#French grand opéra

[infinitelytheheartexpands]

less than 30 minutes!!!

[muchadoabout]

THOMAS: Hamlet | Act 5: Ophélie! Metropolitan Opera, 2010

Marlis PETERSEN as Ophélie Simon KEENLYSIDE as Hamlet

OPERA IN HISTORY - March 9 On this day in 1868, Thomas’ grand opera, based on a french adaptation of William Shakespeare’s eponymous play, premiered at the Paris Opéra.

[starmaniamania]

I translated (roughly) a "Les Echos" (business publication) Oct 2022 article about the spiralling costs of the 2022 production. Full original and abridged translation under the cut.

Salient points:

The show cost €7m to create, excluding running/touring costs, while a typical Broadway-type musical in France is 1.5m and a big "French-type" musical around 5m. (I think the final amount I heard was closer to €12.5m but maybe that included other costs.)

Vuitton donated the costumes, which would have cost too much otherwise

Delays (covid & related shortages) and inflation (fuel, hotel rooms...) drove up costs

They see the investment as a worthy one bc they're aiming for an Asian/international tour eventually

The goal was to bring a younger audience to the show so it would be passed down to a new generation and they'd "need a new production in 2045"

« Starmania » : la difficile gestation d'une comédie musicale hors normes - Martine Robert, Les Echos, Oct 4, 2022

L'opéra-rock mythique revient à Paris à partir du 8 novembre à La Seine Musicale.

Fimalac Entertainment n'a pas lésiné sur les moyens avec Thomas Jolly à la mise en scène, Sidi Larbi Cherkaoui à la chorégraphie et Nicolas Ghesquière aux costumes.

A Nice les 7 et 8 octobre, à Marseille les 14 et 15, à Nancy les 21 et 22, des milliers de privilégiés pourront découvrir la dernière version de « Starmania » . Le célèbre opéra-rock créé par Michel Berger et Luc Plamondon il y a plus de quarante ans investira ensuite Paris, du 8 novembre au 29 janvier, à La Seine Musicale, avant une tournée dans les plus grandes villes de France, Belgique et Suisse. Un énorme pari pour Fimalac Entertainment, d'autant plus que les coûts de cette superproduction ont explosé à cause du Covid puis de la guerre en Ukraine.

Programmé initialement fin 2020, le show a été reporté à deux reprises. « La billetterie était très forte en 2020 avec 100.000 tickets vendus à rembourser. Il y a eu un premier report, rebelote, puis un second au printemps 2021. Les réservations sont à 80.000 billets mais nous espérons en commercialiser 120.000 à 150.000 pour l'étape parisienne, et 315.000 avec la tournée » , expliquent Aurélien Binder, directeur général de Fimalac Entertainment, et Thierry Suc, à la tête de TS3, la société qui produit, entre autres, les spectacles grandioses de Mylène Farmer. La facture, hors contrat de location de La Seine Musicale et hors coût du plateau, s'élève déjà à 7 millions d'euros.

En comparaison, la plupart des « musicals » de type Broadway proposés par Jean-Luc Choplin quand il était aux commandes du Châtelet représentaient un coût de 1 à 1,5 million d'euros, et les grandes fresques musicales données au Palais des Sports/Dôme de Paris sont de l'ordre des 5 millions d'euros.

Il faut dire que les producteurs n'ont pas non plus bridé Thomas Jolly, qui signe la mise en scène. Le jeune prodige en charge de la cérémonie d'ouverture des Jeux Olympiques de Paris 2024 voit large comme en témoignent ses créations, notamment pour le Festival d'Avignon. Son « Starmania » ne lésine pas sur la robotisation, la vidéo...

Casting à refaire

Les moyens techniques sont tels qu'il a fallu construire une scène spéciale qui viendra se poser dans les différents sites de la tournée : « 45 tonnes de matériel accroché, c'est plus lourd qu'un spectacle de Johnny ! » , reconnaît Thierry Suc.

Dans cette aventure hors norme sont également embarqués le chorégraphe belge de renommée internationale Sidi Larbi Cherkaoui et le directeur artistique de Louis Vuitton, Nicolas Ghesquière, à qui l'on doit la centaine de costumes de la comédie musicale : ce dernier a été recommandé par les graphistes M/M, qui ont collaboré avec Björk et avec le Musée d'Orsay, chargés quant à eux de l'identité visuelle de « Starmania » .

La marque de luxe du groupe LVMH (également propriétaire des « Echos ») met gracieusement ces pièces exceptionnelles à disposition. « Si nous avions dû les payer, cela n'aurait pas été possible » , confie Thierry Suc. Enfin, les décors ont été fabriqués par Artefact à Avignon, qui travaille pour beaucoup d'opéras et pour Mylène Farmer.

Cinq semaines de répétitions

D'autres postes ont flambé. « Nous avons par exemple perdu les 600.000 euros de notre campagne de publicité de 2020 et réalisé un casting pour rien, les artistes ayant eu d'autres engagements en trois ans. Sans parler de l'inflation des prix des chambres d'hôtels, une fois et demie plus chères, des coûts du diesel pour les 19 semi-remorques nécessaires, du manque de techniciens qui a fait grimper leurs tarifs... » , déplorent les producteurs, heureusement soutenus par le propriétaire de Fimalac Entertainment, Marc Ladreit de Lacharrière.

En outre, les cinq semaines de répétitions, toujours en cours, ont dû se dérouler au Palais Nikaïa de Nice, qu'il a fallu louer. « Cela a été très compliqué de trouver un lieu disponible avec la reprise des spectacles alors que nous détenons plusieurs théâtres à Paris et exploitons 25 salles en France de type Zénith » , souligne encore Aurélien Binder.

Une équipe de 120 personnes

Et pour ajouter quelques sueurs froides, l'approvisionnement en petites pièces électroniques, ces semi-conducteurs en provenance d'Asie, nécessaires au fonctionnement des télécommandes des consoles son, lumière, et des matériels de scène, sont arrivés avec retard du fait des pénuries. Mais les quelque 120 personnes nécessaires à la production de ce show dont 35 artistes sur scène, sont enfin prêts à jouer, et à allonger le palmarès de cette oeuvre futuriste, vue déjà par plus de 6 millions de spectateurs fredonnant des tubes incontournables : « Les uns contre les autres », « SOS d'un terrien en détresse », « Quand on arrive en ville », « Le Blues du Businessman », « Le Monde est stone », « Besoin d'amour », etc.

Inconditionnel de l'oeuvre, Marc Ladreit de Lacharrière espère jouer à guichets fermés malgré le contexte économique et exporter « Starmania » jusqu'en Asie. « Très peu de comédies musicales françaises y sont parvenues, comme 'Notre-Dame de Paris' de notre ami Luc Plamondon. Ce défi justifie qu'on y consacre des moyens considérables. » Toucher un public beaucoup plus jeune permettrait de continuer la transmission. « De sorte qu'en 2045, il faudrait réaliser une nouvelle version pour une autre génération » , ironise-t-il.

ENGLISH

Starmania : the birthing troubles of an extraordinary musical

The legendary rock-opera will be back in Paris from Nov 8 (2022) at the Seine Musicale

Fimalac Entertainment spared no expenses, with Thomas Jolly directing, Sidi Larbi Cherkaoui as choreographer, and Nicolas Ghesquière designing the wardrobe.

Thousands of lucky theatre goers will be able to discover the latest version of Starmania in Nice, Marseille and Nancy. The famous rock-opera will then move into the Seine Musicale in Paris for 3 months, before touring France, Belgique and Switzerland’s largest cities. Fimalac Entertainment is betting big, even bigger than expected as the costs of the blockbuster have ballooned, first due to Covid and then to the war in Ukraine.

Initially scheduled for 2020, the show had to be postponed twice. « Box office was very strong in 2020, and we had to refund 100,000 tickets. There was a first postponement, then a second one in the Spring of 2021. We’ve sold 80,000 tickets but hope to sell 120 to 150,000 in Paris, and 315,000 on tour, » explain Aurélien Binder, Fimalac Entertainment’s CEO, and Thierry Suc, owner of TS3, the production company for Mylène Farmer’s shows, amongst others. The bill, not counting the rental fees for the Seine Musicale or external expenses, has reached €7m already.

As a point of comparison, most Broadway-like musicals which Jean-Luc Choplin put on as director of the Châtelet theatre cost 1 to 1.5 million Euros, and the giant shows which play at the Palais des Sports/Dôme de Paris around €5m.

It must be said that the producers did not reign in Thomas Jolly, who is directing. The young prodigy, who will art direct the Paris Olympics’ opening ceremonie, has an ambitious vision. His Starmania lavishly utilizes robotisation, video etc.

The show requires such technical means that a custom stage had to be built, which will be set up in the tour’s various venues. «  With 45 tons of hanging material, it’s heavier than a Johnny Hallyday show, » concedes Thierre Suc.

[…]

Luxury group LVMH graciously donated the costumes. « If we’d had to pay for them, it would have been impossible, » admits Thierry Suc.

Other budget lines have skyrocketed, too. « We lost the 600,000€ of the 2020 advertising campaign, and went through a whole casting process for nothing, as artists were then hired elsewhere over the three years' delay. Plus there's inflation, which is making hotel rooms 1.5x more expensive, raising the cost of diesel for the 19 semis we need, and a shortage of techs which is driving up their prices… »

On top of that, the last 5 weeks of rehearsals had to take place in Nice, at the Palais Nikaïa, which had to be leased. « It was very hard to find an available venue, with all the shows starting up again, even though we own several Parisian theatres and manage 25 Zenith venues throughout France, » explains Aurélien Binder.

To make matters worse, the supply of Asian-made electronics needed for sound and light setups and other stage equipment was disrupted due to shortages.

But the 120 people needed to put on the show, including 35 artists on stage, are finally ready to go and grow the list of the futuristic work’s accomplishments. It has been seen by 6m people over its lifetime. […]

As a die-hard fan of the work, Marc Ladreit de Lacharrière hopes to sell out the show, despite the current economic context, and to export Starmania as far as Asia. « A select few French musicals have made it there, like our friend Luc Plamondon’s NDDP. This challenge merits investing considerable sums. »

Finding a younger audience would also allow a continued transmission, « so that in 2045, we’d need a new version, for a new generation. »

[histoireettralala]

Opéra Garnier- Style: Napoléon III

On January 5, 1875, the French president, Marshal MacMahon, formally inaugurated Charles Garnier's new opera house, which opened with a grand gala that included excerpts from several operas and a popular scene from the ballet Le Corsaire. But few were interested in the event's artistic offering. Instead, audience members eagerly anticipated the visual splendors that awaited them in the sumptuous building that would become known as the Opéra Garnier.

Early on the morning of the opera's opening night, hundreds of people gathered outside the doors, and by evening at least seven or eight thousand spectators were eagerly jammed together in the Place de l'Opéra, awaiting the glittering crowd that was about to arrive. It had been touch and go until the very last minute as to whether the building would be finished in time, and the magnificent red curtain with its gold fringe was fully installed only an hour before it was scheduled to rise. The guest list included luminaries from throughout France as well as Europe, including the Lord Mayor of London, who arrived in his gilt coach complete with sword bearer and footmen.

Without question, Paris was looking back at the Second Empire with this new opera house, but no one seemed to care. Napoleon III was long gone, and Paris was ready to be dazzled by Garnier's creation. How could it not be dazzled ? Garnier used marble of every hue, as well as acres of gilt-encrusted carvings. He then covered any remaining surfaces with paintings, glittering mosaics, and mirrors, lighting the whole fantasy with a city's worth of flickering chandeliers.

Vast and richly decorated foyers allowed audience members to stroll and mingle, but it was the Grand Staircase that was- and remains- the Opéra Garnier's special glory. Its opulent branching stairway led upward and outward to the golden foyers and the velvet-lined auditorium, but its very design was intended to serve as a stage in its own right, where lavishly dressed patrons could sweep up the broad stairs or lean on the balconies, posing to their hearts' content. Henry James was suitably impressed, even though he thought the staircase "a trifle vulgar." "If the world were ever reduced to the dominion of a single potentate," he added, "the foyer would do for his throne room."

Few on opening night probably remembered that without Baron Haussmann, there would have been no Avenue de l'Opéra, slicing its way through the business district to the opera's very door. And fewer yet probably remembered, or even cared, that the Avenue de l'Opéra was originally intended as a fast and direct route from the emperor's residence in the Tuileries Palace to the new Opéra- as a security measure following Napoleon III's narrow escape from assassination while en route to the old opera house on Rue Le Peletier.

Garnier had even designed his opera house with a private entrance built specifically for the emperor, to allow him to enter directly, without fear of dangerous encounters. But although Napoleon III never set foot here, Garnier's opera house would forever be linked with Napoleon III's golden and decadent empire. After all, when the Empress Eugénie complained to Garnier that his proposed edifice was "neither Greek nor Louis XIV nor even Louis XVI", Garnier is supposed to have replied: "Those styles have had their day. This is in the style of Napoleon III, Madame!"

The story may be apocryphal, but Garnier's answer, even if he never said it, was certainly the truth.

Mary McAuliffe - Dawn of the Belle Epoque- The Paris of Monet, Zola, Bernhardt, Eiffel, Debussy, Clemenceau and their friends.

[opera-ghosts]

Emilio Naudin (1823-1890) had a french name but was born in Parma, the son of the court painter of the Grande-Duchesse Maria Luisa di Borbone. He had an international career based mainly in Paris, London and Madrid. On April 28, 1865 at the Paris Opéra he sang Vasco De Gama in the world prémiere of Giacomo Meyerbeer's last and posthumous opera, "L'Africaine". Meyerbeer himself had stated in his will that the Opéra would have given Naudin the role, otherwise it wouldn't be allowed to perform the score. Here he is in a nice portrait of the Atelier Erwin.

[starstruckfiregalaxy]

Dream Destination: Paris

History: Paris, the capital of France, has a rich and diverse history. Its roots date back to the 3rd century BC when it was a Celtic settlement known as the Parisii tribe. The city was conquered by the Romans in 52 BC and was named "Lutetia." During the Middle Ages, Paris became a thriving city and a center for education, art, and commerce. The construction of Notre Dame Cathedral began in the 12th century.

In the 17th century, Paris underwent a significant transformation under King Louis XIV, known as the "Sun King." The city saw the construction of prominent landmarks like the Palace of Versailles and the expansion of the Louvre Museum.

The French Revolution in 1789 marked a pivotal moment in Paris's history, leading to the end of the monarchy and the rise of Napoleon Bonaparte. The 19th century brought about massive urban planning, including the creation of grand boulevards and public spaces by Georges-Eugène Haussmann.

Throughout the 20th century, Paris continued to evolve as a cultural, artistic, and intellectual hub. It endured the challenges of both World Wars and saw periods of artistic flourishing, especially in the early 20th century, known as the "Belle Époque," and the 1920s, termed the "Années Folles" or "Crazy Years."

Today, Paris stands as a global city renowned for its iconic landmarks like the Eiffel Tower, Louvre Museum, and Notre Dame Cathedral (partially damaged in a fire in 2019), its rich culture, art, fashion, and cuisine, attracting millions of visitors each year.

Culture: The culture of Paris is an intricate tapestry woven with art, cuisine, fashion, literature, and a rich historical heritage. Here are some facets that contribute to the vibrant culture of the city:

Art and Architecture: Paris is a haven for art lovers, housing world-renowned museums like the Louvre, Musée d'Orsay, and Centre Pompidou. The city's architecture is a blend of historical landmarks such as Notre Dame Cathedral and modern structures like the Eiffel Tower and La Défense.

Literature and Intellectualism: Paris has been a gathering place for intellectuals and writers from across the world. The city was home to renowned figures such as Ernest Hemingway, F. Scott Fitzgerald, Gertrude Stein, and Simone de Beauvoir. Bookshops like Shakespeare and Company are integral to the literary scene.

Cuisine: Paris is celebrated for its culinary delights, from Michelin-starred restaurants to charming bistros and patisseries offering croissants, baguettes, pastries, and the exquisite art of French cuisine.

Fashion: The city is a global fashion capital, hosting Fashion Week events and being home to iconic fashion houses like Chanel, Louis Vuitton, and Dior. The streets themselves serve as a runway for chic and stylish trends.

Music and Entertainment: Paris has a vibrant music scene, ranging from classical performances at venues like Opéra Garnier to the thriving contemporary music scene with live performances in various clubs and concert halls.

Cultural Events and Festivals: The city hosts numerous cultural events and festivals throughout the year, including Fête de la Musique, Nuit Blanche, Paris Fashion Week, and Bastille Day celebrations.

Overall, Paris's culture is a fusion of tradition and modernity, continually evolving while cherishing its historical and artistic legacy.

Tradition: Paris, with its rich historical tapestry, embraces several traditions that are deeply ingrained in its cultural fabric:

Café Culture: Parisians have a strong tradition of spending time at cafes. Sidewalk cafes offer the perfect setting for people to gather, socialize, enjoy a cup of coffee, and savor the vibrant street life.

Bakeries and Pastries: Paris's love for bakeries and patisseries is a cherished tradition. The city is renowned for its fresh baguettes, croissants, macarons, and a wide array of delectable pastries, which are a staple of everyday life.

Artistic Heritage: The city's artistic tradition is deeply rooted. Paris has been a haven for artists, writers, and intellectuals throughout history. The streets, museums, and galleries reflect this artistic heritage.

Market Culture: Parisians have a strong tradition of visiting markets. From the world-famous Marché aux Puces de Saint-Ouen (flea market) to the fresh food markets like Marché d'Aligre, these markets offer a diverse range of goods and a vibrant atmosphere.

Celebrating Festivities: Parisians celebrate various cultural festivals and events. The Fête de la Musique, celebrating music on the summer solstice, and Bastille Day on July 14th, marking the French National Day, are among the city's well-loved celebrations.

Fashion and Elegance: Paris is synonymous with fashion and style. The tradition of elegance and sophistication in dressing has been an integral part of the city's identity.

These traditions contribute to the unique charm and allure of Paris, shaping its daily life and cultural landscape.

Expenses: Paris is one of the most expensive cities to visit in Europe, with an average daily cost of €120-565 (approximately $128-603 USD) per person per day. However, there are areas where you can learn to get the most out of your travel budget.

Rules and regulations:

Do: Take your sweet time

Don't: Make it easy for pickpocket

Do: Learn some French phrases

[modorama]

theatre | Hamlet (Ambroise Thomas) by Krzysztof Warlikowski

    In the course of the 19th century, Shakespeare’s works were a constant source of inspiration for the Romantics. In particular, The Tragic History of Hamlet, Prince of Denmark, one of the English playwright’s most famous plays, dominated by the existential questions of the title role – To be or not to be –, the ghost of his murdered father and his doomed love for Ophelia. Alexandre Dumas père was himself fascinated by this drama and in 1847 he produced a highly successful adaptation. It was on the basis of this version that Michel Carré and Jules Barbier gave Ambroise Thomas the libretto for Hamlet, the last opera to be performed in the Salle Le Peletier. Inspired by the musical and dramaturgical forms of French grand opera, the composer imbues the story with an intensity that contributes to the beauty of the score. A milestone of opera for which Krzysztof Warlikowski, ever fathoming the depths of the human psyche, redraws the Shakespearean contours. Opéra Bastille - from 11 March to 09 April 2023 3h40 with 1 interval Language : French

[travels-o-travel]

Enjoy A Perfect Parisian Trip In The Charming City Of Paris 

Paris c'est l'amour! The city of love is terrifically popular for its charming architecture, gardens, vintage museums, art, fashion, food, shopping hubs, and countless other things. It is true that Paris is synonymous with its fadeless beauty. This is the dream destination of millions, and since Netflix bought "Emily In Paris," this city has gained more love from people worldwide. Booking tickets to Paris, France, can be the best decision to enjoy a spectacular Parisian holiday time in Paris. 

Ready to learn more about this artistic aesthetic city of Paris? Let's dig out the details shared beneath:

Magnificent Places To Admire In Paris, France 

Paris is home to aesthetic attractions, gardens, architecture to artistic marvels. Every corner of Paris defines vintage beauty. You might have seen movies, song videos, and on YouTube how beautiful the city of love is. 

So, the bucket lists the top-rated attractions of Paris. Explore Eiffel Tower & Le Jules Verne, Musée du Louvre, Cathédrale Notre-Dame de Paris, Avenue des Champs-Élysées, Musée d'Orsay, Palais Garnier, Opéra National de Paris,  Parc des Buttes-Chaumont, Jardin du Luxembourg, Sacré-Coeur and Quartier Montmartre, Place des Vosges,  Arc de Triomphe,  Seine River Cruise, Sainte-Chapelle, Boulevard Saint-Germain-des-Prés, Fondation Louis Vuitton, Parc de La Villette, Paris Plages, Cimetière du Père Lachaise, and Grande Arche de la Défense. 

Also, you can enjoy your time in beautiful Disneyland, vintage cafes, vintage bakeries, and many more fine-dine restaurants. So, book your flights to Paris, France, and get ready to enjoy a fashionably fabulous vacation in the Fashion capital of Paris. 

Top Airlines To Pick For Flying To Paris 

The city of love is calling you! It's your time to enjoy the real french style Parisian holidays in Paris. Whether you're planning a solo trip, a girls trip, honeymoon, or family vacation, Paris is the bestest destination to make every minute precious. Here is the list of top airlines you can pick to fly to Paris.

American Airlines

Frontier Airlines

Delta Airlines

Spirit Airlines

Air France

United Airlines

JetBlue Airways

Singapore Airlines

Best Time To Explore Paris, France 

When is the best time to book Paris flight tickets to explore this city? From June to August and September to October. Both summer and fall have their own pros and cons. 

The weather in Paris is flawless from June to August. Summer is the most congested time and the most pricey. September to November are off-season to enjoy a budget-friendly trip and relaxed tour. This time is the most pleasing for you, to get rid of crowds everywhere. 

How To Get Cheap Flights To Paris?

Want to fall in love with the beauty of Paris? Make it possible with Travelsotravel. This online travel agency provides professional services for cheap flight ticket booking. You can quickly get last-minute Paris flight tickets at the lowest price. Also, you can enjoy amazing deals and discount offers during the festive or peak season to make your celebratory travel dreams come true. 

Likewise, the travel agents offer you 24/7 assistance with flight bookings and give you professional help with the itinerary. So, pack up your fashionable clothes, book cheap flights to Paris from Travelsotravel and enjoy a glittery dreamy vacation in  Paris.

[mamusiq]

Au spectacle chez soi La symphonie des jeux vidéo aux Chorégies d'Orange (08/07/2022) https://www.youtube.com/embed/_GZDrUIJdaI

Comments: Excellente performance, sons, lumières et mise en scène! Un grand pas pour la reconnaissance de ce type de musique. Un bémol toutefois : les images sont parfois en décallage complet avec la musique, il semble que les montages vidéos n'ont pas été pensés avec la musique (ex dans passages musicaux lents sur des images ultra rapides, ou l'inverse)

Samuel Barber - Adagio for strings illustre la mise a flot du vaiseau mere . Les nombreuses reprises dans War thunder , voila qui montre la force de la musique symphonique . Aussi clair que dans le film Avalon sur un jeu video

🇬🇧 Chorégies d'Orange 🇺🇸 Orange is a commune in the Vaucluse department in the Provence-Alpes-Côte d'Azur region in southeastern France. It is about 21 km (13 mi) north of Avignon, on the departmental border with Gard, which follows the Rhône. Orange is the second-most populated city in Vaucluse, after Avignon. The Chorégies d'Orange is a summer opera festival held each August in Orange located about 21 kilometres north of Avignon in southern France. Performances are presented in the ancient Roman theatre, the Théâtre Antique d'Orange, the original stage wall of which has remained intact, creating a semi-circular auditorium which seats 9,000. A festival began in Orange in 1860 and was held periodically, but it was only after the Roman theatre was restored in 1869 that it became the location of a popular “Roman Festival” which celebrated the glory of Rome and included a performance of Méhul’s opera, Joseph. All the major players of the French classical stage appeared in the Orange festivals, including Sarah Bernhardt who played “Phèdre” in 1903. In 1902, the festival was given a new name, the “Chorégies,” and it was planned to take place annually. The name comes from the Greek χορηγός khorêgós "choir leader." Until 1969, the Chorégies consisted of plays, alternating with musical works, opera and symphonies. However, after that date, Orange became solely an opera festival and theatrical works were performed at Avignon. In 1971, the “New Chorégies” began, with a format not unlike the present one where only about six performances are given during the month-long festival, typically two performances of two operas along with a recital or concert. It quickly became an international success with many major international singers appearing.

🇫🇷 🇨🇦 🇬🇧 🇺🇸 🇫🇷 🇨🇦 🇬🇧 🇺🇸

🇫🇷 Chorégies d'Orange 🇫🇷 Les Chorégies d’Orange sont un festival d’opéra et de musique classique créé originellement en 1869 et sous sa forme actuelle en 1971. Il a lieu chaque été, en juillet et en août, au théâtre antique d’Orange. En régime normal sont donnés deux opéras populaires, deux fois chacun, devant un public totalisant près de neuf mille personnes ; les représentations sont fréquemment retransmises par la télévision publique. Dirigées de 1982 à 2016 par Raymond Duffaut et présidées jusqu'à la même date par Thierry Mariani, les Chorégies d'Orange sont l'un des hauts lieux de l'art lyrique international.

[ricmlm]

Jacques Offenbach, original name Jacob Offenbach, (born June 20, 1819, Cologne, Prussia [Germany]—died October 5, 1880, Paris, France), composer who created a type of light burlesque French comic opera known as the opérette, which became one of the most characteristic artistic products of the period. He was the son of a cantor at the Cologne Synagogue, Isaac Juda Eberst, who had been born at Offenbach am Main. The father was known as “Der Offenbacher,” and the composer was known only by his assumed name, Offenbach. Attracted by Paris’s more tolerant attitude toward Jews, Offenbach’s father took him there in his youth, and in 1833 he was enrolled as a cello student at the Paris Conservatoire. In 1844, having been converted to Roman Catholicism, he married Herminie d’Alcain, the daughter of a Spanish Carlist. In 1849, after playing the cello in the orchestra of the Opéra-Comique, he became conductor at the Théâtre Français. In 1855 he opened a theatre of his own, the Bouffes-Parisiens, which he directed until 1866 and where he gave many of his celebrated operettas, among them Orphée aux enfers (1858; Orpheus in the Underworld). He then produced operettas at Ems in Germany and an opéra-ballet in Vienna, Die Rheinnixen (1864; Rhine Spirits). Returning in 1864 to Paris, he produced at the Variétés his successful operetta La Belle Hélène (1864). Other successes followed, including La Vie Parisienne (1866), La Grande-Duchesse de Gérolstein (1867), and La Périchole (1868). From 1872 to 1876 he directed the Théâtre de la Gaîté, and in 1874 he produced there a revised version of Orphée aux enfers. Described then as an opéra-féerique (“a fairylike opera”), this venture was a financial failure. In 1876 he made a tour of the United States. The remaining years of his life were devoted to composition. https://www.instagram.com/p/CfCfgEuD7rp/?igshid=NGJjMDIxMWI=

[infinitelytheheartexpands]

also, happy five-year (holy shit it’s been FIVE years already???) anniversary of the day i started watching this opera for the first time, which helped shape me to be the person i am now, made my life a lot better, and made me infinitely more obnoxious on the internet

[opera-shitpost]

if I had a nickel for every time an 1830s French grand opéra with a libretto partially by Eugène Scribe and a world premiere cast including (but not limited to) Adolphe Nourrit, Marie-Cornélie Falcon, Julie Dorus-Gras, and Nicolas Levasseur ended with a guy inadvertently killing his own daughter due to him engaging in religious persecution of non-Catholics, I'd have two nickels.

which isn't a lot, but it's weird that it happened twice.

[opera-simplified]

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!

[miraculousfrenchculture]

Is fashion industry (designers, models etc.) really that popular in France?

Well, maybe it's not as evenly spread out as it could be, so it maybe isn't that popular in the whole of France, but it definitely is in Paris and big cities! Although there are of course fashion fans everywhere, and most people aren't sitting around scrutinising fashion all the time haha (also we discussed it between ourselves, and we're not under the impression that a lot of young people want to become designers/models, probably because it is a very selective environment)

One thing's for sure, it's a very big industry: fashion represents 130 billion euros each year... A lot of famous designers are established in Paris and there are neighbourhoods that are basically dedicated to fashion (including jewelry), like the Avenue Montaigne (where, fun fact, the hotel the Grand Paris was based on is located - it's called the Plazza Athénée irl) or the area around the Place Vendôme/Opéra.

Fashion is involved in a lot of events in Paris and in other French cities, the fashion weeks of course (which take place at different moments in the year depending on if they're Haute Couture shows or Prêt-à-porter, and for women or men - the big ones are generally in January and June-July), but also cinema events (the Césars, and the Cannes festival, to name a few). Unless you're really interested in fashion, you live/work in a neighbourhood where fashion shows take place, or they're featured on TV for some reason, you wouldn't necessarily know exactly what fashion event is happening and where though.

A lot of the ads on TV and in the streets are also related to fashion, whether they're for designer clothes/bags/etc. or perfumes (Adrien - the perfume being seemingly everywhere is exaggerated, of course, but not that much). Because of these, people will know the big brands like Dior, Chanel, Louis Vuitton, Hermès... But there are many newer designers that French and foreign celebrities love but which most "normal" people wouldn't have heard of.

Hope it answered your question!

[coochiequeens]

The last of Oklahoma's "Five Moons" has set.

Marjorie Tallchief — one of the five Native American ballerinas from Oklahoma who rose to global fame in the 20th century — died Nov. 30 at her home in Delray Beach, Florida.

She was 95.

"Aunt Margie was one of the most humble, sincere and gracious people I have ever known," Russ Tallchief, Marjorie Tallchief's nephew and a writer and dancer based in Oklahoma City, told The Oklahoman.

"She told me that a great opportunity will present itself to every person at some point in time, but you have to be ready for that opportunity, just as she was when she stepped onto the world stage to represent her family, her Osage Nation and the United States as a world renowned ballerina.

From her start dancing in her father’s movie theater with her sister in their Oklahoma hometown, Tallchief performed around the world, achieving national and international acclaim.

The younger sister of famed fellow prima ballerina Maria Tallchief, Marjorie Louise Tallchief was born in Oct. 19, 1926, in Denver, Colorado, during a family vacation. Her parents were Alexander Joseph Tall Chief, a member of the Osage Nation, and his wife, Ruth Porter Tall Chief.

Her paternal great-grandfather had helped negotiate with the U.S. government for oil revenues that brought the Osage Nation vast wealth, and she grew up in Fairfax until her family moved to California when she was a girl so that she and her sister could further their ballet training.

She studied under prominent choreographers Ernest Belcher, Bronislava Nijinska and David Linchine, according to the Oklahoma Historical Society. 

She accepted a position of leading soloist in the Original Ballet Russe, a traveling company that took ballet to small towns across America. She went on to perform with the Grand Ballet du Marquis de Cuevas and the Chicago Opera Ballet.

She joined the Paris Opéra Ballet in 1957, and she was the first American ever to become première danseuse étoile, or "star dancer," the highest rank a performer can reach in the legendary company.

In 1958, she also became the first American ballerina since World War II to perform in Moscow's Bolshoi Theatre, according to the Oklahoma Hall of Fame, which inducted Tallchief in 1991.  

Tallchief performed for U.S. Presidents John F. Kennedy and Lyndon B. Johnson, as well as for French President Charles de Gaulle.

"The importance of Marjorie Tallchief to Oklahoma's artistic and cultural history cannot be overstated. As an Osage and native of Fairfax, she achieved success previously unthinkable in the world of ballet for someone of her background," Oklahoma Historical Society Executive Director Trait Thompson told The Oklahoman.

Artistic career continued after her retirement from the stage

Best known for her roles in ballets like "Romeo and Juliet," "Giselle" and "Idylle" — the latter was choreographed by her husband, George Skibine — Tallchief was prima ballerina with New York's Harkness Ballet from 1964 until 1966, when she retired from the stage.

She subsequently taught at the Dallas Civic Ballet Academy and acted as a dance director for the Dallas Ballet. In 1980, she helped her sister found and taught at the Chicago City Ballet.

From 1989 to 1993, Tallchief worked as director of dance at the Harid Conservatory in Boca Raton, Florida. She retired to Delray Beach, Florida, where she was a fixture at local yoga and Pilates studios well into her 90s.

She was presented with a distinguished service award from the University of Oklahoma in 1992 and named one of the “50 Most Influential Oklahomans of the 20th Century” in 2000.

Tallchief married to Skibine, an artistic director, ballet master and choreographer, in 1947. They had twin sons and remained married until his death in 1981 at age 60.

Tallchief is survived by her sons, Alexander and George Skibine, and her grandchildren, Alexandre, Nathalie, Adrian and Trevor Skibine.

Five Moons leave a lasting legacy

Tallchief was the last surviving member of the "Five Moons," five Native American dancers from Oklahoma who took the international ballet world by storm in the 20th century. Along with Marjorie Tallchief, the Five Moons included her sister, Maria Tallchief (1925-2013), Yvonne Chouteau (1929-2016), Moscelyne Larkin (1925-2012) and Rosella Hightower (1920-2008).

The moniker “Five Moons” evolved from the Oklahoma Indian Ballerina Festivals that took place in 1957 and 1967 to celebrate the 50th and 60th anniversaries of Oklahoma statehood. The 1967 festival included a ballet created by Cherokee composer Louis Ballard Sr. called "The Four Moons" performed by four of the five ballerinas —Maria Tallchief had retired from performing — featuring solos honoring each dancer's heritage.

Oklahoma Native American artist Jerome Tiger (Muscogee and Seminole) created a painting for the program cover titled "The Four Moons." Chickasaw painter Mike Larsen went on to depict the Five Moons in a state Capitol mural titled "Flight of Spirit," which was dedicated in 1991.