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opera-simplified · 4 years ago

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Opera Simplified #1: Don Carlo(s)

Don Carlos (Don Carlo)

Opera Simplified #1

The Basics:

Music: Giuseppe Verdi

Libretto: Joseph Méry and Camille du Locle

Premiere: March 11, 1867; Salle le Peletier (Opéra national de Paris); Paris, France

Based on: Friedrich Schiller’s 1787 play Don Carlos, Infant von Spainen (Don Carlos, Infante of Spain)

Setting: Various locations in France and Spain; the late 1550s-early 1560s.

Characters:

Don Carlos (Don Carlo), Infante of Spain- tenor

Élisabeth de Valois (Elisabetta di Valois), Princess of France and Carlos’ fiancée- soprano

Philippe II (Filippo II), King of Spain and Carlos’ father- bass

Rodrigue (Rodrigo), Marquis de Posa- baritone

Princess Éboli, a Spanish noblewoman- mezzo-soprano

The Grand Inquisitor, head of the Spanish Inquisition- bass

A Monk- bass

Count Lerma, a Spanish nobleman- tenor

Thibault (Tebaldo), Élisabeth’s page- soprano

A celestial voice- soprano

Countess d’Aremberg, a lady-in-waiting to Élisabeth- silent

A royal herald- tenor

Note: This Opera Simplified will use the Italian names (which appear in the parentheses above), as this opera is performed much more often in Italian than French, even though the opera was originally written in French as a French grand opéra.

Requested by: @monotonous-minutia. (Also, thank you for reading over this!)

The Opera:

Act I:

Late winter of 1559, in the forest outside the Fontainebleau palace in southwestern France. A group of French woodcutters, their families, and other poor people are sitting around trying to keep warm.

**The People: WINTER SUCKS IT’S SO DARN COLD LIFE SUCKS

A Woodcutter: Don’t worry! When peace comes, everything will be better!

The People: YEAH BUT WHEN WILL THIS STUPID WAR EVER END***

*Hunting horns sound in the distance.*

HEY THE ROYAL COURT IS COMING THROUGH WE HOPE THEY HAVE HAPPINESS AND SUCCESS AND STUFF

The Hunters: C’mon, let’s go get the deer before they run off too far away for us to get them!

*Elisabetta di Valois enters with Tebaldo and a group of servants.*

The People: OH MY GOD IT’S PRINCESS ELISABETTA SHE’S SO NICE MAYBE SHE CAN HELP US

Elisabetta: Friends, how can I help you today?

The Women: Nothing for us, but do you see her?

*They indicate one of their own.*

She lost her husband, her two sons are off at war, she has nothing and no one…

Elisabetta: Say no more. Here, take this gold chain…

*She takes off a gold chain and hands it to the woman.*

Everyone, keep heart! A Spanish envoy is coming to talk about a peace treaty, and I’m confident that this war will end soon and France will see bright days again.****

The People: YAAAAAAY WE LOVE YOU ELISABETTA MAY GOD BLESS YOU

*She greets everyone and then leaves with her retinue. As they leave, Don Carlo shows up and hides among the trees.*

The Hunters: C’mon, let’s go get the deer before they run off too far away for us to get them!

The People: Once we have peace, everything will be okay again…

*They gradually leave. Once they’re gone, Carlo comes out of his hiding place.*

Carlo: Wow, Fontainebleau really is a huge forest…but it was here I saw Elisabetta for the first time just now…AND I’M IN LOVE! This was so worth leaving Spain in disguise and having Dad get very mad at me!

*Horns and footsteps sound in the distance.*

Oh, wow, the court’s still here even though it’s getting kinda late…

Tebaldo (from offstage): HEY PEOPLE COME HERE WE KINDA NEED HELP

Carlo: Who’s there?

*Tebaldo enters with Elisabetta.*

whaaaaaaaaaaat it’s Elisabetta again YAAAAAAAAAY

Tebaldo: I CAN’T FIND THE WAY BACK I’M SO SORRY ELISABETTA IT’S GETTING DARK AND COLD LET ME HELP YOU

Elisabetta: Thanks, I am kinda tired…

Carlo: Hello!

*He bows before Elisabetta.*

Tebaldo: uhhhhhhhhhhh who are you

Carlo: A stranger, a Spaniard, and I won’t say anything more.

Elisabetta: Oh, so you’re with Count Lerma, that Spanish ambassador?

Carlo: ...yeah. I’ll help you if you need.

Tebaldo: HEY ELISABETTA I CAN SEE THE PALACE FROM HERE LEMME RUN AND GET SOME PEOPLE TO BRING YOU BACK

wait actually I can’t just leave you alone with this strange guy what if he tries to hurt you or do something to you

Elisabetta: IT’S OKAY I TRUST SPANISH HONOR BECAUSE I KNOW THE SPANISH ARE REALLY BIG ON HONOR AND STUFF WHICH WILL TOTALLY NEVER BE A PROBLEM FOR ME SO THIS GUY AND I SHOULD BE OKAY DON’T WORRY ABOUT ME

*Tebaldo bows and leaves. Carlo himself suddenly kneels before Elisabetta.*

What are you doing?

*Carlo lights a small pile of branches on fire to create some warmth for himself and Elisabetta.*

Carlo: Well, we’re all stuck outside, especially considering there’s a war going on right now, so we might as well light some fires, and have light, and stay warm, and maybe even have peace and love…

Elisabetta: Speaking of which, do you think they’ll sign the treaty tonight?

Carlo: Of course! And then they’ll announce your marriage to Don Carlo of Spain—

Elisabetta: Let’s talk about him! Here’s the thing: I’m leaving my home, my whole life up until now behind forever to marry this guy because my father and God want me to, and tbh I’m a little afraid. Like what if I get homesick? Or if he doesn’t love me?

Carlo: I know this much: he wants to serve you forever and he already loves you.

Elisabetta: Whoo, good, I was worried. That makes me feel a lot better about going to Spain.

Carlo: You have no reason to worry; he really, really loves you.

Elisabetta: Why do I feel so weird about you saying this?

…Wait. Who are you?

Carlo: A messenger to the man himself.

*He hands her a small box.*

He asked me to give you this portrait of himself.

Elisabetta: *examining the box* I feel like I shouldn’t open this…but I really want to see him!

*She opens the box and looks at the portrait, then at Carlo, and then back and forth for a bit until she realizes. *

OH MY GOD YOU’RE DON CARLO?!?!?!?!

Carlo: *fainting at her feet* I am… and I really do love you!

Elisabetta and Carlo: YAAAAAY WE’RE IN LOVE AND GOD WANTS US HAPPY SO WE’RE GONNA GET MARRIED EVENTUALLY

*A cannon shot. The faraway palace lights up.*

Elisabetta: That was…

Carlo: IT’S THE CANNON THE PEACE TREATY HAS BEEN SIGNED *****

Elisabetta and Carlo: OHHHHHHHHHHHHHHHHH YEAHHHHHHHHHHHHHHHHHHHHH THAT’S AWESOME PEACE WILL BE SO GREAT AND THE WORLD WILL BE REBORN ALSO WE MADE A VOW HERE FOR FOREVER AND WE’LL OFFICIALLY BE MAKING VOWS SOON IN FRONT OF EVERYONE AND GOD WOOHOO

*Tebaldo, several other pages and valets, Count Lerma, the Countess d’Aremberg, and a bunch of other people show up. Tebaldo approaches Elisabetta, bows, and kisses the hem of her dress.*

Tebaldo: My sweet Elisabetta pleeeeeeeeeeeeeease take me with you when you go to Spain because I may or may not have a crush on you and really you’re just so awesome

Elisabetta: Of course! You can get up now, you don’t have to be so formal.

Tebaldo: Okay, cool. Now for the news. I salute you, Elisabetta, future Queen of Spain—

Elisabetta: Thanks. I appreciate that.

Tebaldo: —and wife of King Filippo II.

Elisabetta: WAAAAAAAAAAAAAIT A SEC I’m supposed to be marrying Don Carlo those were the terms of the peace treaty we already talked about this

Tebaldo: uh that changed you’re marrying Filippo now

Carlo: WAIT WHAT?!?!?!?!?!?!?!

Elisabetta: WHAT THE— wait I can’t finish that statement

well that’s it we’re done for my life is officially ruined but I’ll try to stick it out and keep my head up and fight fate anyway

Carlo: THAT’S IT WE’RE DONE FOR MY LIFE IS OFFICIALLY RUINED AND I’LL JUST HAVE TO BE DEPRESSED FOREVER NOW

Everyone Else: YAAAAAAAAAAAAAAY SPAIN’S GONNA HAVE AN AWESOME NEW QUEEN AND PEACE IS GONNA BE SO LIT

Elisabetta and Carlo: well our amazing lovely golden dream just got ripped to shreds and now all we have is sorrow

Count Lerma: My lady, your father wants you to marry Filippo as the price to end this war. However, Filippo wants the choice to be yours and yours alone. So, are you going to say yes to the dress? ******

The Women: PLEASE SAY YES HAVE MER—

Count Lerma: Shut up. It’s her choice.

Elisabetta: You say it’s my choice, but what choice do I have? If I say “no”, then the war will go on, and more innocent lives will be destroyed…

Count Lerma: Your answer?

Elisabetta: ...Yes.

The People: YAAAAAAAAAAAAAAAAAAAAAAAAY GOD BLESS YOU ELISABETTA

Elisabetta and Carlo: this is horrible I feel like I’m dying

Everyone Else: WE LOVE YOU SO MUCH ELISABETTA YAAAAAAAAY HONOR AND GLORY TO OUR NEW QUEEN

*Count Lerma leads Elisabetta to a litter and helps her get in. Everyone falls in line behind the litter and heads to the palace, merrily singing all the while.*

Carlo: MY LIFE IS OVER AND I WANT TO FREAKING DIE

Notes

Act II:

Scene 1:

An unspecified amount of time later, at a cloister in the monastery of San Yuste, with the tomb of Emperor Charles V. It is dawn. The monks are chanting, as one prays before the tomb.

Monks: Charles V is nothing but ashes, and his soul now trembles before God…

A Monk: CHARLES THOUGHT HE WAS SO COOL AND THAT HE COULD RULE EVERYTHING BUT IN HIS PRIDE HE FORGOT ABOUT GOD AND WAS THUS STRUCK DOWN SO LET THAT BE A LESSON TO Y’ALL

God, presumably from somewhere: ooooooooooooor it could mean that he was human and he died like every human does. just a thought. **

The Monk: WHAT WAS THAT ALSO GOD HAVE MERCY ON HIM

*Day dawns, all the monks leave, and Carlo enters, looking like he’s had...a very rough time of it.*

Carlo: I’VE BEEN HAVING SUCH A ROUGH TIME OF IT AND I CAME HERE TO FIND PEACE BUT IT’S NOT EXACTLY WORKING OUT

The Monk: We may try to find peace here, but even then suffering is always with us because we can only find peace in heaven…

Carlo: WAIT THAT SOUNDED LIKE MY GRANDPA AND HE LOOKED LIKE MY GRANDPA BUT MY GRANDPA’S DEAD I MUST BE REALLY LOSING IT

The Monk: We can only find peace in heaven…

*He leaves.*

Carlo: ahhhhhhhhhhhhhhhhhhhh why do I have so many problems

*Rodrigo, Marquis di Posa, Carlo’s…”best friend” according to most people, enters.* ***

Rodrigo: CARLO IT’S YOU I HAVEN’T SEEN YOU IN SO LONG

Carlo: OMG IT’S YOU RODRIGO LEMME HUG YOU

Rodrigo: I CAN’T BELIEVE I’M SEEING YOU AGAIN

Carlo: HEAVEN HAS SENT YOU TO ME

Rodrigo: MY BELOVED PRINCE

Carlo: MY CONSOLING ANGEL

Rodrigo: ALL THE HUGS okay look also the Flemish people need someone to save them and you should do it but wait are you OKAY CARLO YOU LOOK LIKE YOU’RE HAVING A ROUGH TIME OF IT SHARE YOUR PAIN WITH ME ****

Carlo: MY SAVIOR MY BROTHER LET ME CRY ON YOU

Rodrigo: POUR OUT YOUR TORMENT AND OPEN UP TO ME

Carlo: ...You really sure you want to know?

Rodrigo: Always.

Carlo: Very well. I love...and it’s a sinful love...Elisabetta!

Rodrigo: YOU’RE IN LOVE WITH YOUR STEPMOM?! (and you weren’t talking about me?!)

Carlo: nooooooooooooooooooooooooooooooooo Rodrigo are you abandoning me too???

Rodrigo: no no no it’s okay I still love you and since you’re suffering it’s my sole job to help you seriously I STILL LOVE YOU also has the King found out yet

Carlo: Surprisingly, no.

Rodrigo: Good. Then ask him to let you control Flanders. Kill two birds with one stone: help the Flemish and stop thinking about your stepmom.

Carlo: Will do.

*A bell tolls in the distance.*

Rodrigo: Hey, uh, the King and Queen will be here in just a little bit.

Carlo: ELISABETTA AHHHHHHHHHHHHHHHHHHHH

Rodrigo: CARLO PLEASE CALM DOWN but seriously stay by me and let me strengthen you and let God too because you have big things to do and I am fully confident in you

Carlo and Rodrigo: GOD YOU GAVE US HOPE AND LOVE SO GIVE US THE DRIVE TO FIGHT FOR FREEDOM ALSO WE VOW TO LIVE AND DIE TOGETHER AND WE’LL BE UNITED FOREVER

Rodrigo: Hey Carlo, don’t look now but—

*Filippo and Elisabetta enter with a bunch of monks.*

Carlo: AHHHHHHHHHH IT’S ELISABETTA I CAN’T EVEN SEE HER WITHOUT FREAKING OUT

Rodrigo: —they’re here. Have courage!

*Filippo and Elisabetta kneel at the tomb and then proceed offstage with the monks. While that is going on:*

Monks: Charles V is nothing but ashes, and his soul now trembles before God…

Carlo: I’ve lost her and she’s my dad’s wife now noooooooooooooooooooooooooo why does life have to suck so much

Rodrigo: hey hey stay by me your heart will be stronger that way

The Monk: GOD FORGIVE HIM

Carlo and Rodrigo: WE’LL LIVE AND DIE TOGETHER AND OUR LAST BREATH WILL BE A CRY FOR LIBERTY

*They embrace and then leave the monastery.*

Notes

Scene 2:

Later the same day, in a garden outside the monastery. Several ladies of the court and Tebaldo are hanging out and enjoying the day.

Ladies of the Court: it’s very hot out because duh it’s Spain and it’s hot but luckily there are a bunch of trees and some nice wind here

Tebaldo: IT’S SO PRETTY OUT HERE AND I LOVE IT

Ladies and Tebaldo: yaaaaaaaaaaay hanging out outside is fun

*Princess Éboli enters.*

Éboli: hey everyone since we can’t go inside the monastery and we have to wait out here for a long time would you all like to sing with me?

Ladies: YES YES YES ANYTHING FOR YOU ÉBOLI

Éboli: Cool! Hey, Tebaldo, since you’re so awesome at the mandolin why don’t you pull it out and play that one song about the veil?

Ladies and Tebaldo: YAAAAAAAAAAAAAAAAAAY

Éboli: SO this one time there was a Moorish king who was hanging out in a garden one night and he saw a pretty veiled woman and was like “hey baby you should be my new wife because I’m tired of my current one” lalalalala

Éboli, Tebaldo, and the Ladies: let’s weave some veils so we can find love at night lalalalala

Éboli: and THEN the king was like “oh hey you should take off your veil and let me see who you are and then we can be SUCH a great power couple” and then she did and IT WAS THE QUEEN AND HE WAS SO HUMILIATED AND IT WAS THE BEST THING EVER lalalalala

Éboli, Tebaldo, and the Ladies: the moral of the story is that wearing a veil at night is conducive to love so let’s all weave some veils lalalalala **

*Elisabetta enters from the monastery.*

Everyone: Your Majesty!

Éboli: She always seems so sad…

Elisabetta: I wish I could be as happy as all of them were…

Tebaldo: HEY THE MARQUIS DI POSA IS COMING HERE

Everyone Else: yaaaaaaaaaaaaaaaaaaaaaaay

*Rodrigo enters and goes over to Elisabetta.*

Rodrigo: Your Majesty, when I was in Paris, your mother gave me this letter for you.

*He hands her the letter along with a note.*

see that note please read that note because it’s very important and I’m asking you in the name of God so PLEASE read it okay I think I need to distract Éboli now so byyyyyyyyyyyyyye

Éboli: so what’s new in France, you cute thing?

Rodrigo: Everyone’s talking about this super-awesome jousting tournament. They say the King of France will be there! ***

Elisabetta: Should I read it? Should I not read it? Would reading it be infidelity? I mean, God knows I would never willfully commit adultery...fine. Read it.

“If you ever loved me, please trust the man who brought this note. -Carlo” that’s it?

Éboli: soooooooooooooooooooo are all the French ladies as pretty as everyone says they are?

Rodrigo: I think you’re lowkey flirting with me and I’m not sure how to handle it so I’m just gonna say that you’re one of the most beautiful and gracious ladies I’ve ever met and the ladies of France would do well to be as lovely as you

Elisabetta: Okay, Rodrigo, I’m pleased with you so I’ll give you one favor card to use at any time.

Rodrigo: Can I use it now on behalf of someone else?

Elisabetta: ...sure, I guess, you little self-sacrificer.

Éboli: Oh come on, why are you using it for someone else if you’re so worthy?

Elisabetta and Éboli: Who’s it for?

Rodrigo: Look: we all love Carlo, right?

Éboli: ...in what sense?

Rodrigo: You know what I mean. ;)

Éboli: CALLED IT so you’re the Gay Best Friend

Rodrigo: yeah. What’s it matter?

Éboli: I may or may not have had a bet going on it. ****

Rodrigo: ANYWAY we all love Carlo and he’s suffering and if he had a private meeting with you that would REALLY HELP

Éboli: y’know, one day I saw him while I was with Elisabetta and he started freaking out when he saw us so that OBVIOUSLY means he loves me but he keeps trying to hide it and idk why

Elisabetta: I feel like I’m gonna diiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiie

Rodrigo: PLEASE HELP CARLO

Elisabetta: Very well. Everyone out. Send Carlo in.

*Everyone else leaves and Carlo enters.*

Carlo: I need to ask my Queen for one thing. Please intercede with the King on my behalf and get him to allow me to go to Flanders because I cannot stand it here.

Elisabetta: I can arrange that, my son.

Carlo: nooooooooooooooooooooo don’t call me that because it reminds me that we were happy for one day and then everything shattered

At least you could say SOMETHING but noooooooooooooooooooooo you’re like cold dead marble

Elisabetta: look buddy I’m just following my duty and honor

Carlo: just LISTENING to your voice makes me happy

Elisabetta: Carlo, I would love to be beside you more than anything…

Carlo: YAAAAAAAAAAAAAAAAAAAAAAAAAAAY YOU STILL CARE ABOUT ME ISABELLA I WOULD DIE AT YOUR FEET *****

*He faints.*

Elisabetta: HEAVEN HELP HIM BECAUSE OTHERWISE HE’S GONNA DIE IN MY ARMS

Carlo (delirious): ELISABETTA EVERYTHING IS BECOMING BEAUTIFUL AGAIN IT’S YOU MY LOVE

Elisabetta: OMG HE’S DYING

Carlo: WHY DO I HAVE TO COME BACK TO REALITY

Elisabetta: CARLO CAN YOU HEAR ME CARLO

Carlo: EVEN IF GOD HIMSELF WERE TO STRIKE ME DOWN I LOVE YOU AND I’VE FORGOTTEN EVERYTHING ELSE

Elisabetta: FINE THEN GO KILL YOUR FATHER AND THEN YOU CAN MARRY ME WHILE COVERED IN HIS BLOOD

Carlo: WHAT NO I MUST BE CURSED

*He flees.*

Elisabetta: ...thank God.

*Tebaldo runs in.*

Tebaldo: ELISABETTA WE’RE ABOUT TO HAVE A MAJOR PROBLEM THE KING IS HERE I DON’T WANT ANYTHING BAD TO HAPPEN TO YOU BUT—

*Filippo enters with Rodrigo, Éboli, and a bunch of other court people.*

Filippo: THERE IS A RULE THAT SAYS AT LEAST ONE LADY-IN-WAITING MUST BE WITH THE QUEEN AT ALL TIMES BECAUSE I SAID SO SO WHO BROKE THE RULES

*The Countess d’Aremberg steps forward.*

You are going back to France tomorrow.

People of the Court: THAT’S A HUGE INSULT TO THE QUEEN

Elisabetta: Hey, listen to me. I know you’re getting banished but please don’t start crying on me, okay? You’re still with me in my heart and I still love you and you getting banished doesn’t change that one. bit. When you go back, my heart will go with you too.

*She gives her a ring.*

I’m not proposing, but this is still a token of how much I love and admire you. Take it, and whatever you do, do NOT tell anyone about how badly they’re treating me here. I wouldn’t want them to worry about me.

Filippo: Humph. What an actress.

Rodrigo and the Court People: SHE’S SO WONDERFUL

*Everyone starts to leave except Filippo, but as Rodrigo is about to go:*

Filippo: You, Rodrigo, stay.

*Rodrigo doubles back.*

Why have you never asked to see me? You’re a loyal man and I’d be more than happy to see you if you asked.

Rodrigo: Well, no offense, but I’m not much into following others’ caprice and what could I possibly need? I’m perfectly fine as is.

Filippo: A bold one, I see! I can forgive that...but not always. Anyway, you’re a soldier, and an outstanding one, I’ve heard. Don’t you want to fight?

Rodrigo: When Spain needs a fighter, I will fight.

Filippo: I know. So the big question is: what can I do for you?

Rodrigo: For me? Nothing. For others…

Filippo: wait wait wait. “For others?” what kind of self-sacrificer are you?

Rodrigo: If you’re not too angry, I’ll tell you.

Filippo: Very well. Speak freely.

Rodrigo: I just came back from Flanders, and you know as well as I that Flanders is a beautiful place. Well, it was. Now it’s horrible. I MEAN ORPHANS ARE WANDERING THE STREETS AND CHILDREN ARE BEING KILLED AND EVERYTHING’S ON FIRE AND THE RIVERS ARE RUNNING RED WITH BLOOD and thank GOD I’m able to tell you about all this because who else will?

Filippo: Look, blood is the price for peace! We can’t have the Flemish trying to rebel with their newfangled delusions of independence and their Protestantism and whatever the kids are all into nowadays. This will all lead to a brighter future.

Rodrigo: ...You really think that will work?

Filippo: It already works in Spain! Everyone here is faithful to God and to me, and they’re doing just fine. I’m offering the same terms to Flanders and it’s not my fault they’re not accepting the peace.

Rodrigo: A HORRIBLE PEACE THE PEACE OF THE TOMB

*Music: DUUUUUUUUUUUUUN-DUNNN-DUNNN-DUUUUUUUUUUUUUUUN-DUUUUUUUUUUN. Closeup on Filippo at this point optional.* ******

My King, may history never say of you: “He was a Nero!”

*And then Rodrigo really goes off.*

So this is the peace you want to give the world? A peace where soldiers and priests are pitiless murderers? A peace where so many people are dying that everyone curses you? Look, you have the power to redeem it all and become the best king ever: all you have to do is give them freedom. GIVE THEM FREEDOM

Filippo: Oh...you strange dreamer. You’re young and idealistic, you have no idea. If you did, you would change your mind. Don’t worry, though, I will not hold this against you; I’ll simply forget everything you said. But beware the Grand Inquisitor. He will not be so forgiving.

Rodrigo: But—

Filippo: You still have not asked me for anything? Let me ask you for something: I want to have you by my side, which may entail...several different things.

Rodrigo: With all due respect, my answer remains the same: I’m fine as is.

Filippo: NO YOU’RE TOO PROUD AND YOU’VE SEEN MY VULNERABILITY AND MY ANGUISH BECAUSE MY SON IS A DISAPPOINTMENT AND I’M PRETTY SURE MY WIFE AND HIM ARE HAVING AN INCESTUOUS AFFAIR *******

Rodrigo: WHAT NO THEY WOULD NEVER ESPECIALLY NOT CARLO HE IS PURE

Filippo: I need you to find out what’s going on. Effective immediately, I grant you free access to the Queen at all times. I’m placing my heart in your hands.

Rodrigo: uhhhhhhhhhhhhhhhhhhhh what’s happening what about Carlo WAIT I COULD USE THIS TO MAYBE CHANGE HIS MIND ABOUT FLANDERS

Filippo: I hope that you can help me find peace…I’ve been looking for a man for a long time, and now I found him in you...

Rodrigo: THIS IS MY CHANCE THERE IS HOPE

Filippo: It’s worth saying one more time: Beware the Grand Inquisitor!

*He extends his hand to Rodrigo, who kneels and kisses it.*

Rodrigo: My King!

Notes

Act III:

Scene 1:

The gardens of the royal palace in Madrid, shortly before midnight. There is a party going on in the distance.

Partygoers: WOOHOO WE LOVE PARTIES WE WANNA PARTY ALL NIGHT LONG AND MAKE DAY NEVER COME WOOHOO

*Elisabetta and Éboli walk in together.*

Elisabetta: I mean, I love parties as much as the next person, but I’m just super worn-out and I kinda want to go pray instead.

Éboli: but parties are fuuuuuuuuuuuuuuuuuuun and everyone’s gonna be theeeeeeeeeeere

Elisabetta: And they’re expecting me, but I don’t want to go. Here, take all these accessories, take that veil, put it all on, and...perfect! They’ll never know it’s you instead of me. Have fun okay bye now

*She goes back into the palace.*

Éboli: ooh, playing queen for a night will be fun! WAIT while I’m wearing this veil I should get Carlo to come meet me in the gardens and ask him if he likes me this plan is FOOLPROOF

*She writes a note and gives it to a passing page.*

THIS WILL BE THE BEST NIGHT EVEEEEEEEEEEEEEEEEEEEEEER **

*She leaves.*

*At this point, the party continues with a ballet about the legend of La Peregrina as entertainment for the party guests.* ***

*Carlo enters, holding Éboli’s note— but the note is unsigned.*

Carlo: “Meet me at midnight in the royal garden under the laurels near the fountain.” Okay, I may not be the smartest person in the world, but it’s midnight, and I’m in the right place, so… ELISABETTA AHHHHHHHHHHHHHHHHHHHHH I GET TO SEE HER AGAIN I AM SO HAPPY

*Éboli enters in the disguise she got from Elisabetta. Carlo immediately mistakes her for Elisabetta.*

IT’S YOU I’M SO HAPPY TO SEE YOU I LOVE YOU SO MUCH

Éboli: so he DOES LOVE ME THIS IS THE BEST NIGHT EVER

Carlo: LET’S FORGET EVERYTHING I LOVE YOU

*Éboli unveils herself.*

wait WHAT oh God no it’s not the Queen!

Éboli: ...are you okay? wait...do you not trust me? look you can trust me I know people are trying to plot against you

Carlo: I KNOW THAT THAT’S NOT THE PROBLEM HERE

Éboli: y’know, I heard your dad and Rodrigo talking about you

Carlo: you WHAT my dad with RODRIGO

Éboli: I CAN SAVE YOU I LOVE YOU

Carlo: Look, you are very nice and I’m thankful for your help but I’m afraid this is all just a strange dream—

Éboli: A DREAM?!?!?!?!?! Wait, so you didn’t know this was me, so you’re not actually in love with me, which means—

OH MY GOD YOU’RE IN LOVE WITH THE QUEEN WHAT THE FUCK

Carlo: god DAMN it PLEASE HAVE MERCY

*Rodrigo runs in because...he happened to be taking a walk or something I guess.*

Rodrigo: HEY STOP IT HE’S CRAZY Carlo I’m saying that for your own good I know you’re probably not actually crazy

Éboli: I KNOW EVERYTHING SO HE’S SCREWED

Rodrigo: what do you MEAN

Éboli: Let me put it this way: I know all his cards. I also know all your cards: you are the king’s favorite. However, neither of you know mine.

Rodrigo: but what do you MEAN by all this

Éboli: Nothing, just that Carlo’s fate is now entirely in my hands.

Rodrigo: WHY DID YOU COME HERE

Éboli: I’M NOT TELLING

Rodrigo: BUT CARLO IS INNOCENT AND SO GOD WILL DEFEND HIM AND SMITE THE LIVING HELL OUT OF YOU

Éboli: FINE SMITE AWAY but may I remind you that hell hath no fury like a woman scorned

Carlo: I’M SO STUPID I’VE RUINED ELISABETTA’S LIFE and also possibly my own but it was a huge mess anyway so yeah ONLY GOD CAN BE MY JUDGE NOW

Éboli: OH I SEE HOW IT IS ELISABETTA WANTED TO ACT ALL HOLY AND STUFF TO HIDE THE FACT THAT SHE’S HAVING AN AFFAIR

Rodrigo: YOU HAVE CROSSED A LINE AND I WILL KILL YOU FOR IT

Carlo: RODRIGO DON’T

Rodrigo: I THOUGHT I WAS SUPPOSED TO BE THE ONE TELLING YOU DON’T

Carlo: RODRIGO DON’T

Éboli: I’M WAITING FOR YOU TO KILL ME

Rodrigo: HOW ABOUT NOPE

Éboli: WHY NOT

Rodrigo: because I’m going to leave all this up to God because that’s my only hope at this point

Éboli: I WILL HAVE MY REVENGE AND THE EARTH WILL SWALLOW YOU UP ALIVE CARLO

Rodrigo: IF YOU TELL THEN GOD HIMSELF WILL SMITE YOU

Carlo: SHE KNOWS EVERYTHING

Éboli: THIS IS THE WORST DAY EVER

*She leaves.*

Rodrigo: hey Carlo if you have any important papers about Flanders on you give them to me I need them for something

Carlo: ...to you? to the confidant of the King?

Rodrigo: you really suspect me? ME? your boyfriend?

Carlo: NO I LOVE YOU AND YOU ARE MY ONLY HOPE HOW COULD I HAVE EVER DOUBTED YOU HERE TAKE THEM ALL

*He gives his papers to Rodrigo.*

Rodrigo: MY DEAR CARLO THANK YOU SO MUCH

Carlo: I ABANDON MYSELF TO YOU

*They fall into each other’s arms.*

Scene 2:

The following day, in the square before the Church of Our Lady of Atocha in Madrid. Preparations are being made for an auto-da-fé. Guards are trying to hold the people back as bells ring everywhere.****

People: WHAT A DAY WHAT A DAY FOR AN AUTO-DA-FÉ WHAT A SUNNY SUMMER SKY WHAT A DAY WHAT A DAY FOR AN AUTO-DA-FÉ IT’S A LOVELY DAY FOR DRINKING AND FOR WATCHING PEO— wait never mind that’s the wrong auto-da-fé song start over *****

TODAY IS AWESOME BECAUSE WE GET TO CELEBRATE FILIPPO WHO IS THE GREATEST KING EVER AND WE ALL LOVE HIM AND THE WORLD TREMBLES BEFORE HIM AND ALSO WE LOVE GETTING TO BURN PEOPLE

*A bunch of monks lead those condemned by the Inquisition as heretics across the square.*

Monks: TODAY IS THE FATAL DAY WHERE THE HERETICS WILL DIE ACCORDING TO GOD’S JUST WILL but God will maaaaaaaaaaaybe forgive them if they repent of their heresy

People: YAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAY

*An extremely long royal procession, including Elisabetta and Rodrigo, crosses the square towards the church.*

Royal Herald: OPEN UP CHURCH DOORS WE WANT TO SEE THE KING

People: WHAT HE SAID

*The doors open and Filippo leaves the church.*

Filippo: I PROMISED AS YOUR KING TO KILL ALL THE HERETICS AND I INTEND TO DO SO BECAUSE I’M NOT LIKE SOME LEADERS WHO FAIL TO KEEP THEIR PROMISES AND ARE SOFT ON CRIME

People: YAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAY

*Carlo leads in six Flemish deputies, who kneel before the King.*

Elisabetta: OH SHOOT HE’S HERE

Rodrigo: uhhhhhhhhh what is he doing

Filippo: ...who are these people?

Carlo: They are representatives of Flanders and Brabant. ******

Flemish Deputies: Your Majesty, we may be suffering immensely, but we’re still here and we’re still a concern, so if you have ever received mercy, then please pass it along to us because all the Flemish people are suffering and maybe you could save us with God’s help!

Filippo: YOU ARE TRAITOROUS TO YOUR GOD AND KING SO NO GUARDS TAKE THEM AWAY

Monks: YEAH THEY HAVE NO FAITH IN GOD AND THEY DESERVE WHAT’S COMING TO THEM

Everyone Else: please be merciful and spare them have pity they’re suffering and dying

Carlo: DAD IT’S TIME THAT I LEARNED TO RULE BECAUSE I’M JUST SITTING AROUND HERE AND DOING NOTHING USEFUL SO IF I’M SUPPOSED TO RULE THE WHOLE SPANISH EMPIRE SOMEDAY THEN I MIGHT AS WELL HAVE SOME PRACTICE SO GIVE ME BRABANT AND FLANDERS

Filippo: ...do you think I’m so dumb as to actually do that?! YOU’RE JUST GOING TO LEAD THE FLEMISH REBELLION AND TRY TO KILL ME WITH THE SWORD I GIVE YOU

Carlo: ONLY GOD KNOWS WHETHER THAT’S ACTUALLY GOING TO HAPPEN

Elisabetta and Rodrigo: uh oh he’s done for

Carlo: I SWEAR BEFORE GOD THAT I WILL SAVE THE FLEMISH PEOPLE

*He draws his sword on Filippo.*

Everyone Else: WHAT THE ACTUAL HELL HE’S LOST HIS MIND

Filippo: DISARM HIM

*Awkward silence.*

I SAID SOMEONE DISARM HIM

Carlo: WHO WILL DARE DISARM ME

*Crickets.*

Filippo: IS NO ONE GOING TO DISARM HIM

*He takes the Captain of the Guard’s sword.*

FINE MEXICAN STANDOFF THEN

*Crickets.*

FOR THE LAST TIME SOMEONE DISARM HIM

Rodrigo: for God’s sake CARLO GIVE ME YOUR SWORD (I’m trying to save your life here)

Carlo: You? Rodrigo?

*He gives Rodrigo his sword. Rodrigo in turn gives it to Filippo.*

Everyone Else: ...oh shit. That was the twist of the year.

Filippo: Marquis, I now promote you to Duke!

*He dubs Rodrigo.*

NOW LET’S GO CELEBRATE

*Everyone goes to their places to watch the burning of the heretics.*

People: YAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAY EVERYONE LOVES FILIPPO except those Flemish people who are about to get burned but we don’t talk about them YAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAY

Monks: TIME TO GO BURN SOME HERETICS

A Celestial Voice: You poor souls, come, come to heaven and find peace with God! *******

Deputies: GOD WHY AREN’T YOU DOING SOME SORT OF MIRACLE TO STOP THIS THEY CLAIM THEY’RE DOING THIS IN YOUR NAME

*The pyre is lit.*

The Voice: Though you have been condemned as heretics on earth, come and be forgiven!

Deputies: THESE FLAMES DO NOT COME FROM GOD

Filippo, Monks, and People: GLORY TO GOD ********

*The flames rise.*

Notes

Act IV:

Scene 1:

Shortly before dawn the following day, in Filippo II’s study. Filippo is alone, lost in thought.

Filippo: She never loved me...never has, never will...I still remember seeing her when she arrived, and she took one look at me and my white hair and her face fell...no, she does not love me!

HEY CELLO COULD YOU SHUT UP FOR A SEC I’M ALREADY HAVING TROUBLE SLEEPING AS IS

Solo Cellist In The Pit: but this is my big momeeeeeeeeeeeeeeeeeeent

Filippo: NO IT’S MINE AND I CAN’T SLEEP SO SHUT UP

*The cellist obliges and Filippo looks around.*

Where am I? wait...I’ve been up all night, it’s almost morning, the candles have almost burned out, just like my days slowly dwindling...dear God, I can’t sleep…

When my life has reached its evening, I’ll sleep forever, in my tomb, in the Escorial, I’ll sleep forever...alone… **

If only I could read human hearts like God could, that would give me peace, but if I sleep, then I could be betrayed and not know it and I could lose everything!

No, she has never loved me, she does not love me, she never will love me!

*Count Lerma and two Dominican friars lead in the Grand Inquisitor.*

Count Lerma: THE GRAND INQUISITOR IS HERE

Filippo: ...Dammit.

Grand Inquisitor: Am I before the King?

Filippo: Yes, thanks for coming, Father. I have a major problem: Carlo is rebelling against me.

Grand Inquisitor: So what are you gonna do about it?

Filippo: I don’t know; part of me just wants to let him go but part of me wants to…

Grand Inquisitor: Wants to…?

Filippo: Question: If I ordered Carlo’s execution, would you absolve me?

Grand Inquisitor: Yes.

Filippo; BUT I’M A CHRISTIAN HOW CAN I ORDER THE DEATH OF MY OWN CHILD EVEN FOR MY EMPIRE’S SAKE

Grand Inquisitor: ...You forgetting about Jesus?

Filippo: BUT THAT WAS ALMOST 1600 YEARS AGO

Grand Inquisitor: THAT DOESN’T MATTER

Filippo: BUT EVEN THOUGH WE’RE NOT ON GREAT TERMS AS A DAD I STILL LOVE MY SON CAN I JUST DENY THAT

Grand Inquisitor: Everything falls silent before faith.

Filippo: Very well.

Grand Inquisitor: Any other questions?

Filippo: No.

Grand Inquisitor: I’ll talk, then. Long story short: if you thought Carlo was bad, then you’ll be even more appalled to discover that a man, a close companion of yours, one you trusted, is ruining you and our country. And I have foolishly allowed it!

Filippo: But but but I’ve found a man!

Grand Inquisitor: What do you need a man for? No man is your equal!

Filippo: SHUT UP PRIEST ***

Grand Inquisitor: You’re trying to break apart the whole Catholic world! Normally, I’d condemn you for it, but I will relent on one condition: give us the Marquis di Posa.

Filippo: NEVER

Grand Inquisitor: FINE THEN I’LL HAND YOU OVER TO THE INQUISITION

Filippo: SHUT UP

Grand Inquisitor: WHY AM I EVEN HERE

Filippo: FINE DO WHAT YOU WANT but seriously I just want us to have peace please forget all this

Grand Inquisitor: Perhaps…

*He is led out.*

Filippo: So the throne must always give way to the altar!

*Elisabetta runs in, frantic.*

Elisabetta: JUSTICE I DEMAND JUSTICE AND I HAVE FULL FAITH IN YOU TO GIVE IT everyone here is treating me horribly and to TOP IT ALL OFF THE BOX WHERE I KEEP MY JEWELS AND OTHER PRECIOUS ITEMS HAS BEEN STOLEN

Filippo: Your jewelry box? You mean...this box?

*He reveals a box sitting on his table.*

Elisabetta: oh GOD no

Filippo: Open it.

Elisabetta: No.

Filippo: FINE THEN I WILL

*He breaks it open.*

Elisabetta: death in 3...2…

Filippo: YOU KEEP CARLO’S PICTURE IN HERE DO YOU HEAR WHAT I’M SAYING

Elisabetta: Loud and clear.

Filippo: You keep it...with your precious items?

Elisabetta: Yes.

Filippo: You DARE TO ADMIT THIS?!

Elisabetta: Yes! What do I have to hide? He was once my fiancé, and he gave me his portrait then, so what? Now I’m your wife, and I’m loyal to you. And you dare to insult and doubt me! Me! A princess of France, now the queen of Spain, me!

Filippo: HOW DARE YOU TO SPEAK TO ME SO BOLDLY YOU THINK I’M WEAK AND THAT YOU CAN DEFY ME BUT I’LL SHOW YOU AND EVERYBODY ELSE

Elisabetta: What did I do?

Filippo: If you have betrayed me, I swear to holy God above, I WILL HAVE BLOOD

Elisabetta: I pity you.

Filippo: Ha! Pity...FROM AN ADULTEROUS WIFE

*Elisabetta screams and faints.*

SOMEONE HELP THE QUEEN

*Rodrigo and Éboli immediately run in.* ****

Éboli: OH GOD WHAT HAVE I DONE

Rodrigo: You rule half the world. Are you the only person you cannot control?

Filippo: I shouldn’t have suspected her I fucked up and I’m very ashamed of myself now thanks whatever demon made me think this

Éboli: I RUINED HER LIFE I CAUSED THIS HORRIBLE THING I BETRAYED HER I FEEL AWFUL

Filippo: Looks like she was loyal all this time…

Rodrigo: Now I need to take action because someone needs to; a man needs to die for Spain to be saved, and so that man will be me.

Elisabetta (waking up): ...where am I? Everyone’s abandoned me...Mama, I just want to see you again...I’m a stranger here and all my hope in this world is gone… *****

Éboli: IF I CAN’T FIND FORGIVENESS ON EARTH OR IN HEAVEN FOR WHAT I’VE DONE I’LL JUST DIE BECAUSE WHAT I DID TO HER WAS ABSOLUTELY HORRIBLE

*Filippo and Rodrigo leave. Éboli throws herself at Elisabetta’s feet.*

FORGIVE ME ELISABETTA I DID SOMETHING HORRIBLE

Elisabetta: Why are you...what did you do?

Éboli: I FEEL HORRIBLE YOU ARE SUCH A GOOD PERSON AND I DID SOMETHING AWFUL TO YOU BECAUSE I GUESS I’M JUST A HORRIBLE PERSON

...I was the one who took the box and gave it to Filippo.

Elisabetta: You?

Éboli: YES ME I ACCUSED YOU BECAUSE I WAS SO PISSED OFF THAT CARLO LOVED YOU INSTEAD OF ME BECAUSE I REALLY LOVE CARLO BUT HE REJECTED ME

Elisabetta: You love him? It’s okay. Get up, you don’t need to beg for forgiveness at my feet.

Éboli: No...it gets much worse.

Elisabetta: What do you mean?

Éboli: PLEASE FORGIVE ME

okay so the thing is, I ruined everything even more because I accused you of committing adultery, but the truth is...I had an affair...with the King.

*Elisabetta (understandably) reels at this, but suppresses that and turns back to Éboli.*

Elisabetta: I gave you a crucifix once. Give it back.

*Éboli does so.*

You have twenty-four hours to choose between a convent and exile. Either way, I want you out of my court so I will never see you again. Be happy. Farewell.

*She leaves.*

Éboli: NO I’M NEVER GOING TO SEE HER AGAIN I MAJORLY FUCKED UP

MY BEAUTY YOU ARE SUCH A FATAL AND CRUEL GIFT FROM HEAVEN AND THE ULTIMATE SOURCE OF ALL MY PROBLEMS SO I CURSE YOU BECAUSE NOW ALL I CAN DO IS SUFFER AND I’LL NEVER BE ABLE TO FIX THIS

Elisabetta, my queen, I ruined you because I was so selfish and I’ll regret this for the rest of my life so I’ll just go into a convent and hide all my pain and suffering…

*She sees Carlo’s death warrant on the desk.*

OH GOD CARLO’S GOING TO BE EXECUTED TOMORROW NO NO NO wait WAIT A SECOND I HAVE ONE DAY LEFT HERE THERE IS HOPE THANK GOD I CAN AT THE VERY LEAST SAVE HIM BECAUSE I STILL LOVE HIM AND I HAVE ONE BLESSED DAY AND I WILL USE THAT DAY TO SAVE HIM

*She runs out.*

Notes

Scene 2:

Later the same day, in a nearby prison where Carlo is being held. He is sitting with his head in his hands. Rodrigo enters and talks briefly to the guards, who all leave.

Rodrigo: Carlo, it’s me.

Carlo: Thanks for coming to visit Carlo in prison.

Rodrigo: Stop referring to yourself in the third person, my dear Carlo.

Carlo: I’m useless for saving Flanders. I’m useless for EVERYTHING.

Rodrigo: NO YOU’RE NOT I LOVE YOU SO MUCH LET ME EMBRACE YOU I HAVE SAVED YOU

Carlo: How?

Rodrigo: I need to say farewell. Carlo, as much as it hurts to say this, and it’s a lot, we can never see each other again here below because my days have come to an end but I hope that we can see each other again and love each other when we are both with God...

Why are you crying? I’m happy to die for you!

Carlo: Why do you keep talking about death?

Rodrigo: WE DON’T HAVE MUCH TIME look the thing is I cleared your name and now they all think that I’m the one leading the rebellion

Carlo: Ha! Who’d ever believe that?

Rodrigo: Well, they have twenty of your papers found in my possession— **

Carlo: wait THAT’S WHY YOU ASKED ME FOR THE PAPERS?!?!?! Goddammit I AM SO STUPID

Rodrigo: shhhhhhhhh anyway that was more than enough proof and now there’s a price on my head

*A man in clerical garb and an assassin walk in (and no, this is not the start of a bar joke) and point out Rodrigo to each other.*

Carlo: I’LL TELL FILIPPO EVERYTHING HE’LL HAVE TO LET YOU GO

Rodrigo: No! It’s all up to you now; you must save Flanders and give it new life, and I must die for you.

*The assassin shoots Rodrigo at that moment.*

Carlo: OH MY GOD IT’S DEATH but...for whom? ***

Rodrigo: ...for me. The King’s revenge is swift. Listen.

Tomorrow, Elisabetta will be waiting for you at San Yuste. She knows everything and she will help you get out...I’m getting weak, Carlo, give me your hand!

I will die, but I’m happy because I’ve been able to save you and perhaps even by doing that save Spain! I’m so happy...but don’t forget me, Carlo, do not forget me! You were destined to reign and I to die for you!

No...no...the ground is giving way...I’m dying...Carlo...give me your hand...save Flanders...I love you, Carlo!...farewell...ah…

*He dies. Carlo collapses on his body as Filippo enters with his retinue.*

Filippo: HEY CARLO HERE’S YOUR SWORD BACK BECAUSE I GUESS YOU’RE NOT THE TRAITOR AFTER ALL

Carlo: STAY AWAY GOD HAS COVERED YOUR FOREHEAD WITH THIS INNOCENT MAN’S BLOOD

Filippo: MY SON—

Carlo: I’M NOT YOUR SON ANYMORE CHOOSE ONE FROM THESE MURDERERS BECAUSE YOU MURDERED THIS MAN WHO LOVED ME AND SACRIFICED HIS LIFE FOR ME IN SPITE OF EVERYTHING AND WE HAD ETERNAL UNBREAKABLE BONDS BETWEEN US AND MY KINGDOM IS WITH HIM

****Filippo: I might as well die because I killed the one good man God created in this world...me! I killed him! I loved him, he revealed a new world to me, and I threw him into the tomb!

Courtiers: Why should we go on living?

Carlo: MY LOVE SUPPORT ME AND LET ME BE THE HERO YOU ALWAYS WANTED ME TO BE AND LET ME HAVE SOME HELP FROM GOD OR AT LEAST PUT ME NEXT TO YOU IN THE TOMB ****

*The prison’s alarm bell sounds.*

People (outside): GET ‘EM WE WILL STRIKE ANYONE WHO OPPOSES US DOWN INCLUDING THE KING

Count Lerma: THE PEOPLE ARE RIOTING THEY WANT THE INFANTE

Filippo: OPEN THE PRISON GATES

Courtiers: WHAT THE HELL ARE YOU DOING

Filippo: did I STUTTER

*The crowd pours in.*

People: WE WANT THE INFANTE AND IF YOU DON’T GIVE IN WE’LL KILL YOU

*Éboli runs in, disguised as a page.*

Éboli: CARLO GO NOW

*Carlo escapes as Elisabetta enters.*

LOOK ELISABETTA I STARTED THIS WHOLE RIOT TO SAVE CARLO BECAUSE I LOVE HIM anyway I’m going to a convent now farewell forever

Elisabetta: oh my GOD WHAT IS HAPPENING

Filippo: YOU ALL WANT THE INFANTE YOU CAN HAVE HIM

*The Grand Inquisitor enters.*

Grand Inquisitor: SACRILEGE ABSOLUTE SACRILEGE

The People: oh SHIT

Grand Inquisitor: BOW DOWN BEFORE THE KING WHOM GOD PROTECTS

*Everyone else kneels.*

People: Dear Lord, forgive us…

Filippo and the Grand Inquisitor: GLORY TO GOD

Lerma, the Courtiers, and the People: Long live the King!

*Éboli collapses at Elisabetta’s feet. Elisabetta holds out her hands to her in a sign of forgiveness.* *****

Notes

Act V:

The following night, back before the tomb of Charles V at the monastery of San Yuste. Elisabetta enters, kneels at the tomb, and begins to pray.*

Elisabetta: I don’t know if you can hear me up there, Charles, but you knew the utter meaninglessness of all the vanities of the world and now you sleep so peacefully...so if souls still weep in heaven, then weep for me and bring my tears to God…

Oh boy, Carlo’s coming here...he must leave and I must watch over him from afar like I told Rodrigo I would...he must go find his glorious destiny while I can only wait to die…

France! My beautiful home...and Fontainebleau, the one place in the world where I was happy, where God heard my eternal vow of love, and that eternity lasted only a day…as for Spain, if Carlo should ever pass through these gardens again, may he hear songs of our love…

Farewell dreams, farewell hopes and illusions, farewell lost love, farewell youth, my heart only has one desire now: the peace of death!

Charles, if you’re still listening after all this, bring my tears to God!

*Carlo enters.*

Carlo: IT’S YOU

Elisabetta: I ask one thing of you: forget me and live.

Carlo: I want to be strong, but love…

Elisabetta: Think about Rodrigo! He didn’t just sacrifice himself for ideas, he sacrificed himself for Flanders and more importantly, for you!

Carlo: When I get to Flanders, I want to build a monument to him!

Elisabetta: Heaven will smile upon him!

Carlo: It once smiled upon me too and then vanished! But no more of that: I see all the horrors in Flanders he once talked about, and I see the people reaching out to me, begging me to help them...and I will help them!

Elisabetta: Yes, you will be a hero! Go, go save them with all my love and support behind you!

Carlo: You know, before today, nothing could have pulled me away from you, but now honor has triumphed and I feel so much stronger in my mind and my heart! Even though I may hold you, I still want to go to Flanders, and I will, and I will save the Flemish!

You’re crying?

Elisabetta: Just because I admire you and you are a hero. But you see, we will see each other again in a better world, and there we’ll finally be able to love each other and be happy as God wanted us to but we never got to…

Carlo: We’ll be happy as God wanted us to…

Elisabetta: But for now, we must say farewell.

Carlo: Farewell, Mother!

Elisabetta: Farewell, my son!

Carlo and Elisabetta: Farewell forever!

*Filippo suddenly enters with his retinue and the Grand Inquisitor and grabs Elisabetta’s arm.*

Filippo: YES FAREWELL FOREVER YOU’VE REALLY GONE AND DONE IT AND NOW I WANT A DOUBLE SACRIFICE AND I WILL DO MY DUTY

Grand Inquisitor: SO WILL THE INQUISITION

Elisabetta: OH GOD NO

Carlo: GOD WILL AVENGE ME AND SHATTER THIS TRIBUNAL OF BLOOD

*Suddenly, the tomb opens and the Monk reemerges.*

The Monk: We may try to find peace here but even then suffering is always with us because we can only find peace in heaven…

Grand Inquisitor: WAIT THAT’S CHARLES V’S VOICE

Filippo: OH GOD IT’S MY FATHER

Elisabetta: AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH

*The Monk drags Carlo into the tomb.* **

Notes

The End

I hope you enjoyed this! PLEASE leave any and all suggestions in the comments, my messages, and/or my inbox! Thank you!

#opera #opera tag #opera simplified #Don Carlo #Don Carlos #Verdi #Giuseppe Verdi #Camille du Locle #Joseph Méry #French grand opéra

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monotonous-minutia · 5 years ago

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Don Carlo Met 2010 reactions pt. 3

So this Don Carlo will always be my favorite and I can say that even though I know there’s a bunch out there I haven’t seen and it’s because it doesn’t have my favorite version of everything, it’s the production that really got me into this opera and it’s so very special to me because of the way it came into my life and then inexplicably followed me around for the next several years.

So I have a lot to say about it.

Because it’s on my mind at this time I first want to say that anyone who criticizes Marina’s Elizabetta can eff off. I don’t care if she doesn’t have “a Verdi voice.” She IS Elizabetta. I first saw her picture in an Opera News magazine and I was like Dang she looks exactly the way I pictured based on everything I knew about the character. Plus her acting is METICULOUS. In opera, especially a super long on like this, it can be hard to find something to do during the musical bits between numbers and when the other person is singing because it takes longer for them to say things (IT’S OPERA) and react along with them. SHE DOES IT. There’s never a second where she’s not in character, she’s so PRESENT, she’s always there, and she’s fantastic and also drop-dead gorgeous. Every time she does anything I Die because she’s just marvelous.

As for the meticulous acting this, that’s my only beef with Roberto, because he does that Tenor Thing where occasionally he Just Stands There. But he’s got this warm fuzzy vibe about him and he just needs hugs. I love how he’s super sweet to Eboli even as he’s rejecting her. He obviously really cares about her. His dynamic with Elizabetta is so good and his dynamic with Rodrigo is SO. GOOD.

AND RODRIGO. I have to remind myself to breathe when I watch this one because I DIE so many times and it’s mostly Simon’s fault. WHY IS HE SO GOOD???? it’s ridiculous. Like Marina he’s always Doing Something and his reactions to the others are so real and intricate and auauahgg4hwyiy3hn. And he loves Carlo so much. And gives him all the hugs. Like seriously all the hugs. I can’t get over it. And the best part of his portrayal is that even with all the sweetness he’s still kind of shady. He knows what he wants and he makes some questionable decisions in order to get there, some that he regrets. It’s like he’s battling between wanting to do what’s best for Carlo and also what’s best for Flanders and because everything is so Messed Up these can’t always go together, and he figures that out the hard way and it comes to a shattering conclusion.

Eboli. This isn’t my favorite Eboli in the whole wide world but dang this lady. Again being the first one I saw she kind of defined the role for me. She captures all the emotions and swings from sassy to hopeful to conniving to remorseful to determined right along with the action. Her journey is so intense and Anna really digs into it and finds the facets and we can see it all on her face. She’s so expressive. And she plays off the other characters so well. It’s obvious everyone is in love with her. (Except the one she really wants to be in love with her, because that’s how it always works out, especially if you’re a mezzo.) And she teases Thibault mercilessly.

And now for my son. He loves his princess so much. He points his gun at Carlo when he jumps out of nowhere and the Look he gives the guy when they tell him he can leave them alone. He’s like “If you do anything I will CUT you, sir.” And Layla plays him so well, like he’s always up to something, be it flirting with the ladies, hanging on to Elizabetta’s every word, checking the doorways to see who’s coming, or conferring with Aremberg as they check in on their princess. And. And. And. The Veil Song. I die. He’s so adorkable. And he goes running around giving all the ladies flowers and he saves the best one for Eboli and the way they dance around with the veil is just. I can’t. It’s illegal how cute they are. And his expressions during the auto-de-fe break my heart. He just wants to follow his princess and then he gets caught up in all of this. He’s horrified. It’s so sad. Also I still am angry that everyone forgets he exists after that scene. Even Lerma gets to pop up later but my son doesn’t get so much as a mention. Anyway. If there’s an afterlife I’m gonna take that up with the librettists. First I have to learn French.

Filippo. Furlenetto IS Filippo. I still don’t get why he has a cane sometimes and not others but Hytner is weird and I blame for a lot of things including Carlo dying (NOT. HAPPY.) and Eboli being pushed to the side during the riot and Carlo not even going with her which was the whole point. Anyway. This king. He’s so expressive and like most of the others he’s always Doing Things even if said thing is pretending to read paperwork while his wife sings farewell to her lady-in-waiting (also these two are totally in love. Like most of the time Elizabetta gives Aremberg a necklace or something but Marina gives her a RING. I think after the events of the opera these two should elope. And take Thibault with them. Maybe Eboli too.) Anyway we can see the many shades to Filippo’s character and the face he makes when he signs the warrant for Carlo’s death is just heartbreaking.

The set. I love the set. Especially Fountainebleau and the monastery. Most of the set is pretty simplistic and not as rich as some others, but it still fit the story. The huge cross in some of the scenes really emphasizes the omnipresent religious undertones that pretty much flavor everything. All the red in Act 2 Scene 2 and the auto-de-fe were bold and atmospheric. The big Jesus picture was unnerving. Also another weird Hytner thing is the added dialogue during the auto-de-fe. Guy should have left well enough alone but. oh well.

I wish this production had the extended garden scene with the masquerade and Elizabetta giving Eboli her veil, because the music is so pretty and it’s like the only two minutes we get of Elizabetta and Eboli interacting as friends. But I’m okay with the shortened opening. Again, having the Woodcutter’s Chous and Elizabetta visiting them does a better job setting up for the rest of the opera and shows the devotion she has to her people which makes her decision more powerful etc. etc. But. Those horns. The fanfare. I can’t. and Elizabetta running up the hill in pursuit of the deer and she’s so WILD and happy and. Every time I hear it I remember sitting by my radio and thinking Dang, this is good, and picturing everything, and then finally getting to see it and dying.

so anyway there’s my ramblings. will probably continue to cry about this in the next few days.

#don carlo #don carlos #opera #met opera streams #metropolitan opera #nightly opera streams #i'll never get over this one #i died #a lot #my favorite favorite favorite #am i writing this instead of homework?#yes #yes i am #monotonous minutia #monotonous-minutia reacts

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mevduatfaizi · 6 years ago

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Cómo mi novia y yo nos unimos para obtener pizza gratis | Şaka Gibi #Sak...

Cómo mi novia y yo nos unimos para obtener pizza gratis | Şaka Gibi #SakaGibi ► Español [ESP]: ¿Quieres ayudar a una chica hermosa? ¡Entonces necesitas permanecer despierto un poco más! Porque puedes venir a un juego. ► Turkish [TR]: (Eski kız arkadaşım ve ben bedava pizza almak için nasıl bir araya geldik?) Güzel bir kız görünce yardım etmek ister misin? Öyleyse biraz daha uyanık kalman gerekli! Zira bir oyuna gelebilirsin. Animals Save Animals! The Monkey saved the Deer from the Leopard - Şaka ... YouTube #SakaGibi (YT Şaka Gibi) ► https://youtu.be/1eJlf082ceE ► Ayrıca diğer içerikleri de izlemenizi tavsiye ederim. ► Bu videonun linki: https://youtu.be/jYLl6AjsvYk Makyaj ile Güzellik | Güzel Kızların Makyaj Sırları | Şaka Gibi | Hot Girls Make up #sakagibi ► https://www.youtube.com/watch?v=GUpaT0nsNPg Özellikle de sütyen çekme numarasını merakla düşüneceksiniz. ► Dilerseniz şu içeriklere de göz atabilirsiniz. Makyaj ile Güzellik | Güzel Kızların Makyaj Sırları | Şaka Gibi | Hot Girls Make up #sakagibi ► https://youtu.be/GUpaT0nsNPg Sihirbazlık Numaraları Kız Şakaları Korean Magic Compilation - Şaka Gibi #sakagibi ► https://youtu.be/JMsfdkhXF6s Tayland Komik Şaka Gibi Video Derlemeleri Thailand Fun Girl Compilation ► https://youtu.be/ceqEjetw1ro Şaka Gibi Kız Erkek Kavgası - Nigga | AMERICA Bu videoyu paylaşmak için aşağıdaki bağlantıyı kullanabilirsiniz. ► https://youtu.be/885-u4PGDUY AYRICA bir önceki videolarımıza da aşağıdaki linklerden ulaşabilirsiniz... ► https://youtu.be/Jda-1IzlXwc Muhteşem Bir Sanat - Kurumuş Ağaca Sanat Ruhu Yetenekli heykeltıraş kurumuş ağaca sanatı ile hayat verdi. İzlerken sıkılmayacaksınız! ► https://youtu.be/eGFUWvor4X8 Şaka Gibi YouTube kanalımıza abone olmayı unutmayın. ► https://youtu.be/k3WU8m_VwqA

#Chicas guapas #chicas guapa #chicas sexy #şaka gibi #saka gibi #chicas extranjeras #chicas españolas #ytsakagibi #sakag #uygunkrediler #uygun krediler #uk #org #uygunkredilerorg

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randomnotesonrandomness · 5 years ago

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Nota del traduttore

Translator’s note

English below

Ho tradotto Sottovoce in un posto meraviglioso, da fiaba, da non crederci.

Un po' come i disegni che ti fanno fare all'asilo. Disegna un paesaggio felice. E io facevo una casetta di legno, un fiume, quattro abeti, una nuvola, un cervo (un cilindro orizzontale con dei rami in testa e le zampe come matite, bruttino).

Ero in Canada, in una residenza per traduttori all'interno di un parco naturale. Tu stai lì e traduci, non devi pensare ad altro. Diventi un animaletto che mangia, dorme, cammina nei boschi e traduce. Non devi pensare a cose mondane come pulire, riordinare, fare la spesa, cucinare... e ogni due giorni c'è una tavola rotonda sulla traduzione. Sei con venti traduttori e parli quasi sempre di parole. Poi fai le passeggiate per pulirti la testa nel verde, nei verdi. Sono dei verdi che non avevo mai visto prima, o forse sì, nei ramarri o in certe rane, nei serpenti d'acqua, nelle piume delle anatre. Sono verdi di animali.

Nel verde ci sono sempre i cervi che non hanno paura degli umani e sembrano il cuore di un diorama, ci sono gli alci che assomigliano ai cavalli, ci sono i cani della prateria ciccioni e curiosi che corrono sempre e poi si alzano dritti sulle zampe dietro per guardarti meglio. Sei lì che cammini in un bosco e fai sempre piano, un po' perché il bosco è silenzioso, con il tappeto di aghi e la moquette di muschio, un po' perché è così bello che sembra fragile e in effetti lo è, un po' perché speri di vedere un orso. Ti dicono di far rumore per allontanarli, ma io facevo sempre piano perché volevo vederlo, l'orso. Però non l'ho visto lo stesso, purtroppo.

Ogni tanto spunta un animale e tu pensi, oh. E non trovi parole. Rimani lì con il battito che accelera e sorridi come se avessi visto la Madonna. Invece gli animali sono veri, hanno il pelo folto e i denti che sembrano sorriderti e gli occhi che ti fissano e quindi sono molto più magici della Madonna. D'altronde, Emily Dickinson diceva che sono migliori degli esseri umani 'perché sanno, ma non dicono'.

Questo paradiso è durato tre settimane. E in mezzo a quelle giornate piene di parole e di oh e ah davanti agli animaletti, per quattro giorni, come da programma, mi ha raggiunto Sarah Manguso. I traduttori selezionati hanno il privilegio di far invitare l'autore su cui stanno lavorando. Tombola.

In questi piccoli quadri che compongono Sottovoce ci sono un po' di cervi, e dei posti nel verde, oltre a case, scuole, ospedali. Io non sapevo dove si svolgessero queste scene, Manguso non lo dice quasi mai. Ma ero certa che quando c'erano i cervi erano residenze per scrittori, e ho capito d'istinto di dover mantenere il mistero. Tradurre Vergogna è stato tutto un levare. E un lavoro complicato per custodire il mistero.

Quando ho conosciuto Sarah ero stupita perché me l'ero immaginata minuta e nervosa. Invece è una donna molto alta e solida, sorridente, con gli occhi verdi, enormi. Penso abbia una laurea in guardare. La sera stessa ci siamo messe a parlare di case, non so bene perché, e io le ho fatto vedere una foto della mia casa spoglia e le ho detto che non tengo le cose e anzi ho imparato da Andanza a conservare un po' più di oggetti e lei ha detto 'Oh. Che sogno. Anch'io amo le case spoglie.' Era stupefatta all'idea che avessi imparato qualcosa da lei. Insomma ci siamo piaciute subito. In quei quattro giorni abbiamo passato tutti i pomeriggi a lavorare su piccole cose da limare e ridurre, a sfrondare, a parlare per capire, e per decidere cosa levare ancora. “Ancora. Leviamo anche questo. No questa frase non va neanche in inglese, togliamola del tutto. È più bello in italiano, più pulito. Così rimane la parola pura” e ci veniva da ridere, eravamo quasi euforiche per tutta quella pulizia. Un po' come fare ordine in casa, cosa che piace a entrambe. E poi durante le passeggiate nei boschi e sul fiume e abbiamo incontrato gli animali e siamo rimaste senza parole insieme, che è una cosa speciale. Prima che partisse le ho spiegato il gioco dei riccioli dei soffioni che facevo sempre da piccola e pensavo fosse famoso in tutto il mondo (la megalomania di chi è nato in provincia), invece non lo conosceva. Prendi un gambo, lo giri al contrario tenendo la corolla, lo dividi in quattro e poi con l'indice spingi in basso creando quattro ciocche. Poi riempi una ciotola d'acqua e ci butti dentro il gambo e in qualche minuto le ciocche diventano ricci compatti, serrati. E lei mi ha fatto un complimento indimenticabile che fa anche un po' ridere. Mi ha detto “Sono rapita da ogni parola che dici sulle mie parole. E poi riesci a rendere interessante anche un soffione.”

Questo libro ha poche parole, ma sono tutte scelte, pulite, lucidate tante volte, e da due persone insieme, scrittrice e traduttrice. E poi ancora levigate in redazione. Rimane una cosa compatta e magica come un ricciolo di soffione che ti fa, spero, ammutolire dalla bellezza. Come quando cammini piano nella foresta sperando di vedere un orso, e non lo vedi ma sei felice lo stesso.

I translated Hard to Admit, Harder to Escape in a wonderful place, a fairy tale, almost surreal.

A bit like the drawings they ask you to do in kindergarten. Draw a happy landscape. And I used to draw a little wooden house, a river, four fir trees, a cloud, a deer (a horizontal cylinder with branches on its head and legs like pencils, quite ugly).

I was in a translators' residency in the middle of a national park in Alberta, Canada. You are invited for three weeks and all you have to do is work on your project, without having to think about anything else. You become like a little animal that eats, sleeps, walks in the woods and translates. You don't have to bother about worldly things like cleaning, tidying up, shopping, cooking ... and every two days there's a round table. You are with twenty translators and you basically always talk about words. Then you go for long walks to clear your head in the green, in the greens. Greens I had never seen before, or maybe yes, on lizards or certain frogs, on snakes, the feathers of ducks. Animal greens.

In the green there are deer which are not afraid of humans and they are the heart of a diorama. There are elks that resemble horses, there are prairie dogs, chubby and curious and always running, apart from when they stop all of a sudden and get up straight on their hind legs to stare at you. You take long walks in the woods, silent and careful, partly because the forest is quiet, with carpets of needles and rugs of moss, partly because it seems fragile and in fact it is, and also because you hope to see a bear. Everyone tells you to be loud and make noise in order to drive them away, but I never listened because I so wanted to see the bear. But alas, despite all my careful steps I didn't.

From time to time a creature appears and you are like, oh. And you don't find the words. You stay still with your heart racing, smiling as if you had seen the Madonna. But the animals are real, they have thick hair and teeth that seem to grin and eyes that stare at you and therefore they are much more magical than the Madonna. After all, Emily Dickinson said (about dogs, but still) they are better than human beings 'because they know, but do not tell'.

So I lived in this paradise for three weeks. And in the midst of those days full of words and of oh and ah in front of animals small and big, Sarah Manguso joined me for four days. Selected translators have the privilege of inviting the author they are working on. Bingo. In the tiny paintings that make up Hard to Admit, Harder to Escape there are deer and places in the green, as well as houses, schools, hospitals. I did not know where these scenes took place, Manguso hardly ever specifies it. But I was sure that when deer were mentioned, they were in writers' residences and I knew instinctively that I had to keep the mystery. Translating Hard to Admit, Harder to Escape was all a levare, removing, subtracting. And it was an uncanny job to keep the mystery in the translation. When I met Sarah I was surprised because I imagined her petite and nervous. Instead she is a very tall and strong woman, smiling, with huge green eyes. I reckon she has a degree in looking. The same evening we started talking about houses, I do not know why, and I showed her a picture of my very spare flat. I told her that I tend to discard memories and things and that I learned while translating Andanza/Ongoingness to keep a little more. She said 'Oh. That's a dream. I love bare spaces too." She was amazed at the idea that I had learned something from her. We instantly liked each other. In those four days we spent every afternoon working on small things to be polished and cut, we pruned, we discussed and decided what else to eliminate. She kept saying:"Yes. We should also chop this. No, this sentence doesn't even work in English, so take it out completely. It's more beautiful in Italian, cleaner. Pure words only" and we giggled a lot, elated by all that cleaning. A bit like tidying up home, something which we both like. And then during our walks in the woods and along the river we met the animals and we were speechless together, which is a very special thing. Before she left I explained the game with dandelions that I always played when I was a kid, sure it was famous all over the world - the megalomania of country dwellers. She did not know it. You take a stem, turn it upside down holding the corolla, divide it into four and then with the index finger you push down creating four curls. Then you fill a bowl with water and throw them in and a few minutes later the curly stems become tight, compact locks. And Sarah came up with an unforgettable compliment that also made me laugh. She told me something like "I am enchanted by every word you say about my words. You manage to turn even a dandelion into something fascinating!" This book has very few words, but they are all chosen, cleaned, polished many times, and by two people together, writer and translator. And then smoothed again by the editor and me, hopefully producing something as compact and magical as a dandelion that leaves you speechless for its beauty. Like when you move slowly and quietly in the forest hoping to see a bear, and you do not see it but you're happy anyway.

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ahagreatwaytolive · 6 years ago

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Nature

The Best Natural Medicine? Nature Itself - read this article below

https://brainworldmagazine.com/the-best-natural-medicine-nature-itself/

It is a subject artist Chen KeZhan approach towards his thoughts and artistic journey for couple of decades. Most of his works are inspired by the travelling along the Mekong river and Indo China. One could sense the sound of the splashing water being captured poetically and appealing in his paintings.

Chen KeZhan’s understanding of the mineral colour on the rice paper is almost a purist. It is a medium that he is most confortable with. His works may seem abstract, but there is a trace of elements from nature. The brush stroke are powerful, filled with emotion, layered over each depth of colours. Luminosity versus opaqueness and brightness versus darkness. The paintings are arresting!

Chen has always been interested in music. It plays an important part in his art paintings. He still paints in the quiet of the night and early hour of the morning with eastern or western music on the background. Chen also studied music at Ecole des Beaux Arts, Paris. He is also interested in opera and his favourite piece is Giuseppe Verdi’s Requiem.

As a collector of Chen Kezhan’s works, I have the privilege of meeting and having meal several times at his garden, named Lu Lin (Deer Forest) It was named by the late Singaporean calligrapher, scholar and poet, Pan Shou. whom I had met once at Chen’s place. A calligraphic signage is placed at the entrance of Chen’s garden.

Chen KeZhan is an artist using traditional Chinese ink but in contemporary approach. He is also a gardener, and an art collector.

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deusirea · 6 years ago

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Attack on Titan insanlar ve canavarlar hakkında.

İnsan yüzlü canavarlar, ve insanların olabileceği canavarlar hakkında.

Her iki taraftaki canavarlarla savaşmak ile ilgili.

Bu savaşı asla sonlanmaz yapıyor. Sonunu göremeyebilirsin. Çocukların göremeyebilir. Torunların göremeyebilir. Fakat bunu gören jenerasyon için, eğer oradaysan, rolünü oynamak zorundasın.

Canavarı devirirsen yerini bir başkası alır.

Eğer yanlış zamanda yanlış yerdeysen, canavar sen olursun.

Bu Dünya’da asla doğru olamayacak kadar yanlışlar var.

“

“Acıyı yeniden hatırlıyorum. . Ben şimdi .. yeniden başlamak mı zorundayım? Bu dünya çok .. zalim. ama bir o kadar da güzel ..” Mikasa, 7

“Eğer ben doğmamış olsaydım, hepsi daha mutlu olurlardı..” Historia, 52

“Sadece kendini öldürmenin her şeyi çözeceğini söylediler ama..” “Ben de aynı şekilde. Hiç doğmamış olsaydım daha iyi olacağını düşündüm. Dünya var olduğum için benden nefret ediyordu. Mutluluğu getirmek için bir sürü insan .. öldü.” Ymir, 40

“Benim varolmama asla gerek yoktu. Yap .. en azından .. benim için hepsini bitirmeni istiyorum.”

“Yaşamaya devam etmem herkes için kötü bir şey! Acele et ve ye beni! Böyle yaşamaya devam edemem!”

Eren, 65, 66

“Eğer Marley tüm Eldialıları yok etmeye karar verirse .. bunu kabul ederim. Eldialıların suçu bu kadar ağır. Bu yüzden asla affedilemezler.”

Eldialılar .. titanlar .. en başında varolmamalılardı.”

Willy Karl Fritz’in ifadesini kullanırken, 99

“Elbette şu an yüzleştiğimiz bu tehlike Eldialıların varoldukları ana kadar geriye bağlanabilir. Ve eğer bana kalsaydı .. asla doğmamış olmayı seçerdim. Kanımdan nefret ettim. Eldialıların herkesten daha fazla yok olmalarını diledim.”

Willy, 100

“Buna daha fazla dayanamıyorum .. lütfen sadece öldür beni .. sana yalvarırım. Ortadan kaybolmak istiyorum..” Reiner, 100

“Gerçekten ölmek istemiyorsun. Her zaman kendini şehit etmenin bir yolunu düşünmeye çalıştın çünkü böylece herkes seni överdi!” Ymir, 40

“Bir savaşçı oldum .. çünkü kendimi olabilecek en görkemli şekilde öldürmek istedim. Hepsi bu kadar.” “Her şey ne kadar iyi olurdu .. eğer ben hiç bu dünya’ya doğmuş olmasaydım?”

Tom Xavier, 114

“İlk etapta hiç doğmamış olsaydık.. asla acı çekmek zorunda kalmazdık.”

Zeke, 114

Ölüm attack on titan’da yeni bir olay değil. Ölüm her yerde. Baş karakterin katılmak istediği kahraman grubu kavramı zaten askerlerin ölümlerinin daha iyi bir geleceğe yol açtığı inancı üzerine kurulu. En başından beri kahramanların temsil edeceği şey bu. Sırtındaki kanatlar özgürlük anlamına gelir. Duvarların dışına çıkmak, bu onların ölümüne yol açsa bile, özgürlüğün anlamı bu.

Ölüm burada sadece bir yan etki.

Bu kaçınılmazdır. Dünya değer verdiğiniz şeyler için ölümü gözardı etmeyecek kadar acımasızdır, bu yüzden sonsuz bir şekilde meyve verdiklerini görmeden inançlarınızın çürük ruhu için savaşırsınız.

Sonsuz bir şekilde.

İşe yaramaz bir şekilde karanlık düşünceler tartışmaya başlar.

Eldialılar için sadece doldurma amaçlı söylenen bir dünya tarihi ile, ve Aslında hepsi hayatlarının bir kısmında bunun farkındalar. İçlerinde açılmayı bekleyen bir canavar var ve ne kadar uzun yaşarlarsa o canavarın sömürülme riski o kadar artıyor. Paradis halkı yetenekleri olduklarının korku hikayelerini dinleyerek büyüyorlar.

Paradisteki tüm olayları ilk elden bilen herkes geçtiğimiz yüz yıl boyunca yaşamları titanların korkusuyla sahteciliğe uğradı, ordusunun bütün bir kolu yaşamını dışarı çıkmaya ve dünyayı daha az korkutucu hale getirme girişimlerinde ölmeye adadı.

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dirkbussemusik · 7 years ago

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Tweeted

Das Interview mit dem Mitorganisator und Betriebsgruppenleiter deer VERDI, Stefan Ehricht ist jetzt online... https://t.co/3w9xWJ0Lib

— Dirk-Busse-Musik.de (@DirkBussiBusse) April 2, 2018

#IFTTT #Twitter

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lithefidercreatures · 7 years ago

Photo

This commission for @fujo Is completed! It is a companion to their chibi deer in the same color scheme and theme, only on a Verdi Deer instead. 🌸🌸🌸 This deer has hand-painted vines and flowers on both sides, flower decorated antlers, and light green airbrushing on the tips. Their base body is a quilt store batik cotton. They are button jointed.

#button jointed #art doll #handmade plush #deer plush #sakura flowers #verdi the deer #verdi deer #commission

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bungitonthen · 7 years ago

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25/3/18

bugulu - charlie palmieri & his orchestra; watusi boogaloo - willie rosario & his orchestra; bugaloo party - harold & connie; have some boogaloo - timmy thomas; boogaloo investigator - the exotics; funky funky boogalo - jimmy brown (let’s do the boogaloo)

last cloud home - the orange bicycle: jlt -t2; ‘til the Christ come back - bill fay; refugees - van der graaf generator; very nice of you to call - aardvark (bob stanley & pete wiggs present english weather)

have to whack it up ... leaping beauties for rudy / marcus junior ... xhorkom / ramadhan / in the snow for a blow ... uno transito clapori - east of eden (snafu)

under milk wood: side 3 - dylan thomas (bbc production with richard burton)

the falling veil ... staving off truth - elder (reflections of a floating world)

britain’s deer ... gilbert white’s selborne ... lakeland ... mere and marsh ... the last wilderness - eric simms (sounds of nature: wildlife recordings from national trust coast and countryside)

beethoven: piano sonata no.14 “moonlight”; verdi: nabucco - chorus of the hebrew slaves; bruch: violin concerto no.1 - adagio; bach: cantata no. 147 - jesu, joy of man’s desiring; elgar: enigma variations - nimrod (decca: the world of your hundred best tunes: the top ten)

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ryanatencio1-blog · 7 years ago

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EBooks Contents Coming From AMAZINES.COM.

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londontheatre · 8 years ago

Link

The Donmar Warehouse today announces full casting for The Public Administration and Constitution Affairs Committee Take Oral Evidence on Whitehall’s Relationship with Kids Company a new musical with music by Tom Deering, and book and lyrics by Hadley Fraser and Josie Rourke. Committee… (A New Musical) is edited from the parliamentary transcript of an oral evidence session held on 15 October 2015 and the words spoken by those participating in the Inquiry. Sandra Marvin (City of Angels) will play Camila Batmanghelidjh, founder of Kids Company, and Omar Ebrahim will play Alan Yentob, former chairman of the charity.

Further casting includes Alexander Hanson as Bernard Jenkin MP, Rosemary Ashe as Kate Hoey MP, Robert Hands as David Jones MP, Liz Robertson as Cheryl Gillan MP and Anthony O’Donnell as Paul Flynn MP. They will be joined byDavid Albury and Joanna Kirkland.

“The objective of this session is not to conduct a show trial. We want to learn some lessons.”

What happens when something goes wrong? Who holds us accountable? On 15 October 2015, as part of an inquiry into ‘The collapse of Kids Company’, Camila Batmanghelidjh and Alan Yentob gave evidence to The Public Administration and Constitutional Affairs Committee. Hadley Fraser, Josie Rourke and composer Tom Deering have transformed that evidence session into a new musical.

This production has not been authorised by any participant or Parliament. We present it to you – the public – to consider how civic life in the UK is really governed.

It is based on the Parliamentary transcript of the oral evidence session on 15 October 2015 and the words spoken by those participating in the Inquiry.

Making theatre accessible to as many people as possible remains at the heart of the Donmar’s mission. Committee... (A New Musical) has KLAXON tickets available throughout the run: a new allocation of tickets, starting from £10, put on sale every Monday for performances in the following three weeks. Tickets will be available across the auditorium at every price band.

The Donmar’s YOUNG+FREE scheme, which provides free tickets to those aged 25 and under, will also continue throughout the Power Season, with releases for tickets at the end of every month. YOUNG+FREE is made possible thanks to donations from Donmar audiences via PAY IT FORWARD. The Donmar has now received almost 2,750 donations alongside their partnership with Delta Airlines, which has enabled the venue to allocate almost 5,600 free tickets to those aged 25 and under.

Audiences can sign up to receive information about tickets on the Donmar’s website http://ift.tt/QGnINs

David Albury (Junior Clerk) makes his Donmar Warehouse debut in Committee… David’s theatre credits include The Life(Southwark Playhouse); Exposure: The Musical (St. James Theatre); Only The Brave (Wales Millenium Centre); The Lion, The Witch and The Wardrobe (Birmingham Rep); You Won’t Succeed on Broadway if You Don’t Have Any Jews (St. James Theatre & Tel Aviv); Love Story (Union Theatre); Porgy and Bess (Regent’s Park Open Air Theatre); Bare (Greenwich Theatre); The Lion King (National Tour).

Rosemary Ashe (Kate Hoey MP) makes her Donmar Warehouse debut in Committee... (A New Musical). Rosemary’s theatre credits include Call Me Merman (Jermyn Street Theatre), The Phantom of the Opera (Her Majesty’s Theatre), The Boyfriend (Albery Theatre), Les Miserables (Barbican Arts Centre), Oliver! (London Palladium), Bitter Sweet (Sadler’s Wells), The Witches of Eastwick (Theatre Royal, Drury Lane) for which she was nominated for an Olivier Award for Best Supporting Performance in a Musical, Mary Poppins (Prince Edward Theatre), When We Are Married (Garrick Theatre), The Great American Trailer Park Musical (Waterloo East Theatre), Honeymoon in Vegas (London Palladium), Noises Off (New Wolsey Theatre), Stepping Out (UK Tour), The Secret Diary of Adrian Mole Ages 13 & ¾ (Leicester Curve), Crush (Belgrade Theatre) and Sister Act (UK Tour). Rosemary’s television and radio appearances include An Audience With Ronnie Corbett, The House of Eliott, Monster TV, Friday Night is Music Night and Songs From the Shows. Rosemary has also appeared with English National Opera, Opera North, Scottish Opera, Sadler’s Wells Opera, Opera Northern Ireland and Carl Rosa in many different roles, including Musetta in La Boheme, Helene in La Belle Helene, Frasquita in Carmen and Despina in Cosi Fan Tutte. Rosemary can also be heard on many cast albums including The Phantom of the Opera, Kismet, The Boyfriend, The Witches of Eastwick, Oliver!, The 10th Anniversary Concert of Les Miserables and Mary Poppins.

Omar Ebrahim (Alan Yentob) makes his Donmar Warehouse debut in Committee... (A New Musical). Omar has sung in performances of contemporary operas and other works by Nigel Osborne, Michael Tippett, Harrison Birtwistle, Luciano Berio, Philip Glass, Peter Lieberson, Frank Zappa, György Ligeti, Peter Eötvös, and Michael Nyman. Omar’s television credits include the title role in BBC miniseries The Vampyr: A Soap Opera, an updated version of Heinrich Marschner’s opera Der Vampyr. Further credits include the role of “The Fool” in Liza Lim’s opera The Navigator (Brisbane Festival). He has also participated in performances of operas by Giacomo Puccini, Giuseppe Verdi, Kurt Weill, Georges Bizet, and Gilbert and Sullivan.

Alexander Hanson (Bernard Jenkin MP) has previously appeared at the Donmar Warehouse in Enter The Guardsman and Brel. Alexander’s extensive theatre credits include the title role in Stephen Ward (Aldwych), 42nd Street (Theatre du Chatelet),The Truth (Wyndham’s Theatre and Menier Chocolate Factory), The Gathered Leaves (Park Theatre), Accolade (St James Theatre), Jesus Christ Superstar (O2 London and Arena Tour), Uncle Vanya (Chichester Festival Theatre), An Ideal Husband (Vaudeville Theatre), A Little Night Music (Broadway, Garrick Theatre and Menier Chocolate Factory) for which he was nominated for an Olivier Award and a WhatsOnStage Award for Best Actor in a Musical. Further theatre credits include Marguerite (Haymarket Theatre) and The Sound of Music (London Palladium) as well as numerous credits at the National Theatre. Alexander also originated the role of Khashoggi in We Will Rock You (Dominion Theatre). Film credits include Papadopoulos & Sons, Kidulthood and Mauvaise Passe.

Robert Hands (David Jones MP) makes his Donmar Warehouse debut in Committee... (A New Musical). His extensive theatre credits include Mrs Henderson Presents (Noel Coward Theatre), Mouthful (Trafalgar Studios), Sun Spots (Hampstead Theatre Downstairs), Scenes From An Execution (National Theatre), A Winter’s Tale, Henry IV and Richard III for Propeller, Oh What A Lovely War (Northern Stage),Spamalot (Palace Theatre), The Schumann Plan (Hampstead Theatre), Chicago (Adelphi Theatre), Mamma Mia (Prince of Wales Theatre),Troilus and Cressida (Regent’s Park Open Air Theatre), Tess of the D’Urbervilles (Royal Exchange Manchester), The Importance of Being Earnest (Old Vic) and Invisible Friends (National Theatre). Robert’s television credits include Dark Heart, Partners in Crime, Love & Marriage, Doctor Who, Sharpe’s Battle and The House of Elliott, and film credits include Charlotte Gray, Anna and the King and the Academy Award-winning film, Shine.

Joanna Kirkland (Chief Clerk) has previously appeared at the Donmar Warehouse in Parade. Joanna’s other theatre credits include The Adding Machine (Finborough Theatre), Shutters (Park Theatre), Season’s Greetings (Union Theatre) and A Chorus of Disapproval (Harold Pinter Theatre). Television credits include Suspicion, Doctors, St Milligan’s Wharf, Holby City, Casualty, The Bill, Children of The New Forest, Martin Chuzzlewit, The Benny Hill Show.

Sandra Marvin (Camila Batmanghelidjh) has previously appeared at the Donmar Warehouse in the Olivier Award-winning production of City Of Angels. Sandra’s other theatre credits include Stepping Out (Vaudeville Theatre/Theatre Royal Bath), Showboat (New London Theatre/Sheffield Crucible), Kate Bush: Before the Dawn (Eventim Apollo), Chicago (Curve Theatre Leicester), Hairspray (Shaftesbury Theatre and UK & Ireland Tour), Ragtime, A Fairytale of New York and A Midsummer Night’s Dream (Regent’s Park Open Air Theatre), Cool Hand Luke (Aldwych Theatre) and A Rake’s Progress (Royal Opera House). She has also appeared on television in Citizen Khan.

Anthony O’Donnell (Paul Flynn MP) has previously appeared at the Donmar Warehouse in Glengarry Glen Ross, Twelfth Night and Uncle Vanya at the Donmar Warehouse and New York. Anthony’s other theatre credits include 1984, The Ruling Class, The Captain of Kopenick, The Shaughraun, Bartholomew Fair, Ghetto, The Miser, The Resistible Rise of Arturo Ui, Under the Milk Wood, The Way of the World, The London Cuckolds and President of an Empty Room (National), A Midsummer Night’s Dream, The Witch of Edmonton, The Winter’s Tale, Our Friends in the North, Measure for Measure, A New Way to Pay Old Debts, As You Like It, All’s Well That Ends Well, The Beggar’s Opera, Henry VIII and Kiss Me Kate (RSC), Our Private Life (Royal Court), King Lear, Galileo, Dance of Death, Ivanov and The Homecoming (Almeida), The Tempest (The Bridge Project, New York, on a world tour and at the Old Vic) and The Weir (West End). Television and film credits include Stella (Series 1 to 4 and Christmas Special 2013), The Suspicions of Mr Wicher, Being Human, Gavin and Stacey, The Sarah Jane Adventures, Sweeney Todd, Much Ado About Nothing, Charles II, Moll Flanders, Doc Martin, Skyfall, Caught in the Act, The Death Defying Acts, The Baker, Match Point, Vera Drake, Love’s Labours Lost, Secrets and Lies, Robin Hood, Santa Claus.

Liz Robertson (Cheryl Gillan MP) has previously appeared at the Donmar Warehouse in Kern Goes To Hollywood. Liz’s additional theatre credits include Follies (Toulon Opera), Finding Neverland (Curve Theatre), Phantom of the Opera (25thAnniversary Celebration – Royal Albert Hall and Her Majesty’s Theatre), Love Never Dies (Adelphi Theatre), Hairspray (Shaftesbury Theatre), Touch of Danger (UK Tour), Gypsy (Cardiff International Festival of Musical Theatre), Company (Derby Playhouse), Peter Pan (Yvonne Arnaud Theatre), Stepping Out (Albery Theatre), The King and I (US Tour). Liz has also appeared on television in The Green Green Grass.

Tom Deering (Composer) makes his Donmar Warehouse debut as Composer for Committee... (A New Musical). His recent theatre work as Music Supervisor includes The Grinning Man (Bristol Old Vic), Jesus Christ Superstar (Regents Park), and the Oliver Award winning In the Heights (King’s Cross Theatre). He was named as an Associate of the Royal Academy of Music in the 2016 honours list.

Hadley Fraser (Book and lyrics) returns to the Donmar having appeared in James Graham’s play for stage and television The Vote, and Josie Rourke’s productions of Saint Joan, City of Angels and Coriolanus. He also appeared in The Machine, directed by Rourke, for the Donmar co-production with the Manchester International Festival and Park Avenue Armory, New York. His recent theatre credits include A Long Days Journey into Night (Bristol Old Vic), as well as The Winter’s Tale and Harlequinade (The Kenneth Branagh Company at the Garrick Theatre). He has played Marius and, later, Javert in the West End production of Les Misérables and appeared in Tom Hooper’s acclaimed film adaptation. In 2012, Fraser played Raoul in the 25thAnniversary Concert of The Phantom of the Opera, which was broadcast around the world. Other theatre credits include The Pajama Game (Chichester Festival Theatre), The Fantasticks (Duchess Theatre) and Assassins (Sheffield Crucible). For TV he has recently starred in Decline and Fall for the BBC and Him for ITV. Film credits include The Legend of Tarzan. Together with Ramin Karimloo, he writes, records and performs music as SHEYTOONS and recently released his first solo recordingJust Let Go. Fraser is a patron of the Performance Preparation Academy in Guildford and is an Fellow of the Royal Academy of Music.

Josie Rourke (Book and lyrics) is the Artistic Director of the Donmar Warehouse, her most recent production was Saint Joan starring Gemma Arterton. For the Donmar Josie’s productions include the world premiere of Nick Payne’s Olivier nominated new play Elegy; Les Liaisons Dangereuses, which was broadcast live in cinemas around the world in partnership with National Theatre Live, nominated for the Olivier Award for Best Revival and ran at the Booth Theatre, New York; The Vote, which was broadcast live nationwide on television on the night of the 2015 UK election to an audience of half a million and nominated for a BAFTA; City of Angels, which received the Olivier Award for Best Musical Revival; Privacy, a new play created by James Graham and Josie Rourke; Coriolanus, which was broadcast live in cinemas in partnership with National Theatre Live and for which Tom Hiddleston won the Evening Standard Award for Best Actor; The Weir, which transferred to Wyndham’s Theatre; The Machine at Manchester International Festival and at Park Avenue Armory, New York; Berenice; The Physicists; The Recruiting Officer; Frame 312; World Music; and The Cryptogram. A new production of Privacy, written by James Graham and created by James Graham and Josie Rourke, featuring Daniel Radcliffe, played at The Public Theater New York last summer. Her additional theatre credits include Much Ado About Nothing at Wyndham’s Theatre, nominated for the Olivier Award for Best Revival; Men Should Weep at the National Theatre; Twelfth Night at Chicago Shakespeare;Crazyblackmuthafuckin’self, Loyal Women at the Royal Court; King John at the Royal Shakespeare Company; and The Long and the Short and the Tall and Kick for Touch at Sheffield Theatres. Rourke was previously Artistic Director of the Bush Theatre, which was named Theatre of the Year under her leadership. At the Bush Theatre, her credits include the premiere of If There Is I Haven’t Found it Yet by Nick Payne.

Adam Penford (Director) makes his Donmar Warehouse debut as director for Committee... (A New Musical). He has recently been appointed Artistic Director of the Nottingham Playhouse. He was Revival Director on One Man Two Guvnors (West End/ NY and Tour) and Associate Director of the NT 50th Anniversary Gala (NT and BBC). His theatre credits include The Boys in the Band (Park Theatre and UK Tour); A Small Family Business, Is There Wi-Fi in Heaven and Island (National Theatre), Platinum (Hampstead) and Unfaithful (Found111). Other theatre credits include Watership Down (Watermill Theatre), Deathtrap (Salisbury Playhouse), Ghost The Musical (ETF), Stepping Out (Salisbury Playhouse), The Machine Gunners and Run! (Polka Theatre), The Hostage (Southwark Playhouse), Young Woody and Tea and Sympathy (Finborough Theatre).

DONMAR 2017 POWER SEASON

Committee... (A New Musical) is the final production in the Donmar Warehouse’s Spring Power Season, which launched with Steve Waters’ acclaimed new play Limehouse.

Award-winning Playwright Bruce Norris’ new adaptation of Bertolt Brecht’s The Resistible Rise of Arturo Ui has just opened at the Donmar, starring Lenny Henry in the title role directed by Simon Evans.

http://ift.tt/2pYtd12 LondonTheatre1.com

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