#cendrillon opera

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[princesssarisa]

Nicolas Isouard's "Cendrillon": a semi-forgotten "Cinderella" opera

My latest project related to both opera and fairy tales has been an interesting one: I've introduced myself to the 1810 French opera Cendrillon, with music by Nicolas Isouard and a libretto by Charles-Guillaume Éttienne.

Without this obscure opéra-comique, Gioacchino Rossini's more famous Cinderella opera, La Cenerentola, wouldn't exist. In 1814, its libretto was adapted for an Italian opera, Stefano Pavesi's Agatina, o la virtù premiata ("Agatina, or virtue rewarded"), which was staged at La Scala. Two years later, when Rossini and librettist Jacopo Feretti were commissioned to write a new opera for the Teatro Valle in Rome, and they chose Cinderella as the subject, Feretti evidently used Agatina's libretto as the springboard for his own, and the quickly-produced result was La Cenerentola.

I haven't read the full libretto of Agatina yet, just skimmed over it, but it looks like a faithful adaptation of Isouard's Cendrillon, while La Cenerentola makes some creative departures from both. So for now, I'll just focus on discussing the Isouard/Éttienne version.

@tuttocenere, @ariel-seagull-wings, @adarkrainbow

*The plot's basic outline is very much the same as in Rossini's more familiar opera, as are the characters' names, albeit in French forms rather than Italian. The setting is Italy, and Cinderella's love interest, Prince Ramir, is the Prince of Salerno. The traditional wicked stepmother is replaced by a stepfather, the impoverished yet arrogant Baron of Montefiascone (although he's not named Don Magnifico in this version, but just called "the Baron"), and her stepsisters are named Clorinde and Tisbé. As in Rossini's version, the Prince spends most of the opera disguised as a squire, while his servant, Dandini, masquerades as the Prince. And the traditional Fairy Godmother is replaced by Alidor, a wise gentleman scholar who serves as the Prince's tutor. He disguises himself as a beggar at the beginning, and is turned away by Clorinde and Tisbé but shown kindness by Cinderella, and so he resolves to wed her to the Prince.

*Unlike Rossini and Feretti's "realistic" comedy of manners, however, this version is still a fairy tale. Alidor is a magician as well as a scholar and tutor, and he dresses Cinderella in finery and transports her to the ball by magic. He also gives her a magic rose to wear, which makes her unrecognizable to anyone who knows her (so all the confusion in La Cenerentola about the mystery lady's "resemblance" to Cinderella is a Feretti/Rossini invention) and which gives her new confidence and ladylike grace. I find the last detail interesting, because La Cenerentola also has a striking difference, in both the text and the music, between Cinderella's demeanor in her rags (so innocent, awkward, and vulnerable) and as a well-dressed lady (dignified, confident, sweetly commanding). In Isouard and Éttienne's version, this change has a magical explanation; in La Cenerentola, without any magic, it becomes psychological.

*This version also includes the traditional lost slipper, not the bracelet of La Cenerentola, because the French were less squeamish than the Italians about letting women show their ankles onstage. It's described as a green slipper, not a glass slipper, however. I assume they made this change because no one can wear glass shoes safely and comfortably onstage, but the word "vert" (green) is similar enough to the word "verre" (glass).

*In La Cenerentola, I've never been sure if the setting is meant to be the medieval principality of Salerno, meaning that Prince Ramiro is already the reigning monarch (which would make sense, since his father is dead), or if he's the crown prince of the Kingdom of Naples (whose crown princes were titled "Prince of Salerno" much like the British crown prince is titled "Prince of Wales") and just hasn't been crowned king yet because his father's will requires him to marry first. Most Cenerentola productions seem to take the latter interpretation, since they set the action around Rossini's own time, in the late 18th or early 19th century. Isouard's Cendrillon more clearly takes place in the medieval principality of Salerno, however. Prince Ramir is explicitly the monarch already, and referred to interchangeably as "the prince" and "the king" by the other characters. Another medieval touch, which La Cenerentola omits, is that the ball includes a jousting tournament: there, the disguised Prince champions Cinderella as the most beautiful of all the ladies, fighting several opponents who champion Clorinde and Tisbé on behalf of Dandini, and defeating them all.

*Cinderella also shares a scene at the ball with her stepfamily, who don't recognize her. She gives Clorinde and Tisbé gifts of her own jewelry, much like the gifts of citrus fruits in Perrault's version, and gives the Baron a jewel as well to take home "for his stepdaughter" (which of course he doesn't).

*As in La Cenerentola, the Prince and Cinderella first meet at her house before the ball, when he comes in his squire disguise. Unlike in La Cenerentola, however, Alidor is present and immediately tells the Prince that Cinderella is a member of the family, and Cinderella then articulately tells the story of her mother's marriage to the Baron and subsequent death. Nor, unlike Rossini's Don Magnifico, does the Baron ever lie that Cinderella is just a servant or that his stepdaughter died: both he and his daughters freely acknowledge her as their stepdaughter/stepsister. It seems to have been a Feretti/Rossini invention to have the Prince not know that Cinderella is of high birth. Which leads to the next point...

*When the Prince meets Cinderella in her rags, he pities her and remarks on how pretty she is, but he doesn't seem to fall in love with her yet. They don't sing a duet at this point; Cinderella sings an aria telling him about herself. Nor does he get angry or try to defend her when her stepfamily refuses to take her to the ball. It's only when she's dressed in her finery at the palace that they they sing a duet and fall in love. This is another difference that stands out from the Feretti/Rossini version. In La Cenerentola, it's Cinderella in her rags whom Ramiro falls for; their great moment of connection is in their lengthy duet when they first meet, and their interactions at the ball are minimal. He only seems to fixate on "the beautiful unknown" because she looks like the "servant girl" he met earlier, whom he presumably thinks he can't marry because of her "low birth." This changes the essence of the Feretti/Rossini version almost as much as the decision to remove magic does.

*Dandini's portrayal is a bit more mean-spirited than it would be later in La Cenerentola. He's portrayed as stupider and more incompetent, and both the Prince (with whom he barely interacts) and Alidor emphasize that he's the crudest, most idiotic man at court. This is obviously meant as social commentary, since everyone overlooks his faults and fawns over him anyway when they think he's a prince. But considering his actual low status and the glorified portrayal of the real Prince, it does feel a little too harsh at his expense. I prefer his wittier and more cunning portrayal in La Cenerentola, and his rewritten dynamic with Prince Ramiro where they co-conspire and confide in each other like friends (even if Ramiro does still call him "idiot" now and then). Not to mention his hints of flirting with Don Magnifico that the original Dandini doesn't have with the Baron. :)

*Cinderella's departure from the ball is different from both the classic tale and the Feretti/Rossini version too. After the joust, in front of everyone, the Prince and Dandini offer Cinderella the crown and the Prince's hand in marriage together, but without yet revealing which of them is really the Prince. Cinderella still thinks Dandini is the Prince and doesn't want to marry him, so she runs away, accidentally losing her slipper. Again, Feretti/Rossini made a significant change by turning this into a private scene, having Cinderella openly admit that she loves the "squire," and then having her test his love by giving him her bracelet and urging him to search for her.

*Clorinde and Tisbé both have bigger roles than in Rossini's version – each one has her own aria to sing, as well as a few duets with each other – while the Baron's role is much smaller than Don Magnifico's. In keeping with this fact, the comic scene where Dandini finally reveals that he's not the Prince is a reveal to the sisters, not to the Baron as in La Cenerentola. In a "romantic" scene with Dandini, whom they still think is the Prince, the sisters both assure him that they love him for who he is, not for his status, and that they would still want to marry him if he were a poor peasant. But then the Baron bursts in, having learned Dandini's true identity offstage, and reveals everything to his daughters. Then the real Prince arrives too, and proclaims that since the sisters "love" Dandini so much, he commands one of them (the choice is theirs) to marry Dandini that very day. The sisters, of course, refuse to do such a thing.

*The climactic scene is also entirely different from La Cenerentola's version, and a creative twist on the fairy tale's ending too. The morning after the ball, instead of traveling in search of the "beautiful unknown," the Prince invites all ladies of noble birth back to his palace, without explaining why. (This supports my theory that many early stage adaptations of Cinderella had the slipper-fitting take place at the palace, as some early screen versions do too.) Cinderella hears the proclamation and comes to the palace without asking permission, surprising her stepfamily when they meet her there. In her, Clorinde and Tisbé see what they think is the solution to their Dandini problem: they tell her about the whole Prince identity deception, then order her to marry Dandini in their place, but Cinderella refuses. Next, she happens to meet the Prince, who recognizes her as the Baron's stepdaughter he met earlier, but not as the lady he loves. Cinderella pretends to have had a dream where she saw all the events of the ball, and she assures him that "the unknown lady" loved him and only fled because she thought she would have to marry Dandini. The Prince now bitterly regrets having disguised himself, while Cinderella privately laments that the Prince doesn't recognize her and only loves the lady she pretended to be. But then Alidor gathers all the visiting ladies together and announces the reason they were summoned: whoever fits the green slipper will be the Prince's bride. Cinderella then speaks up and insists on trying the slipper on, despite the scoffs and protests of the chorus. Of course the slipper fits, and then Alidor transforms her rags back into the ballgown in front of everyone.

*A general observation, about more than just this opera: French adaptations of Cinderella seem especially prone to have Cinderella come out of her shell in the end, discard her submissiveness, and actively seek the slipper and the prince. We see it in this opera, where Cinderella goes back to the palace in her rags despite knowing her stepfamily will disapprove, flat-out refuses her stepsisters' command that she marry Dandini, and then openly insists on trying the slipper on in front of the court. We also see it in Massenet's later opera, where she calls on her fairy godmother to transport her back to the palace to try on the slipper. Maybe this is because Perrault's Cinderella openly asks to try on the slipper; maybe it also shows the influence of Madame d'Alunoy's bold Finette Cendron. But it's very different from La Cenerentola, where, when she realizes Ramiro is the Prince, she tries to hide her face and run out of the room, only for Ramiro to spot the bracelet on her wrist. Or, as another example, from Russian adaptations like Prokofiev's ballet or the 1947 film, where she not only hides her identity from the Prince, but even tries (under orders) to help one of the stepsisters fit the slipper, only for the truth to out when the other slipper is accidentally discovered in her possession. Not to stereotype different countries, but I somehow suspect this is a cultural difference, with the Italian and Russian writers more concerned about keeping Cinderella "modest" than the French writers were.

*Cinderella forgives her stepfamily in the end, but it's briefer and gets less dramatic emphasis than in La Cenerentola. I suppose several of the changes Feretti and Rossini made – their expanded role for Don Magnifico, for one thing, and their general framing of the story as a morality tale rather than a fairy tale – led to their choice to make Cinderella's forgiveness of her stepfamily a bigger emotional climax than her marriage to the Prince.

Unfortunately, the one complete recording of the opera is out of print, but bits and pieces of it have been uploaded onto YouTube. The musical score is very sweet, lyrical, elegant, and gentle – again, very different from the sparkling florid sound of Rossini. As I mentioned at the beginning, it's also an opéra-comique, meaning there's spoken dialogue between the musical numbers.

I've found it fascinating to explore this opera, both as the forerunner to the more familiar La Cenerentola and as an interesting and charming Cinderella opera in its own right. I think it would be nice to see it revived onstage more often.

[janetbrown711]

Songbirds in the City Air (i'm not gonna make it)

Prologue

Zhu Li Na was forced into servitude for her cruel step-mother and step-sisters since she was nine years old, and she craves nothing more than a night away from all of them. When an invite from the royal palace comes saying all eligible women are invited to the palace's New Years ball to meet the Princess Xiuying, she can't help but think that maybe this could be her moment.

AKA the cinderella au for my freenoodles fankid, Li Na, that literally nobody asked for

Prologue Chapter 1

Ao3 Link

Li Na laid resting with her head on her older brother’s lap, the latter combing his fingers through her hair and the former messing with the fabric of his robe. It was a quiet day on their farm, everyone moving around with hushed voices and next to silent footsteps so as not to disturb the little family of four, soon to be three– though of course Li Na didn’t like thinking about that. Frankly, no one did, but as the days passed and Pigsy only got worse and worse, everyone knew it was only a matter of time.

It almost made Li Na furious. The doctor had lied and the medicine water hadn’t worked and now her dad was– it wasn’t right! However, the flame of her anger turned into waves of sorrow and she kept her head low on her brother’s lap. She prayed this could be over like a bad dream and she could wake up with her dad just as happy as he was three weeks before.

MK used to promise her their dad would get better, but now he’s silent. He still rubbed her ears and stroked her hair, but the silence almost made her burst out into sobs. It was never this quiet around home. She was right, this was all backward, it wasn’t fair– but it was going to happen anyways. Now, the entire farm held its breath and waited.

“Li Na..?”

The girl sat up and looked at her baba standing by the hallway. His smile was so soft, but tired, and his eyes were puffy and red. He held out his hand for her, but Li Na almost wanted to keep laying here, thinking if she stayed away, this moment would never end and her dad would keep living.

MK rubbed her back encouragingly. His eyes were red and puffy too. He still didn't talk, but she could practically hear him telling her to breathe and that it'll all be okay. She hardly believed him, but got off the bench anyway, taking her baba's hand as he led her back into their bedroom, stroking her hand with his thumb the entire way there.

They stopped right before opening the door. When Li Na looked up at Tang, he looked like he was going to cry again, but instead forced a smile.

“I'll be waiting right here, okay? All you have to do is say the word and I'll be right there,” he squeezed her hand.

Li Na nodded.

“Alright. He's ready for you,” Tang kissed her head and opened the door for her, and so the eight-year-old slowly crept in.

Immediately, the girl noticed the heavy aura of the room. It was absolutely spotless for once, which Li Na was smart enough to know it hadn't been in quite some time. In fact, the only remaining signs of struggle and disease were a bowl with a rag soaking to help cool her dad– her dad.

He was laying in the middle of the bed, numerous pillows from all over the house propping him upright. He was pale– too pale– and had lost a lot of weight, his eyes looking sunken with dark circles. However, when he glanced at her, they lit up, and he smiled.

“Hey there, bao bei,” he croaked, and Li Na instantly ran and jumped up on the bed, giving him the tightest hug she could manage, already crying.

Pigsy wrapped his arms around her as best he could and kissed her head. “I've missed you.”

“Please don't go, dadsy– I don't want you to go,” Li Na pleaded, nuzzling her face in his chest.

“Oh, kiddo… you're so brave and strong…”

“I don't wanna be brave and strong, I-I want you,” Li Na cried.

Pigsy smiled sadly. “My little bao bei, I’ll always be with you.”

“S’not the same, I-I-I've missed you so much, Dadsy– please don't go,” she begged with all her might.

“Li Na, I know it’s hard… but you’ll be okay. Your baba and MK will take care of you,” Pigsy urged, stroking her hair lightly.

“I don’t care! I want you,” Li Na shook her head furiously. “I hate this! W-why didn’t the medicine work? It’s not fair, dadsy, it’s not fair.”

Pigsy sighed weakly. “I know, bao bei, it’s not. I’m sorry… I wish it was, I swear I do…”

Li Na hugged her dad tighter. “It’s too quiet without you and baba laughing all the time. I hate it here.”

“I know… but I promise you your baba’s laugh will come back one day… and you and MK will be able to laugh with ‘im too, just like old times,” Pigsy chuckled, but Li Na shook her head again.

“No, I won’t– I’ll never laugh again if you leave us, I won’t, I won’t, I won’t.”

“You will, Li Na. I know you will. You’ll find happiness after I’m gone, I promise,” Pigsy placed a weak hand on her cheek.

Li Na pressed her dad’s hand closer. “I don’ wanna be happy when you’re gone.”

Her dad chuckled again. “‘Fraid you don’t get a choice, kiddo. Good things will happen whether you want ‘em or not.”

Li Na looked away from her dad, quickly readjusting herself so her dad’s arm was wrapped around her and she was snuggled next to his chest. “How–... how do you know that?”

Pigsy kissed the top of her head once more. “I know that because… despite everything… you’ll still be the same sweet and kind girl you are now.”

“What if I’d rather be mean and bitter?” Li Na asked, bring his arm tighter around her.

“You won’t, you’re too good– like your baba and brother,” Pigsy stroked her arm with his thumb.

Li Na went quiet, tears still streaming, but completely out of words. Despite everything, it was good to snuggle with her dad one more time, so instead of talking she worked to memorize the feeling as best she could. She memorized how warm his skin was against hers, how soft his cotton robe was, how it felt for him to breathe normally, how his thumb stroked her hands, how she could feel him relax when her tears lessened, and how he shook with the effort to express his love. She embraced it all, pressing it deep in her mind so that she’d never, ever lose this feeling.

Her dad was quiet too, except for the occasional harsh breath and weak cough. It scared Li Na every time, but she would just hold her dad’s hand with both of hers and squeeze tight, and when the coughing fit was done, he’d squeeze right back. It made her cry harder, thinking about all the pain he was in and then how he wouldn’t be in pain soon but only because he’d be gone, and then–

“It’s just… it's not fair,” Li Na croaked.

“I know, kiddo… I’m so sorry,” Pigsy apologized and Li Na leapt up to hug him again.

“I-I’m gonna miss you.”

“I’ll miss you too, bao bei.”

“...You promise not to go to the spirit realm too soon..?”

“I'll always be with you, kiddo. I promise.”

Li Na slowly nodded, sitting upright and wiping her face with her sleeve. Her dad instantly tried moving his arm up to her cheek, which Li Na helped him with.

“I love you, Li Na.” Her dad smiled, tears of his own streaking down.

“I love you too, dadsy.” Li Na tried her best not to break again, though she certainly leaned into his touch as best she could, trying to memorize this feeling too.

It was quiet again for a minute, before her father slowly croaked, “C-could you get… your baba and MK for me, sweetie?”

Li Na nodded and hopped off the bed, opening the door for Tang. He didn't hesitate to burst in, meanwhile the girl lingered at the door.

“Honey? What is it? How are you feeling?” Tang rushed to his husband’s bedside and grabbed his hand, kissing it twice and stroking his forehead.

“Get MK, please?” The demon asked.

“Of course. I'll be right back,” Tang bent to kiss his husband's head before running and calling for MK.

While he did, Li Na slowly made her way back onto the bed to hold her dad’s hand again, which made him smile ever so slightly.

“So sweet… so kind, my Li Na…” he whispered.

Li Na kept her eyes low. “Thank you, dadsy… I-... I won't change that, I promise.”

“That's my girl.” His smile grew when MK and Tang returned.

“Dad, You– you said you needed me?” MK asked, hand going to the demon’s shoulder.

Pigsy’s eyes could barely stay open at this point, but he looked at MK with quiet relief. “Son… I’m so proud of you…”

MK stepped closer. “I-I know, dad, you told me earlier–”

“I love you, son.”

“I love you too, dad,” MK assured, squeezing Pigsy’s shoulder tight.

Pigsy’s eyes wandered to his left, where Tang was now standing. “Tang…”

“I’m right here, Pigsy, I’m right here,” Tang held onto Pigsy’s other hand.

“I love you too, Tangy,” the demon said.

“I-I love you too, Pigsy.” Tang sniffled before kissing his forehead, allowing Pigsy to finally close his eyes.

“I’m lucky… I love you all… m’so lucky…” His voice grew even quieter.

“W-we’re lucky to have you, Pigsy,” Tang insisted, laughing and crying harder.

“M’lucky… love you…”

Tang didn’t say anything back this time, just kissing his cheek long and soft, while time slowly but surely came to a stop.

The first thing Li Na noticed was her father letting go of her hand. The second was how his shoulders sagged, his head rolling back ever-so-slightly. The third was when Tang pulled away, her dad’s smile didn’t grow like it always did, his face completely still. The fourth was that his chest exhaled and stayed, and stayed, and stayed. The fifth was that his chest never rose back.

“No… no– dad– dad wait– stop! No– please– I’m not ready– Dadsy please!” Li Na begged, going to shake her dad’s shoulders, before she felt a pair of arms wrap around her midsection and pull her away.

“Let me go! Let me go! Dadsy!” Li Na shrieked, kicking and flailing but never once looking away from Pigsy, whom her baba was now draped against and sobbing on. Whoever was holding her had a strong grip though, as even with her clawing and scratching and shrieking and kicking, they managed to hold strong and drag her into the hallway. She protested even stronger out there, shrieking and shrieking and kicking and wailing and hitting the arms holding her back until the futility of it crashed over her and she broke down.

The person holding her sank to their knees instantly, quickly wrapping her in a hug, and– MK– MK hugged her tight before letting out a loud sob of his own. Li Na collapsed in his arms, trying to hug him but every inch of her body ached and burned with emptiness. Thankfully her brother was stronger than her, hugging and holding her close and tight, like he was afraid to let go.

Li Na hoped he never did.

Li Na’s whole body shook and shuddered until she suddenly felt another pair of arms wrap around her and MK– Baba…

“I-It’ll be okay, you two… one day, it’ll be okay, I promise,” he croaked, kissing both MK and Li Na’s heads before he squeezed them tighter.

Li Na couldn’t disagree more. She had so many things she still wanted to do and say to him, but now she can’t and it just– it hurt, it hurt so bad, and—

Pigsy was dead, and nothing was going to change that.

.o0o.

Her dad ended up being right, Li Na didn't like being mean. It wasn't like she didn't try, she wanted to hate all the doctors and medical scholars that stopped by the farm or she saw in the village, but she just couldn't do it. She knew they tried their best, but it just wasn't good enough. After all, she could've done and said more, but she wasn't enough either, so…

Tang made sure the funeral was held on the most auspicious day possible, and found the best monks and scholars for the procession and rituals. Li Na clung to his side whenever she could, but when he was busy, she was immediately glued to MK. The funeral was beautiful with white everywhere, and with beautiful music. It was quiet, like it had been before, but now it seemed like even heaven and earth were mourning, as even the plants and animals hung their heads low in respect. It was too dreary for spring, but her baba said it wouldn’t last forever.

He was right too, in a way. It took weeks, but eventually the flowers started blooming and the chickens started clucking, and the ducks started quacking. But… still. It was more muted than before, like it was covered in mist and haze.

It didn’t help that with her dad gone, Tang had to run the place, and while he certainly tried his best, Pigsy had always been more suited for managing it all– especially the rougher seasons. While her baba never said anything, Li Na knew money was tight, evident by the shrinking meals and struggling staff and the chicken coop never getting repaired.

She couldn’t cling to her baba as much during those days, but MK wasn’t much better. There was something weird with him– this kind of energy he couldn’t seem to shake. He was on high alert at all times, constantly observing the area around him and going out back to practice with his old wooden sword from ages ago. Sometimes Li Na would watch as he slashed and hacked away at the target, but other times it was just too much and she’d rather find her baba.

She hated being alone. If her baba or MK weren’t in her line of sight, an uneasy feeling would start consuming her until she’d suddenly burst into unstoppable tears that none of the staff could fix. She could only be soothed by MK or Tang picking her up and hugging her tight, and she’d fall asleep in their arms.

She dreamt of her dad often, almost every night. She could hear his gruff voice, feel his gentle touch, and would be consumed by his warm hugs that disappeared into nothingness when she woke. At first it made her weep, but now it was more of a weight in her chest that she had to carry as she moved on. It was hard to keep up her chores like this, but after a few months she managed to press on.

However, one winter morning, everything came crashing down.

“MK… Li Na�� I–... I've been thinking,” Tang spoke up around the dinner table.

MK furrowed his brows but said nothing.

“...The harvest was obviously less than ideal this year, a-and well– you both know I wasn't raised in this kind of environment and without–... without him here, I just… I don't think I can manage this place on my own,” he confessed, and Li Na saw MK's posture stiffen.

“So what're you suggesting?” He asked sharply.

Tang looked towards the fireplace. “I… I can't bear the thought of selling this place. It’s been in your father's family for generations, it should be yours one day… but I am not the person who should be running this place in his absence.”

MK's shoulders relaxed. “Okay… then what? You're gonna hire more help? Where are we going to get the money?”

Tang clenched his eyes shut tight.

“I… I was thinking I should remarry.”

Li Na's eyes widened. “Wh-what?! What about–”

“The matchmaker informed me of a widow with two daughters who lives nearby, says she needs a husband to help support her family and she has ties to the schools in Chang'an. If I can get hired to teach there, it would give us enough money to keep the farm and hire all the help in the world,” Tang explained with a tone of desperation.

“B-but what about Dadsy? I-It hasn't even been a year, a-and– You said you loved him a-and that you'd never love anyone else, you promised,” Li Na started to sob so MK dragged her into a hug.

“I know, Li Na, but trust me when I say this is strictly a marriage of convenience and the only way I can think to help preserve his memory.” Tang reached forward across the low table, but Li Na stayed curled to MK. “I loved and still love your father with all I am, bao bao… but for your sake and for MK's and this farm, I have to.”

Li Na wanted to refuse, of course, but one look at her baba showed her just how heartbroken and desperate he was, so she glanced up at MK before making her decision.

“I… I think you should do it,” MK said. “It'll be good for you two to have someone else to help you take care of things,” he looked up at Tang, who looked like a boulder was lifted off his back.

“Yes, of course. Did I mention she has two daughters? They're just a bit older than you, Li Na, and I've heard tons about how polite and sweet they are. I'm sure they'll be great friends for you,” Tang rambled.

Li Na got a little closer to MK. “I don't need friends, I have you two…”

MK sighed and stroked her hair. “Everyone needs friends, Li-Li. Plus, one day soon I'm gonna be out on my own, ‘making it as a man’ as they say. What will you do then?”

Li Na stiffened. “You– you wanna leave..?”

MK winced. “Not too soon! Like– not this year, but… but maybe after baba's married again and you're all settled into your new life, you know?”

“What?! That's not fair!” Li Na protested.

“Li Na, I'm sorry but– but I have to do this. I need to find a way to make it on my own, but I promise you I'll write every week– every day if I can, alright? You aren't going to lose me too, I swear.” He hugged her closer.

“No! I don't want you to go! It's not safe out there!” The girl shook her head feverishly.

“Li Na, it's okay, I'll be safe, I just–... I gotta do this.” MK glanced at their baba, who was obviously shocked by the revelation too.

“MK, I… I don't know what to say…” Tang sank down slightly. “Goodness, you really are eighteen, aren't you?”

“Tell him he can't go, baba! Please,” Li Na begged.

Tang and MK looked at each other in a way that made Li Na feel worse.

“Li Na, I won't go until you're good and ready, okay?” MK held her head in his hands and made her look at him. “Until then, I'm not going anywhere.”

“But… why?” Li Na sniffled.

MK sighed. “I can't explain it… it's like… destiny is calling me and I've been itching to answer.”

“You’ll get to experience that one day for yourself, bao bao,” Tang added, finally going to her other side to join the hug.

“Besides, you’ll have two new sisters to get to know and bond with. Plus, I’ll be writing letters to you whenever I can to keep in touch.” MK smiled softly.

“What if my step-sisters hate me?” Li Na asked, picking at her nails.

MK laughed. “They won’t, don’t worry. You’re too nice to hate.”

Li Na snorted a little, before her eyes fell low. “What if I’m never ready for you to go..? Would you stay?”

MK rested his head on top of his sister’s. “I’ll stay as long as you need, Li Na.”

Li Na let out a long sigh, because despite that being what she wanted to hear, it certainly didn’t make her feel any better.

“Li Na, I know this is a lot of change, but you aren’t alone,” Tang spoke up, tucking a strand of her hair back before cupping her cheek. “I’ll be adjusting to this new life right there with you, okay? I’ll always be here for you.”

Immediately, Li Na winced, a dark thought crawling into her mind.

“But… what if you get sick..?” She looked at both of them.

MK and Tang both froze a moment, eyes wide and jaws agape before they suddenly snapped out of it to embrace Li Na tightly.

“We’ll take it one day at a time, Li Na,” Tang whispered. “One day at a time.”

Li Na melted into the embrace of her family, her mind full of uncertainty but her heart wanting desperately to believe them. As much as it felt like everything sucked, she wanted to believe it could get better. If MK and Tang were telling her it was possible, she’d do her best to believe them.

“Okay, baba.” She nodded, glancing at MK. “I’m sorry for yelling, I didn’t mean to–”

“It’s okay, Li-Li, it’s okay,” MK insisted, hugging her tighter. “I didn’t mean to drop it on you right now. I’m not going anywhere for a long, long time.”

“Good.”

.o0o.

The wedding was set for the second week in spring, with them only meeting up in person one day before the ceremony for paperwork. Tang admitted the arrangement was less than ideal, but Lady Zhang Jenai, as they came to know her, was a very busy woman. It meant they got to spend the anniversary of their father’s passing alone as a family though, which was something Li Na was very grateful for. However, shortly after that, most of their things were packed to be moved to Lady Jenai’s large estate in the city, meaning she had to say goodbye to the only home she’d ever known.

Tang constantly assured her Lady Jenai’s place was better, that it was bigger and there were many children she could meet and mingle with out there, but she strongly disagreed. She had only ever gone into the city once with her baba, and she hated all the noise and shouting. The farm was quiet and peaceful, with rivers and ponds in abundance for her to relax and play in after all her chores were done. Tang said Lady Jenai had a duck pond in her courtyard, but Li Na doubted it would feel the same.

In better news, Li Na had stopped crying whenever MK or Tang were gone, though the loneliness and anxiety she felt still lingered. She managed to cope with housework and picking up where staff and servants dropped off. Granted, being nine-years-old meant she was hardly skilled, but it was worth it if it helped her get over her separation anxiety.

Of course, she wasn't perfect, as the closer it got, the more nervous she got about meeting her future step-family. Nobody really knew anything about them other than they were around her age and very proper, which made her wonder if her own etiquette skills would be lacking compared to theirs. She wondered if they'd look down on her for being from the country instead of the city. She sometimes even worried they'd dislike her for being a demon (although technically she was only half, but she didn't look like it). MK told her not to worry, that she’d win them over eventually, and before she knew it the day had arrived.

Li Na did her best not to, but ultimately she cried once the carriage was pulled away from the farm, which got her a side hug from Tang.

“It’ll be okay, bao bao, we’ll be back someday soon,” he assured, rubbing her arm up and down.

Li Na slowly nodded. “Yeah… you’re right, baba. We’ll be back.”

Her baba seemed satisfied at that, and so Li Na curled up to his side and let him stroke her hair until she fell asleep, wiped out from all the packing and with quite a few hours ahead of them.

It was a quiet journey, up until they reached the city, where the hustle and bustle of guards and markets and horses and shouting disrupted Li Na’s little nap, and she grumbled back to life. It still took some time to reach Lady Jenai’s home, having to pass through several grand city walls before they arrived.

The moment the carriage stopped, servants dressed in red immediately approached and offered a hand to help the three of them down, before more people in red came and took their trunks of goods into the truly formidable home.

It was taller than any she was used to seeing, not to mention stretching wide with beautiful trees and landscaping to boot. It made Li Na’s eyes sparkle as she noticed the birds and other wildlife, before her baba suddenly spoke.

“Lady Jenai, thank you for allowing us into your home.” Tang quickly bowed, MK and Li Na short to follow.

The lady in question was standing right by the grand door, her face covered by a fan. The woman was tall and grand in her stature, her face was as pale as porcelain and hair as black as the night. In her hair was a bright gold qixiong ruqun that sparkled like the sun, so elegant Li Na briefly wondered if her baba got engaged to a princess and forgot to tell them. Jenai also wore bright red paste on her lips, rouge on her cheekbones, and a red plum blossom on her forehead, giving a soft and heavenly look to her face– if it weren’t for her eyes, which were dark and sharp as they looked towards her baba.

“The honor is mine, Lord Tang.” She bowed, her long silky gown flowing with pure elegance as she did. “Come. Let me introduce you to my daughters.”

“Of course.” Tang nodded, and Li Na quickly grabbed his hand before they headed in.

Immediately, the girl was struck by the opulence of her new home, jade and gold decorating every wall and pillar. There was all sorts of artwork everywhere, whether it be expensive looking vases or paintings of nature or of Lady Jenai’s family. She couldn’t wait to get an official tour, as they were moving way too fast toward the courtyard for her liking. Then again, she was going to live here, so she’ll have all the time in the world to get to know the place. She could tell it made her baba excited too.

The courtyard was stunning. It was everything Tang had described and more– a pond with little ducks swimming, a gorgeous, large peach tree ripe for the taking, stone paths to hop along, a small stream to meditate by, and a bench to sit and enjoy the breeze. Li Na was so lost in the lavishness, she practically forgot about her step family until Tang squeezed her hand and her eyes landed on the two girls in front of her.

The first was taller than her, and thin as paper. She wore the same makeup as her mother and sister, though had a flame instead of a flower marked on her forehead. Her dark raven hair was twisted into four buns, two on each side of her face, and were decorated with golden flowers. She wore a dark blue hanfu with red accents and scarves, likely to match the red in her makeup. If Li Na had to guess, she would figure this sister was three or four years older than her since, while she looked more mature, she clearly hadn’t had her coming of age ceremony yet.

The other sister was roughly the same height as Li Na, and while her face wasn’t white, she still had a little red lotus on her forehead. Her hair was split into three sections and twisted into buns that resembled chain loops that were remarkably well kept. She wore a hanfu similar to her sister, except green with red accents instead. If Li Na had to guess, she was a year and a half older.

“These are my daughters: Sujia and Peili,” Lady Jenai announced, the girls bowing when their name was spoken.

“It’s a pleasure to meet you girls.” Tang and company bowed. “These are my children, Xiaotian and Li Na.” He gestured.

When Li Na finished bowing, she immediately noticed both sisters were staring at her with wide eyes, the younger with a raised eyebrow that made her face turn dark red until their mother spoke up.

“It’s a pleasure to have you join our family,” Jenai looked at MK and Tang. “Come now, we have a lot to discuss for the ceremony tomorrow, and there’s tea waiting in the library,” she told Tang. When they started to go, Li Na naturally followed, until the woman suddenly stopped in her tracks and looked at her.

“This is an adult matter. The children should stay in the courtyard,” She spoke to Tang, not even so much as glancing at Li Na.

Tang and MK looked down at her with pitiful smiles that told her all she needed to know, and she let go of her baba’s hand.

“Thank you, bao bao. We’ll find you as soon as we’re finished,” he vowed, and before she knew it, he and MK were both gone.

It was okay, though. She was okay if they were gone. She was okay. She was just going to go relax by the pond and–

“Wow, your skin really is pink, huh?” A voice from behind made her jump.

“I– uh– yeah!” Li Na laughed nervously and turned around, finding Sujia and Peili staring at her. “It's what you get being half a pig demon.”

Sujia laughed. “That is what you get. You like mud too?”

Li Na laughed too, though her stomach was kinda tight. “No, no mud for me, just water.”

“That must be the human half,” Peili added with a giggle.

“What else do you do, little piggy?” Sujia asked, circling her.

“Oh, well, I mostly help baba around the farm–”

“Farm? Isn’t that confusing?” Peili interrupted.

“Well, they would have experience raising pigs, it makes sense,” Sujia snickered, while Li Na shifted awkwardly.

“We don’t have pigs on the farm, just cows and birds and stuff,” Li Na spoke up.

“Good, then there’s no mix ups,” Sujia patted her shoulder. “What else?”

“W-well, I help pick apples, when they’re in season. I also do a lot of sweeping and cleaning where our workers can’t since I got ‘young joints’ and all,” she explained further.

“Ever been to the city's Lunar New Year festival?” Peili questioned next.

“Oh– uh, no. Baba and I don’t really like the noise,” Li Na admitted.

Sujia snickered. “Really? That’s too bad. The celebration is just about to die for. But then again, I can see how it can be too much for simple people like you.”

“Yeah, I– I guess so,” Li Na half agreed, confused by her tone.

“So have you ever done anything cool or fun?” Peili cut in again.

“Oh, well MK and I play a lot games together and practice sword and staff fighting sometimes–”

“Really? Isn’t that kinda boyish?” Peili raised an eyebrow.

“Not for her, dummy.” Sujia elbowed Peili with a snicker.

“Right! Yeah, I like sword fighting, I think it's cool.” Li Na smiled and both girls laughed.

“You're really cute, aren't you?” Sujia tilted her head in a way that made Li Na blush.

“I… I've been told.” She looked at the ground.

“You are cute! You look like a fat little piglet,” Peili snickered, getting her another elbow from her older sister.

“She is a piglet, Peili.” Sujia rolled her eyes, before suddenly snapping her fingers. “You should let me give you a makeover some time, I can make you totally beautiful.”

Li Na took a step back. “Oh, I don't know–”

“Oh c'mon! It would be so fun,” Peili insisted.

“It would be so cute to see you walk around like that,” Sujia added. “I bet Mama would even let you go with us to New Years.”

“I don't know, Baba says I shouldn't worry about makeup til I'm 15.” Li Na scratched her arm.

Sujia rolled her eyes. “What would he know about makeup and fashion and society?”

Li Na looked back at the ground.

“I think you should think about it since it would be totally fun.” Peili shared a look with Sujia. “And it would be a good way for us sisters to bond.”

Li Na lit up. “R-really? You want that?”

Sujia smiled sweetly. “Of course we do. We're going to be family tomorrow, after all, so the least we can do is teach you how to be pretty.”

“Besides, you really can't go out in public like that,” Peili added.

“Right, yeah.” Li Na blushed again.

“You should dance for us some time, it would be fun,” Peili suddenly suggested.

“Oh– I don't really know how to, though.” Li Na shook her head.

“That's half the fun.” Sujia smiled with her arms crossed. “I can get all of the girls from the area and we can all watch you dance for us.”

“Wait– Just me?” Li Na blinked. “That's kinda… weird, isn't it?”

Sujia and Peili laughed.

Li Na would've asked more, but right the door opened and MK returned.

“Li Na, did you know Jenai's husband w– oh, hello you two,” MK realized his sister wasn't alone and bowed.

“MK,” Li Na smiled and hugged him tight. “Why're you back so soon?”

“It was all just boring financial talk, don't worry, Li-Li.” MK waved off.

“MK… Didn't Lord Tang say your name was Xiaotian?” Peili asked, head tilted.

“Oh, yeah, but I prefer to be called MK,” he explained with a grin.

“I see,” Sujia nodded. “Well, welcome to the family, MK. Care for a tour of our home?”

“Oh-! Sure, that sounds fun, right?” MK looked to Li Na, who nodded (getting a grimace from Peili).

“Let’s go then.” Sujia turned on her heels, and the tour began.

The rest of the day went off without a hitch, Li Na feeling much braver and safer with MK by her side. They reunited with Tang at dinner, and things were finally starting to feel good by nighttime.

Li Na was unfortunately not part of the wedding procession, since she wasn't allowed to be with the men and wasn't considered family to the bride, which was fair. Besides, MK told her she’d just get bored at all the rituals and that she could be with them at the dinner. She did catch a glance at her baba briefly as he went across a hall, and gave a small wave he returned before he disappeared once again.

Thankfully, MK was right and she joined the family at dinner, which was truly magnificent. Granted, the noodles were nothing compared to how her dad used to make them, but the rest was delicious. There was shark fin and fish roe soup, roasted duck, crab, sea cucumber and abalone, and sweet buns– she felt like a princess having it all laid out in front of her. It was great to sit and talk to her brother and Baba again too, and while it made her wish she could have seen the ceremony, she was perfectly happy to be at the dinner.

And so the day ended, and the Zhang and Zhu families were now one.

…And one month later, MK had packed his bags and was ready to venture out on his own.

“Alright, the boat’s here, I guess we know what that means,” Tang laughed nervously as MK picked up his bags.

“I'll be okay, Baba, I promise.” MK smiled softly. “And you will be too, with your job and your books and your studies.”

Tang's eyes filled with tears. “I know, MK, I know… just make sure to write, okay?” he wiped his face.

“Of course,” MK gave his baba a quick hug before turning to Li Na, who immediately hugged him.

“Do you really have to go?” she whispered.

“I know, I know, I'm sorry but I do.” MK stroked her head.

“Just checking,” she sighed.

“Hey, you've been doing okay with Sujia and Peili, right? You'll be just fine,” MK assured softly.

“Still.” Li Na sniffled. “It won't be the same.”

MK knelt down. “Well then, it's a good thing I got you something then, hm?”

Li Na perked up, making MK laugh as he turned around. He teased her for a moment, hemming and hawing and searching through his bags before he suddenly turned around with a tiny blue kitten in his hands.

“What?! Where did you get that?” Li Na jumped and immediately started flapping her hands in joy.

“Found him at the back end of a street yesterday, and I think he'll be the perfect pet to keep you company while I'm gone,” MK grinned, handing the kitten over.

“Oh he's so cute, MK!” Li Na fawned. “B-but–”

“I know he's no me, but I hope you two can be friends.” MK's smile went sad.

“Thank you, MK, I– I'll take good care of him,” Li Na promised, and the kitten in her hands meowed.

“Cute little guy, isn't he?” Tang chimed in, giving the kitchen a scratch under the chin.

“He needs a name though,” MK pointed out. “Li Na?”

Li Na thought about it long and hard, studying the little thing up and down, taking in its orange stripes and white spots with much thought.

“What about… Mo?” She proposed.

“I love it! It's perfect for him,” MK ruffled her hair, and she giggled.

“Sir? Are you getting on?” asked the captain.

“Right, yes! Be right there!” MK swore, but right before he was going to pick up his bags, he gave Tang and Li Na another hug.

“I'll write at least every month, I promise,” he whispered.

“I love you,” Tang and Li Na whispered back.

“Love you guys too,” MK sniffled. “Take care.”

“You too,” Tang laughed sadly.

MK squeezed them tighter before he grabbed his bags and ran onto the boat.

As Li Na watched, Tang placed a hand on her shoulder and squeezed it tight.

“He'll be alright… he's a smart boy, he'll be fine,” he said, his eyes distant.

“Yeah, MK'll be okay,” Li Na agreed, and Mo once again meowed, taking her attention away from the boat. “Hey, little guy. Let's get you nice and cozy before we go home, hm?” She brought him closer to her chest.

“Yes, yes, let's go home.” Tang seemed to snap out of his trance, gently guiding Li Na away from the dock and back to the carriage.

However, just as she was about to obey, a voice shouted from the boat. The pair spun around to find MK waving as big as he could while the boat sailed away. Li Na and Tang immediately waved back, and continued to do so until MK was a blip on the horizon and they had no choice but to go home.

.o0o.

Life without MK was as lonely as Li Na had expected, though Mo was a nice distraction. He was a fierce little guy, constantly pouncing on any suspicious shadows or bugs or mice– though he was too little to win his fights with the latter. He was also very loyal, preferring to stick by her side whenever possible, or else he'd just stand at the door and cry until she came back.

Lady Jenai didn't like Mo very much, though. She agreed to keep him because he'd one day be able to hunt mice and rats, but in the meantime she asked for “it” to be out of her sight.

Sujia and Peili were similar, though a bit mean about it. They called Mo names and made jokes about throwing him out. One time Peili even tried to pick him up, but stopped when he hissed. Li Na tried to not let it bother her, since maybe they were just jealous that MK got her a cat and didn't give them anything.

It was… hard, though. She felt like she barely saw her baba anymore except at dinner due to him working all the time in the city. It left her with very little to do except practice her embroidery and writing.

The best days were when MK's letters arrived. She treasured each of them dearly and kept them in a box under her bed. When one would arrive, she'd read all about his adventures over and over again until she found the time (and paper) to write. She’d then write about all the little things Mo had done recently, about how the summer heat was starting to get to her, how she thought of him every time she ate a peach, and how she'd look forward to his next letter. Then it was off to the postman, and she'd return back to her day-to-day routine.

It wasn't all bad though. Sometimes Sujia and Peili actually wanted to hang out with her and it would be fun. She didn't quite get them or their jokes yet, but she liked them and wanted to know them better, since they were now sisters and all. Granted, it was a little weird they were always asking her to clean up whatever mess they'd all make, but she was happy to help. Plus, it was worth it when one day the girls said they were thinking of actually taking her out to the city.

“Sit still, we need a lot of this stuff to make you pretty,” Sujia warned, putting on more white rice powder all over Li Na's face.

“Sorry.” Li Na blushed and closed her eyes again.

“Wow, you really are using a lot of mama's makeup,” Peili commented.

“That's the plan,” Sujia replied, dabbing on more.

“Oh– I don’t want to use all of your mama’s stuff–”

“It’ll be fine, you’ll see,” Peili interrupted, rummaging through the drawers for more makeup.

“O-okay, if you’re sure,” Li Na gave a weak smile.

“Close your eyes, I need to get the eyelids,” Sujia snipped, and she obeyed.

“Found it!” Peili then announced, slamming a drawer shut.

“Just set it on the counter,” Sujia huffed, applying the makeup a tad more aggressively, hurting Li Na’s eyes. She kept quiet though, not wanting to make it worse.

“Oo! Can I do her lips? I got a plan to make em really–”

“No. We're sticking to how I planned it,” Sujia immediately shut down, practically hitting Li Na with the bristles full force.

“Ow,” Li Na let slip.

“Oh shut up already!’ Sujia snapped, setting down the rice powder and switching to the rouge, startling Li Na.

“Peili stop, you're upsetting her,” Peili whined.

“It's fine, calm down.” Sujia rolled her eyes and started applying the red makeup to her cheeks and nose. It stung, but Li Na endured, since “pretty hurt” or something like that.

“Ugh, fine. But if she cries, that's your fault,” Peili huffed and slumped on a chair.

Sujia huffed, but managed to apply the rest of Li Na's makeup with ease, stepping back with a grin.

“You look… special, real special,” Sujia said, dusting her hands off.

Li Na couldn't help but smile. “You really think?”

“Oh yeah,” Peili giggled. “Like a real–”

“Wait here, okay? We'll be back after we get mother to agree,” Sujia interrupted.

“Oh! Okay,” Li Na agreed, sitting up properly.

“We'll be right back,” Peili grinned too as Sujia took her arm and they quickly left the room.

A wave of anxiety washed over Li Na as she sat there, and she immediately started fidgeting with her sleeves. She knew she wasn't really supposed to go in Lady Jenai's room, especially alone, but she was invited here! So it was okay!

Besides, when she looked into Lady Jenai's big polished mirror, Li Na thought she looked beautiful– like a fairy or a princess. Her baba would be so proud to see her all dolled up and ready to go shopping in the city. The only thing she was missing was a fancy hair comb, and her hair to be all done up.

With a smile, Li Na took her dark brown hair out their simple buns and ran a brush through them, giggling at the fancy feeling of the much nicer brush. She brushed her hair until it was all nice and neat before she attempted to do her hair like Sujia– or even Lady Jenai. She really wanted to impress her, and prove she could be high society like her too. Maybe if she proved herself worthy, Lady Jenai could mentor her in manners and such– and maybe she could even be like a mother to her, like MK said she could be.

Li Na's never had a mom– at least, not in the traditional sense. Tang was certainly more feminine than Pigsy, but he wasn't exactly an expert in etiquette and fashion and makeup. Li Na knew he came from a fancy background like Lady Jenai, but he always said he was “too shy” for big social events, and “too awkward” for etiquette. As for Pigsy..? He may have been born a girl, but he was a farm boy through and through, always joking about how lost he would've been at formal events. He taught her things like how to recognize a good radish, how to successfully collect chicken eggs without getting pecked, and how to catch crickets with her bare hands– which, while very cool, weren't exactly helpful in high society.

Lady Jenai could teach her how to adapt in this new life– how to be pretty like her step-sisters and maybe even be someone worth admiring. She could adapt to this new life with her help! She could make MK and her dadsy proud! She could almost see it now, her in a silk robe and fan attending court at the palace–

A loud gasp sent Li Na scrambling up, and she was startled to see her stepmother's face so repulsed.

“You,” she seethed. “What on earth do you think you're doing here?”

Li Na looked around, confused. “I-I– Sujia a-and Peili– they said–”

“See, mother?” Sujia interrupted. “I told you she was a little thief.”

“I should have known,” Lady Jenai sighed. “Now I have to get the room inspected for ticks and lice and any other parasites your kind carries around.”

Li Na stepped back, heart pounding in her chest. “M-my kind?”

Sujia laughed. “Wow, you really are stupid, aren't you?”

“You're a halfling, chun zhu,” Peili snickered. “You're not like us.”

“Wh-what? No! I– Lady Jenai, they said– I'm still a person!” Li Na shouted.

“Please,” Lady Jenai rolled her eyes and slowly walked towards her. “You may wear clothes and tie your hair up however you like, but you will always be nothing more than a farm pig.”

“A chun zhu!” Peili cackled. “That can be her new name– Chun Zhu the fat, dumb pig girl.”

“Chun Zhu– why didn’t I think of that?” Sujia laughed right along.

Li Na shook her head and stepped back against the wall, tears threatening to spill. “N-no! Sujia– she said– I-I can be pretty! I-I just– I need some help learning, I promise.”

Lady Jenai raised an eyebrow. “And what on earth makes you think I'd want to waste my time on something like that? Especially to a bratty little thief such as yourself,” she snatched the comb from Li Na's hair.

“I-I didn't steal anything! Sujia put it all on! She said it was okay! I swear– I-I would never–”

Lady Jenai slapped Li Na across the face. “You really are a pest, you know that? And a foolish one too, expecting me to believe you over my own daughters.”

Li Na froze with shock. She desperately tried to scramble words to defend herself– to make her stepmother see reason and explain her innocence, but the stinging in her cheek broke something in her.

“Quiet now?” Lady Jenai huffed. “Good. First order of business is to take that whorish makeup off. Then you will go to your room, where your bedding will be stripped and your personal possessions– every toy, every book, every ink pot– will be taken away.”

Li Na's eyes widened. “W-wait–”

“From there–” Lady Jenai shot an icy look– “you will be given servants' clothes and you will work in this house as a servant for a month as a punishment for your lies and thievery, is that understood?”

Li Na couldn't believe what she was hearing– this couldn't be real, right? This– this was just a nightmare– one she would wake up from any moment now.

“I said, ‘is that understood’?” Lady Jenai yanked Li Na's ear, making her cry out.

“M-my baba won't stand for this,” she protested with what little courage she had left.

Lady Jenai just laughed though, the sound making ice run through Li Na's veins.

“You really think that yutao of a man is in charge here?” She pulled on Li Na's ear harder. “He will be thanking me to no longer have such a hideous creature every day.”

“No!” Li Na cried. “M-my– baba–”

Her stepmother twisted her ear so hard she yelped, before dragging her out and down several hallways before she was thrown into a dark, damp stone room with bits of straw strung about, somewhere nearby the servant’s quarters.

“You will be locked in here for the remainder of the day. Keep up your attitude if you wish to make your stay longer,” she seethed.

Again, Li Na's mind scrambled for a defense– any defense, but the way the woman she had wanted so desperately to approve of her glared down like she was a filthy animal. It made her want to break down and apologize so things could go back to the way they were.

Instead, she curled up and held her sides, choking out a weak, “B-baba–”

“Your father cares nothing for you,” Lady Jenai snapped. “He will be delighted to find you rotting away in here, as will I and every other person who has had the misfortune of looking upon your face.”

Before the girl could even think to speak up, the door slammed shut, the lock turned, and Li Na was left alone in the dark.

Immediately, Li Na let out a loud sob, begging for someone to let her out and that she promised to never bother any of them ever again. She went on like that for hours, and hours, and hours, but either nobody heard or nobody cared (Li Na wasn’t sure which one was worse). Eventually she was too overcome with weakness to continue crying, her stomach tight with hunger. However, even then nobody came.

She tried speaking up whenever she thought she heard steps, but nothing ever came of it (other than the lonely feeling crawling up her throat). Li Na was alone now, just like Lady Jenai promised. Her baba– wherever he was– wasn’t coming for her. Her brother was gone. Her dadsy was dead.

She was alone.

[garland-on-thy-brow]

My latest three saved pictures:

I love trouser roles a normal amount.

[imarigil]

Le Bal du siècle du Château de Versailles

Hannah O'Neill and Mathieu Ganio

Photo: Leslie France

[infinitelytheheartexpands]

unfortunately for all of you i have remembered that this duet exists

[opera-ghosts]

May 24, 1899: At the Opéra-Comique, Paris finds the world premiere of the opera “Cendrillon” by Jules Massenet.

The title role sang Julia Guiraudon, which 5 years after this performance , the Henri Cain librettists of this opera got married.

Cain wrote several librettos for Jules Massenet and was also known as a painter.

[adarkrainbow]

Cinderella on the 19th century French stage

As I said to @princesssarisa previously, there was one article I wanted to share here but forgot to post about... It is from the fourth issue of the "Féeries" publication, the same one which contained the article from which I made this post about 18th century stage adaptations of Beauty and the Beast. The original article is called "Cendrillon mise en pièces ou la seconde immortalité de Perrault au XIXe siècle": written by Noémie Courtès it is about various 19th century adaptations of Perrault's Cinderella.

Here is my info-mining for those unable to speak French:

The article opens with a commentary on the stage genre of the "féerie" per se. It compares the history of the féerie, from the Romantic era to the eve of First World War (where the féerie was replaced by cinema) to the literary continuation of fairytales, starting with the first fairytale anthologies (madame d'Aulnoy, Perrault), ending with the "fairy perversions" of the fin-de-siècle, and passing by the "simplifications for youth" and the "foreign additions" of Grimm and Andersen.

The "féerie" genre was born after the French Revolution, out of authors who didn't want to either do the "théâtre révolutionnaire" (about actualities and current-day politics) or the "drame romantique" (about History) ; searching for magic and wonders, but not those of classical myths as they seek a simpler story and easier-to-create special effects. It was not just something theater-related, all the genres were swept by this wave of innovations under the cosntant changes of freedom and censorship - in the 1820s the "pointe" movement was introduced in the ballets to give the impression that the dancers float or fly, a movement tied to the production of stories with elf-like characters (La Sylphide, Giselle, La Péri). The "féerie" proper started as an aesthetic category - it was understood as a "style" of production between the Directory and the July Monarchy, a time of full freedom and experimentation for the theaters and when writing techniques mingled with each other. However, from the 1840s onward, as censorship and privileges returned, theaters became more formal, productions become more schematic, plots petrify themselves, and the "féerie" becomes its own, proper genre. The "féerie dramatique" (fairy drama) gave birth to several thousands of plays at the heart of a crossroad between various "liminal" genres (vaudeville, pantomime, ballet, opera) - and its purpose was to go beyond the simple "theater illusion" to reach what was called the "fairy illusion". Courtès offers a brief example of the féerie genre by studying its variations on the story of Cinderella.

I/ Cinderella, or how to find a fitting shoe

Perrault's fairytales had a HUGE, HUGE success, from 1697 to the end of the 19th century. Already in 1697 you had the Italian Comedians of the King making a comedy in the Hôtel de Bourgogne called "Les Fées, ou Les Contes de Ma Mère l'oie" (Fairies, or the Tales of My Mother goose, in one act) ; and for the end of the 19th century we can mention Méliès' 1899 Cinderella. A famous work in-between those two is MM. Clairville's and Jules Cordier's 1854 "Les Contes de la Mère l'Oie", a "great féerie" in five acts and twenty-two tableaux (théâtre de l'Ambigu-Comique).

However, such a huge success can lead to baffling things... To take back Clairville/Cordier's Contes de la Mère l'Oie, in there all of the fairytales are mingled and mixed together under the whims of a good fairy and a bad fairy, who switch between human form and animal form: Mère l'Oie is the good fairy/goose ; Serpentine the evil fairy/snake. Their battle is to allow or prevent the wedding of Simplette with Riquet with the tuft, who is turned at the end into Prince Charming, through the intermediary of grandma-eating ogres and enchanted slippers. This féerie is filled to the brim with references to the theatrical actualities and dreadful puns. People of the time often wrote in an ironic way to point out how, if Perrault was still alive, he would have made a fortune with all the plays, ballets, operas and vaudevilles made based on his stories.

While between 1810 and 1899 numerous adaptations of Perrault's fairytales were made, Cinderella stays the number one adapted tale, with thirty different versions in the 19th century all from different genres. The very first Cinderella of the century is from 1806, but the trend only really starts in 1810 by the opéra-féerie of Etienne and Nicolo. It is a huge success, with a hundred of successive representations, and in just one year, eleven different shows imitated it (one in Montpellier, Les Pantoufles de Magdelaine, and one in Lyon, Le Mariage de Cendrillon). This series is at its core a parodic one, but it is very interesting to see how intertextuality is very, very strong between these creations. For example, the song "compère Guilleri" is first found in the Cinderella ballet of 1809, then is moved to Etienne's work in 1810, and is then almost always referenced or reused by all the imitations and parodies that would follow (sometimes the song is played for a vaudeville act, other times it is merely the name of a character). Etienne's text influenced other plays for nearly twenty years, and it was adapted in all the genres. Etienne's Cinderella heavily inspired the 1823 ballet, and the vaudeville-féerie of 1838, as well as of Rossini's "La Cenerentola" of 1817, which takes back Etienne's plot. The glory of Etienne's play was finally concluded by two revivals in 1845 and 1877, with bigger and more spectacular stagings.

In 1810, every new Cinderella play takes into account all the plays that came previously, and the references pile up playfully - to the point that the number of "Cinderellas" augment within the plots. "La Famille des Cendrillons" offers four Cinderella, "La Fête de Perrault" five, "Le Rendez-vous des Cendrillons" six. In fact, "Le Rendez-vous des Cendrillons" pushes the joke even further: as the play comes to an end, a servant announces the arrival of three more Cinderellas (two from the Boulevard, one from Italy), and it is decided the doors shall be closed shut to avoid an invasion of Cinderellas... Already in "La Famille des Cendrillons" a similar joke was made; the four Cinderellas try in vain the slipper because, unlike Perrault's shoe, it is too big - deformed by "how so many people tried it on". And the final vaudeville act blatantly sang on how Cinderella's name appeared on coins, hats and candies everywhere, used to make money everywhere.

What is very interesting with those rewrites is how the adaptations reveal the constraints of each theater, and the burden of censorship. The Odéon Cinderella decided to be a pure comedy ; Séraphin's Cinderella uses puppets ; other plays rather explore the possibilities of the Vaudeville. Because in 1810, by imperial law, each theater had to have its own specialization, and if they wanted to enter a different genre, they needed to be cunning. Cinderella was everywhere, even within the prestigious Académie royale de musique, where they had a Cinderella theme with Albert Decombe's 1823 ballet, with a Ciceri-decorated stage.

The diversity of all these plays is truly striking today. Every little detail that can be changed is changed. The place can be Bordeaux, Turkey, Italy. The era can be the Middles-Ages, the 16th century or the era of Louis XIII. The number of characters change: is there a stepmother with two stepsisters, just two stepsisters, or a stepfather with one or two stepsisters? The onomastic also changes, though always upper-class and meanngful: comtesse de Hauntainville, Uranie de La Houspignole, Mme de La Haltière... The prince can be a sultan, a king, or a child-prince. The identity of the fairy constantly moves: it is a genie, a great astrologist, a supernatural white cat... The hour of the spell's end can be midnight or two in the morning. Even the slipper changes: glass or green, when it is not replaced by a bracelet or arose... The magic itself can be removed, like in Etienne's text where the fairy is replaced by a knowledgeable preceptor named Alidor who "knows many extraordinary things", "speaks all the languages, can read into the stars, and is rumored to be friend with genies". However, there is still an "aerial choir" supposed to be sung by genies during the second act, and to maintain appearances a fairy is introduced in the final moments. Outside of Rossini's adaptation, which stays very faithful to Etienne's play, all of the other productions influenced by Etienne refuse to keep the lack of magic: they rather highlight the supernatural aspect of the tale.

The main focus of the story can also be changed, especially if new characters and episodes are added. Already Etienne was placing first and foremost the switch between the prince Ramir and the ridiculous lord Dandini, to test Cinderella's feelings ; and Massenet's version includes a very poetic scene of prayers to the fairy, sung simultaneously by Cinderella and the Prince Charming, separated by a magical wall of roses imitating the situation of Pyramus and Thisbe.

II / The féerie ingredients

The story of Cinderella has all the elements needed for a good adaptation. Outside of a quasi-unity of place and time (compared to Sleeping Beauty), the heroine is a touching character and the subject is not perverse (unlike with Donkey Skin). However, in the 19th century, the staging of the fairytale adds more elements - though they are not the same elements as literary adaptations of the fin-de-siècle. No "modernization" in present-day, no outrageous erotic subtext, not even political ideas on women's life in the 18th century.

Since the stage only wants to seduce its audience and make it feel, it stays faithful to the misery of Cinderella and plays on all the possible variations, of genre and of technique. Indeed, Cinderella's success spans over an entire century, a century VERY rich in theatrical experimentations and scenic inventions: it was an era of eletricity and pyrotechnics, of light tricks and optical illusions, of trap-doors of all sorts... As such it is impossible to synthetize all of the Cinderella variations, that go everywhere from the parody to the féerie to the ballet to the opera. Yet, there are three main elements to explain this success in the 19th century. The humor, the music, and the spectacular.

All of these dramatic adaptations contain at least one comical element. More or less obvious, in the parodies it is a burlesque humor - for example, the heroine can be played by a man. In "La Chatte merveilleuse", the audience sees Cinderella played by Brunet, an actor famous for his role of "Jocrisse". Other times the symetry of the stepsisters is exploited (especially in ballets), or a grotesque rival is added (Guilleri, Dandini, Bambini) - this has a precedent with Etienne, who writes a scene of seduction between Dandini and Cinderella's sisters (Clorinde and Tisbé), by basically copying the seduction of ths two peasant women in Molière's Dom Juan. All of these comical elements are here to balance the misfortune of Cinderella.

Second element: the music, very present in the adaptations. The authors can use a "ringing episode", during which the sisters abuse Cinderella by calling her to the opposite ends of their house (on a model imitating the first scene of the Wedding of Figaro). But usually it is the ball scene that is used to insert dances - of course, ballets and operas had a lot of fun with the ball scene. [Henri Cain, for the second act of the opéra-comique of Massenet, staged five different entrances during the ball scene]. The "oniric" atmosphere of féerie shows favorizes and highlights female voices - sometimes an entire choir of spirits is introduced, and with Massenet Prnce Charming is played by a female soprano. Talking plays meanwhile, fitting with the aesthetic an fashions of the 19th century, exploit fully the resources of the vaudeville. Vaudeville acts are recurring, highlight the comical, and often famous songs are inserted with a new meaning given to them. In "La Chatte merveilleuse", Cinderella leaves for the ball on the melody of the song "Bon voyage monsieur Dumollet" (Good travel mister Calf), and at the end of "La Fête de Perrault", Cinderella dances with Blue-beard, Little-Thumbling, Sleeping-Beauty and co on the melody of "Où peut-on être mieux qu'au sein de sa famille" (Where can we better be than within our family).

However, while the music is crucial, the spectacular is even more important. Cinderella is the perfct excuse to present a universe filled with theatrical illusions, an oniric world. All the common scenic effects for spells and enchantments are accumulated throughout the adaptations to illustrate the magic of the fairytale. The ballets especially are known to abuse it all, by gathering many groups of improbable characters so as to have as many people on stage by the end as possible. Féeries meanwhile play heavly on the "tableau aesthetic" and the "apotheosis". The culmination of those can be found in 1866's Cinderella, with on top of the 23 "regular" characters an addition of "Princesses of the Volcano Islands, of the Blue Islands, of the Dancing Islands, of the Crystal Grottos, of the Islands of Flowers and Butterflies, Princesses of Trébizonde, of Savages Islands, etc... Lords and Ladies of the Court, Pages, Valets, Centaurs, Guards of all sorts, the Court of Love, Fairies, Wedding people, Villagers, Peasant women, Monsters, Fire Genies, Glowing worms, etc."

To make "magic real" all sorts of set changes and costume transformations are invented, but often to the point of neglecting the "literary" aspect of the show, which is something the many parodies of Etienne's work like to mock. For example, in "La Chatte merveilleuse", Etienne's use of a rose (symbolizing clearly a sexual motif) is parodied when the cooking pot of Cinderella turns into a rose-tree in the chimney, with the delightful wordplay "Ah ben, v'la qu'c'est un peu trop fort! mon pot-au-feu changé en pot-aux-roses". [The "pot-au-feu", fire-pot, a traditional dish, becomes the "pot-au-rose", flower-pot but also figuratively a trick, a deceit, a scam]. The talisman that Alidor offers to Cinderella to make her intelligent is denounced as an unbelievable trick. Following parodies offer similar meta-commentaries, like "La Fête de Perrault" which claims "We see a cauldron become a nice rose-tree/ A pumpkin is quickly an elegant carriage / This play shall be celebrated up until spring!".

[The article mentions here the various "derived products" sold based on these plays - for example after 1810's La Chatte merveilleuse all sorts of doll-theaters, popular illustrations and Epinal images of Cinderella were created based on La Chatte merveilleuse rather than Perrault's version, leading to a modification of the popular culture's understanding of the Cinderella story. But that's a bit too much for this post.]

III/ The apotheosis of the stage-trick

"Over-the-top" and "way-too-much" could be described as the mottos of the féerie shows. The art of the stage-trick reaches summums as the century goes forward - their evolution can be considered between 1806 and the invention of the cinema. In fact, the talent of the authors was often overshadowed or erased by the genius of the set-makers and the name of the trick-inventors, who earned as much money and fame if not more than the writers. The ironic thing being that "magical illusions" do not require very advanced or difficult techniques. You just need a character, identified by the audience as a fairy, to pretend to use magical powers in order to create an "expectation of the wonder". Then anything can happen, and the smallest modification of the ordinary order of things can pass off as "magic". In "La Chatte merveilleuse", the fairy-cat's powers manifest when, by using her wand, she prevents the other characters from speaking or moving, or manipulates their gestures for comical effects. These "easy tricks" work all throughout the 19th century, and if well interpreted, especially in theater or ballet, they create a true feeling of magic when you just have false words or implicit movements.

The 19th century also sees the return and the persistant use of a trick as old as a century and a half: a change of area, a movement of the settings, done in full view of the audience and justified by the intervention of a supernatural power. Tables filled with food appear, illuminating lamps descend from the ceiling, trapdoors open, cars and chariots appear... The only thing that evolved was the rapidity and fludity of those changes, but the principle is the same ever since the Italian Renaissance. However there are new techniques appearing in the mid-19th century: 1838's Cinderella is a marking step in this regard. In this "vaudeville-féere in three days", the classical units are broken in favor of the spectacular: the staging uses "transparencies" to make appear imaginary characters, supposed in-story to be summoned by magic, but it is also the first use ever in a Cinderella of an apotheosis. From 1838 onward, as the plot gets more complex the tableaux and the tricks multiply, until we reach the bloated "great féerie of 1866". Thirty tableaux, three authors, three set-designers and one trick-maker! Across its five acts we go from the manor of La Pinchonnière (owned by the father of Fleurette-Cendrillon) to the greenhouses of king Hurluberlu XIX, from the mountain of the fire-genie Farhulaz to the grotto of Luciole the fairy of glowing worms. And the plot is complexified by the addition of farcical episodes and nocturnal scenes, with the kidnapping of the heroine by Farhulaz, and the apparition of a Court of Love, and all sorts of adventures only here to add to the spectacular, and to allow the audience to see lightly-dressed women (Charming being played by Mme Desclozas), all under blasting electric lights and an apotheosis at the end of every act!

Several of the scenes in there still use the model of Etienne and the music of Nicolo, such as when the fairy uses her wand to change the opera song of Mme de La Houspignole into a bawdy song. However, unlike with the 1810 opéra-féerie, here the character of the fairy is essential. The fairy Luciole is heavily used for all the un-hidden stage changes - such as when she has a marble staircase turn into a winged chariot that takes her throughout the sky in view of the audience. She even brings incredibly complex effects: in one scene, she has all the furnitures "crawl over the wall" up to the ceiling, while another set of furniture turn on themselves and upside-down, while the room itself goes upside-down, the ceiling becomes the floor and the floor the ceilings ; and the characters end up screaming with fright attached to the floor-now-ceiling.

(Below is a newspaper parody of all the grandiloquent Cinderella plays that were made at the time)

Luciole is so important that she closes the stage, marrying Prince Charming and Cinderella in the middle of an "apotheosis in four parts". Yet, it is Charming that offers the moral of the story: "What good would it be for me to be a prince if I had to justify my whims? If I could only have ordinary desires? If I was forced to make possible all the orders that I give?"

Of course, these shows receive the same criticism that the operas had in the 17th century. The machines made too much noise, the special effects took too long, the plot was ridiculous and vain, the text felt useless and flat... So much so that, to point out how literature disappeared behind the technique, La Lune newspaper published a drawing of a vulgar, worn-out, cheap shoe with the caption "Here is the slipper of the only artist within the house, the machine-worker."

This marke the end of the theatrical vogue of "big Cinderella shows" - even though a few remaining works would soon enchant audiences everywhere for a lasting time, such as Méliès' movie or Prokofiev's creation on Volkov's libretto - with a special mention to Nouréjev's 1986 choreography. As Jean Anouilh wrote in his "Useless Fables": "A fairy godmother, it is useful for a ball's night at the opera!"

[chopinski-official]

Dobry wieczór. Since it’s International Women’s Day (albeit not strictly), tonight I would like to draw my followers’ attention to the female pianists and composers who were my contemporaries… Apologies for the lengthiness, evidently there is a lot to be covered.

Clara Schumann 1819-1896

A child prodigy, Clara was taught piano by her father and by thirteen he was taking her on concert tours.

She met Robert Schumann as a child when he came to Leipzig to study law at the university. He took piano lessons from Clara’s father, Friedrich Wieck. When she was 18, he proposed to her. They married in 1840.

The virtuoso went on tours with her husband and earn money by performing and teaching. She was also a gifted composer, however most of her time was spent looking after her family, editing Robert’s music and playing. Clara’s compositions include more than 20 piano works, a piano concerto, some chamber music and several songs.

Fanny Mendelssohn 1805–1847

Composer and pianist, Fanny grew up in Berlin, sharing the same musical education as her brother Felix, with whom she had a close relationship.

Her compositions include a piano trio, a piano quartet, an orchestral overture, four cantatas, more than 125 pieces for the piano and over 250 lieder, most of which were unpublished in her lifetime. Although lauded for her piano technique, she rarely gave public performances outside her family circle.

Owing to her family's reservations and to social conventions of the time about the roles of women, six of her songs were published under her brother's name in his Opus 8 and 9 collections.

Marie Moke 1811-1874

Marie Moke gave her first concert at the age of eight and by the age of fifteen, she was already known in Belgium, Austria, Germany and Russia as an accomplished virtuoso.

She married pianist and piano manufacturer, Camille Pleyel, but they later separated on account of her promiscuity. Heinrich Heine considered her among the greatest pianists “Thalberg is a king, Liszt a prophet, Chopin a poet, Herz an advocate, Kalkbrenner a minstrel, Mme Pleyel a sibyl, and Döhler a pianist.”

Later on, she created the piano school at the Royal Conservatory in Brussels where she taught from 1848 to 1872.

Louise Farrenc 1804-1875

A French composer, virtuoso pianist and teacher, she started playing young and had piano lessons with famous teachers such as Moscheles and Hummel. She studied composition privately with Anton Reicha at the Paris Conservatoire, unable to go to composition classes as a woman. By the 1820s she was touring France, giving concerts.

In 1842 she was made Professor of Piano at the Paris Conservatoire where she stayed for 30 years. For a decade she was paid less than the male teachers. Only after the triumphant premiere of her nonet did she demand and receive equal pay. She wrote a wide variety of piano music, but her chamber pieces are considered to be her best work.

Pauline Viardot 1821-1910

From a musical family (including her older sister, Maria Malibran) Pauline was trained by her father on the piano and in singing.

In her youth she took piano lessons with Franz Liszt and counterpoint and harmony classes with Anton Reicha. However, despite wanting to become a concert pianist, she was directed towards singing by her mother.

Pauline began composing when she was young, but it was never her intention to become a composer. Written mainly as private pieces for her students, her works were still of professional quality and Franz Liszt declared that, with Pauline Viardot, the world had finally found a woman composer of genius. Compositions include her chamber operas Le dernier sorcier and Cendrillon.

Arabella Goddard 1836–1922

Born in France to English parents, at age six Arabella was sent to Paris to study with Friedrich Kalkbrenner. Aged seven she played for myself and George much to our pleasure.

During the 1848 Revolution her family had to return to England; there, Arabella had further lessons with Lucy Anderson and Sigismond Thalberg. She was known for her ability to play recitals from memory.

Arabella was appointed a teacher at the Royal College of Music in 1883. This was the RCM’s first year of operation and Arabella was its first female professor. She composed a small number of piano pieces, including a suite of six waltzes.

Marcelina Czartoryska 1817-1894

Born into the aristocratic Polish family, the Radziwiłłs, Marcelina was taught piano by Carl Czerny in Vienna and by myself in Paris. She gave concerts across Europe, with Franz Liszt, Pauline Viardot and Henri Vieuxtemps.

From 1870 she lived in Kraków, where she gave mainly private concerts and, thanks to her artistic connections, contributed to founding Kraków’s Academy of Music in 1888.

Maria Kalergis 1822-1874

Raised in Saint Petersburg in the home of her paternal uncle, the Tsar's minister of foreign affairs, Maria received a thorough education where she evinced an early musical talent.

She was a student of mine and held salons in Paris whose guests included Liszt, Richard Wagner, de Musset, Gautier and Heine. Later, she became a hostess and a patron of the arts in Warsaw.

She was a co-founder of the Warsaw Musical Institute, now the Warsaw Conservatory and established the Warsaw Musical Society, now the Warsaw Philharmonic. Between 1857 and 1871 she made frequent appearances as a pianist.

On her death, Franz Liszt wrote his Elegy on Marie Kalergi.

[fairytale-poll]

ROUND 3C, MATCH 3 OUT OF 4!

Propaganda Under the Cut:

Saki:

Psychic goth girl who was cast as Cinderella in a school play. The play was so poorly cast overall that the entire script had to be rewritten, thus “Cinderella-ish” was born. Hanajima played a Cinderella dressed in all black, and when confronted by the fairy godmother, she simply wished for meat.

idk if this is what you meant by 'acting' as Cinderella but in-universe she got cast as Cinderella in the school play, and the characters ended up re-writing the entire play to work around her because she was too Goth and disinterested to play a classic Cinderella character.

She plays the best version of Cinderella. All she cared about was going to the ball for the barbecue. The episode she's in is a really good one as well.

Overall Saki is not a Cinderella character, but you did say we could submit them if they were Cinderella in an in-universe play, and that she was! In Season 2 Episode 23 "It's Cinderella-ish", her class puts on a production of Cinderella and she ends up getting cast as the titular role, which a lot of other characters think is crazy because she's this straight-faced, emotionally-repressed, exclusively-wears-black kinda girl. Also her best friend Tohru (the anime's protagonist) gets cast as an evil stepsister, and she's one of the sweetest people ever and has so much trouble being mean to Saki even fakely and vice versa. Of course, Saki has no problems being rude to the Prince Charming character in the play, played by Kyo, a guy who's sweet deep down (but only to Tohru and his adoptive father) but is other wise a hot head who's always getting into fights. So between Saki as Cinderella having a genuine love for her stepsister and a general animosity with the prince, in addition to the fact that when she goes to the ball, all she wants to do is eat, not mingle, she makes for a very interesting Cinderella.

so this shoujo series has a storyline where the class puts on a Cinderella play but instead of the heroine playing Cinderella, shenanigans happen that lead to the heroine's goth best friend, Saki Hanajima, aka Hana-chan, aka Demon Queen, playing the lead role. Hana-chan's Cinderella dresses in all black against the wishes of the play's director, does not give 2 shits about the prince, and is just a general menace to society. I know she's probably not gonna win but I just wanted to share her with all of you bc I love her and the Cinderella-ish arc is to this day some of the funniest shit I've seen in a manga

their high school class decided to randomize who played which characters in their production of Cinderella & the creepy goth girl got cast as Cinderella & her painfully kind-hearted bestie got cast as the evil stepsister (among other mismatched roles) so they rewrote the play into "Sorta Cinderella" & Cinderella became a deadpan, lazy girl who only wants the best for her darling step-sister & who only went to the ball for the food.  in the end, instead of marrying the prince she takes his money & opens a restaurant with her sister & I love that for them <3

Cendrillon:

[Mod's Note: Warning for Persona 5 spoilers]

Her Persona is Cinderella. Her story is about disguising herself as another person to gain acceptance.

Her persona is Cendrillon, the French name for Cinderella and the name of an opera based on the story, and it mirrors her arc in the game. When you boil her down to the essentials, she essentially made a wish that was granted by her....... fairy godtherapist to go from pauper (bland and talentless depressed Sumire) to princess (her dead sister Kasumi, bubbly, personable star gymnast). As far as she sees it, even, it's this transformation that helps her 'get the prince' (read: befriend the protagonist). Why should she win, though? Umm because she's my baby my angel my sweetie my cherub specialist character in fiction and most important girl in the universe. Out of love in your heart for me, tumblr user [REDACTED], vote for her.

GOD I LOVE HER SO MUCH ok ok ok everyone here's my autism. Major spoilers as you get closer to the end btw! - She has three personas, in order they go: Cendrion, Vanadis, Ella. The first and last are taken from Cinderella, with Cendrion being the german name for Cinderella, and of course Ella just being a shortened form of Cinderella. - She does gymnastics, although a lot of her phantom thief design is heavily based off of ballet as well! In particular the black swan mimicking the white swan, and while of course that's not cinderella, it does remind me of how Cinderella was treated in the beginnings of the story - Cinderella and her both have major sibling trauma! It's a huge point about her character. Major spoilers, but she pretends to be her older sister Kasumi for most of the game; the sad truth is that she's in fact the younger sister Sumire. She's pretending to be her older sister because she can't deal with the trauma of that day she ran out into traffic and her sister got hit instead of her. (It does not help that her therapist uses eldritch god powers to gaslight her into thinking she is her sister.) - They're both pretty and also I love sumi so much she's everything to me. unironically the character of all time NOT FOR PROPAGANDA but for mod: image because it can be awkward to find one: https://i.ytimg.com/vi/UyOsg26GnZU/maxresdefault.jpg also!!!! if you're interested in not potentially spoiling people you should call her Kasumi Yoshizawa. If you aren't worried about that though and want to be accurate, Sumire Yoshizawa is better. Or just call her Violet because that's her codename!

Initially introduced as Kasumi, she is a dorky and sweet first-year student who looks up to the protagonist as a mentor and eventually joins the Phantom Thieves in figuring out the fake reality they're trapped in. However, it's revealed that she's actually Kasumi's sister Sumire, who was always stuck in her more talented sister's shadow and yearned to be Kasumi. Unfortunately, she got her wish when her sister died saving her and her therapist brainwashed her into believing herself to be Kasumi. With help from the protagonist, Sumire realizes she was holding herself back and breaks free from her false identity, embracing her true self and rebelling against the hollow utopia. Her initial Persona--an embodiment of her true self--is Cendrillon, and her third tier ultimate Persona is Ella.

Sumire dosen't just pretends to be her dead sister, she was brainwashed into believing to be her by the final act's main villain/her fairy godfather figure, because that was her (misguided by trauma) wish as she believed that her sister was better than her. The final acts has a lot of 'making wishes come true' theme that connects her to Cinderella even more, also she does have a bit of 'save by the prince' thing going on with the game's protagonist

Please please vote my girl!!

Sumire is such a cute and cool character and deserves to leave the life of cinders how the fandom treats her and be a shiny princess!!

[monotonous-minutia]

you are my charming prince.

and if I could choose, I would choose you. Oh, how I wish I did not have to lose you the very moment that we met...

[princesssarisa]

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

[smolstarthief]

In the Opera Cendrillon her father says very early on “Weep for me, Philemon.”

This could be indicative of The Yoshizawas having some sort of knowledge of or connection to Philemon the true master of The Velvet Room.

Unfortunately ,Atlus has done exactly nothing with this and probably never will.

I can't really say on this one other than it being an interesting fact about the opera sadly. I guess it would have been another neat thing for Atlus to add but idk, maybe the twins not having ties to Philemon works better for me (though Philemon being the reason Kasumi's spirit was able to fuse with Cendrillon I can see being a thing possibly).

[garland-on-thy-brow]

I am halfway through this lovely digital-themed production of Cendrillon (Promfest 2023). Part of the action happens on Instagram and the love duet is in a messenger. 

Enjoying it!

Part 1, part 2.

CW for flashing in some scenes of part 1 (starting at 40 minutes, last occurrence if I am not mistaken at 52); there is also some electronic music (which i found irritating) in the same scenes. If you are sensitive to this, please be cautious.

I have not watched part 2 yet, so just be aware that similar CWs might be applicable.

[dealthorpakp]

17 décembre 1987 Représentation de Cendrillon au Royal Opera House de Covent Garden à Londres