#scala setting

[tzufcallsmeshomps]

Hello there! I don’t have a specific prompt, but if you’re able, could you draw Brain (KHUX) or Namine? Stay well 💚

Why not both?

[yzafre]

What if the stuff that happened at the end of KH3 was like... bigger.

[thetwilightroadtonightfall]

KHML x The Good Place (Part 3/?)

[expederest]

[crazygirl0152]

Here is my finished booklet and you can use fingers you want a closer look

[louismygf]

girls when they just finished watching aotv

[invidiatechdemo]

actually have a lot of more specific hcs about character dynamics re: dark road but they're like unlockables in a videogame and/or probably going to only show up in ficstuff that is like, unpalatable to other people who aren't me. not for serious reasons just like. it's pony-related. which shouldn't be shocking).

i have opinions on what vidar's dialogue stuff re: nort and also like. opinions that i'm like 90% certain xehanort has at least /met/ hoder via baldr, but legitimately has not met vidar once, and why that is, but unfortunately for people online: i'm sorry, you're only finding that out in a crossover fic. because the main fic/fancomic ideas i have that are longform are all crossover fics (usually focusing on one series at a time. i once wrote like, half of a monsters inc-related jokefic thing that requires knowledge of the monsters inc comics to parse and then never posted it b/c i got embarassed).

[kurishiri]

Darius Vogel ┊ The great detective Harrison’s book of incidents

꒰ ִ ֺ ⊹ @ notice ⊹ ֺ ִ ꒱ this translation may not be 100% accurate or contain creative liberties due to narrative flow and characterization purposes. if you enjoy, please consider reblogging, but please don’t repost these or claim these as your own!

— the 440 times sent bonus for harrison’s promised event! i now know how jude fans feel... /lh

[TYPEWRITER]

CASE 04 DETAILS: The search for my cute little robin. REQUESTER: Darius.

[HALLWAY; NEUTRAL POV]

Liam: We’ve got nothing on our hands now since we put in our mission report, I see...

Harrison: Nothing, including your work over at Scala?

Liam: Tom’s making the script! He was telling us that he’s run into a bit of a block, so to give him a few days time.

On a certain day, with not a single strange happening, a shadow of a person approached the two, making casual chat.

Darius: Well, hello there, Harrison Gray and Liam Evans.

Harrison: And what might the head of Vogel need from us?

Darius: My poor heart, why so guarded?

D: I just caught wind a little while ago from the Queen’s Aide. You’re looking for cases to solve as detectives, yes?

D: So by all means, I would like you to hear mine out. (＠＾◡＾)

Liam: Oh, my curiosity’s tickling me, Harry!

Harrison: Yeah, and I feel like if we pick it up just to satiate that curiosity of yours, it’s gonna bite us back hard in the rear. (￣□￣」)

Darius: Hehe— don’t worry so much. I’m not really looking for anything grand.

D: I’d simply like you to find an adorable little robin who flitted away from my hands.

[STORAGE ROOM; KATE���S POV]

As Harrison, Liam, and Darius continued to converse, unbeknownst to the robin in question——

Meanwhile, I was in the palace’s storage room.

(It’s going to be fine. Darius would never be able to find me like this...!)

Why am I hiding from Darius, you ask? Well, it all happened just several minutes before...

—— Flashback ——

[PALACE GUEST ROOM]

Darius: Miss fairytale keeper, come play with me, how about it?

It was a line I’ve heard before, and I responded back...

Kate: Umm... I didn’t come here to play though.

Darius: That I know. You’re here to record the discussion Victor and I are going to have, isn’t that right?

Kate: Yes, that’s right. So, that’s why I don’t have time to play——

Darius: About that, Victor ended up getting caught up in some previous engagements, so he’s going to be an hour late.

D: So here we are, keep me occupied in that hour, will you. (＾▽＾)

—— End flashback ——

[STORAGE ROOM]

And then he suggested we play hide and seek.

Because, ‘If I find you in time, I’ll have you do a single thing of whatever I ask.’

He donned the face of an angel, all the while setting the conditions of a devil, and recalling those words, I tried my utmost best to find a hiding place.

(There’s only a few minutes left. At this rate, I will be able to escape from him.)

I looked up at the clock, lax, when...

Darius: Fooound you, miss fairytale keeper.

I wanted dearly to think I was hallucinating, but the one with that heartless voice tapped my shoulder.

Darius: I would like it if you didn’t ignore me, you know. Or, what... are you so focused at work, my voice just goes through one ear and right out the other?

D: So, so focused on cleaning, aren’t you, Miss Kate the maid.

I was dressed as a palace maid and holding a broom, and seeing this sight, Darius spoke, a teasing tone laced in his voice.

[CHOICES - START]

˖🕰️୭˚ CHOICE #1: ...I can hear you.

Kate: ...I can hear you. It’s just I didn’t think you would be able to find me.

Darius: Well, it wasn’t just me, you know. I had them help out, too.

(‘Them’...?)

Holding onto some doubt, I looked over his shoulder, and...

˖🕰️୭˚ CHOICE #2: You’ve got the wrong person.

Kate: You’ve got the wrong person.

Darius: Do I now? Let me take a closer look then.

Saying so, Darius spun around me.

Darius: Hmm... no matter where and how I look, I think it’s you through and through, miss fairytale keeper.

D: Oh, but just to be extra sure, I will definitely know if it’s her or not if we kiss. (⌒▽⌒)

Kate: I-I’ve never even kissed you before, though, so how would you know?

Darius: Hehe, so you admit it? That you are the miss fairytale keeper.

Kate: Ah...!

Realizing my own slip-up, I finally looked over his shoulder, and...

˖🕰️୭˚ CHOICE #3: Goodness me, I’m very, very busy!

Kate: Goodness me, I’m very, very busy!

Convincing myself that Darius’ voice was surely a hallucination, I continued sweeping the dust with my broom.

Darius: You’re ‘busy,’ you say? Well then, I’ll lend a helping hand.

Saying so, Darius snatched the broom from my hands.

Darius: But, are you really sure? If you made me clean and whatnot because you lied, then it would become quite a problem, methinks.

Kate: ...urgh, sorry. That was a lie. It’s my loss.

Apologizing, I looked over his shoulder.

[CHOICES - END]

There stood not only Darius, but Harrison and Liam as well.

Kate: Why are you two here too?

Harrison: Because we took up a request from Darius to find your hiding spot.

Liam: Isn’t Harry incredible? He was all like, ‘There’s not many places within the palaces to hide oneself, so she wouldn’t be physically hiding her body.’

L: ‘Instead, she’ll probably try and mix herself in with the maids and clean or something.’

Kate: Right to a tee... you really are incredible, Harrison.

K: That said, using Harrison by putting in a request would be unfair. My chances to win would plummet then, wouldn’t it!

Darius: But nowhere in the rules did we say I couldn’t. (￣ヘ￣)

D: And besides, there really was something I wanted you to do, miss fairytale keeper, so I could hardly afford to care about appearances.

Liam: ...It looks like the one whose rear is getting bitten isn’t us, but rather Kate, huh. (´-ω-`)

Harrison: Well, seeing as you’re a member of Crown, too, I doubt it’s anything irredeemably bad.

H: ...I think.

After throwing me sympathizing glances, Liam and Harrison left.

Darius: Now then... as for what I wanted you to do, miss fairytale keeper...

Darius’ honey-colored eyes glimmered like a blaze, as though he were a carnivore that found its prey.

Kate: Please go easy on me. I would prefer it if you didn’t hurt or scare me...

Darius: Well, isn’t that a tad troubling, to think the little miss fairytale keeper misunderstands me like that. (￣ヘ￣)

D: Okay, I’ve decided. The thing I want you to do is... ‘to do ten things of whatever I ask.’ (⌒▽⌒)☆

Kate: Wha...

Here I was, thinking if it was just one thing, I could somehow get through it, but somehow that ‘one’ turned straight to ‘ten.’

Kate: ...Can you even do that?

Darius: The rules didn’t say I couldn’t, yes?

D: Now then, whatever should I have you do, miss fairytale keeper...

D: First things first, maybe I’ll have you attend to me in your current outfit. And then—— (^ヮ^)

Darius was pulling out his tricks while wearing a smile,

[BLACK]

and seeing him like that before me, I thought to myself: ‘The next time Darius and I have a match, I will make sure to lay some clear-cut rules on the table.’

Fin.

PROLOGUE.

masterlist 🔎 ┊ ko-fi ☕️ ┊ comms 🤍

[xxsycamore]

BAD LIAR

╰┈➤ You love Harrison, but he gets on your nerves sometimes. You know you can't lie to him, but you can still get back at him in other ways...

Harrison Gray/f!Reader • rating: E (MDNI) • tags: Jealousy; Make-up Sex; Couple Arguments; Rough Kissing; Vaginal Sex; Riding; Dirty Talk; Swearing; Rough Sex; Creampie • wordcount: 2,405 • masterlist

Visions of Temptation 2024/KINKTOBER DAY 5: Make-up Sex

"I told you already. Even if I didn't have my curse, I'd still see right through you. Because you're simply that bad of a liar."

The tiny gasp you let out only makes Harrison that much more amused. You feel the blood boiling in your veins, not even caring anymore if you're overreacting or not.

"I swear, this has nothing to do with you, Harry. I too like to drink strawberry milk sometimes, okay? It's as simple as that! I wanted to drink some so I got myself some. It was my strawberry milk. It wasn't strawberry milk I left for you because I'm too shy to tell you I got you a gift! Jeez!"

"I told you it's fine. I know how shy you can be when it comes to expressing your feelings…"

He pauses to take a sip - the last sip, precisely - of the glass before setting it down where you can see it.

The audacity.

"…So now that you saw me enjoying your gift, we can close the topic if you want to. No need to get so worked up over it… though I'd admit, it's a good look on you."

You watch the empty glass in disbelief.

"…It's sexy, even."

And in the next second, you simply storm out of the room.

***

Later that night, you enter the castle with your cheeks hurting from the big grin you’ve been sporting for quite some time now. With a spring in your step, you walk into the foyer while still linking arms with Liam.

You caught a carriage ride back home together after you ran into him, as your late afternoon going out happened to coincide with him finishing his rehearsal at Scala. Spending some time with him was definitely better than sulking by yourself while browsing the marketplace, seeing how quickly and effortlessly he cheered you up with his bright and bubbly persona. You're not sure if he asked out of politeness or if he picked up the signs of you having a bad day that easily - great, not only are you a bad liar but it seems like you can't hide your feelings at all now - but it wasn't long before you were telling Liam all about your lovers' quarrel earlier that day.

Liam's initial reaction was to smile. Just a smile, not a mocking laugh that reminds you of a certain someone's relentless teasing. Then he made sure to comfort you about it, saying he understands why you're upset with Harry. He's a good friend of his, after all, he knew exactly what you're talking about.

Liam's magenta eyes lighted up for a second, like an imaginary pair of cat ears tingling in attention on the top of his head, with a new smile blooming on his face. A mischievous one this time. He told you he has a plan.

"We're hooooome!" Liam announces out loud, making sure the figure sitting with its back to the door is able to hear it. Of course, both you and Liam know who this is, but you pretend you don't.

"Oh, Harry, it's you!"

Turning to face you while still holding onto the book he's been reading while waiting for your arrival, you and Liam make sure he sees your linked arms just for a bit longer before you let go of each other. You approach first, resting your arms on the backrest of the sofa where Harrison is sitting and gushing about the fun time you had with Liam.

"…And then he looked down and saw he was still wearing those funny-looking medieval shoes from the rehearsal!"

"I can't believe you had to point them out to me… In my defense, Tom is absolutely working me to the bone these days! He's so excited for this new play we're putting on!"

"Who wouldn't be? When you told me about the plot of it, it got me all excited too! Can't believe I haven't seen this play before… I definitely have to come see it. Hey, Harry, you're coming too, aren't you?"

Between the animated gesturing of you and Liam, Harrison remains quiet and mostly still. He crosses his arms in front of his chest, tilting his head for a second as if he's been distracted until you spoke his name.

"Hm? Oh, sure. I'll be there."

"Yaaay!" You clap your hands, before turning your attention to Liam again, as he apologizes for having to leave the two of you so soon. He doesn't forget to say that he's going out early in the morning and probably won't be back till the end of the day. And you don't forget to show how much you're going to miss him, giving him a nice goodbye hug. Right in front of Harrison's eyes.

Once he's gone, you let out a sigh, but don't hurry to move your attention to Harry just yet, even as you walk past him on the sofa. This, however, leaves you wide open, as a pair of arms wraps around your waist in a flash, pulling you right into the lap of the cunning fox.

"Eeek! What's gotten into you, Harry?"

Up this close, reading Harrison's gaze is not hard, even while he's doing the same to you. It's rare to see him so unlike himself, but if there's one thing you know for sure, it's that this is the face of a man being jealous. You need no special abilities to tell this much.

"Nothing much. What's gotten into you? You seem to be in high spirits."

You scrunch your nose at him, opening your mouth to bite back… but you select your words carefully so as not to be caught telling a lie, answering the question with a question.

"Can't I be?"

"'Dunno. It's not the face of someone whose treat was stolen earlier."

It's tempting to break the intense eye contact with a roll of your eyes, but you hold back, even if his words provoke you to do just that.

"Oh, that? I got over it already! I'm not childishly stingy about getting my treats stolen, like a certain someone."

Ouch, that must have hurt. You worry about going too far, but you can't deny the amusement of getting back at him. Especially when you can bask in the results of your earlier performance being written across his face. Maybe your place is in Scala, after all.

His teal eyes shimmer with an unfamiliar light in them, and trying to figure it out makes you feel dizzy. In the next moment, it ceases mattering altogether, because both of you go in for a kiss at the same time.

It begins slowly despite the dramatic pause that preceded it, neither of you wanting to give in first. You let Harrison in your mouth, just to ambush him; wrapping your tongue around his, you turn the kiss into something rougher, and he doesn't back down to you in the slightest. The mass of frenzied energy inside you manifests in clinging to his arms, to his shoulders, tugging at his hair, at his clothing; you maintain your iron grip even as you notice you're disheveling his shirt at this point.

He is the first to withdraw, and despite looking slightly out of breath, he's still staring at you with the same look in his eyes, almost as if he's mad at you. Good, the feeling is mutual.

"Bedroom. Now."

Thank god he said it already.

Once you find yourself in private with Harrison, you know you will not hold back, and neither will he. It's a surprise that a mindful hand still reaches for the light switch, though it's hardly important for either of you right now. With the way you're set on your goal, bodies knowing the way, you hardly need to be able to use your vision at all.

"You're the worst. I'm so mad at you."

"No, you aren't."

Ignoring his words, you relish in the feeling of the naked torso you drag your fingernails down, once that shirt is finally gone. But you're after his belt next, even if Harrison's own hands are on the way.

He's got your skirt removed already, trying to distract you with a kiss while he removes your blouse next, but you refuse to lift your arms up - not until you claim the next article of clothing on him. He breaks the kiss and clicks his tongue, fed up and impatient. Not unlike you.

He easily finds your wrists and grabs them, backing you to the bed and pushing you down until your body hits the fluffy duvet. From there on, his plan seems to be holding your wrists in one hand above your head while he attempts to lift the hem of your blouse again with the other, but it proves hard with you squirming underneath him. You can't stop looking at the expression he makes, and you remember to use your strongest weapon, your tongue.

"You're pretty worked up, aren't you, Harry? Could it be that you really got jealous…?"

He'd never confess to it straight up, so you can at least have your fun teasing him for a little longer.

"I didn’t."

"Liar."

The growing need to kiss his puckering lower lip is what makes you give up on the undressing war, letting the piece of clothing be taken off of you and discarded somewhere on the floor, joining the pile that's already there. Harrison keeps the kiss short because there's still more he can take off of you.

"Yeah, that's what I am."

That's it? No "at least I know when to stop", anything? You lift your head up to catch him moving down on you and tugging at your underwear using his teeth, and the sight makes you forget about your grudge for a split second. Damn it, you want him so bad.

You know once he gets between your legs you'd be screaming with pleasure no matter how stubborn you are. But at least you want to be the one calling the shots while your anger still fuels your boldness. It takes a little bit of effort and a little bit of tongue down Harrison's throat, but at last, you manage to push him down the bed and turn the tables on him.

Once you're on top, you drag down his pants in a rush together with his underwear, letting his erection spring out in your awaiting hands. You rub the blunt head onto your drenched entrance, teasing him one last time before you gradually sink down on him. Though it lacks the usual gentleness Harry treats you with, always mindful of his own size, and the result has you cursing him.

"F-Fuck you��"

"Yeah, it seems like you're trying to do that."

His big hands snake their way up your waist, already there to support you, and a part of you wants to smack them away and show him how well you can ride him without his aid. But you don't, despite yourself and despite the provoking words that his dirty mouth keeps on spilling.

You don't know what's to blame here, but the pleasure of becoming one with him grows tenfold under these circumstances. You need to keep going like you need air. Like it's the only way to channel the emotions rushing inside you right now. The only pause you're willing to take is to unclasp your bra and throw it down at Harrison.

He catches it, bringing it down to his lips for a second while flashing you another dirty look, before it ceases being of interest to him and he throws it away.

"You're- Haaah- You're seriously bad at this. Aren't you going to say something in defense?"

"I'm more interested in fucking you right now."

Your walls clench as you hear this, your body being way more honest than the words coming out of your mouth tonight, but it's hardly a surprise between the two of you.

"Since when did that become your priority? I thought you were having more fun teasing me?"

"Since yesterday. Remember when I commented on how sexy the look on your face is?"

The pace of your hips falters. Thinking about Harrison desiring you like this is, admittedly, hot, but it's his honesty that messes with your head here. As much as he uses his lies to his advantage, it seems like he can use honesty in just as dangerous ways.

Another lowering of your guard, and another chance for him to flip the two of you around.

Now that he's back on top, Harrison hooks your legs on the folds of his arms and it's your only sign to brace yourself for what's to come.

"Come on, say it. Say that you want me to fuck you. Or lie if you wish, I'm not stopping you."

You have to give up clutching your jaw the second Harrison starts pounding inside you in earnest, but the fear of him stopping is what makes you really say the words.

"Fuck me… Fuck me, please! More! Don't stop!"

"As you wish."

Unlike how talkative both you and Harrison have been so far, the following minutes are filled with nothing but moans and the sound of skin slapping against skin. When he leans over you, caging your body completely in his arms, you can't resist wrapping your own arms securely around his shoulders, afraid of him playing tricks on you again. Even if you know he won't. You need this so badly, and so does he.

"Harry… Harry, tell me you love me…! Ngnnhh-I'm gonna-!"

"I love you. I love you so much."

"I love you too-Ahhhh-!"

Hot-white takes over your vision as Harrison's pace shatters, his thrusts deepening just as you reach your peak, milking him for everything he has. He keeps rutting inside you while he cums, his heavy pants muffled into the crook of your neck as he leaves open-mouthed kisses against your feverish skin. You hold him so tightly even after the strong climax relaxes its grip on you, as if wanting him to sink into your ribcage and completely become one with you.

The kiss the two of you share once you can find your breath again, or maybe even before that, is a sweet one, but the aftertaste of it promises another round of this. It seems like there are still some things you have to settle with Harrison.

Liam when he came up with the idea: Oh they're fucking fucking tonight!

Taglist: @arsnovacadenza @kimi00twin @g-kleran @thesirenwashere @devonares @galaxyprison   @starshards26 @thewitchofbooks @acethephoenix256 @ikevamp-shrine-2 @nad-zeta @crystal13unny @lordsister @ikemen-banshou   @themysticalbeing @otome-scribbles @rhodolitesrose @kpop-and-otome @queen-dahlia @kisara-16 @chaosangel767 @ikemenlibrary @queengiuliettafirstlady @aurora-morning @ikemenlover24 @mcofthemansion @joy-the-reader @katriniac @ikemen-writer @tele86 @lovely-bubb1es @aria-chikage @babyblue0t7 @rhodoliteschaos @shrimpy-kitsune @nightghoul381 @xbalayage @lucyw260 @kittygrimm88 @lokis-laugh @natimiles @completelyshatteredbrokenmschf @groovylita Let me know if you want to be tagged/untagged!

[pmamtraveller]

CARAVAGGIO - DEATH OF THE VIRGIN, 1606

This artwork was commissioned by the jurist Laerzio Cherubini, who intended to display the canvas in his private chapel at Santa Maria della Scala in Rome. Caravaggio not only failed to meet the contract deadlines, but he also delivered a piece that bore no resemblance to the aesthetic and iconographic standards of other artworks from that era.

Caravaggio depicted the unremitting grief of an ordinary human death. Mary rests on a makeshift bed, an impoverished woman, plainly dressed and barefoot, with a swollen belly and too exhausted to embrace the release of death. The same Mary Magdalene who cried in "The Entombment" stays despondently near her, while the apostles stand by, hushed, and helpless.

The setting does not depict individuals of noble or high lineage, but rather those who share the same reality as that of the Apostles and the Virgin. While in Rome, Caravaggio frequently had the chance to examine corpses up close, even days after death. Consequently, it is believed that the swelling of the Virgin might stem from this observation.

Caravaggio was misunderstood because he refused to filter reality. He couldn't lie, particularly in the presence of death; even when it truly signifies a rebirth, as seen with Mary. The spiritual homage that various artists aimed to celebrate through the fleeting glorification of beauty is present and acknowledged here in the deep sorrow of the apostles and Mary Magdalene. It is witnessed and exalted through strong colors and the true beauty of simple things.

[mote-historie]

Umberto Brunelleschi, Woman in Sheer Dress with Bird of Paradise, 1920's

Umberto Brunelleschi (1879 - 1949) was born in Italy, but moved to France in 1900, where he became a printer, book illustrator, and set and costume designer. He contributed to several French fashion magazines, such as Journal des Dames et des Modes, Gazette du Bon Ton, and Les Feuilles d'Art. Between the two world wars he worked on set and costume designs for several theaters, including Folies Bergère in Paris, the Roxy Theatre in New York, and La Scala in Milan. Some of the books he illustrated are Candide (Voltaire), Contes du temps jadis (Charles Perrault), and Les Masques et les Personnages de la Comedie Italienne. Towards the end of his life he also did a number of erotica illustrations. (x)

[thetwilightroadtonightfall]

One of my pseudo predictions/ideas for khml is that it could involve a manhunt for Master’s Defender

Let’s say that Ephemera passes MD down through his family—four generations after him as Nomura mentions, til we get to present day missing link. He gives the specific instruction that it must be returned to Brain whenever he’s destined to arrive in Scala in the future (which might be mentioned in the Book of Prophecies). At the end of khux, Ephemera said he still considers MD belonging to Brain, so he wants to return it to its original owner.

But by the time missing link takes place, and Brain appears, what if the current wielder of MD (aka one of Ephemera’s descendants) refuses to return it, firmly believing that it’s their right to wield it rather than Brain.

This causes a stir within the family, as certain members would find this to be selfish, unreasonable, and going against Ephemera’s wishes. Along with just being dishonourable to Brain, assuming they respect him. Meanwhile, other members of the family end up agreeing with this wielder, believing that MD should stay in the family.

I can see this drama getting so out of hand that it spreads to Scala’s wider community, causing the wielder to go into hiding with MD, and leading to a widespread manhunt alongside other various conflicts. Maybe the game is about finding a missing link to the past in the form of MD, assuming that the titular “missing link” could be a physical item and not just a metaphorical or symbolic thing. As far as I know, MD and No Name are also the only keyblades to have chain-related abilities? Just as an added layer

Brain’s whole role in this is up in the air. I’m going to assume that he’d want to get MD back because of it being Ephemera’s wish (and he will get it back eventually, so it can be passed down to Eraqus), but I can see him getting exhausted by all the drama caused by it. Either way, he feels a sense of responsibility to try and fix everything that goes down

[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.

[dailytomlinson]

Yeah so we're at the last gig of the Faith In The Future Tour but it feels more like the last gig really [of] the last three years, I didn't really have a big break between the Walls Tour — the first tour — and the second tour of Faith In The Future. It's pretty sad, to be honest but like any, you know, moment in time is definitely a lot of room for reflection and like, I think it was the first tour gig, but it was the first time that I did like a full set, which I wanna say is about three years ago now, I was in Scala. I wanna say that was about to, about maybe 700 people forward to tonight and, you know, we're playing a sold out show in Mexico in an arena, and the shows in this run have been absolutely incredible. It's just another one of those moments for me to be really proud of what we've created. You know, a lot of my fans know I'm a massive, massive football fan. To have the luxury of being able to play in some of these football stadiums and also, you know, being able to play football in these stadiums after the gig, that is a luxury I'll never, ever get used to, it's an amazing feeling. Even when I was having a really good day before I started touring, never in a million years would I've ever included the word 'stadium' on my own solo tour. I thought that was one of those things that was incredible that happened in One Direction, that will never happen for me again unless, you know, we got back together or whatever. So to have gone through that journey and to feel that level of triumph, which feels... which surpasses my expectations by quite a long way, it's just one of those times where I just feel like in reflection, you know, once me and the fans are aligned and we really wanna do something, we fucking do it, man! And I like that, I like that a lot. So yeah, really proud to say that I've played some stadiums on my own, crazy even saying that. [fans section] I think my relationship with the fans has been relatively consistent but I think as time has gone on, that fans have realized just how vital they are to this whole thing. You know, before I started touring, it was only me on Twitter really telling everyone how important they are to this whole thing but the great thing about tour is: it gives the fans an opportunity to really feel their worth in the room, you know. And that's what's really been really special for me, it's not as if I've played more shows, I've got more experience and I've had to rely on them less, quite the opposite. As the shows got bigger, and the pressures got more, I've known I've got them with me so it's been really lovely, it's been a really lovely tour and one thing I'll never take for granted, no matter where I am. The consistency of the energy in the room is absolutely electric so yeah, all in all I think we've done a pretty good job. [FEQW stream section] It's funny that any big moment in my career always feels like, you know, the ultimate moment really and that was another one of those, the stream. Massive venue, sold a lot of tickets and obviously streaming as well and I put a lot of pressure on myself in those situations, because I know how hard I've worked to get here so I wanna get to these big moments in my career, I wanna be able to enjoy them but I also wanna provide a great night for the fans so that was one of those nights for me. It felt like  a real achievement and yeah, just a really literal example of how far this whole thing has come. [downtime touring section] Don't get loads of downtime, there's a lot of travelling, there's been a bit more on this tour. My relationship with the band and just, I mean like everyone on the road really, it's vital. As I've said before, my experience of touring is that of, you know, part of the unit, part of the band obviously, that was my experience coming up. So to be able to share these moments, not just the incredible live moments but also, you know, great moments of like fun and downtime, like when we were on the ATVs the other day, [...]. Those things are really vital to making this whole thing feel almost homely, you know, almost like home away from home. You need to have your people on your side and to be able to have a laugh a break from the madness. [AFHF 2024 section] It's the fourth years, can't quite believe that, of Away From Home Festival. As always, always a great day in the [...], something I'm really excited about and you get a different sense of achievement on those days,you know, it's really— it's not just my show that I've created, but something bigger than that and then yeah, something that I've always wanted to do so always in the run up, I'm excited. There's definitely some nerves going into it 'cause it's a bit like hosting a party, you know, you really want it to be great, I'm crossing my fingers that everything will go right on the day, yeah, I'm really, really excited, it should be another special day in the calendar. [LT3 section + festivals] At some point I'm gonna thank about the next record but I'm a bit scared, truthfully. Like right now feel like I've been enjoying the success of Faith In The Future for quite a while and yes, there's been the pressure of the shows but I delivered that, I think a good record and the record that was successful, so now I'm going into that next cycle it's a little bit tense to go into it, and I know it'll change once I get off the road and really start thinking about the essence, the record, the concept of the record and stuff like that but right now, yeah, I'm just thinking about the festivals, I'm excited for those.

Louis’ full monologue for the last leg of the Faith In The Future Tour in Latin America + FEQW livestream and AFH 2024

[leporellian]

thesis vii. the monster stands at the threshold... of becoming.

-

jeffrey jerome cohen, “monster culture” / backstage at the magic flute at the metropolitan opera house, NY, circa 1905 / "opera house" by thomas rowlandson and auguste charles pugin / the philadelphia metropolitan opera house before and after renovation / porgy and bess in rehearsal at the met, dir. james robinson / tosca act 1 original set design by adolf hohenstein / tosca at the san fransisco opera, dir. shawna lucey / wozzeck at the opera bastille dir. william kentridge / carmen dir. juan guillermo nova at the sng maribor / kids music cafe at the sydney opera house / don giovanni dir. robert carsen at la scala / madama butterfly dir. matthew ozawa at the detroit opera / the isango ensemble's edition of treemonisha dir. mark dornford-may / m. butterfly dir. james robinson at the santa fe opera / die meistersinger von nürnberg dir. barrie bosky at the bayreuth festival / rigoletto dir. david mcvicar at the royal opera house / the view from the stage at the margravial opera house, photographed by klaus frahm

[louisupdates]

Transcript to Louis’ FITFWT24: Latam IG recap reel [25.6.2024]

Yeah, so we’re at the last gig of the Faith In The Future Tour, but it feels more like the last gig of the last three years. I didn’t really have a big break between the Walls Tour, the first tour, and the second tour, Faith In The Future. It’s pretty sad, to be honest, but like any moment in time, there’s definitely a lot of room for reflection. And like, I don’t know if it was the first tour gig, but it was the first time that I did a full set, which I wanna say is about three years ago now, I was in Scala. I wanna say that was to about 700 people. Forward to tonight, and you know we’re playing a sold out show in Mexico in an arena. The shows in this run have been absolutely incredible. It’s just another one of those moments for me to be really proud of what we’ve created.

A lot of my friends know that I’m a massive, massive football fan. To have the luxury of being able to play in some of these football stadiums, and also being able to play football in these stadiums after the gig— that is a luxury I’ll never, ever get used to. It’s an amazing feeling. But even when I was having a really good day, before I started touring, never in a million years would I ever have included the word “stadium” on my own solo tour. I thought that was one of those things that was incredible that happened in One Direction, that will never happen for me again unless, you know, we got back together or whatever. So to have gone through that journey and to feel that level of triumph, which feels— which surpasses my expectations by quite a long way, it’s just one of those times where I just feel like in reflection, once me and the fans are aligned, and we really wanna do something, we fucking do it, man! And I like that, I like that a lot.

So yeah, I’m really proud to say that I’ve played some stadiums on my own. Crazy even saying that.

I think my relationship with the fans has been relatively consistent. But I think as time has gone on, that fans have realized just how vital they are to this whole thing. You know, before I started touring, it was only me on Twitter, really, telling everyone how important they are to this whole thing. But the great thing about tour is, it gives the fans an opportunity to really feel their worth in the room. What’s really been special to me is, it’s not as if I’ve played more shows, I’ve got more experience, and I’ve had to rely on them less. Quite the opposite. As the shows got bigger, and the pressures got more, I’ve known that I’ve got them with me. So it’s been really lovely. It’s been a really lovely tour. And one thing I’ll never take for granted, no matter where I am, is [that] the consistency of the energy in the room is absolutely electric. So yeah, all in all, I think we’ve done a pretty good job.

It’s funny, like, any big moment in my career always feels like the Ultimate Moment, and that was another one of those, the Stream: massive venue, sold a lot of tickets, and obviously streaming it as well. I put a lot of pressure on myself in those situations because I know how hard I’ve worked to get here, so I want to get to these big moments in my career. I want to really be able to enjoy them, but I also want to provide a great night for the fans. So that was one of those nights for me. It felt like a real achievement, and yeah, just a really literal example of how far this whole thing’s come.

I don’t get loads of downtime— there’s a lot of traveling— there’s been a bit more on this tour. My relationship with the band, and just, I mean, like everyone on the road— it’s vital. As I’ve said before, my experience of touring is that of part of the unit, part of the band. Obviously that was my experience coming up. So to be able to share these moments, not just the incredible, live moments but also great moments of fun and downtime, like when we were on the ATVs the other day; that was a laugh. Those things are really vital to making this whole thing feel almost homely, you know— almost like home away from home. You need to have your people inside, and to be able to have a laugh, a break from the madness.

It’s the fourth year, can’t quite believe that, of Away From Home Festival. It’s always a great day, the kind of thing I’m really excited about. You get a different sense of achievement on those days. That really is not just my show that I’ve created, but something bigger than that, something that I’ve always wanted to do. Always on the run up, I’m excited. There’s definitely some nerves going into it, ‘cuz it’s a bit like hosting a party, you know, you really want it to be great. I’m crossing my fingers that everything will go right on the day. Yeah, I’m really, really excited! It should be another special day in the calendar.

At some point I’m gonna think about the next record, but I’m a bit scared of it, truthfully. Like, right now? I feel like I’ve been enjoying the success of Faith In The Future for quite a while. And yes, there’s been the pressure of the shows, but I delivered that; I delivered the record and the record was successful. So now going into that next cycle, it’s a little bit tense to go into it. I know it’ll change once I get off the road and really start thinking about the essence of the record, the concept of the record, and stuff like that. But right now, yeah, I’m just thinking about the festivals. I’m excited for those.