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the entire point of Hemingway's The Sun Also Rises, summed up into one screencap from an Adam Sandler SNL sketch

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oh no i just want to play my stupid games no stupid prizes for me thanks

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MY FAIR LADY 1964 - costume design Cecil Beaton

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i like good things and also bad things

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I don't think those are the words that he's saying here. frankly

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I feel like when I say ‘relatable’ what I really mean is ‘resonant.’ I don’t want characters who I feel are like me, I want characters who have emotions so strong I can feel them through the page.

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came across this post again, so without further ado, i give you, with virtually no nuance or explanations:

would this verdi opera work in a big band era (circa 1930-1950) setting/aesthetic?*

*note: not specifically associated with big bands themselves. that’s just the jumping off point

oberto, conte di san bonifacio: yes

un giorno di regno: yes

nabucco: either oddly well or VERY BADLY but on the safer side no

i lombardi alla prima crociata: no

ernani: maybe

i due foscari: i have a production concept in my head set literally less than ten years earlier

giovanna d’arco: no

alzira: no

attila: yes

macbeth: maybe

i masnadieri: yes

il corsaro: maybe

la battaglia di legnano: yes but only in the latter half of the period

luisa miller: yes

stiffelio: yes but preferably in the last few years of the period

rigoletto: yes

il trovatore: maybe

la traviata: yes

les vêpres siciliennes: maybe

simon boccanegra: takes place over a longer period of time than the big band era but could probably work in either direction

un ballo in maschera: yes

la forza del destino: yes

don carlos: probably not unless you tilt your head to the side

aida: would either work REALLY well or REALLY badly

otello: if you squint

falstaff: yes

hmmmmm

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Creatures from the Luttrell Psalter (c. 1320-1340) PNGs, part 2.

(British Library: Add MS 42130.)

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