#the oscar and the nightingale

[dianessunflower]

Celebrating 111 years of the iconic Melbourne landmark, the State Library of Victoria's La Trobe Reading Room Dome with a behind-the-scenes look at the Australian Ballet's shoot, filmed with Principal Artist Callum Linnane posing with rare editions of works by Oscar Wilde including The Picture of Dorian Gray and The Nightingale and the Rose.

🎶 Orchestra Victoria conducted by Jonathan Lo

[thebisexualwreckoning]

GUYS I SAW GAY BALLET YESTERDAY ALL HAIL THE AUSTRALIAN BALLET COMPANY

[emily1iang]

The Nightingale and the Rose 🌹

[thewomanwhoboughttheworld]

Wilde, you wily old bastard, making me cry for something you didn't even know would ever exist.

[thesillydoll]

I need to occupy my mind during the holidays.

[have-you-read-this-short-fiction]

[jelly-of-many-ships]

Okay so Im like really sleep deprived rn so this probably wont make sense but like what if “no nightingales” was like somehow a reference to the Oscar Wilde story, The Nightingale and the Rose...

[quindriepress]

In a remote magical college, a student pines after their beautiful potions partner. Hoping to help the student to capture her heart, a nightingale who believes in true love begins a journey to find them a red rose to complete a spell, but the only way to conjure a red rose is to pay a terrible price.

THE NIGHTINGALE & THE ROSE by @jmiltondraws is a 40 page comic adapting the Oscar Wilde short story, with a twist. Described as "a charming story of love, romantically delivered" (Comic Book News UK), Milton explores what it truly means to sacrifice yourself for others.

This comic is out of print, but you can pick up a PDF copy at quindriepress.com! 🐉

It's currently the Summer of Snorkel, which means every new review any of the Quindrie comics unlocks one free PDF of that comic for new readers to enjoy! Learn more HERE!

[dendronii003]

El ruiseñor y la rosa.

[rosecentaur1916]

Warning! Dark Content Post!

Why in the fuck are stepcest fics always dark? You know... you can write stepcest at least with a step brother and sister that did not grow up together with out the CNC right? Right? It annoys me that anything I look up... it has to be CNC or the character in question has to be mean and a bully... or someone the reader doesn't want to be around. FFS... Any freaking character even boy scout Steve Rogers. It annoys the fuck out of me. You can have stepcest between a grown up stepbro and stepsis that is not mean, violent, or have CNC and its okay. Its okay to have it be consensual. The other thing that grinds my gears is that there are certain fandoms I know came down around the heads of some creators for stepcest because I can't find the fics anymore. There was one for Joel from The Last of Us I was going to read and never got to because the Pedro fandom ran the poor author off the damned platform. It was labeled! If you don't want to read it - Don't fucking read it! Don't run the author off the platform. That goes for me too! Yes! I'm going to write stepcest. It's going to be of an Oscar Isaac character. Anyone that wants to harass me over it will be BLOCKED as soon as they give me guff. I will not go through another round of harassment. This goes for any other dark theme I may write for my fan fictions. I've already written a Dark Dove fic for the One Piece fandom. Nuts and Bolts has rape, branding and depictions of sex slavery in it. Yes, I use the word slave because its relevant to the canon of the TV show. Celestial Dragons in Merijoise keep slaves. Don't like it? Don't take it up with me. Take it up with Oda-san. I have stepcest fics planned, a Star Wars version of Nuts and Bolts planned with Poe as our hero, and I'll just say it now: Nightingale is going to contain mentions of abortion which is based off my real life experience of abortion, so that not only does reader have that guilt plus the guilt of miscarriage in order to relate to Miguel with. If you're not okay with any of that: YOU KNOW WHERE THE BLOCK BUTTON IS! Or... Just scroll on by. If you don't block me and choose to harass me, I'll block you with out a second thought. I've already had issues on this platform when I express any opinion that anyone doesn't agree with. I will not go through it again.

[opera-ghosts]

Today I will remember the extraordinary soprano Adelina Patti (1843-1919). Here we see this antique Postcard from 1898.

Spanish-born soprano who was one of the greatest of her century.

The Spanish-born soprano Adelina Patti was the most renowned singer in Europe and the United States for over 30 years. She was born in 1843, the youngest of three children, into a family of opera singers and musicians. Her parents were opera performers well known in Europe by the time of Patti's birth in Madrid, where they were on tour. Her Italian father was Salvatore Patti; her Spanish mother was Caterina Chiesa Barili-Patti , known before her marriage as Signora Barili. Caterina also had four children from an earlier marriage, and all seven of her children would enjoy successful careers as singers.

When Adelina Patti was four the family moved to New York, where her father became an opera house manager. Her half-brother Ettore Barili gave Patti voice lessons starting at age five; by the age of seven Adelina was recognized as a child prodigy and the next year she gave her debut concert at New York City's Tripler Hall. Audiences and critics at subsequent concerts were stunned by the maturity, range, and purity of her voice. Her success in New York led to a three-year tour of American cities, unprecedented for such a young child, from 1851 to 1854. A second concert tour followed in 1857. Patti's sister Amelia Patti was married to the renowned pianist Maurice Strakosch; he took care of Adelina while on tour and served as her manager, instructor, and accompanist. She received only a minimal education, although her family background and musical training made her fluent in Spanish, French, Italian, and English. Her parents and Strakosch continued training Patti in the demands of operatic singing until they felt she was prepared to sing opera professionally. They arranged for her critically praised debut in the title role of Lucia di Lammermoor at the New York Academy of Music in 1859; she was 16, and would perform in opera continually for the next half-century, enjoying a career that was decades longer than that of most opera singers. Soon after her debut Patti faced serious family crises, as her father's struggling opera house failed and her mother left the family in 1860 to return to Rome. Patti then began to provide much of the family's income through her performances.

She toured the eastern United States and the West Indies from 1859 to 1861. In 1861, she went abroad, under the care of her father and Strakosch, to perform in La sonnambula at the Covent Garden opera house in London. She was enthusiastically received in London, where she was to perform every autumn for 25 years.

Patti remained on tour in Europe virtually continuously for 20 years, not returning to New York until 1881. She played to crowded houses in Berlin, Brussels, Amsterdam, Vienna, Paris, and across Italy. The operatic roles she chose ranged from light comedy, which she preferred, to tragedy, but whatever role she appeared in, critics were universal in their praise of her acting ability and the emotive power of her voice.

While in Paris in 1866, through her friendship with Empress Eugénie , Patti met the aristocrat Louis de Cahuzac, marquis de Caux, who served as a personal servant to the French emperor Napoleon III. They wished to marry but the marquis was not allowed to retain his privileged position at the French court if he married a working woman. Since Patti would not consider giving up her career, de Caux eventually resigned his post. This freed the couple to marry in 1868, when the new marchioness was 25 years old and her husband 42; however, the marriage lasted less than a decade, and they obtained a legal separation in 1877. As Patti was by then a celebrity throughout Europe and the United States, her marital problems brought scandal to the opera world and were the subject of often sensationalistic newspaper articles in many of the countries she had performed in. In the divorce suit, de Caux charged Patti with an adulterous affair with her co-star, Italian tenor Ernesto Nicolini. She admitted to the affair, but maintained in her defense that de Caux was jealous, controlling, and violent, and that he allowed her no access to her substantial income. The divorce would be finalized in 1885, when de Caux was awarded a settlement of $300,000 from Patti. Freed at last from her unhappy marriage, Patti married Nicolini a few months later.

Despite her personal problems during the separation and divorce, Patti continued to travel widely. She did a concert tour on her return to New York in 1881, followed by two operatic tours of the United States. Throughout the 1880s and 1890s, she was the most highly paid and most visible singer in Europe and the United States, receiving press coverage for her appearances as well as for her shocking personal life, legendary jewel collection, enormous wealth, and for her demanding, often capricious personality. She maintained homes across Europe, where she was friends with and frequently host to Europe's royalty and aristocracy. Her fame even led to mentions in contemporary literature and drama, such as Tolstoy's Anna Karenina and Oscar Wilde's The Picture of Dorian Gray.

Patti gave a farewell performance at the New York Metropolitan Opera House in 1887. She and Nicolini then left for another extended tour abroad, performing in Spain and Argentina. In 1895, at age 52, Patti gave six farewell appearances at Covent Garden. She and Nicolini then went into semi-retirement on an estate in Wales called Craig-y-Nos Castle which Patti had purchased some years before, and where she lived with Nicolini prior to their marriage. Patti adopted Wales as the native land she had never truly had, and was respected by the Welsh for her generosity to charitable causes and to her poor neighbors.

Ernesto Nicolini died in 1898. Patti, age 56, remarried a year later. Her third husband, a Swedish aristocrat named Baron Rolf Cederström, was a former military officer who, at the time Patti met him in 1897, was director of the Health Gymnastic Institute in London. At the time of their marriage, Cederström was only 28; their age difference and his occupation made the renowned opera star once again the subject of a flood of news articles and gossip columns.

The urgings of Patti's American fans called her back to the stage in 1903, when she began her last operatic tour at New York's Carnegie Hall. Although Patti was by then considerably older than most opera singers were at retirement, audiences were still moved by her powerful performances. In 1906, at age 63, she made her formal farewell appearance at Albert Hall in London. She also made numerous recordings which have preserved her work and demonstrate the remarkable purity and range which captivated her admirers and which had once led the composer Giuseppe Verdi to call Patti the greatest voice he had ever heard.

Adelina Patti was called out of retirement to perform occasionally at charity events in Wales and England through 1914, when she left the stage for good at age 71. She spent the remaining five years of her life at Craig-y-Nos Castle, where she died in 1919, at age 76. At her wish, her husband buried her in the celebrity cemetery Père Lachaise in Paris. He eventually remarried, selling Craig-y-Nos Castle to the Welsh National Memorial Association which converted it into the Adelina Patti Hospital. The hospital remained in operation until 1986, when the castle and its grounds were turned into a national park and cultural center.

[zafironix]

WIP. The nightingale and the rose, my favorite story by Oscar Wilde.

🌹

[trasnochadora]

"Be happy," cried the Nightingale, "be happy; you shall have your red rose. I will build it out of music by moonlight, and stain it with my own heart´s blood. All that I ask of you in return is that you will be a true lover...for Love is wiser than Philosophy, though she is wise, and mightier than Power, though he is mighty." -Oscar Wilde- The nightingale and the rose

[philosophybitmaps]

[hjertetssunnegalskap1]

Minor spoiler for Good Omens season 2, but mostly just a brain fart:

The thing about no nightingales singing in ep. 6. is a beautiful reference to Aziraphael's and Crowley's happy ending in season 1. I think it could mean more than that, though.

We know that Aziraphale has several first editions of books written by Oscar Wilde, right?

Oscar Wilde wrote "The nightingale and the rose," and the book is about a Student who is in love with a woman, a Professor's daughter. She has told him she will dance with him if he brings her red roses, but the Student's garden does not contain any roses. So, things happen, The Nightingale listens to the lovelorn student lamenting his hopeless love, and feels sorry for him. She knows how rare true love is, and she knows it when she sees it. The Prince is giving a ball the following night, but although the Student and the woman he loves will both be there, she will not dance with him without a red rose. The Nightingale listens to the lovelorn student lamenting his hopeless love, and feels sorry for him.

She knows how rare true love is, and she knows it when she sees it. The Prince is giving a ball the following night, but although the Student and the woman he loves will both be there, she will not dance with him without a red rose.

The Nightingale agrees to sacrifice herself to give the student a red rose, because she believes Love to be more valuable than Life, and a human heart more precious than hers.

She goes and tells the Student what she is going to do, but he doesn’t understand her, because he only understands things written down in books.

The Oak-tree, in which the Nightingale has built her nest, does understand her words, however, and requests one last song from the Nightingale. She sings, but the Student, taking out his notebook, is rather unimpressed, because the bird’s song has no practical use.

That night, the Nightingale sings with her heart against the thorn, until it eventually pierces her heart while she sings of love. Her heart’s blood seeps into the tree and produces a red rose, but by the time the flower is formed the Nightingale has died. The Student is clueless.

It's heartbreaking. The moral of the story is that the world is full of people who know much and understand little. They cannot appreciate true love and beauty, and put all their faith in practical things instead.

What's my point with all of this? Just that Neil Gaiman is a master of smoke, mirrors, and all kinds of magic tricks. So when Crowley mentions the nightingale in ep. 6 in this season, that's for a Reason. Aziraphale should be able to remember his shared moment with Crowley - and possibly also to understand that the hint could be about more than that? After all, he loves his books and must have read Wilde's book. Idk.

Something weird is going on in the last part of season 2, and I don't know what. Not yet. I can't wait to see the next season, so I can get some answers. So, Amazon, get your shit together and start to treat your writers and actors better and pay them what they deserve! We need season 3.

[issela-santina]

my horrible sentiment over “The Nightingale and the Rose” by Oscar Wilde took root around 2010 but dear fuck the way it flares up every time I think of the “no nightingales” ending of Good Omens season two

Good Omens especially built it up so much more intricately as at the end of season one I was so convinced that Aziraphale loves Crowley and in season two the pining between them shows it all

however,

one more season of this show isn't going to be enough to even begin to patch up what he did

I get that Aziraphale doesn't want to just run away like Crowley always does,

but if Aziraphale has seen Michael in Hell and told Crowley about it on the park bench then what the heck stopped the angel from thinking the inverse can occur i.e. demons can access Heaven without the need to disguise as angels?

why keep prodding Crowley about his fallen status instead of maybe letting him make peace? it's like you want to keep a wound open long enough to fester just because you don't like seeing it heal without your intervention

like after all these millennia of being a nuisance to humans just so Hell doesn't kill him, Crowley is finally free to be passionate and kind, and it's not enough for Aziraphale who seems to be enamored with the stelliferous redhead whose spirit he devastated, on their very first meeting, upon revealing that all of creation would be shut down before they even get a chance to enjoy it?

like that nightingale who impaled itself on a thorn just to produce a red rose only to be rejected in favor of jewelry just because the one who wanted to offer the girl that red rose she asked for wasn't rich?

no fucking nightingales indeed