the super sweet words and love!! Hope you’re having a wonderful day/night! 💜❤️💜😊

“Aw, come on, 22!”

“Nope. I’m not letting you ruin our date.”

“But it was just going to be one fire!”

Hi @ai-higurashi​! I am your back-up secret santa for @ducktalessecretsanta2020​! (Sorry it took so long!)

One of your prompts was for Black Heron x Agent 22, which made me super happy because I had so much fun drawing them for the first secret santa gift I did this season, and I got to keep with that theater-caper theme. From above the stage to before the opera house…

^ The above dialogue is what I imagined would be said after Beakley pulls Heron away from almost setting whatever on fire and causing general mayhem (and so she can hold her close). They’re on a date to an opera gala - 22 knew that Heron was going to try something, but the only way to get her to say yes to a date so that she could keep an eye on her was to ask her to that event itself. XD (Also, this is an excuse to sneak in my headcanon that DT17 Beakley is as much an opera buff as I am her DT87 counterpart, and has posed as an undercover opera singer for missions before.)

Also, since Heron doesn’t have canon formal attire, I had to come up with something for her, so I took inspiration from Sylvia Trench, the first James Bond girl, with her outfit in Dr. No. ;)

I hope you enjoy!! Thank you for the fun prompt! :D

Bonus background-only beneath the cut, since the Sputnik chandeliers are hidden above by our leading ladies:

Seguir leyendo

[showbizchicago]

Enrique Mazzola To Succeed Sir Andrew Davis As Lyric Opera Music Director

Photo Credit: Sarah Gabriele As general director, president & CEO Anthony Freud announced today, big changes are underway at Lyric Opera of Chicago. Acclaimed and beloved music director Sir Andrew Davis plans to conclude his two-decade-long tenure at the end of the 2020/21 season. Eminent Italian conductor Enrique Mazzola has been named as Lyric’s music director designate, effective immediately, and will become Lyric’s music director beginning with the 2021/22 season. As Davis continues his substantial responsibilities while overseeing the transition, Mazzola looks forward to his role in leading Lyric through the next, dynamic chapter of the iconic company’s journey. Mazzola and Davis joined Freud onstage for the announcement at the Lyric Opera House. Meanwhile, Davis is preparing to conduct Rossini’s The Barber of Seville to open Lyric’s 65th season on Sept. 28, and Mazzola will begin rehearsals next week for Verdi’s early masterpiece, Luisa Miller, which opens Oct. 12.  “I am thrilled that Enrique Mazzola has accepted Lyric’s invitation to become our next music director,” Freud says. “He has accrued a wealth of international experience in his career to date, and he is tremendously well liked and respected by the Lyric Opera Orchestra and Chorus. I am confident that our audiences and the people of Chicago will be captivated by his artistry, his charm and personality, as has certainly been the case during his initial engagements here in the past few years. I look forward with great excitement to working very closely with Enrique. Our artistic partnership has already started and is proving both very fruitful and extremely enjoyable.” As Sir Andrew Davis enters his 20th season as Lyric’s music director and principal conductor, Freud notes, “Sir Andrew is on the podium for an astonishing six operas: The Barber of Seville, Tchaikovsky’s The Queen of Spades, and the four operas of our new Ring cycle. Since I came to Lyric in 2011, we have collaborated on an incredible two-dozen operas, nearly half of them new productions including one world premiere, not to mention several outstanding concerts.  Andrew’s contribution to opera in Chicago, and internationally, is immeasurable, and we all have much to anticipate over the next two years. I look forward to continuing our collaboration in the future.”  Says Davis, “I had actually intended to leave after the Ring cycles next spring, until Anthony persuaded me to stay for one more season! It will be hard to leave, but the timing is right for me and I am confident that Enrique will be a splendid music director for Lyric. I am greatly looking forward to working closely with him over the next two years. He’s a fine musician and someone who will continue the tradition of the Lyric Opera family. It’s fantastic to have two years together for our transition.”   “Lyric has been my artistic and personal home for more than two decades, and I couldn’t be more grateful for the opportunities that I have enjoyed here, professionally and personally. It continues to be a joy to work with our magnificent orchestra and chorus on such a wide range of repertoire, and to join forces with so many brilliant singers and directors in bringing great opera to the Lyric stage.”  Just prior to returning to Chicago in late August, Davis led a triumphant performance of Götterdämmerung at the Edinburgh Festival (with the stars of Lyric’s upcoming new production, Christine Goerke and Burkhard Fritz, in the leading roles). Over the course of more than three decades, to date Davis has conducted 674 opera performances at Lyric, plus nine special concerts at the opera house, and the majority of Lyric’s free concerts in Millennium Park. The vast repertoire that he has led at Lyric encompasses operas by Berg, Berlioz, Bizet, Britten, Dvořák, Gilbert & Sullivan, Gounod, Janáček, Lehár, López, Massenet, Mozart, Mussorgsky, Poulenc, Puccini, Rossini, Strauss, Tchaikovsky, Verdi, Wagner, and Weinberg. Chief conductor of the Melbourne Symphony Orchestra and conductor laureate of the Toronto Symphony Orchestra (he was previously that ensemble's principal conductor), Davis is also conductor laureate of the BBC Symphony Orchestra, conductor emeritus of the Royal Liverpool Philharmonic, and former music director of Glyndebourne Festival Opera. He has led performances at many of the world's most important opera houses, among them the Metropolitan Opera, La Scala, Covent Garden, the Bayreuth Festival, and the major companies of Munich, Paris, San Francisco, and Santa Fe. In addition to those ensembles previously mentioned, he has appeared with virtually every other internationally prominent orchestra including the Berlin Philharmonic, the Royal Concertgebouw, the Rotterdam Philharmonic, and all the major British orchestras. Recent engagements include the Last Night of the BBC Proms at London’s Royal Albert Hall and concerts with the Royal Liverpool Philharmonic. A vast discography documents Sir Andrew’s artistry, with recent releases including programs of Berlioz and Ives, as well as his orchestration of Messiah. In 1992 Davis was created a Commander of the British Empire, and in 1999 he was made a Knight Bachelor in the New Year Honours List. He has been awarded an honorary doctorate by Knox College in Galesburg, Illinois. Widely recognized as one of today’s foremost interpreters and champions of bel canto opera and a leading specialist in French repertoire and early Verdi, Enrique Mazzola is in high demand worldwide as both an operatic and symphonic conductor. He is principal guest conductor at Deutsche Oper Berlin, and until recently served as artistic and music director of the Orchestre National d’Île-de-France (ONDIF) in Paris. In recognition of his significant contribution to musical life in France, Mazzola was made a Chevalier de l'ordre des Arts et des Lettres by the French government in October 2018.  His arrival in Chicago follows his recent return to New York’s Metropolitan Opera for a spring production of La fille du régiment and his back-to-back summer engagements in Austria. He led a “phenomenal, monumental” Rigoletto (Opern magazine, Germany) at the Bregenz Festival and made his Salzburg Festival debut in August, conducting the Vienna Philharmonic in a new staging of Offenbach’s Orpheus in the Underworld that marked his first collaboration with director Barrie Kosky. Following the performances of Luisa Miller at Lyric Oct. 12-31, Mazzola’s 2019/20 season includes his return to the Zurich Opera House (Don Pasquale, new production), Vienna Symphony Orchestra for concerts at the Musikverein and Bregenz Festival, Deusche Oper Berlin (Meyerbeer’s Le prophète and Dinorah), Orchestre Symphonique de Québec, Glyndebourne Festival Opera (L’elisir d’amore), Taiwan Philharmonic, and symphonic concerts in Germany. Future plans include his return to London Philharmonic, both in London and on tour in Europe.  In addition to his extensive conducting roster, Mazzola is the first international brand ambassador of Tuscany’s Consorzio del Vino Nobile di Montepulciano, promoting the culture of Vino Nobile and the surrounding Montepulciano wine region in Italy and abroad. It’s an area he knows well, having served as artistic director of Cantiere Internazionale d’Arte in Montepulciano from 1999 to 2003. As Mazzola told Chicago Wine Journal in 2016, “The life of an ambassador is never being at home. That’s basically true of a conductor, as well.” Mazzola has promoted Vino Nobile whenever the opportunity arises, offering insights into the region, its history, and its wine production. Lyric audiences first experienced Mazzola’s artistry when he conducted Donizetti’s Lucia di Lammermoor here in 2016/17. The Chicago Tribune praised “the gifted young Italian conductor Enrique Mazzola, a first-rate bel canto opera stylist making an impressive company debut… Mazzola was ever at the ready to support the vocal lines with shapely, refined orchestral playing that soared along with the singers, but also delivered firm dramatic urgency and tension when so required. This conductor is a discovery indeed.” Mazzola’s return to Lyric for Bellini’s I Puritani inspired similarly heartfelt praise in 2017/18. “I am so looking forward to working closely with Anthony in my new role as music director at Lyric starting in 2021, and to working with both Anthony and Sir Andrew as music director designate during the transition period,” says Mazzola.  “Anthony has made me feel very much like part of the Lyric Opera family from the beginning, and our working relationship is always an excellent collaboration.” Mazzola says he felt “love at first sight for Chicago – amore a prima vista, as we say in Italian,” and has enjoyed exploring the city’s neighborhoods, restaurants, and cultural attractions. “I got to know everything you can discover by walking through the Loop, the Gold Coast, Chinatown, what remains of Little Italy,” he recalls. “I did what every tourist should do -- the architectural tour, the Art Institute, the Chicago Symphony, and some rooftop bars after some shows.”  “I’ve also had some important experiences which made me a little closer to the city,” Mazzola notes. “The first of course was my invitation to Lyric,” which provided the opportunity “to get to know a lot of people” and to get a sense for the audience here. Also, “when I come to Chicago, I rent an apartment, so for that month and a half I become a Chicago citizen and live a real Chicago life. The days between performances are perfect for me to walk and to feel and to see and to enjoy the city in a different way.” He finds Chicagoans “ready to listen, ready to explain, ready to show, ready to accompany you.” He describes Lyric as “an opera house where all the artists are warmly welcomed, where there is enough time to rehearse and to express personal and artistic ideas. I found in Chicago a very attentive and prepared audience, fantastic orchestra and chorus, and a wonderful organization.” Mazzola intends to make Chicago his principal residence. About Lyric Opera Lyric Opera of Chicago is committed to redefining what it means to experience great opera. The company is driven to deliver consistently excellent artistry through innovative, relevant, celebratory programming that engages and energizes new and traditional audiences.   Under the leadership of general director, president & CEO Anthony Freud, music director Sir Andrew Davis, and creative consultant Renée Fleming, Lyric is dedicated to reflecting and drawing strength from the diversity of Chicago. Lyric offers, through innovation, collaboration, and evolving learning opportunities, ever more exciting, accessible, and thought-provoking audience and community experiences. We also stand committed to training the artists of the future, through The Patrick G. and Shirley W. Ryan Opera Center and to becoming increasingly diverse across our audiences, staff, programming, and artists -- magnifying the welcoming pull of our art form, our company, and our city. Through the timeless power of voice, the splendor of a great orchestra and chorus, theater, dance, design, and truly magnificent stagecraft, Lyric is devoted to immersing audiences in worlds both familiar and unexpected, creating shared experiences that resonate long after the curtain comes down. Join us @LyricOpera on Twitter, Instagram, and Facebook. #Lyric1920 #LongLivePassion.  Read the full article

[arthur-recaps]

I apologize for skipping recaps for the last two weeks but I am starting a new job and have been working late to reach out in my network to find my replacement and finish up my projects to make things smoother for my replacement. My new job starts next week and I will hopefully enter my groove again. Just to be safe, I am queuing up another recap to run next Tuesday as well.

Arthur surmises that the world can be divided into things that adults like and things that kids like. He thinks about the time Jane and David took him to see the foreign film Il Straneri, which was apparently about two people who never meet but throw coins in the same fountain. Arthur is confused as to why his parents think it’s such a great movie and I got to tell you Arthur, some day you will be an adult and still not get why other people like things. I think House of Cards is overrated but there’s a bunch of people who want to give that show a bunch of awards.

Similarly, modern art can be hard for kids to understand. All they see is the same scribbles and shit they did back in kindergarten and here’s some 30-year old person getting paid thousands of bucks to do it on a bigger sheet of paper. Arthur is skeptical of the praise Muffy gives to a painting and she admits that she doesn’t like it but her dad does so she wants to give it a try.

Ed announces that he has bought the painting and it will be installed in Muffy’s room. It’s not the ugliest thing in the world but if Ed really liked the style, he could have just gone down to the local Hobby Lobby, picked up some paints and canvas, and let a four year old go to town.

Am I wrong?

It’s morning at Chez Crosswire and Muffy is presented with concert tickets on her plate. She thinks it’s for the Tween Dream concert but Ed explains that the opera is playing his favorite, George Bizet’s Carmen, and he wants Muffy to accompany him. Side note: it’s been very much implied that the Crosswires are “new money”, especially with Ed’s job as a used car salesman but I like that he has “sophisticated” interests like the opera. I totally did not see that coming from a guy who uses car euphemisms when coaching the kids’ soccer team.

Muffy is a little bummed that the tickets aren’t for something that she’d like, but she hints to Ed that she’s going to need an outfit and he promptly hands over fifty bucks. I need Muffy to teach a class on how to become a sugar baby and swindle rich men out of money.

Muffy takes Francine and Prunella to go shopping with her and give opinions on outfits. Prunella declares that opera is nothing more than “people in silly costumes in a language you don’t understand” and Muffy brushes it off, saying that maybe Prunella isn’t sophisticated enough to appreciate it. Prunella snottily replies that she’s actually been to an opera and it was boring as hell, thank you very much. She also bets that Muffy will fall asleep before the overture.

To add insult to injury, Francine tells Muffy that the dress she’s trying on makes her look like a rice pudding.

Well, if your girls won’t tell you the truth, who will?

Muffy decides that perhaps it would not be a bad idea to listen to some opera before she actually goes to get an idea of what it would be like. She asks Bailey if he knows anything about opera and he responds by singing a selection from Wagner’s Ring Cycle.

Show-off,

Muffy is not impressed by her chauffeur’s Italian singing (Which she should be! How many people can sing like that?!) and does not like the idea of sitting through four hours of that. Then Bailey adds that opera lengths vary; Ring Cycle lasts for sixteen hours.

Muffy’s reaction:

Ed tucks Muffy in for bed and tells her that he can’t wait to go to the opera. Muffy dreams that they are at the opera, watching what the Arthur Wiki tells me is a mishmash of  Rossini’s The Barber of Seville and Wagner’s Die Walküre, which is pretty impressive since Muffy doesn’t know jack about opera. In her dream, Muffy falls asleep during the show and her snoring is so loud that the whole theater, including the singers, stop to look at her. She wakes up and tries to applaud the show, calling, “Bravo!” Then she realizes the show still isn’t over and sits down, embarrassed.

At school, Francine suggests that Muffy just tell her dad that she doesn’t want to go so Muffy can stop worrying about whether she’ll like it or fall asleep. Muffy insists that she can’t because Ed is really looking forward to seeing the show with her. Francine asks what the opera is about and to their surprise, Binky interjects, describing Carmen as “professional wrestling” set to great music. He invites Muffy to come to his house after school to listen to the CD and gives her the basic plot: Don Jose is a soldier who falls in love with gypsy Carmen. He quits the army and leaves his fiance and becomes a bandit to be with her, but then Carmen falls in love with a bullfighter and leaves Don Jose.

As she listens to the music, Muffy pictures herself and her friends as the characters. Now, I know most of these voice actors are kids, but they don’t really have a strong set of pipes. Nevertheless, I like how the writers have reworked most of the plot details of Carmen to be more family-friendly. For example, Prunella and Francine work in a gum factory instead of a cigarette one and the soldiers sing for Muffy to let them take her to the opera, instead of asking her to choose a lover. Muffy sings back that she prefers boy bands and thinks the opera is “for tired old fools” and “soldiers who make minimum wage.”

Ouch.

Still, Binky, in the Don Jose role, literally drags Muffy to the opera against her protests. Then Rodney Gilfrey comes down on a flying bull and encourages Muffy to give opera a chance. Muffy immediately becomes more enthusiastic and runs after Rodney, much to Binky’s anger. He sprinkles sleeping powder on her so she’ll sleep through the show but he overdoes the dosage and she presumably dies.

Side note: I was very surprised to see that Rodney Gilfry is a blonde white dude because his animated version made me think he was black or at least, very tan. Observe:

Anyway, Muffy comes out of her daydream and tells Binky it was amazing. He is surprised because she slept through the whole show and snored.

Muffy worries that she is hopeless.

Muffy is even willing to return the gorgeous dress she bought so she doesn’t have to go the opera. She admits to her mom that she doesn’t like opera but Mary Alice convinces her to give it a chance. She tells Muffy that she didn’t like opera either and now it’s one of her favorite things. Muffy counters that it probably helps that Mary Alice is a grown up so Mary Alice gives her a pair of opera glasses, saying that the opera is more enjoyable when she can see the actors’ expressions.

Muffy is still apprehensive about enjoying the opera when she finally goes but just like Mary Alice predicted, she really likes the show! She even tears up at the end when Carmen dies. I’m not tagging this as spoiler because a 200-year old opera and there was even a version with Beyonce so we should all know what happens by now.

At the end of the episode, she is seen telling Francine over the phone that she is going to see an opera is Crown City and supervising Bailey hang up a framed autographed poster of Rodney Glifry.

It’s lights, camera, and opera for that other shitty painting.

Grade: A (This was very well written and well paced and I liked that the writers took the time to insert so many little details about opera in Muffy’s fantasies. I also like that the lesson here is for kids to take a chance on things they think are too adult and “boring”, but other than that, there really wasn’t anything that set me on fire her. It was a good, strong episode but it wasn’t amazing enough to be an A+. I can tell you that I’m a little divided on the dig Rodney Gilfry sang about Tween Dream being “teeny bopper trash.” I mean, Tween Dream probably is going to go down in the Music Hall of Fame but I don’t really like that whatever girls like, especially very girly girls like Muffy, must be trashy and unsophisticated. I mean, the Spice Girls and *NSYNC and The Backstreet Boys really had a big influence on kids even if they aren’t as artistically complex as The Beatles, who by the way, had a huge teen girl fanbase in their early years. That’s the only problem I had but I swear it’s not what prevented this from being an A+. I think if they wanted to get a +, they could have tried a little harder with the songs in Muffy’s fantasy. The rhymes and singing were really basic and even Rodney Gilfry could only elevate it so much.)

Rating: 79% intense. The opera is intense.

  Will Muffy like the opera? It's not over until the fat lady sings! #ArthurRecap I apologize for skipping recaps for the last two weeks but I am starting a new job and have been working late to reach out in my network to find my replacement and finish up my projects to make things smoother for my replacement.

[infinitelytheheartexpands]

as we are exchanging asks, something you asked me once: 10 favorite characters from 10 different operas and what you like about them?

an extremely delayed response, all apologies, and also it’s past midnight right now so perhaps I should be sleeping and I’ll try to keep this somewhat short (and probably fail), but anyway, to answer your question:

1. Don Carlo(s): I love just about everyone in this opera (except you, Grand Inquisitor. you can go die) but if I had to choose one, I’d go with the absolute icon that is Princess Éboli. The thing I love about her most, I think, is how wonderfully complicated and real she is. I mean, she loves life, she’s a fierce badass, she does some horrible things for...lots of different reasons, but she does her absolute best to set things right again. In short, an extremely relatable, amazing, gorgeous Disaster Bi. Also: Verdi mezzo, so epic-as-hell music.

2. La traviata: Violetta Valéry. She doesn’t have much in the way of competition within her opera, but I’m still putting her on here because she’s one of my favorite characters in anything ever, and one of the first fictional ladies on whom I developed a hardcore crush. Something people forget about courtesans is that they were more than just...sex objects. They were smart ladies who oftentimes set the pace for upper-class life even as they were privately scorned for their position. And Marie Duplessis (on whom Violetta is based) is pretty much your ultimate rags-to-riches story (although we know how it ultimately ends). So Violetta goes from having nothing to teaching herself the ways of the world, climbs to the top of Parisian society, then decides she wants to give it all up for true love and fulfillment. While she didn’t choose the right guy IMO, she’s incredibly brave and bold and sensitive and she cares so much about everyone and she gives up her happiness so many times and I can’t and I love her so much and also her music is amazing and excuse me while I go cry. Also I need to make these shorter.

3. Simon Boccanegra: There’s my boy, Simon! One: I am a sucker for Good Baritones. Two: I am particularly a sucker for Good or Good-at-Heart Tormented Verdi Baritones. Three: THIS GUY. All he wants is to have peace and be with his family. That’s it. He’s so good and kind and amazing but also he is taking exactly no one’s BS (just listen to that Council Chamber scene!). He takes a position he didn’t want in the hope that he’ll be able to win Maria, but then she dies, but then he still uses his position to try to reconcile the factions anyway (and surprisingly enough, he’s pretty successful?). And him as a dad MY HEART. 

4. Falstaff: Alice Ford, aka area 15th-century mistress of the house who has the mind of a 21st-century woman and is absolutely iconic for it. She’s incredibly smart and funny and clever and such a sweet person and great mom. She takes no one’s crap whatsoever and she outsmarts both Ford and Falstaff at every turn. She’s the ultimate ‘girls supporting girls’ lady and she gives the middle finger to the concepts of women just being good for being men’s playthings and of arranged marriage. And she knows how to have fun with it all. My one complaint: VERDI WHAT WERE YOU THINKING NOT GIVING HER A BADASS ARIA. That’s all.

5. Carmen: Carmen, my first love...I fell in love with her Habañera and her sheer confidence when I was 7 (and not realizing what it was about, may or may not have attempted to sing it on the playground at school, much to everyone’s confusion, but that’s a story for another time) and I’ve loved her since. I love her freedom, her huge self-confidence, her devil-may-care attitude, and every last note of her music. I just love her as a person. And of course, the iconic ‘‘Free was I born, and free I will die!” That right there is a life motto.

6. Eugene Onegin: My fellow book-loving, perpetually-dreaming nerd Tatyana Larina. Of course, I love her because of how sheerly relatable she is but there are so many other reasons as well. Like her and her sister’s dynamic. And the way she grows up and matures. And the way she’s not afraid to set some damn boundaries with Onegin, indeed, tell him no. That’s a strong girl right there, and while I wish she’d been able to get Onegin and true happiness...I’m not sure a relationship with Onegin would’ve worked out, and I’m proud of her for realizing that such a relationship (and perpetually fantasizing about it) could be extremely unhealthy and moving on. And oh God, her music. Especially the letter scene, which is every writer on an inspiration binge. And the final scene. Anyway.

7. Guillaume Tell: This is another ‘I love just about all the characters in this opera but welp I have to choose just one’ opera, and my choice is Guillaume Tell himself. First off: see #4. Second off: He’s just??? such an incredible person in every way like how is it possible to be that great of a human being??? He’s brave, he sticks up for what he believes in, he’s always willing to give others a helping hand, he’s super-enthusiastic, he’s a great husband/dad/friend, he’ll do anything for the people he cares about, he will readily call those who need it out on their BS...anyway we STAN him on this blog. Also, Rossini. And that incredibly gorgeous aria ‘Sois immobile’. I die.

8. Les Huguenots: Yet another grand opéra where I love the vast majority of the characters, and while I am 99% sure you already know the answer to this, I’ll say it again: it’s the only, the only Valentine de Saint-Bris, who just so happens to be incredibly amazing. She’s so...real and expressive and she’s someone I just personally feel like I get, like I see a little (okay more than that) of myself in her because of how real and relatable she is (I wrote a few posts a while back about why I headcanon that she has a severe undiagnosed anxiety disorder, which was...a major part of the story of my life for a while and to a lesser extent still is, but I digress) and also how amazing of a person she is. She’s not willing to just sit idly by while the world around her falls apart and the people she loves turn on each other (and eventually her). She’s one of the few people on either side of the aisle who’s like ‘this whole religious war thing is stupid and y’all need to stop’ and when things go from bad to worse, she puts herself out there in the middle of it all to save the people she cares about most (oh, also, remember how she just. stormed into the royal palace, demanded an interview with the Queen Mother, got it, and then used said interview to get a way to save Raoul and Marcel? yeah me too), and then when that fails, she literally renounces her own faith rather than belong to a religion that is committing actual crimes against humanity. and while she still fights to the bitter end, she still believes there’s a way to redemption for everyone and forgives her dad and JUST...I die. Also her music’s great but like. I love her mostly for her story.

9. Benvenuto Cellini: I am falling in love with this opera and literally all of its characters more and more every day, but my favorite character is probably Benvenuto Cellini himself, who is a) one of the few Not-Dumb tenors in opera and b) is a (mostly) Good Tenor. He loves life, he loves his art, he loves Teresa, and there are so many times where he is just such a Mood (see pretty much his entire second-act aria). Also, dude is GUTSY as hell. I mean, he literally gets the Pope to give him...pretty much everything he wants in exchange for the statue. That right there is an iconic moment. I don’t have a whole lot else to say about the character because it’s still kind of a new opera to me, but anyway he’s super-cool and I love him.

10. Les contes d’Hoffmann: Nicklausse! (Also his incarnation as the Muse, but mostly Nicklausse) He gets some of the best music in the whole thing (the Violin Aria anyone? or the Barcarolle with Giulietta?) and also he’s one of my favorite trouser roles. He’s super-ambiguous— is he really Hoffmann’s buddy or is he actually secretly working for Lindorf or is he going back and forth or is he somehow trying to help Hoffmann through working with Lindorf??? But one thing’s for sure: he’s by turns funny, serious, caring, devious...and I love him all the time. And his Musely work...ugh, the Muse gets me every time. Also, I invariably picture Kate Lindsey in the Sher production and that is a LOOK.

That’s all, sorry about the wait, and here you go! ❤️

[drink-n-watch]

Genre : Fantasy, Adventure, action, political

Studio: A-1 Pictures

I have to admit it, I did not see this one coming. I have been watching anime for many years now and this particular show for 15 episodes (there was a 11.5, remember!) and this is pretty much the last thing I expected. Brace yourself, guys: The events of the last episode are still relevant! I KNOW!

this took me so long to get

Not only are we still in Sistina with our same ragtag little group of rando entourage members but we are also still fighting the Rossini family. All this continuity is going to my head, I’m not quite sure how to handle it. The tones and presentation did switch back to standard fantasy faux feudal, with the only remnants of that mafia story experimentation being an out of place looking trench coat in the early scenes.

this guy seems interes…nvm

Otherwise, we’re back to the battlefield. Apparently, we’ve given up pretense of a stealth attack and Theo has gathered up a legit army…somewhere�� (I’m sure there was some type of explanation for where said army came from but I’m just gonna go with wizard did it) to supplement his band of underfed villagers.

see – trench coat…

It seems however that the Rossinis were not quite the one dimensional villains everything we knew about them so far had made them out to be, and they have earned the loyalty and dedication of the people who serve them.

Most of the episode was dedicated to breaking down the battle into small isolated bits to give a tangible role to each of the names characters. The werewolf twin maids (now in pirate outfits for some reason) were given a chance to avenge their fallen mother by confronting the witch that killed her. Yeah apparently she’s a witch and not a vampire and also witches aren’t the same thing as mages…

have you ever played that game where you try to get the most ridiculous facial  expression by pausing youtube videos?

Honestly this was basically filler, with the twins’ big plan boiling down to jumping really high… Anyways, they won. woohoo. A lot of pagan imagery here with pentagrams and a demon in the tradition devil goatman shape. Not that it really matters but it was sort of odd to see.

Irvin also finally had a chance to do something. I mean it was still pretty irrelevant since it was just fighting and killing yet another arbitrary character barely introduced last episode with no apparent impact on the larger plot. But at least we got to see him for more than a minute.

did you know her name was Priscilla?

More importantly though, he got mortally wounded, of course, which allowed Priscilla (pink hair cleric lady) to apparate and heal him. Morer importantlier, he had to take his jacket off and seems to be taking up the vital role of man candy, now that Villar is gone.

For the very first time, the episode seemed to feature an eyecatch. I’m not sure I’ve ever seen a show that adds an eyecatch out of the blue at episode 15. Way to keep us on our toes Grancrest.. When just randomly changing up the narrative isn’t quite enough.

that kid just littered!

This may be all in my head, but Theo’s big dashing hero act seems to be slipping more and more. He’s starting to be quite brutal on the battle ground, mowing down opponents mercilessly, going all neck stabby on people and horses! It seems he was even using a battalion of small children in this particular skirmish, which seems rather uncalled for, considering how one sided the fight seemed to be.

I’m running out of ways to say out of the blue, random, unexplained… Towards the latter half of the episode, someone remembered that Siluca is a powerful and talented battle mage and was not killed off in episode 4, so she should probably be given something to do. That something in question turned out to be fending off Not A Vampire lady’s final attack. We never really got a chance to see what it was but they were presenting it like some huge deal.

oh yeah…you’re the main character…

In any case, the events themselves aren’t really what’s important here. In fact, I suspect then entire confrontation, and indeed the whole of Sistina itself, will quickly sink back into irrelevancy, possibly only making a brief reappearance at a very opportune last minute to lend their strength and help turn the tide of some future confrontation.

For now what we care about is the animation. For a few brief scenes, maybe 2 or 3 minutes, almost every visual aspect changed. The art style took on a different more exaggerated look. Perspective was toyed with to created artistically  distorted proportions. Movement became intentionally jagged lending extra urgency and depth to the action. For a second there I was reminded of a Trigger animation. It was wonderful. I certainly hope they use this effect again. I personally would have preferred the entire show in this style, but even the contrast with the rest of the animation was interesting. And there we go again. Just as I’m getting exasperated with the show, I get a tidbit thrown my way.

I didn’t get a screencap – have a werewolf instead 

In the final moments, it almost seemed as if a hardened Theo was finally going to abandon his goody two shoes persona and impose harsh judgement on the Rossini family (after having personally slaughtered half of them) but they talked at each other in the middle of a crowd again and everyone lived happily ever after.

The ending is making me suspect that we have seen the last of Sistina and this was a somewhat extended filler but if it means more jacktless Irvin in the future, I’m calling it a win.

I want to see him with loose hair – I’m betting mullet!

There’s actually a lot of great pics to be had because this show has ADHD…

A Record of Grancrest War Ep 14 – Not The Horse! Genre : Fantasy, Adventure, action, political Studio: A-1 Pictures I have to admit it, I did not see this one coming.

[drink-n-watch]

Genre : Fantasy, Adventure, action, political, crime drama

Studio: A-1 Pictures

No joking, no exaggeration, as the first seconds of the episode came onscreen, I honestly said out loud: What? Where? How???

half blonde – good enough…

You know all those characters that sort of dropped out of the narrative to make room for new or more important players. Like the pink hair cleric lady that was seemingly being set up as a romantic rival for Siluca but flickered out of existence within an episode? Great news, they’re all back. Of course that does mean that we need to abandon all the characters we actually managed to get some development on, but it’s all good…we’ve left on a different continent, somehow.

agreed!

Last episodes saw the somewhat devastated remnants of Artuk’s supporters come together to form a new treaty just as the Union was bearing down on them to wipe them out. Although they managed to gain some momentum through a surprise first strike, Marrine’s troupes are still superior and she has proven to be an opponent not to be taken lightly. Of course this is the perfect time for a rising military leader, and negotiator, to take a random group of servants and hightail it to some island on a dingy. I’m not joking, it seems they rowed there? Why didn’t they take a real boat, or troops? It’s a secret.

alright – let’s overthrow the local ruling party

Now, this would be a pretty questionable move in the middle of a politically inclined fantasy adventure series but thankfully, it’s a crime drama now? From the Italian names to having the power of the region controlled by ‘families’ rather than lords, to invoking Omerta and protection rackets. Even the settings and music were shifted to resemble an old school mafia movie. Imagine of someone had decided to take Record of Lodoss War (or whatever vaguely LoTR type anime you want) and decided to drop 91 days in the middle of it.

Avilio?

You know, I just reread that, and on paper it sounds kind of cool. In fact I’m sure there’s a way to make a great show out of that premise but this isn’t the show. I mean Grancrest, pick a thing, really just any ONE thing and stick with it….

Even though we saw the return of characters that had been shelved and almost forgotten, (why bring twin teenage maids… I know they’re werewolves and good in battle but they ARE maids not soldiers and children…if you wanted them in combat why not do so earlier?) fret not, they still threw in a healthy dose of new ones to make absolutely sure no characters had time to gain any depth.

I have the perfect people for a bloody battleground involving civilians…

Yup, we get another affirmation that Irvin is some type of super strong ‘shadow’, nope we don’t learn anything new. We did get a sliver of backstory for Theo but it only amounted to – tragic past (who would have thunk it?).

Is it just me, or do any of you guys remember Theo mentioning something about his homeland being destroyed by chaos in the early episodes? No, there is no way I’m  going back to check. In any case, I know for a fact that the chaos thing was a big deal for a while there – turns out it’s not much of a concern on Theo’s island after all.

fine, maybe it’s my mistake

As another frantic battlefield scene took center stage, I found it difficult to muster any enthusiasm for wither side. Obviously the Rossinis are EVIL. Just plain old twirling mustaches and tying ladies to railroad tracks villains and the villagers (yes villagers) are good, but having seen all these people for the first time roughly one minute before the start of the battle, I can’t say I was particularly vested in either side winning.

don’t know who this is? no worries, he’s dead.

Also how did Theo and Siluca figure out they were being betrayed? OK, Theo may have picked up on something since he at least knew these people but how did he communicate it to Siluca. Can they really use telepathy now? Cause with this show, it’s not an unrealistic option.

and this is…oh I give up

Aside from that, they seemed to tease yet another potential love triangle between Siluca, Theo and Rebecca, a childhood friend(?) ex lover(?) sister(?) of Theo’s, but luckily we avoided all that mess by slaughtering her before the end of the episode. Good Job show!

bye Felicia Rebecca

It would seem that MiLza ‘n friends have been tossed aside to make way for the Big Bad Rossinis but with this show, there’s just as much chance that some new chaos side effect will reanimate Villar and we’ll have to deal with braineating Artuk zombies in a walking dead type episode next week.

next week, Theo struggles to get business to his new restaurant!

At this rate, I’m going to need another recap by episode 15. The way this narrative is going, every answer just raises 5 more questions. But really, if anything, please just answer this:

What’s With The Hair?

Here’s a fun game, take these pics and make a story out of them!

      A Record of Grancrest War Ep 13 What’s With The Hair? Genre : Fantasy, Adventure, action, political, crime drama Studio: A-1 Pictures No joking, no exaggeration, as the first seconds of the episode came onscreen, I honestly said out loud: What?