#underrated operas

[rayatii]

Yesterday and today's listening was Le Philtre ("The Potion") by Daniel Auber! This is the opera the libretto of which (written by our regular friend Eugène Scribe) was the basis of Donizetti's iconic bel canto comedy L'elisir d'amore. The plot here is basically the same, with a few differences in the structure of the musical numbers.

(For example, Guillaume (aka French Nemorino) has no aria equivalent for "Una furtiva lagrima" or even "Quanto è bella", but he has a whole aria during the bit where he drinks the "potion"; there is also a bit in Act 1 during which Jeannette (aka French Giannetta) and the chorus ladies make fun of Guillaume; and Joli-Cœur (aka French Belcore) is present during the scene where the ladies talk about Guillaume's inheritance, and he reacts very indifferently.)

And for everyone else who also knows French, here is a libretto for you to follow along.

[its-kinda-snowy]

deal with the devil

[almayver]

This is easily one of the most heartbreaking lyrics ever and it's so simple but it tells you so much. So much about their relationship through the years and their dynamic and their feelings

[boonalina]

This song is way too good to just be from a Goosebumps musical:

Context, it's basically a musical inside of a musical. The characters are performing The Phantom of The Opera and this song is basically a girl explaining to her friend a summary of the musical. She's gonna play Christine and her friend is gonna play the phantom.

[flea-palace]

and what do you all know about attack of the killer tomatoes the phantomato of the opera !!

[theblenderstolemyballs]

Anthony did not have to go that hard when playing Nathan Wallace

And yet he did

Man put his whole pussy into the role and he slayed

[kevin-prices-left-sock]

One of the most underrated musicals is Bare: A Pop Opera.

You agree.

Reblog.

[phanblog]

Why Meg Giry is one of the best characters in Phantom

alr i have a lot of thoughts so here we go.

Meg is such an underrated character, and i believe it’s because she’s not portrayed as a love interest.

First of all. Meg was the first person to be shown supporting and encouraging Christine. She tells Andrè and Firmin that Christine could sing Think Of Me. She’s also the first person to comfort and show concern for Christine. In Angel Of Music, she tells Christine “Christine you’re talking in riddles and it’s not like you.” and “Your hands are cold, your face, Christine, it’s white.”.

Not only that, but Meg shows just as much, if not more courage than Raoul does. During "Track Down This Murderer", both Meg and Raoul chase Erik into the underbelly of the theater. Neither knew that the other person had gone down. I believe the only reason that Meg was not in the final standoff was because she hadn't taken the shortcut that Raoul had.

Whether or not Meg was in the final standoff isn't important though. Both her and Raoul rushed to go save Christine with no hesitation whatsoever, and neither of them knew what to expect. It's impressive for both of them, but especially Meg.

We have to consider that though Meg is absolutely a strong woman (being a ballerina and all), she's also much smaller than Erik, when Raoul is closer to his size. If Meg had gotten into a physical altercation with Erik, she likely would've lost. Think about how Erik managed to overpower both Joseph Buquet and Piangi, who are two very large and strong (at least Joseph must've been strong) men.

Meg knew that Phantom had killed both of them and still went after Erik with no concern for anyone but Christine. Meg was risking her life, and is just in general an underappreciated character.

I'd also like to point out that Meg was the one in the end to find Erik's mask.

01.03.24

[exhausted-undead]

here they are, my skrunkles

[artemismatchalatte]

What if my booktok was just a front to get people to read Anne Bronte? :)

[j4zz4lop3]

Graves: are you high?

Amber: am i what?

Graves: high

Amber: hello

[best-underrated-anime]

Best Underrated Anime Group B Round 1: #B2 vs #B7

#B2: High school performers

The Kouka High School trains talents for its Revue, where young women play all the roles in the theatrical musicals they have produced for over 100 years—the same as in Takarazuka.

For their hundredth anniversary, the school admitted colorful students. On one hand, aiming for male roles: the eccentric Sarasa Watanabe, incredibly tall and naïve, but fiercely determined to perform one day the role of her dreams: Lady Oscar in The Rose of Versailles!

On the other hand, in the female roles-wannabe: the ex-idol Ai Narata, a cold beauty running away from past traumas, who barely knows how to interact with others. The two of them become obviously roommates.

We follow their daily lives at this very demanding school, where jealousy, disillusion, and the harsh realities of show business put their mental fortitude to the test. Will Sarasa and Ai be able to rise to the top and stand on the silver bridge?

#B7: Kid epicly procrastinates during class

All Rumi Yokoi wants to do is focus during school, but she is constantly distracted by Toshinari Seki, her neighboring classmate. Paying attention during class is the least of Seki's worries, as he obsesses over intricate setups created using an assortment of items, from an elaborate domino course on his desk to a treacherous war played out with shogi pieces.

Titles, propagandas, trailers, and poll under the cut!

#B2: Kageki Shoujo!!

Propaganda:

If theatre setting/schools is your thing, you’re probably going to love this series! We follow our protagonists and their schoolmates following their dreams to become actresses for the prestigious Kouka Revue. Not an easy road as they will have to face and overcome many challenges, the hardest ones coming from themselves. Indeed, the story is not afraid to address sensitive topics and their resulting traumas (see TW list) always rightfully handed. These episodes may be a bit hard to see if you’re sensitive to these topics, but the show never leaves you in discomfort: everything is properly addressed, and characters are cared for realistically.

The characters are all very well-written, portraying individuals with way more depth than they may appear at first glance. We follow their growth—or its start—during the series. Sarasa is a walking sunbeam, and her blooming friendship with the withdrawn Ai is a delight to watch. We learn to know—and love—all their classmates as well, as episodes switch focus to one or the other.

The OST is really good, with a catchy opening, and no less than five different versions of the ending song, a fabulous duet voiced by the cast! The animation features really pretty art with iconic details like the stars in Sarasa’s eyes. The series is a homage to Takarazuka and scatter references to famous real-life Revues and older famous shôujo manga series like “Versailles no Bara” or “Glass no Kamen”. Actually, it feels like a modernized version of their essence: roses, sparkles, spotlight, drama, all while staying safe!

This anime is like candy for eyes and soul, and I really hope we'll get a season 2 to explore the girls' voices further!

Trigger Warnings: Child Abuse, Pedophilia, Self-Harm

Nothing is too graphical nor explicit, just the right amount to let the unsettling situations be clear enough to watchers, and they’re always addressed correctly.

Child abuse/ Pedophilia: episode 3 (+4), about Ai’s traumas

Self-harm: episode 5 focuses on a girl with an eating disorder, forcing herself to vomit (not sure if that really counts as TW?)

#B7: Tonari no Seki-kun: The Master of Killing Time

Propaganda:

Seki-kun is the sort of anime that stays underrated because it seems overly simple, but it really shines in its simplicity. The episodes are short tales of Seki’s epic procrastination and they’re absurdly amusing. Both the opening and ending are super funny and really well-thought-out.

It’s the anime equivalent of a hard candy. You can have an episode at the end of the day or between tasks, and it entertains you well without asking for much.

Trigger Warnings: None

If you’re reblogging and adding your own propaganda, please tag me @best-underrated-anime so that I’ll be sure to see it.

[firstroseofspring]

excerpt on the form of klingon opera from the introduction of the paq'batlh

[fierrochase-falafel]

Bare: A Pop Opera song saga- #2 You and I

The set-up to Jason and Peter's relationship is genius; the way Jason continuously addresses people with his straight-man act only to turn around and flirt with Peter in private is such a smooth switch, Peter finds it hard to fully believe.

Jason is very composed and smooth in this song- he deteriorates from easily being able to keep up his facade as the musical progresses. Peter is unable to really connect with him here BECAUSE of this straight-man facade, which frustrates him and makes him want to come out alongside Jason. The line "I think we're the best act this school has ever seen!" really shows Peter's desperation regarding having to stay closeted and Jason's facade but Jason makes a sex joke to avoid discussing it. Jason cuts Peter off with innuendos and light-hearted reassurances throughout the song (and a kiss at the end), in a way having the facade intervene in his personality in his relationship with Peter. It brings up the theme of how after acting for so long, the lines between truth and act can start to blur and leave you disoriented about who you are and how to go on. Jason ends up unable to deal with this dilemma (combined with his several other dilemmas that contribute to this dilemma).

Jason's internalised homophobia really plays through with his claims of not acting (since drama in general is a gay stereotype) and his subtle linking of general dodgy behaviour with his relationship- his opening lines calling Peter for a ride, lollipop or puppy- could POSSIBLY (this is relatively far-fetched) show this as well since gay people are often stereotyped by homophobes to be predators (it doesn't really make sense to me how this came to be, I credit genius lyrics with this part of the analysis by the way, but homophobia as a whole doesn't make sense, does it). Usually one would associate asking a "little boy" if he wants something like a lollipop with predatory behaviour, and Jason may have an underlying association of queerness with-- that. The implications suck, but this is mostly contextualising initial thoughts about the wording in this song.

The modulation in the chorus on "I'll be with you always" really stands out due to the sudden melody that goes down the scale in contrast to the previous verse in the chorus. This could be done for multiple reasons- it could be percieved as an add-on because it just comes in at a higher pitch like an extra romantic phrase to stop Peter from objecting; which leads to Peter objecting more, if that's how he percieved the line. Or it's Jason stressing his love for Peter and how sincerely his love (so basically him) will prevail forever. Or maybe the downwards melody from D to F# signifies how downhill that plan's going to go. I'm no music genius though, so of course take this with a bucket of salt.

The 2000 version has me on this one honestly, with the "besides I need you for French"/"yeah you do" exchange and the extended Jason segment talking about his future in a sense, it feels really natural and I really like how chill it is and then descends into frustration, and it's so clear to us why he's frustrated.

"What do you call this then, this clever song and dance?" "What are you taking about?" "US!" Like, guys-- this also links to Role of a Lifetime, when Peter talks about Jason dancing and hoping the music won't stop. It's all clever until the music stops and he has to make a decision (think the events of Promise).

Peter feels a bit more cynical in the 2000 version than any future version, like he is so having to hold back from swearing at Jason mid-conversation and that to me feels more natural than the 2004 and 2013 (LA) versions, even though I love those too. They're all brilliant! But Peter has a vibe of being a bit more openly bitter but in a way meant to seem light-hearted, and I enjoy seeing him get to feel that way. It feels like repression but just to a less extent than Jason, and it means something to me for that. That being said, I do prefer the change from. "I take your hand, leaving me breathless", to, "you take my hand, leaving me breathless", because it emphasises the effect Peter has on Jason specifically as opposed to the focus being mostly on Jason. It's Peter's action and Jason's feeling rather than Jason's action and Jason's feeling, which feels more like Jason's talking about their relationship rather than just Jason.

Anyways, appreciate the drums! I know it's a pop opera but the rock music is part of what truly elevates this musical for me.

[theblenderstolemyballs]

Drop y'alls' top three underrated movies

I wanna watch more stuff

Mine are (in no particular order)

Brother Bear (disney popped off with this duo)

Repo! The genetic opera

And Penelope (the pig nose girl)

[leporellian]

these have the same shrimp color emotion. to me