#Laurent Pelly

[monotonous-minutia]

words can’t describe how much this production means to me

[infinitelytheheartexpands]

laurent pelly la fille du régiment is the GOAT

[bailey41]

Gaëlle Arquez in the title role in Handel’s Giulio Cesare and Lisette Oropesa as Cleopatra at the Opera Garnier, directed by Laurent Pelly.

Saw the third performance of this production tonight. I will never not love the Night at the Museum vibes of Pelly’s staging.

[maximumwobblerbanditdonut]

To celebrate New Year!

Soprano @sabinedevieilhe, a radiant Lakmé, and mezzo-soprano @ambroisinebre, an enchanting Mallika, sing the Flower Duet (Duo des fleurs / Sous le dôme épais ou le blanc jasmin) from Léo Delibes's opera Lakmé.

Lakmé, Opera by Léo Delibes (21 February 1836 – 16 January 1891), a French Romantic composer best known for his ballets and operas, in three acts to a French libretto by Edmond Gondinet and Philippe Gille: “The "Flower Duet" is a duet for soprano and mezzo-soprano this is the first act of the tragic opera Lakmé, which premiered in Paris in 1883. The opera's most famous aria is the "Bell Song" (L'Air des clochettes).

The opera, inspired by Pierre Loti's novel, Le Mariage de Loti, is set in 19th century British-ruled India and revolves around Lakmé, In Act I, early on, Lakmé removes her jewellery and with her servant, Mallika, goes down to the water's edge and sing a duet as they bathe and collect flowers. The name Lakmé is the French rendition of Sanskrit Lakshmi, the name of the Hindu Goddess of Wealth. Lakmé the daughter of a Brahmin priest, falls in love with Gerald, a British officer. When he leaves her to return to his regiment, she eats the poisonous datura leaf 🍃 - and dies.

Original poster Paris 1883

Courtesy of Warner Classics

@opera_comique production in Paris featured musical direction by @raphaelpichonpygmalion, conducting the @ensemblepygmalion orchestra, and stage direction by Laurent Pelly. Warner Classics YouTube channel.

A New poster in Paris

DELIBES, L.: Lakmé [Opera] (Opéra Comique) (NTSC)

#classicalmusic #opera #operasinger #soprano #mezzosoprano #LéoDelibes #sabinedevieilhe #Lakmé #ambroisinebre #Mallika #FlowerDuet

[garland-on-thy-brow]

I love what they are doing in Laurent Pelly's staging of Cendrillon with this book-stage opening into a corridor of uncharted darkness beyond the pages. I love how Cendrillon runs out of this uncharted darkness and recounts her flight through it at the beginning of Act 3, perfectly hitting this sweet spot of eerie. A character on stage who perceived the incomprehensible horror of what lies beyond.

[operaportugues]

Béatrice et Bénédict (Berlioz) - Glyndebourne, 09/agosto/2016

Ópera completa com legenda em português: vídeo; legenda; entrevista. Para assistir a videos com extensão .TS, sugiro que use o software SMPlayer.

Grande admirador de Shakespeare, Berlioz seguiu a tendência de muitas adaptações cênicas anteriores de Muito barulho por nada de eliminar personagens periféricos e se concentrar na famosa história de amor cheio de brigas entre Beatrice e Benedick. Sua deliciosa partitura capta à perfeição os diferentes climas da história, evocando a conspiração para selar o amor do casal em adoráveis duetos e trios. À época, 1862, os críticos de Paris viram um "novo" Berlioz, divertido e alegre.

Sob o olhar do diretor francês Laurent Pelly, esta ópera cômica torna-se "um elegante tratado sobre amor e música, projetado em tons de cinza com figurinos da década de 50" (Sunday Express). Alojado pela designer Barbara de Limburg em uma série de caixas de grandes dimensões, é "terrivelmente chique, terrivelmente bonito" (The Spectator). Sobrevoando a "graciosa e calorosa execução da Filarmônica de Londres", Paul Appleby canta de forma "atraente" como Bénédict, e Stephanie d'Oustrac "faz uma Béatrice maravilhosamente ágil e ardente, cantando com charme e atuando com gosto" (The Telegraph).

Wikipedia

Libreto em francês

BERLIOZ - da infância à Sinfonia Fantástica

BERLIOZ - os anos com Harriet Smithson

BERLIOZ - Marie Recio, o reconhecimento no exterior e os anos finais

BERLIOZ: grandes nomes

------------- Análise do ChatGPT ----------------------- Hector Berlioz, apesar de ser um compositor prolífico e inovador, escreveu relativamente poucas óperas. As razões para isso incluem:

Desafios na Produção: A montagem de óperas era complexa e cara, demandando grandes recursos e infraestrutura que nem sempre estavam disponíveis para Berlioz.

Recepção e Sucesso Limitado: Algumas de suas óperas, como "Benvenuto Cellini", não foram bem recebidas inicialmente, o que pode ter desestimulado novos esforços.

Preferências Pessoais: Berlioz tinha uma inclinação natural por formas musicais que permitiam maior liberdade expressiva, como sinfonias programáticas e concertos dramáticos, onde podia explorar seu estilo inovador sem as restrições do teatro operístico tradicional.

------------------------------------------------------------

Papéis principais: - Leonato: papel falado; Governador de Messina - Héro: sua filha - Claudio: soldado, noivo de Héro - Béatrice: sobrinha de Leonato - Bénédict: um soldado - Don Pedro: um general vitorioso

Sinopse: No palácio de Leonato em Messina, Itália, e imediações.

Ato I Leonato, governador de Messina, recebe Don Pedro e seu exército que venceram os mouros. Héro, a filha de Leonato, aguarda excitada o noivo, Claudio, e Béatrice, sobrinha do governador, zomba de outro soldado, Bénédict. Ele a chama de Sra. Desdém. Béatrice parte, e Don Pedro sugere que Bénédict case com ela, mas ele prefere morrer solteiro. Somarone, o músico da corte, ensaia seu coro; Don Pedro e Claudio decidem virar casamenteiros. Fazem com que Bénédict os ouça comentar o profundo amor que Béatrice sente por ele, e dão um jeito de fazer com que Béatrice descubra quanto Bénédict a ama.

Ato II Durante a apresentação do coro num banquete, Béatrice reconhece que se apaixonou por Bénédict. Mas, em público continua desdenhando. Quando Héro se afasta para pôr o vestido de noiva, Béatrice vê Bénédict, e os dois, brigando como sempre, sentem palpitações. Os convivas são conduzidos por uma marcha nupcial até Don Pedro, que preside a cerimônia de casamento de Héro e Claudio. À pergunta "Quem mais vai se casar?", Bénédict enfim diz que se casará com Béatrice por piedade; e ela concorda apenas para salvar a vida dele. Os dois fazem as pazes e todos comemoram.

[frank-21]

Le Menteur de Goldoni / Mise en scène Laurent Pelly TNT

This is a play, where I will play the main character. I will let you know when the time comes.

[dubalaivrac]

PARTITIONS, NOTES (Hiver-Printemps 2024)

Dimanche 4 février 2024, Opéra de Lyon, grande salle : Barbe Bleue de Jacques Offenbach (reprise), mise en scène Laurent Pelly, vif plaisir de légèreté et d'intelligence. Mise en scène d'un spécialiste de la finesse parodique, Laurent Pelly vers qui je cours dès qu'il entreprend Offenbach, depuis sa Belle Hélène du Châtelet (Paris) (Décembre 2001), impeccable réussite.

La scène se passe à la ferme, un peu, puis à...

...l'Élysée à la foule de conseillers aux costumes ajustés, humiliés par cet histrion de Roi Bobèche, dangereux, despotique, parfaitement comique et agité. À la cour de Bobèche, ils n'obéissent qu'à un seul devoir : courber l'échine, à quoi s'emploie bientôt tout le plateau, hilarant jeu de scène et pantomime. Le public, bien sûr, pige et rigole de bon coeur à ce qui devient la rengaine de la pièce : '...qu'un bon courtisan s'incline, 'zan s'incline, 'zan s'incline', tout comme comme il y avait dans La Belle Hélène, ce 'roi barbu qui s'avance, bu qui s'avance, bu qui s'avance, bu qui s'avance', sortes de galop entraînants et de rythmes niais, déglingages joyeux, charges sans concession.

Tout tourne avec bonheur autour du tempérament sensuel et amoureux de Boulotte, du monde au balcon, gouaille emballante, à qui rien ne résiste. Les amoureux sont gentils et innocents, ils vont finir par joliment gagner la partie (rebondissements, et mariage), mais Boulotte a un autre projet dramatique, exposé d'entrée : 'Mais saperlotte mais saperlotte, y'en a pas un' pour égaler la p'tit' Boulotte Dès qu'il s'agit de batifoler.' Et Barbe Bleue n'est pas le dernier à apprécier, qui s'enthousiasme : 'c'est un Rubens, c'est un Rubens, ce qu'on appelle une gaillarde'. Un connaisseur, un amateur, dans le genre d'une observation simple, un trait de crayon, qui écrase la critique d'art.

Ce soir-là, le Rubens est très belle, parfaite dans le genre batifoleur , très bien distribuée, donc : Hélène Mas. Les couplets qui prolongent le dialogue entre le choeur et Barbe Bleue sont absurdement répétitifs, mais bien calés, joyeux : 'c'est un Rubens', repris sans se fatiguer, qui devient l'autre tube de la soirée.

Sourire à un beau moment, comme une incidente, sur le pouvoir des belles voix : Popolani, le sorcier du roi, savant fou julevernien qui concède, face à un Barbe Bleue qui se réjouit de toutes ces femmes empoisonnées : 'il faut lui rendre justice, il prend tout ça très gaiment...Et puis il a une belle voix'. Ah, alors, c'est bien ça, la morale d'Offenbach (et du IInd Empire) si le ténor a une belle voix, alors, on pardonne à Barbe Bleue, on pardonne ses crimes au tyran.

[Nota : les soutiens institutionnels de l'Opéra de Lyon rechignent depuis peu à leur subvention, de Wauquiez aux écolos de la mairie de Lyon, d'accord là-dessus, irresponsables (et les courtisans s'inclinent, z'an s'inclinent..) La reprise de Barbe Bleue, dans ce cadre, est une recette sûre, dans tous les sens du terme, qui amortit la difficulté présente, l'opérette à succès qui remplit les caisses. Pour ce Barbe Bleue, on souscrit volontiers. Laurent Pelly, une affaire qui marche.]

Vendredi 9 février 2024, Opéra de Paris, Béatrice di Tenda, de Bellini (entrée au répertoire), mise en scène Peter Sellars, ratée et plate, sans élan, pour une partition à tunnels, parcourue cependant d'éclairs bel cantistes que la mise en scène ne parvient pas à fluidifier, ni à justifier. Soirée de déception. C'est un drame de cour et dictature, voyez-vous, alors, on va voir défiler, mouvements de foule sur scène, des troupes en simili cuir et pistolets d'assaut, en avant, en arrière, en avant, pan pan, en arrière, c'est ridicule. L'oppression, comme des allers-retour de soldatesque. Et Béatrice est moche, mal sapée et engoncée de vert : comment comprendre qu'elle suscite passion (jusqu'à la mort) d'Orombello et crime de jalousie de son époux le tyran.

Vite déçu, je prends peu de notes pendant le spectacle : attiré cependant par les premières mesures d'Agnese, amoureuse et jeune soprano à la voix très claire, mais qu'on perd bientôt dans un jeu de scène idiot (isolée dans les cintres, devant sa télé, où elle suit les événements à quoi, nous, on assiste sur scène. Lourdeur qui écrase le personnage, pourtant bien chanté et émouvant au début) je me souviens ensuite que Tamara Wilson (Béatrice) réussit tout de même, vers la fin, à bien supplier et apitoyer, marquée tout de même par son allure de wagnérienne, peu mobile et accablée par la mise en scène qui en fait une victime ensanglantée, sans gloire ni transcendance. Pareil pour Orombello, torturé dès le deuxième acte, effondré, rendu à la seule adultère, dont Peter Sellars oublie qu'il est aussi (et surtout) à la tête d'une insurrection qui gronde.

Dimanche 24 mars 2024, à l'Opéra de Lyon, grande salle : La dame de pique , de Tchaïkovski, mise en scène Timoféi Kouliabine. Direction Daniele Rustioni, très à l'aise avec l'onction et la rondeur romantique de Tchaïkovski, ça s'entend dès l'ouverture où on comprend par la musique tous les contrastes et les antagonismes qui vont faire la pièce : bien/mal, folie de l'amour/enfer du jeu et du calcul social. Direction qui passe très bien, sans rupture, de la lenteur au tumulte : tout au long, et qui sert bien le personnage (ténor, Dmitry Golovnin) d'Hermann pris entre mélancolie et vigueur destructrice. Mais Hermann est, disons, mal présenté : trop vieux, mal attifé, pas séduisant et on ne comprend pas pourquoi la jeune première se prend de passion pour cet homme mur, en proie à sa furie du jeu. Trop vieux également pour croire à la fable romantique des 'trois cartes', secret qui doit lui permettre de triompher au jeu. Mais voix (russe ?) ferme, aux belles notes graves.

Réussite de la mise en scène qui ne cherche pas à tordre le bras au drame historique en costumes ; Saint-Petersbourg, ses bals, ses concerts, ses cafés, est classiquement figuré, sans excès ni parodie. La scène est 'ancien régime', soit tsariste, soit soviétique renvoyés à égalité de regrets : le temps de la légèreté. La nostalgie soviétique, par exemple est rendue par un décor de salle des fêtes d'une maison du peuple, où les jeunesses communistes chantent et dansent, où on projette des portraits avenants du petit père des peuples. Ça se moque, évidemment, mais sans dénaturer ce goût du passé, ni le caricaturer. La clé du bonheur, son secret fabuleux est en effet dans le passé, dans ce très beau personnage (chant de douleur et de regret, peut-être le plus beau moment de la soirée) de la Comtesse (Elena Zaramba) : 'ah ce monde est détestable, quelle époque. On ne sait plus s'amuser.' La comtesse fait entendre avec une grande tristesse, cette mélancolie funèbre qui emporte la Russie moderne [sans insister, on rappelle de Timoféi Kouliabine s'est exilé de Russie dès février 2022, au moment de l'invasion de l'Ukraine...], nostalgie qu'elle chante pour partie en français, ce qui ajoute au trouble (quiconque n'a pas connu l'ancien régime ne sait pas ce qu'est le bonheur, comme on disait...)

Vendredi 15 mars, à la Comédie de Saint-Étienne, salle Jean Dasté, soirée avec Anna, pour Edelweis [France Fascisme], de Sylvain Creuzevault, montage de textes des pires collabos vichystes et pro-allemands, Brasillach, Rebattet, Drieu, Doriot etc...enquillés dans une sorte de farce bouffonne très bien vue, délirante mais grave. Très belle soirée de théâtre, avec Anna, qui est ravie.

Le texte est une enfilade de discours, documentés ou en tous cas qui citent leurs références, et présentés comme tels, à plat, crûment. On passe de l'un à l'autre des ultra collabos, genre passage en revue de l'ignominie. Bien vu du point de vue historique, présenté comme un formidable délire, qui ne cherche pas à expliquer raisonnablement les raisons des uns et des autres : c'est la grande réussite de ce spectacle, bien joué, en se marrant, à fond, dans une sorte de danse macabre. Les comédiens tiennent plusieurs rôles, rassemblant la collaboration dans un seul portrait, un seul ton, uniformisé par leurs éructations. Très bien et rare : la mère de Rebatet, absente de l'histoire d'ordinaire, à la racine 'Action Française' de tout ça. Et, pour les régionaux dans le public, madame Rebatet, odieuse, assure la présence de Moras-en-Valoire, berceau des Rebatet, notaires, etc... Charlotte Issaly joue un Brasillach faussement tranchant et sûr de lui, faible au bout du compte, trouble. Rebatet aussi est joué par une femme. Un effet 'petite gouape' dans les deux cas, efficace.

Peut-être préservé plus que les autres : Céline, joué très toubib de dispensaire, qui les met tous à distance. Il chie sur scène : leur merde. Pour tous : une justification des meurtres à quoi ils appellent, sur fond d'argumentation idéologique : bien obligés, nous luttons contre la décadence et ses agents, juifs bien sûr, mais aussi gaullistes, pétainistes, tous lâches et finalement traitres à l'ordre allemand si nécessaire pour libérer l'Europe. Leur trouille, bien montrée, hurlée : la décadence du beau pays de France.

Très bon théâtre donc, vivant. Dur, cauchemar et grotesque.

[Je dors sur un coin de canapé chez Anna. Levé très tôt et train du retour, parfait bonheur du petit matin, après bon théâtre.]

[mediaonedesign]

Official Dunk Low Reverse Brazil DopeSkill Real Ones Move In Silence T-Shirt

Top Official Dunk Low Reverse Brazil DopeSkill Real Ones Move In Silence T-Shirt

#TeechallaclothingLLC “How can lose if I’m already chose? This is the Official Dunk Low Reverse Brazil DopeSkill Real Ones Move In Silence T-Shirt and I love this highly quoted rap line that capitulated rapper Ice Spice to undeniable It girl status earlier this year, sung on the viral hit “Bikini Bottom. Since then, Ice Spice has become a powerful beacon of Brooklyn inflected style the artist has donned a variety of aughts inspired velour tracksuits and high slit dresses—she even sat front row with Lil Nas X at Coach’s Fall 2023 show. The rapper’s style has even become so ubiquitous that both Lil Nas X and North West have dressed up as her for fun, lighthearted social media posts. A chief architect behind Ice Spice’s oft replicated look is Marissa Pelly, who first began working with the rapper in January. The 29 year old FIT graduate says she is all about leaning into Ice Spice’s budding star power. “She’ll wear iconic luxury brands like Alaia or Jean Paul Gaultier one day, and more trendy, niche brands the next, Pelly says. Elevating her looks while maintaining her authenticity is the most important to me. The girls that get it, get it. Her biggest advice to people who want to enter the field? “Gain as much experience as you can, no matter how big or small, she says. “Intern, assist, and shadow other stylists. Most importantly, build your community! This industry can be tough, but it doesn’t have to be.

#TeechallaclothingLLC Stylist to this generation’s Scream Queen star Jenna Ortega, Enrique Melendez, who has over a decade of experience, has a unique approach to styling. “I’m a storyteller, says Melendez, whose clients also include On My Block star Diego Tinoco and Marvel actor Xochitl Gomez . Together, Melendez and Ortega have surely delivered on powerful tales of fashion—the Official Dunk Low Reverse Brazil DopeSkill Real Ones Move In Silence T-Shirt and I love this actor provided a powerful array of vampy, goth leaning outfits while promoting her hit Netflix show Wednesday, donning a veiled runway Versace number, a Grace Jones esque hooded Saint Laurent look, and corsets galore. In fact, the looks have proven so popular, a league of fans has leaned into Ortega’s glam goth style through the social media trend, #WednesdayCore.

Buy this shirt:  Click Here to buy this Official Dunk Low Reverse Brazil DopeSkill Real Ones Move In Silence T-Shirt

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[classicalmusicdaily]

Anna Goryachova was born in Leningrad (Saint-Petersburg). In 2008 she graduated with distinction from the Vocals Faculty of the Rimsky-Korsakov St Petersburg State Conservatory (class of Tamara Novichenko and subsequently class of Galina Kiseleva). From 2009 to 2011 she trained under Renata Scotto and Anna Vandi at the Accademia Nazionale di Santa Cecilia (Rome) and also under Romualdo Savastano at the A.R.T. Musica academy (Rome). From 2008 to 2011 Anna was a soloist at the Mikhailovsky Theatre and the St Petersburg Chamber Opera. In 2010 she was nominated for Russia’s Golden Mask National Theatre Award for her performance of the role of Donna Elvira in the opera Don Giovanni staged by Yuri Alexandrov. In 2011 under the direction of Alberto Zedda she made her debut at the Vlaamse Opera (Flemish Opera) in Antwerp as the Marchesa Melibea (Il viaggio a Reims, Mariame Clément’s production). From 2012 to 2017 Anna was a soloist at the Opernhaus Zürich, where she performed the roles of Adalgisa (Bob Wilson’s production of Norma), Rosina (Rossini’s Il barbiere di Siviglia), Polina (The Queen of Spades), Magdalena (Die Meistersinger von Nürnberg), Zerlina (Don Giovanni), Eustazio (Handel’s Rinaldo), Zelim (Vivaldi’s La verità in cimento), Masha (Eötvös’ Three Sisters), Marchesa Melibea and so many others. She has collaborated with such conductors as Teodor Currentzis, Nello Santi, Fabio Luisi, Alain Altinoglu, Enrique Mazzola, Riccardo Frizza, Ottavio Dantone, Stefano Montanari and Daniele Rustioni among others. Took part in the world premiere of Christian Jost’s opera Rote Laterne (2015). In 2012 Anna sang the role of Alcina (Orlando paladino) at the Théâtre du Châtelet in Paris and made her debut at the Rossini Festival in Pesaro (Italy) as Edoardo (Matilde di Shabran) staged by Mario Martone and conducted by Michele Mariotti. In 2020 at the Grand Théâtre de Genève she sang the roles of Angelina (La Cenerentola) and Sesto (La clemenza di Tito, staged by Milo Rau) in addition to making her debut at the Vienna State Opera in the role of Olga (Dmitri Tcherniakov’s production of Eugene Onegin); in Vienna she subsequently performed the roles of Angelina and Carmen. In 2022 as Angelina she made her debut at the Mariinsky Theatre (St.Petersburg). In the 2020–21 season Anna received Valencia’s “Best Mezzo-Soprano of the Season” award for the role of Angelina in La Cenerentola, staged by Laurent Pelly at the Palau de les Arts Reina Sofía. We all know that this has been a pretty tough time for the socio-political environment, which affected also the arts in a considerable way, and it was so beautiful to see you and your Ukrainian colleague hugging each other during the standing ovation. What do you think about this matter, about the way theaters, but also the society, took actions towards the Russian artists? Honestly, during these 3 months I have never found any change of attitude from my colleagues, nor from the theaters. The political conflict should not affect the cultural environment. Indeed, you all seemed such an united team on stage and behind it! Was it your first Carmen in the amazing production of Calixto Bieito, which such a passionate stage parter as Vittorio Grigòlo, for his debut at Don José? There was such an amazing energy coming from the stage towards us, in the audience! Thank you so much, I already sung in this production in Madrid in 2017. It’s a very intense staging. And I was very much touched to see the standing ovations in Wiener Staatsoper every evening. I never met Vittorio before and we really enjoyed playing and singing together. It was a perfect artistic match, I think! I adore Vittorio! He is not only an incredibly talented artist, but he is also a very nice person offstage. And his role debut was sensational! reposted from https://opera-charm.com/

[ldeligne]

Réalisation de robes pour chœur d’opérette

La Périchole, Offenbach

Mise en scène et costumes Laurent Pelly

Studio FBG 22-11, Théâtre des Champs Elysées

2022

[softgreensakura]

Dream documentation dump

*because today I had one that was easily S tier and then realised I don’t document my dreams enough.

Pictures included to help with visualisation :) -------------

1) Dream of 27/4/21

Featured Characters: Cure Grace, Cure Summer (Pretty Cure), Chicken Little’s dad (the Disney movie Chicken Little), Lunette Agnarsson (Original Character), Masa Shimamoto (Meta Runner), Pelly, Phyllis, Copper, Booker, Blathers (Animal Crossing).

Parts: 2. __________________________________-

Part 1 (The Gaming Setup) -- Cures Grace and Summer lived with unknown parents in a house, and they were sisters. Cure Summer wanted a gaming setup, but the father of this house didn't have Dad Building Skills, so Cure Grace called Chicken Little’s dad, who did know how to build stuff.

He came over and built a cool desk thing in the garden where there was space, but he knew nothing about the gaming part! So he called Lunette, who was in the supermarket.

Because Lunette is tall af, she saw Masa in the next aisle and was like “yep, that’s your tech guy.” She waved at him, which annoyed him because he is Edgy and Lunette is Loud and Annoying.

Now Lunette (wearing a high vis jacket and sunglasses over her glasses) and Masa were in the garden and Masa built the computers and shit. Lunette did nothing except play the role of director.

The girls had their gaming setup now, and everybody liked that.

___________

Part 2 (Animal Crossing Secrets) -- In this dream, the bedrooms of the Pelican sisters were revealed. They shared a living space, but their rooms were divided into different parts of the space and they both had unique themes. The furniture inside their rooms was rare and only obtainable by a gacha system.

Then Blathers and his museum were seen. I do not remember what the dogs did. I just know they were there. ___________________________________________END

2) Dream of 16/5/22

Featured Characters: Laurent (Fire Emblem), Steve, Alex (Minecraft), Me, Duchess (my dog), Original Dream Character.

Parts: 1. __________________________________ Panda Girl Protection Team -- There was an evil organisation with 12 devastatingly powerful team members and a boss. They were all aware of a 13th, greater power and they wanted to use her. Their only problem? This girl is a pacifist, and she has a protection squad. She has brown hair and a panda themed bag so I’ll call her panda girl.

The protection squad have a big mission tomorrow, so they sleep on their weird ass triple bunk bed/wardrobe thing. The Minecraft folk have the middle bunk. And me, Duchess and Laurent (omg! fan moment right there!) have to share the top bunk. It’s cramped but Duchess is warm and cuddly.

Morning comes and we have to wear disguises to do some power testing stuff with the pacifist panda girl. I wanna wear cute clothes. Laurent says no. We have to wear blue mormon clothes. Meanwhile Duchess wiggles.

We do some stuff with the girl and then the dream ends. Duchess loves everyone!!! ___________________________________________END

3) Dream of 20/10/22

Featured Characters: Steve (Minecraft), Wallace (Wallace and Gromit, Serena, Calem, Professor Sycamore, Diantha, Guzma (Pokemon).

Parts: 2 ___________

Part 1 (The weird Roblox game) -- This dream was set in some sort of Roblox game where you kill other players by jumping on them, and you grow in size the more you kill. Also if you kill someone large you grow a lot, but if you get jumped on, you lose all your progress and you have to start again.

The main player base was young mean girls with their Pinterest aesthetic avatars. A toxic playerbase indeed. 

Wallace joined and after a few failed attempts, he got quite good. Like, top 3 good. The nice people of the server rejoiced, but the toxic players did not like that. So they lured him to a shed and put superglue on his neck. For some reason this killed him.

Also there was parkour high in the sky and Steve died after falling from a high place.

___________

Part 2 (The S-Tier Open World Pokemon Game) -- Now this dream is the reason I’m making this post in the first place~

Anyway. As the title says, this was the best open world Pokemon game EVER! Basically, you had 2 characters that you could switch out at any time (each with their own pokemon), and you controlled a primary character while the secondary one followed, and you could switch their roles at any time.

At the start of the game, you got to choose your first primary character (the first secondary one would be chosen as you played the game and found character changing areas). The choices were all the game protagonists. I don’t recall who I picked, but it seems my cursed blorbo Calem was the lead, so uhh. yeah.

Anyway, once that was done, you basically had free exploration across the entire world of pokemon, as well as game-exclusive locations. The starting island was a new minor region, with “more flowers and colours than any of the other regions”. Swimming, climbing, fighting: just any and all world interaction was possible here. 

So we (I was playing the game), ended up swimming to Sinnoh, which had an exclusive little Alola hangout and a Hisui town replica. Here, Guzma was added to the team. But then I saw a secret character exclusively accessible from the Hisui replica, so I temporarily made him my main to..  beat people up. That was a thing you could do in this game. And also Fire Emblem Fate’s silly armour break thing happened when you did a lot of damage. Nothing nasty or illegal because it was pokemon and I sure as hell do not want to see that in my game or dream. It was more like an outfit alteration thing, where they would lose something, but then when their current outfit was damaged enough, they would magically wear a new one. That was one way to change the appearances of everyone.

Guzma wore the Hisui survey corps uniform for a bit, before being shuffled back to his original swag attire. Then he went to a chicken shop.

The aforementioned character changing areas were mostly found on bridges, and they had pictures of the four possible characters you could switch to there. From the Alola/Hisui area, I switched back to the blorbo, while also switching my secondary to Serena. 

Another thing about the outfit rotation/breaking thing was that different outfits appeared depending on who induced the change. So the Hisui exlusive guy made playable characters wear clothes from Legends: Arceus, while Guzma would make characters wear punk attire (why it wasn’t street swag was beyond me).

Uhh the Kalos duo then swam to Diantha’s wine factory, where Calem stole Professor Sycamore’s prized wine and then they swam to Lumiose City which looked SWAG in the dream. Everywhere looked like it had perfect GTA level of detail! 

I did some more outfit shuffling and some exploring (admiring the graphics and imagining how cool the other regions would look). Serena had lovely chic outfits while Calem mostly had shitty loungewear. BRUH. Then angry Diantha and Sycamore came and they wanted the wine back. Serena minded her own business while I had to make Calem outrun the police. He became an outlaw lmao.

Anyway that dream was so good I didn't want to wake up, but I did wonder: where were the Pokemon? I’m sure if this were a real game, they would be very useful in exploring and battling. And I would LOVE to visit Hoenn and explore as Steven and Wallace :)) As Champion/Gym Leader, their battles and encounters would be very interesting.

___________________________________________END

Anyway that's all the dreams I wanted to share enjoy the summaries and images. I did not draw because that would take all year.

[monotonous-minutia]

"This is a production quite like some of Jean-Pierre Ponnelle's productions where what has been crafted is almost inseparable from the music. You're not aware of the staging, you're not aware of the music. It feels as if this is the way it's always been." ~Joyce DiDonato on playing Cendrillon in Laurent Pelly's production

[infinitelytheheartexpands]

happy (one day early) birthday to meeeeeeeeeeeee

[arbitrarygreay]

Kathleen Kim playing a rather exasperated Fairy Godmother is pretty great Major kudos to the director for this blocking, where the FG is working pretty hard to make everything look seamless and effortless to Cinderella, but clearly things aren't happening up to the FG's perfect standards, and this is all entirely in the blocking and not drawn from the libretto at all.

[elmartillosinmetre]

Debussy al trasluz

[Él Pelléas et Mélisande de Willy Decker que se verá este mes en el Maestranza. / JÖRN KIPPING]

Harmonia Mundi publica una grabación de ‘Pelléas et Mélisande’ de Debussy con instrumentos y criterios de época

Aunque se insiste a menudo en el carácter simbolista de Pelléas et Mélisande, una de las óperas cruciales de la historia del género, por lo que supuso de renovación cuando se estrenó en la Opéra Comique de París en abril de 1902, lo cierto es que este drama en cinco actos de Debussy basado en una especie de cuento de hadas en prosa de Maurice Maeterlinck, puede ser mirado también como una obra del más crudo naturalismo en la que los tres personajes de un triángulo amoroso actúan movidos por sus pasiones de forma absolutamente comprensible.

Esta lectura (la realista) es posible, aunque obviamente no niega la otra, pues la obra, concebida como una sucesión de episodios cortos y discontinuos, que en sus elipsis busca otorgar a la realidad un carácter incognoscible de manera recta, está repleta de elementos que pretenden esquivar las explicaciones simples y las relaciones causales entre los acontecimientos.

Debussy además enfatizó el carácter misterioso del drama con una música extraordinariamente elusiva que utiliza un estilo vocal que conecta, a través de Mússorgski, con el recitativo de las primeras óperas florentinas, y una orquestación de extraordinaria sutileza en la que dominan las dinámicas leves, las agrupaciones camerísticas y los pasajes solistas. Debussy recurrió además a las repeticiones y los silencios como elementos estructurales de su expresión musical a la misma altura del uso de leitmotivs (siempre en la orquesta y de manera discreta) o la delimitación de los espacios en que se desarrolla el drama vinculándolos a zonas de luz y de sombra mediante el empleo respectivo de escalas pentatónicas y de tonos enteros.

Todo ello hace de Pelléas et Mélisande una de las óperas más complejas para el espectador convencional, pero también una de las más ricas en significados de todo el repertorio. Coincidiendo con la presentación por primera vez en el Teatro de la Maestranza de Sevilla de la ópera en versión escénica (una interpretación de concierto pudo escucharse en octubre de 2004), el sello Harmonia Mundi acaba de publicar un nuevo registro de la obra en formato CD, y la grabación es especial pues viene de la mano de François-Xavier Roth y su conjunto Les Siécles, que se distingue por ofrecer siempre interpretaciones con instrumentos y criterios de la época en la que fueron compuestas las obras. Aunque a algunos aún les resulte extraño, no son nuevos los acercamientos a música del siglo XX a partir de esta concepción interpretativa, y de hecho el grupo de Roth ofreció ya de este modo grabaciones de los ballets parisinos de Stravinski.

Para Roth, esta forma de acercarse al Pelléas permite descubrir elementos nuevos en la partitura: “¡Los metales! Ahora entendemos por qué usa los trombones en la escena de los subterráneos, la resonancia de los contrabajos con cuerdas de tripa... Nos permite entender que todos estos colores tienen un significado. Las armonías que crean los metales son profundamente experimentales. Para la mayor parte de la orquesta, las cuerdas de tripa aportan una dulzura infinita sin la que ya no podría vivir. Llevan las voces y al mismo tiempo las recubren. Pienso en los muchos pasajes que abordamos sin vibrar, que proviene de nuestro trabajo con Gluck o Berlioz. Es arriesgado porque es más difícil, no te escondes detrás de un vibrato, pero comporta una fragilidad, una pureza en la forma de enunciar el texto. Esto permite escuchar un Pelléas con colores más marcados y, desde un punto de vista pragmático, una relación más simple con la voz”.

[Julien Behr y Alexandre Duhamel durante la grabación de la obra. / HARMONIA MUNDI]

Roth ha optado por Julian Behr, un tenor para el protagonista masculino (aunque escrito en clave de sol, el papel lo cantó en el estreno un barítono, una opción que resulta incluso dominante en los teatros). Mélisande es la soprano Vannina Santoni y Golaud el barítono Alexandre Duhamel. El bajo Jean Teitgen hace el papel de rey Arkel y la mezzo Marie-Ange Todorovitch el de Geneviève. Para el pequeño Yniold, el hijo de Golaud, el otro rol problemático de la obra, Roth ha preferido la opción de un niño (Hadrien Joubert, de la Maîtrise de Caen), eludiendo el empleo de una voz femenina adulta a la que se recurre con frecuencia, pues las dificultades de la partitura no siempre son accesibles a cantantes infantiles.Además de los matices de color que destaca Roth, que tienen que ver también con una cierta heterogeneidad de timbres, su interpretación resulta especialmente reseñable por la transparencia exquisita conseguida. El siguiente paso en este tipo de interpretaciones habría que darlo con el canto. Las grabaciones que han quedado de la época (¡de la propia Mary Garden, la escocesa que estrenó el rol de Mélisande!) nos hablan de un estilo interpretativo bien distinto al de los cantantes de hoy. Un tema apasionante y una cuestión pendiente.

Pelléas desde el sofá. Cinco versiones para acercarse a la ópera

De entre las opciones comerciales que hay para acercarse a Pelléas et Mélisande en formato audiovisual doméstico (DVD o BluRay) he escogido cinco bien distintas entre sí. En primer lugar, la visión de Robert Wilson para la Ópera de París (2012) que ofrece Naïve, una concepción profundamente simbolista, minimalista y que se apoya sobre todo en el gesto y la luz, algo que tan bien le va a la obra de Debussy. Sigo con otra producción de aquel año, la de Nikolaus Lehnhoff para la Ópera de Essen (Arthaus Musik), una visión que parece colocarse en el lado del Romanticismo, que juega sobre todo con las sombras (pero no entiendo por qué se hace spóiler de cada escena antes de que empiece). Dos producciones comento de la Ópera de Zúrich, una antigua (2004), con la española Isabel Rey haciendo de Mélisande y una visión simbolista hasta lo críptico, algo dura, de Sven-Eric Bechthoff (Arthaus Musik). La otra es mucho más reciente (2019) y es de Dmitri Cherniakov, que, como podría esperarse, ambienta el drama de Maeterlinck en un entorno burgués actual (Bel Air Classiques). En el papel de Golaud, puede verse a Kyle Ketelsen, que será quien lo interprete en el Maestranza. Para el final, dejo un clásico: la visión quizás más naturalista de todas, la de Laurent Pelly para el Theater an der Wien en 2009 (Virgin en su día; hoy, Erato) con un matrimonio protagonista extraordinario: Natalie Dessay es Mélisande y Laurent Naouri, Golaud.

[Diario de Sevilla. 14-03-2022]