#micaela carmen

[annachum]

Some outfits I can totally see Micaela Cabello ( Carmen ) wear 🤩🤩🤩🤩

And a drawing of Micaela Cabello ( Carmen ) ( a gift for @jonquilclegane btw )

🤩🤩🤩🥺🥺🥺🥺

[luminessdoodles]

moar carmen au!

[spghtrbry]

i’ll finish this later… maybe…or maybe not…

[smallpoxlarry]

the classic 3/4ths portraits but i did them in microsoft excel instead

[purlturtle]

Helena G. Wells and Carmen the opera

(I might have rambled about this before...)

Can you imagine young Helena Wells (the opera premiered in England in 1878, when Helena would have been twelve) sneaking into a performance, only knowing that this was an opera that had *scandalized* half of France, so she fervently wants to see it despite not knowing what it is about, precisely?

And then she sees an opera that deliberately pictures life among working class protagonists: Don José is a low-ranked soldier, Carmen starts out as working at a cigarette factory but fails to keep her job and turns to smuggling, the major "celebrity" of the story is a bullfighter who is acclaimed in town - but beyond? we do not know!

The main character and namesake of the opera is a morally (dark!) gray character, seductive and wilful, and while she "gets her just desserts" at the end, the opera is written to make her the center characer, make the audience relate to her. She is headstrong, not beholden to high society's ideas of femininity, and uses what agency she has in life for furthering *her* wishes, not anyone else's. Certainly not the two male characters'! (who themselves are certainly not your standard operatic heroes!)

I want to imagine twelve-year-old Helena hiding in the rafters, open-mouthed, barely understanding the lyrics but *riveted* to the acting, watching Carmen weave her webs around Soldier Boy and Torero, watching her do exactly as she pleases. Let's say this is a show not in the West End of London but on the South Bank somewhere, put on by a director who leans heavily into the proletariat aspect of it, who makes this a true working class opera, where the smugglers and the tavern crowd are the audience stand-ins, not the money-bags and certainly not the soldiers/police. (Don José is on thin ice, kind of thing, and everyone applauds when Carmen manipulates the situation so that he's fired from the force.)

Can you imagine?

The first female character we see, Micaela, is your classic operatic good girl, soprano, modest dress that's travel-stained, comes to Don José with a letter from his mum. But she is nothing but a red herring! She is not who the opera is named for!

(and then a band of snotty street kids play at being soldiers, and while most productions make them shiny-eyed and the soldiers they're incorporating their heroes, why not have this director turn it around and make them mock the marching, the parading, the obeisance?)

And oh, when Carmen takes the stage! Her first entrance is preceded by one of the most beautiful ensemble songs of the opera (IMO), in which the factory girls come on break and sing while the soldiers are all love-stricken (or lusting) in the background. And Carmen is not one of those girls singing so beautifully, no - and the soldiers know it too! They ask after her, thirst for her, and when she finally makes her entrance, she takes their accolades as utterly deserved and appropriate: of *course* the soldiers ask for her specifically, of *course* half of them are in love with her.

And she flirts by *warning* them. "Love is a fickle thing," she sings. and, "If you love me, watch out," she sings, and maybe Helena doesn't have enough French to understand that, or maybe she grabbed a program somewhere that translates all the important songs, or maybe she understands the singer's body language: this woman is a tigress, knows she's a tigress, and she's absolutely fine with being a tigress, and so are the men who are in her thrall.

In any other story, this woman would be a cautionary tale. In any other story, she might get this one moment to shine, and then will be killed off to "reward her depravity". At best she will get another, much briefer moment to regret her life choices and pray to the good God to forgive her for her sins.

In "Carmen", she is the main character.

Can you imagine young Helena?

Can you imagine her watch this character strut the stage, manipulate every man that has the slightest chink in his armor for her, get *exactly* what she wants out of life? And what she wants isn't to marry well, or raise a family, or Be Good - no, Carmen wants to live life to the fullest, wants to be free, wants to get what's hers and not be beholden to anyone. The audacity of that bitch!

I cannot conceive of Helena not latching on to Carmen over the course of the evening, and latching on HARD. Carmen gets out of jail through her wiles, gets to have the guys she wants, and even when the tarot cards speak of danger, Carmen Does Not Give A Fuck. She flies, she burns so brightly, and she's not gonna let anyone put her fire in a cage. So what if it ends in death! At least she got to make her own choices!

Can you imagine young Helena?

I can.

And I don't think that the fact that Carmen dies in the end is any deterrent, any "moral warning", any "if you follow this path, young girl, *this* is where it will lead" to her. She's twelve! She will just make better choices, not be quite so stupid at the end, and she will have it all: making her own choices, and living happily ever after. She will! She has just seen what not to do; she can avoid that! What, like it's hard?

Anyway, seeing Carmen being a formative experience for Helena Wells is a firm, firm headcanon of mine. Let me know what you think! (and if you have never seen Carmen, find it on Youtube - there are TONS of recordings, a lot of them with subtitles! Just make sure to watch a theatrical version, ie with actual acting, not an orchestra with singers standing still and just singing!)

[woodsteingirl]

as much as i said i do not think this carmen is my favorite, i really like their micaela, which is saying something because usually i do not care for her very much!

[kaynes-secret-blog]

Watching Carmen rn, if anything happens to Micaela I'm killing everyone in this room and then myself

[opera-ghosts]

Soprano Pauline Donalda Speaks About Her Recordings (1960s?) Pauline Donalda (1882–1970), Canadian soprano, and tireless promoter of Canadian opera, teacher, administrator. Donalda was born Pauline Lightstone in Montreal into a Jewishly active East European immigrant home. As a child she attracted attention for the quality of her voice and studied music on scholarship at the Royal Victoria College. In 1902 she went to Paris on a grant from Donald Smith (Lord Strathcona), after whom she adopted the professional surname of Donalda. She made her London debut at Covent Garden in 1905 singing Micaela under the direction of Andre Messager, her Canadian debut in 1906 singing with her husband (Paul Seveilhac) in the Montreal Arena, and her New York debut later that same year in Faust. In the spring of 1910 Donalda opened the Covent Garden season and returned in 1912 singing in both Les Huguenots and I Pagliacci, again with her husband. She was about to leave Canada for a European tour when World War i broke out. She remained in Canada, often giving benefit concerts in support of the war effort. In 1917 she returned to Paris, where she sang in Balfe's Le Talisman, sharing the stage with her new husband, Mischa Leon (b. Haurowitz). Pauline Donalda's parents were Jews from Poland and Russia who immigrated to Montreal, changing the family name from Lichtenstein to Lightstone. The quality of Pauline's voice attracted attention, and she was awarded a music scholarship at the Royal Victoria College. When Sir Donald Smith, Lord Strathcona, gave Pauline a grant to study in Europe, she adopted the name "Donalda" in his honor. After her London debut in 1905, she sang frequently, often when Nellie Melba required a replacement (in this way, Donalda sang Mimi with Caruso). She married the French baritone, Paul Seveilhac, a cast member in the 1905 production of Faust in which Donalda sang Marguerite. She toured Russia, North America, and Europe. In February 1914, she had a huge success in Carmen in Nice.

During World War I, Donalda stayed in Canada where she organized the Donalda Sunday Afternoon Concerts. When the war ended, she returned to Paris where she married the Danish tenor Mischa Léon in 1918, after a divorce from her first husband. Subsequent to retiring from the stage, she opened a teaching studio in 1922 and taught hundreds of pupils. Donalda continued her teaching career in Montreal in 1937 and founded the Opera Guild (1942) over which she presided until 1969; the guild presented 29 operas during this time. Although her performing career was relatively short, Donalda had a great impact in the musical world as a teacher and promoter of opera. She was made an Officer of the Order of Canada in 1967 for her contributions to music.

In 1922 Donalda left the stage to devote her life to teaching, opening a studio in Paris. She returned to Montreal in 1937, where she opened a studio, and in 1942 founded the Opera Guild, the company she directed until 1969. During her relatively short performing career, Donalda was recognized for the purity of her voice and for her musicality, fine diction, and powerful stage presence. She is remembered for the unfailing energy with which she promoted opera in Montreal and encouraged talented young Canadian singers. Donalda also was very active in support of Jewish music in Montreal and the study of music at the Hebrew University of Jerusalem.

[superspy2222]

💋POP CULTURE:

(tener en cuenta esto para armar outfits para podcast o photoshoots)

EJERCITO

I learnt how to be a lady

COLEGIO DE MONJAS

carmencita

nuestra señora del carmen

MUÑECA DE PORCELANA

INSATIABLE

miss magic jesus

ALICE IN WONDERLAND

PROM / QUINCEAÑERO

MILITAR

cantos militares

terrorismo 90s

PERÚ CORE

narcotrafico

prostitucion

chullachaqui

PATACLAUN

JAIME BAYLI

UN MISTERIO UNA PASION

PIETRO SIBILLE

CASI ANGELES

baila baila princesita

BELINDA

lolita

LA SOLEDAD DE LOS NUMEROS PRIMOS

alice

el tatuaje de la rosa azul en la barriga

ARCTIC MONKEYS

piledriver waltz

JAWBREAKER

bromas que matan

I made you and I can destroy you just as easy

violet, new name

CIELO LATINI

me como a mi

abzurdah

alejo

tratame suavemente

hogwig

tatuado alejo en la planta del pie

CLOSER

alice, a stripper

PERÚ CORE

PATACLAUN

JAIME BAYLI

UN MISTERIO UNA PASION

PIETRO SIBILLE

MICAELA VILLEGAS

FLORICIENTA

vestido azul

flores amarillas

GLEE

ANNA DELVEY

BOY'S CULTURE

dance with me the gallowdance

the toxicity of our city

how do you own disorder?

you could have anyone you want, why would you want to be with me?

a little peace of heaven

MELANIE MARTINEZ

THE LOVER

zapatos rojos

CIELO LATINI

me como a mi

abzurdah

alejo

tratame suavemente

hogwig

tatuado alejo en la planta del pie

GIRL INTERRUPTED

LEONES

FRIDA KAHLO

QUINCEAÑERAS

RUBI

TERESA

PATITO FEO

PASION DE GAVILANES

quie

LAS MUÑECAS DE LA MAFIA

SUSY DIAZ

SIN TETAS NO HAY PARAISO

daniela suicidandose dsps de perder el pageont

💗LANA DEL REY

Lizzy grant

“Everybody knows that I'm a good girl, officer”

“Prison isn't going to keep me from you”

💗THE LOVER

zapatos dorados, sombrero rosado, labios rojos

limusina negra

💗SQUID GAME

sangwoo

seul national university

💗CASI ANGELES

melody

💗 avenged sevenfold

a little piece of heaven

cause a really always knew that my little crime would be cold thats what a get a heater for your thighs

💗GOSSIP GIRL

jenny humphrey

lonely boy

lipstick longs longer but gloss is more fun

💗BELANOVA

fantasia pop

💗RBD

mia colucci

elite way school

NAN GOLDIN

the ballad of the sexual dependency

GIA

HIGH SCHOOL MUSICAL

THE WEEKND

heartless

DELLAFUENTE

por la musica olvide que yo era la unica

[lboogie1906]

Camilla Ella Williams (October 18, 1919 – January 29, 2012) was an operatic soprano who performed nationally and internationally. After studying with renowned teachers in New York City, she was the first African American to receive a regular contract with a major American opera company, the New York City Opera in the title role of Madama Butterfly. She had won honors in vocal competitions and the Marian Anderson Fellowship. She became the first African American to sing a major role with the Vienna State Opera. She performed as a soloist with numerous European orchestras. She toured throughout the US as well as Asia, Australia, and New Zealand. She was the first African American appointed as a Professor of Voice at Indiana University. She became the first African-American instructor at the Central Conservatory of Music in Beijing. She became a Professor Emerita of Voice at Indiana University Jacobs School of Music but continued to teach privately. She trained at Virginia State College and received her BA in music education. She left her job as a teacher to study music in Philadelphia with a prestigious voice instructor, Marion Szekely Freschl. She performed on the coast-to-coast RCA radio network. During her time at the New York City Opera, she performed Nedda in Pagliacci, Mimi in La bohème, Marguerite in Faust, Micaela in Carmen, and the title role in Aida. She sang Bess in the landmark, the first complete recording of Porgy and Besa. As part of the civil rights March on Washington for Jobs and Freedom, she sang "The Star-Spangled Banner" at the White House and she sang the anthem before 250,000 people at the Lincoln Memorial. She was a soloist with the Royal Philharmonic, BBC Symphony, Berlin Philharmonic, Vienna Symphony, Chicago Symphony, Philadelphia Orchestra, and the New York Philharmonic. She recorded Symphony No. 8 with Stokowski and the New York Philharmonic. She taught voice at many places, including Brooklyn College, Bronx College, Queens College, Talent Unlimited, and Danville Museum of Fine Arts. #africanhistory365 #africanexcellence https://www.instagram.com/p/Cj2giwMr4dP/?igshid=NGJjMDIxMWI=

[annachum]

MICAELA CABELLO ( CARMEN )'S LIFESTYLE

Unlike Carmen's more bohemian lifestyle and upbringing, Micaela is raised to become a real lady.

Micaela's lifestyle is one of sophistication and elegance. Going from a seamstress and a heartbroken debutante, to a Countess in Valencia treated with deference by many ( and with an adoring husband aka Raimundo DeLeon who becomes a cavalry leader in Valencia to boot ).

Raimundo is an opposite of Don Jose in every sense - he is charming, responsible, brave, and genuinely adores Micaela, and he can offer genuine protection and adoration in ways Don Jose cannot.

As a Countess, Micaela came to have a lifestyle filled with Countess related duties, hosting and attending events, sometimes visiting cafes and shopping, and running her household and becoming a dedicated mother to her 2 children.

Moving away from Seville does her a huge favor, as Micaela get to start afresh somewhere after the debacle and heartbreak hysteria via Don Jose, and heal from such traumas

🤩🤩🤩🤩🥺🥺

[deathbypickles]

i love blogging about carmen opera as if anything im saying is in any way shape or form Original bc its only a statistical probablity that someone has already said and thought these things given how long this shits been kicking around BUUUUT thats not gonna stop me from saying micaela and carmen couldve totally gotten sloppy with it

[spghtrbry]

this is a micaela song to me now

do you see it. do you see my vision.

[smallpoxlarry]

bunny suits

[cofradiastv]

Horario e Itinerario Procesión Terrestre Virgen del Carmen. El Puerto de Santa María 16 de Julio del 2024

La Solemne Función Principal de Instituto será el martes 16, a partir de las 11:00 horas, en la parroquia.      La procesión terrestre comenzará a las 20:00 horas del día 16, extendiéndose hasta las 00:30 horas. Su itinerario comprenderá, tras salir de: Parroquia del Carmen, Aurora, Micaela Aramburu, Palacios, Misericordia, Luna, Plaza de las Galeras Reales, Avenida Micaela Aramburu, Compositor…

[nicknumber]

Suzanne Adams as Micaela in Carmen