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rayatii · 2 years

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Raya Recounts: a brand-new series of overly-detailed opera summaries with unsolicited commentary!

I hope you’ll forgive the irregular time gaps between the episodes, I guess it depends on how much I like the opera I’m covering (or at least, how easy I find it to watch).

Episode 5: Prodaná nevěsta

Prodaná nevěsta (literally, “The Sold Bride”, but usually translated as “The Bartered Bride”) is a 3-act comic opera by Bedřich Smetana. Smetana is known as one of the most internationally famous Czech composers in classical music, if not the most famous after Antonín Dvořák. He is well-known for developing a style of music that contains a genuine Czech characteristic, which of course made him quite associated with Czech nationalism.

Smetana’s most famous piece by far is the symphonic poem Vltava (better known as Moldau) from his symphonic suite Má vlast. You will recognize the melody, especially if you grew up with either Baby Einstein or Little Einsteins. (Also, he composed this piece when he had gone completely deaf, much like what happened to Beethoven. So yeah, double praise.)

The libretto for Prodaná nevěsta was written by Karel Sabina, who also wrote the libretto for Smetana’s previous (and first) work Braniboři v Čechách. This time, it seems to be an entirely original story created by Sabina for the opera itself. This work actually exists in 4 versions; it was revised 3 times, and the final version, which replaced all previously-present spoken dialogue with recitatives, is the one that is usually performed nowadays.

While it has a rocky history, this opera is one of Smetana’s better-known works, and his best-known opera, and it remains often performed worldwide. Because Czech was not a widely spoken language back in the days, international performances at the time were often sung in German instead, under the title Die verkaufte Braut (meaning the same thing as above, obviously), and with all the character names Germanized. This German version is still often performed nowadays, especially in German-speaking countries (no shit!). In general, the opera is often performed in translation, including the Met’s 1978 production which was sung in English.

This opera is also well-known for having 3 orchestral dances based on Czech folk dances, one in each act, which are well-known enough to be performed on their own in concert settings.

This is dedicated to @notyouraveragejulie, for suggesting the title. This is one of my absolute favorite operas ever, so I’m really, really excited to publish this and convince other operablr regulars to join me in the cult of loving this opera.

As usual, solo characters’ named bolded and potentially bad translations for the important numbers. This is my first time tackling a non-Italian opera, and this presents itself as twice as much of a challenge, since whereas I know quite a bit of Italian from learning it in Conservatory and from listening to a lot of operas the way you would pick up Japanese from watching a lot of anime (and also knowing French and Spanish), I do not speak a word of Czech, so just a (major) heads up. At least Wikipedia literally lists all the numbers this time.

Apologies to all Czech speakers.

Spoilers, of course!

We first get a super-energetic overture in F major which, much like the overture for Episode 3′s selection, I would like to classify as being in sonata form, and is well-known enough to be often performed on its own in concert settings (and Mahler very briefly quotes it in the last movement of his Symphony No. 1).

The curtain then opens on Act 1, at a village square somewhere in Bohemia (a region in modern-day Czechia), probably around the time the opera was written (so the 19th century at the very least). There is a fair going on, and the villagers are singing all about enjoying life while it lasts because marriage supposedly leads to strife and unhappiness (Chorus: Proč bychom se netěšili; usually translated to “Let’s rejoice [and/let’s] be merry”, but it seems to more directly translate to “Why wouldn’t we enjoy” or something like that).

As the theme of the chorus takes a minor key, we zoom in on one young couple among the villagers; the guy, Jeník, a tenor, asks Mařenka, his soprano girlfriend, why she looks so gloomy. She explains that her mother told her that the guy she is betrothed to is coming to the village to visit her. Jeník tells her not to worry, to trust him (Jeník) and to keep her will strong. The chorus of villagers tells her to stop lamenting because her faithful love for Jeník will definitely end up earning a blessing, then sings a reprise of the opening chorus before going off to party a little more.

Once they are left alone, Mařenka remains pessimistic, and Jeník asks what happened exactly. Mařenka tells him that the farmer (as in, landowner) Mícha and his son are coming to the village to ask for her hand in marriage. Jeník asks what her answer will be, but Mařenka despairs because it would be difficult for her to say that she is already in love with another, since this is a promise that her father is bound to fulfill.

She then remarks on his reserved attitude, and tells him to assure her that he doesn’t have another lover somewhere or something like that, and he affirms that he absolutely doesn’t. Mařenka tells him that should she ever find out something like that about him, she would get really angry (Aria: Kdybych se co takového; “If I ever learn”). She asks him why he left his home and his entire former life behind, and remarks on how his whole past is shrouded in mystery, which her father has mentioned to her several times.

Jeník tells her about his Tragic Past™: he is the son of a pretty well-to-do father, but after his mother died, his father married a woman who ended up kicking him (Jeník) out. So he basically set out into the world and supported himself by entering the service of other people. He and Mařenka go on about how a stepmother’s hate can really be hurtful, but that committed love like theirs cannot be hurt by pains from the past, and they promise to love each other forever, and they are usually just being the most cutie-patootie thing ever, depending on the production (Duet: Jako matka požehnáním... Věrné milování; “As a mother’s blessing... Faithful love”).

After that, Mařenka hears her parents coming, looking for her. Jeník, not wanting them to see him, bids her a heartfelt goodbye, before they each exit the stage separately. Now enter Krušina, a baritone peasant, and Ludmila, a soprano, both Mařenka’s parents, along with Kecal, a bass and a marriage broker who is very much a businessman in terms of attitude. Kecal is in the midst of discussing the whole arranged marriage business; he assures Krušina that it’s all gonna go smoothly thanks to his sharp skills, and that should Mařenka object and stuff, he will make sure that she does what she is told (Trio: Jak vám pravím, pane kmotře; usually translated to “As I’m saying, dear fellow”, but it contains the word “kmotr”, meaning “godfather”).

While Krušina expresses satisfaction with this arrangement, Ludmila says it’d be better to take the time to discuss this with the bride-to-be. But Kecal remains very confident that their firmness and his wit alone will win over any objections the bride-to-be has over this marriage. Ludmila says that it depends on what the bridegroom himself is like, but Kecal continues to dismiss this.

We then learn through Krušina that Tobiáš Mícha is a childhood friend of his, and that he has two sons: one Jeník by his first wife (wait, that same Jeník we met minutes ago??? We’ll just have to wait and see...), and one Vašek by his second wife, but he (Krušina) doesn’t know either son. Despite that, he promised years ago that he would give his daughter’s hand in marriage to Mícha’s son. Ludmila asks which son Kecal is talking about, he replies that Mícha technically only has one son: Vašek. He dismisses the other one as a vagrant and a rascal, and says that no one knows about him (rude).

Krušina inquires about what kind of boy Vašek is like, and asks why Kecal didn’t bring him with him right now. Kecal starts rattling off all of Vašek’s virtues (Trio: Mladík slušný; “A decent young man”): he is a young man quiet as a lamb, he supposedly has no faults or flaws, he has a lovable soul, he is neither too much this nor too much that either physically or mentally, is in good health, and especially, he is set to inherit a farm worth thirty thousand (the currency is not stated here, but later in the libretto, it’s shown to be guilders). What can anyone want more from a perfect bridegroom like him??? Krušina and Ludmila believe his words to be true, and all three repeat their lines for a few more measures.

Then Mařenka comes back in, and asks her parents why they were looking for her (Quartet: Tu ji máme; “Here we have her” or something like that). Kecal says that he was asking her parents if she has someone she is in love with, and tells her that if she doesn’t, he has a young man to introduce her to. Krušina and Ludmila assure her that she will meet him first, and if she doesn’t like him, she can turn him down. Kecal announces that a deal has been reached, and that everything will be settled once Mařenka says yes. Mařenka objects that this can’t be settled as quickly as he says, and that he doesn’t even suspect that there is a hitch in this whole thing. But Kecal doesn’t care, claiming that he never quits whatever he puts his mind to.

Mařenka finally admits that she is already in love with another. Kecal tells her to dump him and let him seek his fortune elsewhere. Mařenka retorts that she has already given him her word, that she has already signed a contract for this. Kecal replies that he gives zero fucks, that they can tear up the contract, and then it’s just a whole back-and-forth argument between them. Kecal says to trust the absolute wonders of his wit, and everything will work out no matter what, because his mind is apparently just so amazing that it can succeed where no one else can (damn, that bloated ego gives me a lot of miscellaneous déjà-vu).

Mařenka claims she knows that Jeník won’t give her up, and is ready to stake her life on this (Recitative: Jeník neupustí; “Jeník won’t let go”). Krušina says that whether or not Jeník would give her up doesn’t really matter, because he has made a promise to Tobiáš Mícha in front of witnesses. At Ludmila’s inquiry, Kecal pulls out a contract, which he shows to have been signed by Mícha, Krušina and witnesses. Mařenka says it doesn’t matter, since she and Jeník didn’t know anything about that contract and that they still won’t give each other up, then she leaves.

Kecal gets briefly frustrated at how twisted the world is (uhm, because a girl actually knows her rights as an individual person??), and Krušina asks him where Mícha and his son the Perfect Bridegroom™ actually are right now, as it would be nice for him to actually talk to Mařenka. Kecal agrees, but explains that the boy is not used to talking to women, he is incredibly shy. Krušina briefly remarks on how hard this will make the wooing process. Kecal suggests that Krušina try to meet Mícha elsewhere “by chance”, as the square is about to get noisy now that the villagers are getting ready to dance (man, the people in this village love to dance and party!). This is indicated by the beginning of a polka (a type of Bohemian (as in, from the region of Bohemia) folk dance with a 2/4 time signature) in the orchestra. Meanwhile, he (Kecal) resolves to find Jeník and try to talk to him. Both leave.

The villagers come back onstage as the polka starts picking up. This is the first orchestral dance interlude; many productions will bring in actual dancers to show off what they’ve got, and also sometimes to excuse choristers who can’t dance very well... Anyway, the chorus sings all about the bounciness of the polka, and the curtain falls as everyone present is having a great time (Finale: Polka... Pojď sem, holka, toč se, holka; “Come here, girl, spin, girl”. You might recognize it if you’re familiar with Baby Einstein. The orchestral version linked is without chorus, tho).

Act 2 opens inside an inn in the village. Jeník and a male chorus of peasants are seated at a table drinking beer. The chorus sings the obligatory opera drinking song all about the wonders of beer, all the typical stuff about how it’s a gift from heaven, it reduces troubles to nothing and it gives strength and courage (Chorus: To pivečko; “That [little] beer”).

Jeník, ever the tenor, claims that love is better than either wine or beer, as it’s the only lasting source of happiness. The chorus tenors acknowledge that he’s currently head over heels in love, and the basses point out Kecal, who is sitting somewhere in the background, and they warn him (Jeník) not to let that old dude spoil his happiness in love. Kecal finally speaks up, claiming that good advice and money are the only two important things in life, and that whoever uses them sensibly will be well-anchored. As the other men sing a reprise of the beer chorus, Kecal and Jeník continue arguing the merits of either money or love over beer and honestly everything else respectively.

Then the orchestra starts playing a furiant (another Bohemian folk dance, of a particular fast and fiery character, with the time signature either alternating between 2/4 and 3/4 or, as in this case, in 3/4 with lots of accents) (Dance: Furiant. It’s less well-known than the other orchestral dances in this opera, but do listen to it here). A lot of productions will showcase male dancers jumping and spinning energetically, and I’m so here for it. After that, everyone probably either shrinks to the background or leaves altogether, for the sake of the next scenes.

A new arrival shows up slowly onstage; it’s none other than Vašek himself! A stuttery, big baby tenor, he is indeed as shy as we have been told he was, if not so much more. In a stuttering song well emphasized by accents in the orchestra, he muses about how his mother told him that he should be getting married, and he adds that if he doesn’t, he will become the laughingstock of the village (Aria: Ma-ma-ma-matička; “Mo-mo-mo-mother”). (Yes, I know making fun of stuttering hasn’t aged well. But.)

Then, Mařenka shows up (interesting note: in the score, it says that they bump into each other and burst into laughter, but I don’t think I ever saw this in a production). She recognizes Vašek but pretends to be someone else (Recitative: Vy jste zajisté ženich Krušinovy Mařenky?; “Surely you are the groom of Mařenka Krušinova?”). When he asks how she knew who he is, she points out his outfit, which should logically be ridiculously tacky clothes typical of a sheltered rich kid about to get married. She also adds that the entire village is talking about him and pitying him.

He asks why, and she says that “Mařenka” already has someone else in her life, and that she is planning on deceiving him (Vašek) and making his life hell in order to make him die soon. The simple-minded Vašek is confused at first and then terrified, as his mother told him that he has to get married. Mařenka points out that he can still get married, since there are plenty of girls around here for him to choose from.

When he expresses enthusiastic interest, she tells him about a girl she knows who supposedly has been madly love for him for a long time now (Duet: Známť já jednu dívčinu; “I know a girl”). Reassuring all his worries about “Mařenka” and his mother, she describes that girl as pretty and young just like “Mařenka”, and also adds that should he refuse her (that girl), she would get so upset that she would probably try to kill herself. She adds in some (probably fake) crying, and the ensuing conversation between her and Vašek leads to her easily tricking him into falling for her charms, seemingly framing the whole thing as that girl being none other than herself (not smart, Mařenka, not smart).

She continues wooing him, telling him she would love him like a baby in diapers or something (I mean, he IS a big baby after all), and makes him swear to never marry “Mařenka”. While Vašek refuses at first, she manages to make him tearfully agree by threatening bad things happening to whoever courts “Mařenka”, and she makes him swear to never want anything to do with her, to never want to see her or hear of her. And after a recapitulation of the initial theme of the duet (the bit with Mařenka telling Vašek about a girl who is in love with him), they both leave.

Then, Jeník and Kecal return to the foreground, the latter in the midst of trying to negotiate a deal with Jeník, to get him to give up Mařenka in exchange for a rich wife, with very little regard for literally anything else (Recitative: Jak pravím, hezká je; “As I’m saying, she is pretty”). Of course, Jeník remains absolutely firm on his refusing to give up Mařenka, but Kecal chides his sentimentality, telling him that money is more important. They have a whole back-and-forth about this whole business, with Kecal especially stressing that marrying a girl only brings benefits if she has money, because apparently wives always cheat on their husbands at some point, and them having money at least leaves them with something (se-xist, se-xist) (Duet: Nuže, milý chasníku; “Now, my dear gentleman” or something like that). (We also learn that Jeník comes from far away, someplace at the Moravian borders, but that detail is not important for now.) Kecal continues to try and persuade Jeník to give up Mařenka, in exchange for a rich girl who owns/is set to inherit a cottage, some animals, a piece of field and a new cupboard (because yes, Kecal, as @notyouraveragejulie so kindly pointed out long ago, a new cupboard will totally seal the deal), and most importantly, MONEY!

And if Jeník accepts to give up Mařenka, he will receive a hundred guilders (Recitative: Odřeknešli se Mařenky; “If you give up Mařenka”). Jeník refuses, claiming that it’s too little money for such love. Kecal increases the amount to two hundred, but Jeník still claims it to be too little. When Kecal increases the amount to three hundred, he says that should Jeník continue to refuse, he will use all his ressources to drive him out of here. Jeník initially refuses when he hears that Kecal will be the one giving him the money, since he wouldn’t sell Mařenka to him for anything, but Kecal clarifies that he’s not the one who wants her, since he already has a wife (wait, what?!! How did I not know that??? Anyway, I pity her, whoever that woman is), and he’s actually negotiating on behalf of the son of Tobiáš Mícha.

This time, Jeník (HMMMMMMMM????? Has Jeník realized something????????) seems to accept the deal, but adds in a condition that no one but the son of Tobiáš Mícha can get Mařenka, and insists on making it an actual clause in the contract. Kecal accepts the deal, and starts going to call in witnesses, but Jeník also asks to add in a condition that as soon as Mařenka and Mícha’s son have consented to the marriage, Krušina’s debt to Mícha shall be entirely cancelled. Kecal agrees, and leaves.

Jeník is left alone, and to make sure that the audience fully understands what is happening in case the production and/or the singer didn’t make the earlier realization very clear the moment the name “Tobiáš Mícha” was uttered, he gloats over his successful manipulation of Kecal’s deal. Then he sings sentimentally about how could anyone ever believe that he would actually sell his darling Mařenka, his angel, for literally any amount of money; there is no one else in the world like her and he would do anything for her, he just loves her so much (Aria: Až uzříš... Jak možná věřit; “When you see... How could you believe”).

Then, as the orchestra plays the first theme of the overture, Kecal comes back in, calling a chorus of villagers, including Krušina, to come in and witness the signing of the contract (Finale: Pojďte, lidičky; “Come, people”). Jeník publicly reads out the terms of the contract, in which he officially agrees to give up his girlfriend to no one but the son of Tobiáš Mícha, IF he (the son) truly loves her and agrees, in front of witnesses, by his own free will, to marry her. The chorus and Krušina are in awe at Jeník’s willingness to make such a selfless sacrifice.

BUT THEN, Kecal clarifies that Jeník is receiving three hundred guilders from this deal, meaning that he basically sold Mařenka in exchange for this money. This time, the mood completely changes, with the villagers and Krušina calling Jeník a scoundrel for doing something as shameful as selling his girlfriend like this. When Kecal tells Jeník and then the witnesses to sign the contract, Jeník signs it as “Jeník Horák” (often translated as “Jeník of the mountain[s]”). As Krušina signs, he (Krušina) declares being glad to have finally known his true nature, and the curtain falls as the chorus continues to shame Jeník for selling his sweetheart. (In the 2019 Garsington production, which happens to be the first one I ever watched (I needed subs) and which updates the setting to the 1950s, someone even splashes Jeník in the face with beer!! Just mentioning it because I love this detail.)

Act 3 takes us back to the village square as in Act 1. Vašek is all alone onstage, pondering out loud in an equally stuttering second aria, absolutely terrified of the possibility of “Mařenka“ poisoning him and stripping him of everything (Aria: To-to mi v hlavě le-leží; “It-it’s in my head” or something like that).

But his musings are interrupted by the approaching sounds of a trumpet, a piccolo and some percussions playing a march. Other villagers probably also come to see what’s going on. It’s a traveling troupe of performers! (The original Czech refers to the performers as “comedians”, but it does have many characteristics of a traveling circus.)

The leader of the troupe (the original Czech refers to him as the “principal comedian” and Wikipedia calls him the “Ringmaster”, but I’ll just call him “the leader”), a character tenor who doesn’t need a lot of singing skills because his part, at least in this recitative, mostly consists of repeated notes, announces that they will be putting on a supposedly never-seen-before show later today, consisting of one Esmeralda Salamanca performing various acrobatic feats, a Native American from the faraway Tahiti islands swallowing forks and knives (yes, this did NOT age well), and most importantly, a real tamed American bear who will be dancing a French Cancan with Esmeralda (Recitative: Ohlašujeme slavnému publikum; “We announce to the [famous] audience” or something).

The leader gives everyone who is watching a quick preview of the upcoming show, during which the performers, who in many productions are played by actual circus performers, get a chance to show off their skills (or lack thereof, probably for the sake of foreshadowing some later revelations about the shadiness of the troupe, as in the 1982 Vienna production) as the orchestra plays a skočná (yet another Slavic folk dance, this one being of a particularly rapid characteristic and usually with a 2/4 time signature. I noticed the name “skočná” resembles the Czech “skočit”, which means “jump”, but I’m not sure if they are connected) (Dance: Skočná, often better-known as the “Dance of the Comedians”. Listen to it here, conducted by the famous Herbert von Karajan. It’s mostly well-known for being used extensively in the Road Runner cartoons).

After the dance is finished, Vašek expresses excitement about the upcoming show (and also ogles Esmeralda’s legs) (Recitative: Je-je-je-je! To bude hezké!; “Oh-oh-oh-oh! It’s going to be lovely” or something like that). Esmeralda, a soprano, approaches him and asks if he will be attending the show. He answers that he will, and that he is looking forward to seeing her tightrope walking.

But then the “Native American”, a bass (who by the way speaks fully fluent Czech with zero written-in accent, making me strongly believe that he’s an in-universe redface character or something like that), comes in running, telling the leader that the guy who was supposed to do the dancing bear number got so drunk that he can hardly stand on his feet. The desperate leader considers using some boy from the village as a replacement, but the Native American points out that word might get out and the troupe will be laughed at, and besides, they have to find someone who can fit properly inside the bear suit, and there is barely any time left before the show anyway. Meanwhile, Vašek is becoming more attracted to Esmeralda. The men notice that the bear suit might fit Vašek quite well. The leader sends the Native American and the other performers (except Esmeralda) away while he talks to Vašek, and the rest of the troupe exists as a reprise of the march plays.

Now that the three are left alone, the leader and Esmeralda use Vašek’s very obvious infatuation to persuade him to join the troupe, with Esmeralda’s love as a reward. The leader in particular tells him all about the life of a performer, including plenty of debts money, freedom and a highly regarded status. Of course, they do the thing of not pressuring him, telling him to only try it once today, and Esmeralda demonstrates the Cancan part that he is supposed to perform. At first, Vašek fears what his mother will think, but the leader and Esmeralda assure him that she won’t recognize him because he will be fully dressed in an animal suit (Duettino (Italian diminutive for duet, i.e., “little duet”): Milostné zvířátko uděláme z vás; “We will make a lovely little animal out of you”). Then the two leave.

Vašek is left alone for a short while, trying to process all that has been going on, between the marriage and the performers’ troupe (Recitative: Oh, já ne-nešťastný!; “Oh, unhappy me!”). In come Vašek’s father, Mícha himself, a bass, and mother, Háta, a mezzo, accompanied by Kecal. Háta asks Vašek why he looks so sad. He says he is afraid. She asks why, and tells him to get married because apparently everything will be alright once he gets a wife. Kecal and Mícha try to get him to sign the contract to marry Mařenka, but Vašek says he doesn’t want to, to the great confusion of the other three (Quartet: Aj! Jakže, jakže?; “Ay! How, how?”). Vašek claims that Mařenka would poison him, and the others ask him where he got that silly idea. He says that some pretty girl who likes him told him that today. When they ask him if he knows her, he admits that he doesn’t, before leaving. Kecal, Háta and Mícha suspect that there’s something fishy in there, and Kecal decides to get to the bottom of this whole thing.

At this moment, Mařenka comes in with Krušina and Ludmila. Mařenka has been told about how Jeník basically sold her, and she is in complete, desperate denial about this whole thing (Ensemble: Ne! Ne, tomu nevěřím; “No! No, I don’t believe it”, with a few more no’s that I was too lazy to add). Kecal proves it by showing her the contract that Jeník signed to give her up in exchange for three hundred guilders. Mařenka is completely upset at this supposed betrayal, especially since Jeník swore that he would basically sacrifice the world for her. Krušina tries to reassure her that at least she know knows his true character. Kecal tries to get her to sign the contract to marry Vašek, but she refuses, claiming to prefer living alone forever without breaking her promise. Kecal and the two pairs of parents tell her that there is no way around that.

Kecal calls Vašek over, and he (Vašek) immediately recognizes Mařenka as the girl who told him all these scary things, and who also told him that she would love him (uh oh, uh oh. Mařenka, this is why I told you your scheme was not very smart!!!!). All the adults introduce her as his future wife. Vašek (who seriously has, as the French say, un cœur d’artichaut (“an artichoke heart”), meaning he falls in love wayyyyyy too easily) still claims to like her. Kecal tries to get them to sign the contract, but a weepy Mařenka claims to need a moment to think it over. Kecal and the two pairs of parents urge Mařenka to think very carefully about the choice she is about to make, and not to let her stubbornness get in the way because her happiness literally depends on this choice (Sextet: Rozmysli si, Mařenko; “Think about it, Mařenka”). Mařenka says she will think about it, and everyone but her leaves.

All alone, Mařenka expresses her extreme sorrow at Jeník’s betrayal and her crushed dream of love in one of ye long typical soprano aria of despair, even though it seems at some point that she still doesn’t entirely believe the whole betrayal thing, considering that maybe Jeník himself doesn’t even know about it (Aria: Oh, jaký žal!... Ten lásky sen; “Oh, what grief!... That dream of love”. Ngl, this moment really made me think of the stages of grief. We already have denial, bargaining and depression in there).

Jeník comes in running, calling Mařenka the star of his life and asking her how is their cause currently standing. Mařenka angrily rebuffs him (ah, there’s the anger!), asking how he could stoop so low as to literally sell her heart, and she asks whether he did actually do it, telling him to only answer either yes or no, nothing else. Jeník begs her to let him explain, but Mařenka refuses to hear his excuses and asks if he did sign that contract to sell her.

When he confirms it, she warns him to never come near her ever again, and declares that she will marry Vašek. Jeník bursts out laughing upon hearing this, which further angers Mařenka. Jeník again begs her to just let him explain his side of the situation, but she still refuses to listen. Jeník remarks on her stubbornness and asks if he could really look into her face if he really were guilty, to no avail. Ye typical operatic back-and-forth ensues (Duet: Mařenko má!... Tak tvrdošíjná; “Mařenka mine!... Are you so stubborn”. It’s actually my favorite musical bit in this entire opera. Listen to it here, sung by Peter Dvorský and Gabriela Beňačková; I used this specific recording in my 5th Opera(s) as Vines video. Mařenka sings two high C’s).

Kecal returns and tells Jeník that he will soon be getting his money, much to Mařenka’s disgust, and he asks Mařenka if she will marry Mícha’s son. Jeník replies that she will and that he swears that no one else is to have her. Kecal praises his sensibility and Mařenka calls him (Jeník) a scoundrel and a liar, and absolutely refuses to marry. Jeník asks Kecal what he would give him if he managed to persuade her, to Mařenka’s absolute anger and despair. Jeník gently tells her to trust him because Mícha’s son loves her so fucking much and there’s luck and happiness in store for her within this marriage, Mařenka continues despairing, and Kecal praises the wisdom of Jeník’s words and is seemingly just amused by the whole thing, and then they all agree that it is now time to bring in the parents and witnesses to put an end to this whole fuckery (Trio: Utiš se, dívko; “Calm down, my dear”).

Kecal leaves, and Jeník and Mařenka are very briefly left alone; he asks her if she still doesn’t understand what is really going on. She rebuffs him again and he steps aside. Then Krušina, Ludmila, Mícha, Háta and the chorus of villagers all come in. The chorus urges Mařenka to tell them her final decision (Ensemble: Jak jsi se, Mařenko, rozmyslila?; “How have you changed your mind, Mařenka?” or something like that). Aside, Mařenka looks forward to trick Jeník and get revenge on him by doing what he probably is not expecting. Then, she announces that she will do as she is asked (i.e., marry Mícha’s son). The chorus praises her decision and proclaims that the fuckery is now ended, and the wedding shall now take place.

Jeník steps forward, proclaiming that yes, the wedding shall now take place and that everyone will rejoice. The surprised Mícha and Háta immediately recognize him and ask where did he come from. Jeník addresses Mícha as “father” and muses that he has lived in a foreign place for a long time and that he suspects it is high time for him to come back home. Kecal is absolutely speechless upon hearing that this simple, poor boy is in fact Mícha’s eldest son, as he thought he was a soldier (I have no idea where that point came from). Jeník confirms again that he is indeed Mícha’s son, and clarifies that while he is no soldier, he did have to fight many personal battles with fate during his wandering days.

Háta retorts that he certainly had plenty of time for all the wandering around he did, and Jeník replies that he is all too aware that she had kicked him out, as he previously mentioned in Act 1. But he brushes it aside as no big deal, preferring to focus on his claim for Mařenka’s hand in marriage, which he says he is entitled to as a son of Mícha. He makes it clear that he actually tweaked the deal in his favor, and that there are technically two eligible sons for Mařenka to choose from. Mařenka finally understands where he is coming from, proclaims herself as belonging to him and joyfully throws herself in his arms.

Kecal completely despairs at his defeat by Jeník’s cunning trick, which apparently destroyed his reputation and honor. Everyone starts laughing at him, going on about how that wisdom of his which he has boasted so much about throughout the opera seems to have left him, and that what happened to him was pretty stupid (yes, Kecal, serves you right for being a pompous asshole who only cares about money) (note: it’s never indicated exactly, but because he is never mentioned after this scene either in the libretto or the score, one could assume that he leaves).

But these jolly happenings are interrupted by shouting noises backstage, followed by two boys running onstage, screaming in lines spoken rather than sung, about how the performing troupe’s bear has escaped and is running in this direction. Said bear comes onstage, and reveals itself to be Vašek in costume, telling everyone not to worry, as it’s only him. Everyone laughs. Háta scolds Vašek, calling him a fool, and then drags him offstage. Krušina tells Mícha that hopefully he will recognize that Vašek is still a bit young of mind, not ready for marriage yet. He and Ludmila encourage Mícha to make peace with his son Jeník, with whom he is finally reunited after such a long time.

Mícha blesses the couple (in the 1998 London production, he blesses them but also Vašek and Esmeralda, which I find kinda weird), and everyone present sings a happy chorus about faithful love saving the day, just as predicted in Act 1, and looking forward to the upcoming wedding (Finale: Pomněte, kmotře... Dobrá věc se podařila; “Remember, [neighbor]... A good cause has succeeded” or something like that). There is probably a lot of dancing going on, given the overall nature of this opera. The curtain falls on this celebration of love, and everyone lives happily ever after as far as we know.

The end! ❤❤❤ This has been an overly-detailed opera summary with unsolicited commentary, I hope you enjoyed ;)

- Raya / rayatii

(PS: I wanna give a quick shoutout to @notyouraveragejulie‘s liveblog of this opera, in particular that famous Czech TV movie from 1982 (no subs, unfortunately, which is a shame because it’s one of the absolute best productions available online), which influenced quite a bit of the commentary in this post. Yes, I know I’m the one who suggested it to you, but I didn’t have anyone to scream about this opera with!! This reminds me, I should rewatch this production sometime.)

(PPS: the score that I have, which is downloaded from IMSLP, actually contains an annex with a short duet between the leader of the performers’ troupe and Esmeralda, which is only one among the handful of numbers that were in early version(s) of the opera and that were discarded during revisions. This one is set at the exact moment where the leader is telling Vašek all about the abilities of a performer. I ran the lyrics through Google Translate, but I barely understood what they were all about, but they did have something to do with performing.)

(PPPS: I think I saw in at least one source something saying that Esmeralda is the leader’s daughter (which makes sense imo), but in all the links I have used while writing this post, I have never seen anything mentioning that, and I don’t know if I just hallucinated it or something?????)

#raya recounts #opera #opera summary #overly-detailed opera summary with unsolicited commentary #prodana nevesta #prodaná nevěsta #the bartered bride #bartered bride #smetana #bedrich smetana #bedřich smetana

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noodleodoodleo · 2 years

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Mermaid Admiration

Chapter 1 Trivia: Nene is in the movie club ...they are located in shibuya... how far away is vivid street? it couldn't be that far away cause in their main story Kohane went to the CD shop which is also in the middle of shibuya (as we can see in the map) and the person said they had like a different location in the alleyway or smth similar AND Kohane walked there so vivid street is still in shibuya. My point is why do people in vbs' stories say their town? they live in tokyo and they couldn't be talking about like some district or smth, right? is this just one of the many linguistic and cultural nuances I as a non-japanese speaker don't understand? either way it's funny hearing them talk about the "town" they live in and then realizing they live in Tokyo, one of the biggest metropolises in the world.

Ah fuck WxS will add to "there's always an asian better than you"

Wonderland x Showtime beach episode!!! ... wait how far away is the beach resort... ah nvm I thought Tokyo was really far away from the ocean but it's not so they can get to and fro within a day. I was confused for a moment because they are high school students and well they have school to attend. But considering how close the ocean is having a beach resort in tokyo is still within he realm of possibility... why am I thinking about the plausibility of these details when we have a magical world where Hatsune Miku and other Vocaloids give these characters therapy... suspension of disbelief I guess... WAIT A SECOND! They're staying for THREE days... the weekend has two days (from what I know some Japanese schools have fewer but let's assume here) do they just skip? do they get excused? is it like Friday afternoon to sunday? WHAT ABOUT THEIR PARENTS DO THEY JUST NOT CARE ABOUT THEIR KIDS' SCHOOL ATTENDANCE (ignoring Emu and Tsukasa)? ... is this happening during school holidays...?

The stage in nene's flashback is just the phoenix stage recoloured...

Chapter 2 Trivia: Nene used to speak to fish Len has never seen a happy rendition of the little mermaid... defuq? how? or well I guess he's a virtual singer and... wait how did you EVER see a rendition of the little mermaid? didn't he like not exist before this SEKAI was created... or- well- you know what I am not opening that can of worms, so moving on

Ah so this event was after right after the seaside school event rich-ass private school so it's summer vacation I'd assume? also I just noticed Rui's ears are pierced so we have two confirmed cases of pierced ears Akito and Rui unless I'm forgetting someone else.

Chapter 3 That play is so cute

Chapter 4 Nene fangirl moment Nene panic moment/Emu fucking dies

Chapter 5 Is nene-robo an AI? Nene certainly wasn't controlling nene-robo to console that child, actually this is one thing I don't need to question cause nene-robo is nene-robo. Oh wait nene-robo is literally an AI... is... is nene-robo sentient? Oh god Rui what have you done

Why are kids allowed backstage

Chapter 6 Nene SING!!!

Rui is talking so softly, he really cares for Nene...

Chapter 7 Oh no... Nene's idol left her original troupe and close friends. Are they gonna go the realistic route and have them disband after a while or are they gonna go the anime route and be like yeah the generations before us and our idols had to sacrifice this and it was really sad BUT we don't have to follow them, we are walking out own path and we will stay together and do this with the power of friendship. makes me wonder

Ok i see where wxs' story is going. not just with nene and this event but also with emu and her extreme fear of letting go, change isn't bad and goodbyes just open the doors for new opportunities. Maybe with Tsukasa and his memory problem we can add keeping the memories we have close to our heart but not letting them control us. From what I saw until now, Rui is just: do what you love no matter what others say but also don't close yourself off from others.

Chapter 8 I'm still baffled by other countries' lax position on fireworks. I am so used to only being allowed to sell and use fireworks around new years. Also rui doesn't want BOOM :( who are you and what have you done to our rui.

Oh the dread of an uncertain future... yea they are in high school they would start thinking about that but god do I hate that topic, gives me flashbacks of my own struggles PLEASE SEGA DON'T REMIND ME OF THAT T-T

Rui really does talk much softer with nene, but yes enjoy the time you have :,)

Oh god back to deranged rui. HE CREATED A FLAMETHROWER?! HOW IS THAT LEGAL??!?! Jesus Christ Rui you just gave me a heart attack. mischievous/sadistic rui planning to torture tsukasa. Ah just the usual

This story was very backlogged in terms of major character moments but super cute and fun. I love these clowns.

#prsk #wonderland x showtime #reading notes

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elhawiyeh · 2 years

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Another linguistics rabbit hole

I stumbled across a piece of old Georgian music that started me down a rabbit hole in the intersection of linguistics and world music.

youtube

You may have noticed is the apostrophes in the name- they're used to denote what are known as ejective consonants. These sounds aren't really featured in Indo-European languages, but we do routinely make them. Think back to when you were learning to read and a teacher pointed to the letter T and asked, "What sound does this make?" The responding chorus of T sounds is often made not with a stream of air from the lungs but with the movement of the glottis in the back of our throats. Languages in the Caucasus frequently distinguish between a T made with air from the lungs and a T made with air from the glottis. Because the latter disrupts that flow of air there is often an audible switch for speakers of languages with these consonants between two sources of airflow. The same is true for other non-pulmonic consonants like clicks, and it is often a feat for learners to make these sounds flow together in the course of pronouncing a word.

So how is this handled in singing? I was kind of shocked to see how the ejectives employed in this Georgian hymn are hardly noticeable. My experience with ejectives in music before this was with Native American music where sometimes the singer leans a little more into the percussive quality of these sounds. And if you really want to get into showy non-pulmonics then Miriam Makeba's rendition of the traditional Xhosa song Qongqothwane celebrates them with flair.

youtube

So why aren't those sounds more pronounced in this Georgian music? I can only grasp at straws but one thing that occurred to me is that Georgian has some of the most difficult consonant clusters of any language I'm aware of, so maybe it's common practice to elide those sounds to facilitate fluent enunciation. Perhaps modern use of Georgian differs from older versions- the Mkhedruli script in use today is over a thousand years old and the song was composed in the 12th century, but in my experience these kind of traditions are very resistant to change. Maybe music like this was born in the context of a culture that was not native to Georgia- the New Testament had to be translated into Georgian from Greek, and the introduction of Christianity to Georgia is credited to a saint of Greek extraction. If folk melodies found their way into a liturgical context, perhaps it makes sense that composers who drew upon that were not as eager to accentuate these features of the language.

Adjusting features of spoken language to fit a style of singing is very common. When I was trained in Classical European vocal styles I was instructed to avoid smiling while singing, so unrounded vowels became rounded. In particular, the strong 'ee' sound (IPA /i:/) was scrupulously avoided and recast as almost a Japanese 'u' sound (IPA /ʉ:/). Also the English language's retroflex 'r' was often avoided, especially at the end of a syllable and rhotacized vowels were considered ugly. These changes have a lot to do with the fact that this style of music was inextricably linked to Latin mass, but I was always shocked in this context to hear singing in contemporary music that actually celebrated these sounds.

I had one experience learning and performing a piece by a Korean composer. I sought out pronunciation help from a Korean-American woman and she pointed out to me that the diphthong 'ui' (IPA /ɰi/) is typically pronounced in song as an 'eh' sound (IPA ~/e/). I don't know if this holds true for more traditional forms of Korean music but this was in the context of Korean Christian devotional music, so I would hypothesize that it underwent many of the same changes English did in that context.

In J-Pop I've noticed that singers often like to take the traditional flipped R (IPA /ɾ/) and pronounce it in a way that sounds suspiciously like an L. They also like to pronounce mid to backish open vowel so it sounds more forward in the mouth and with a bit of a smile, so /a/ as in father comes out sounding a bit more like /æ/ as in the word hat. It's a really neat stylistic change that to me evokes a lot of the same rebellion that American rock does in the context of classical liturgical song. I'm surprised this kind of vowel shift works in the context of a language that is so incredibly vowel heavy.

One source of music that interested me was the Indian subcontinent, where retroflex sounds like the English 'r' are heavily featured, to the point where they are contrasted with alveolar or dental consonants with the same manner of articulation. Imagine saying a T sound, but with your tongue bent back as if you are pronouncing the letter R. There is a natural tendency to rhotacize the vowels that come before these consonants, and classically trained vocalists in languages like Hindi, Urdu, or Punjabi don't try to fight this. And contemporary artists do this too, sometimes to the point where they introduce another syllable just to dwell on that sound where in conversation it might be smoothly blended with the beginning of the next syllable.

That is my daily dose of useless information mixed with anecdotes and inferences from shaky assumptions and half-assed research.

#linguistics #language #music

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meowzfordayz · 3 years

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no matter the weather

Author’s Note: hate and/or phobic attitudes/behaviors ≠ tolerated. If aforementions apply to you, then pls and ty gtfo. 🙃

no matter the weather

Agatsuma Zenitsu x Reader

Word Count: ~1,900

CW: misgendering, Nb!Reader

Request Fulfilled: Please do a zenitsu x nb reader coming out 🥺 I love your work btw!

~faqs~

Okay okay okay

Addressing the elephant in my brain

I feel… awkward, writing this 😶

Like, not a bad awkward

But like a… I’m-hyper-aware-that-I’m-she/her-identifying awkward ??

I just don’t want to generalize the intimacy of coming out

That being said, some of my friends/mutuals are nonbinary

Not to imply that I fully comprehend being nb just bc “oh whoop dee doo you know nb ppl”

Anywho

Basically I want to do this prompt justice

While being conscientious that I’m she/her identifying

Additionally: I likely would not tackle this subject if it wasn’t specifically requested

i.e. I would naturally consider writing Reader coming out as bisexual, bc I am bi; I would not naturally consider writing Reader coming out as nb, bc I am not nb

Zenitsu fawns over pretty

Natural, man made, tangible, intangible, and pertaining to humans

Maybe also pertaining to demons ?? Bc daaayum some of them do be pretty 👀

Let’s not go there atm LOL

So the first time he meets you

In a clearing in a forest — it’s pouring 🌧 btw bc why not ?? #vibes he’s lowkey lost

Even tho you’re battered, bloodied, bruised, and soaked to the bone

You’re an adept swordsman and member of the Demon Slayer Corps yourself tyvm

(so I actually researched the word “swordsman” for another fanfic bc I wasn’t sure how to make it gn—gender neutral, and apparently its historically acceptable/common to refer to anyone capable of wielding a sword as a “swordsman” 🤓)

All he can focus on is how pretty you are

Nobody looks pretty after slaying demons

Except for you ?? Whoever you are ??

He tries to introduce himself

But do y’all recall how he gets when he’s around pretty ??

Man cannot, does not, will not, function at 100% — maaaybe 63%, but that’s being generous

“Hiiiii,” he garbles

You’re unimpressed, albeit, flattered

“Wait, wait, wait,” he panics as you raise an eyebrow, “I’m Agatsuma Zenitsu!”

Okay

“I’m [y/n],” you’re curt

This man’s drooling 🤤

Like whaaat

Your eyes are pretty

Your hair is pretty

Even your bloody nose is pretty 🤭

And now your name is pretty too ??

How unfair that he can’t even act non creepy

What w/ you short circuiting his neurons’ feeble attempts to fire properly

“How should I address you?” he’s desperate to pay his respects

He knows you’re not a Hashira; not -sama or -sensei

But are you -san?

-chan?

Can he say just [y/n] like he says just Inosuke and Tanjirou?

Let me tell you rn

He’s clinging to the meager control he has left to not call you [y/n]-chan

—I’ve done a ton of Japanese honorific research (I suspect my Japanese honorific research will never end), and basically -chan expresses that the speaker finds the person endearing… akin to calling someone “babe” within 1 minute of knowing them (assuming a I’m-attracted-to-you context)

Like, y’all just met

He’s not aiming to get slapped

But he’s def already daydreaming about singing [y/n]-chan, [y/n]-chan, [y/n]-chan as y’all frolic in some flowering meadow or whatever 💀

Wrong question

“I said, I’m [y/n],” you’re… steely

Still pretty

But sharp

He gulps

Doesn’t shout again as you begin walking away

I mean, I guess it’s cool that she’s comfortable going by first name ??

Took a while to get there w/ Inosuke and Tanjirou

Yup, uh huh, that’s it 😮‍💨

You’re just super chill! 🤗

Man’s down bad

And lost

Hopelessly lost

It’s still pouring

Riperoni Zenitsu

The second time you meet is at the Butterfly Mansion

He’s doing okay surprisingly

You? Not so much

Your arm and leg are fractured

Opposing arm and leg

Author makes the rules, sorry not sorry, the visual of that is too funny

Neither are severe, and mostly due to being overworked (jumping from rooftop to rooftop and falling constantly to the ground can’t be that good for your health altho obvi anime makes it look awesome)

That being said

You’ve received stern warnings, multiple stern warnings, about the importance of resting

“They’re stress fractures at the moment, but you want to be able to use that arm and that leg eventually, right?” Shinobu had admonished you in her cheerful, slightly very passive aggressive tone

“Yes Kocho-sama,” you’d grunted

And then seconds later… “Oh no, no, no- Kocho-sama… ??”

“[y/n]?!”

Agatsuma Zenitsu 😒

“Agatsuma-kun,” you greet him cheekily

He blanches

“You can’t be that much older than me!”

You laugh quietly

And he melts, oozes, gooey

“Fine,” he mumbles, “You can call me whatever’ll make you laugh that like.”

“You’re uninjured,” you observe, “So why are you here?”

“I was injured, and now I’m just waiting for a new mission.” She’s talking to meeeee !! 😍

“I’m thirsty.”

He blinks

You blink

And then there’s a glass of water being held out to you

Wow

“Thunder Breathing?”

He nods Please be impressed, please be impressed, please be impressed

You’re a little impressed, grabbing the glass

“Thank you.”

“Sooo tell me about yourself ??” he tilts his head Is this him being cute? 🧐

“Don’t you have somewhere to be? Chores? Training?” you mutter

“I can take care of you!” he’s enthusiastic Irritatingly, enthusiastic

“I can manage.”

“But I’ll make things easier!”

“You’re giving me a headache.”

That deflates him, but not by much

“Would you like me to find Aoi-san and-”

“No,” you grit your teeth, “You, are giving me a headache. Which means you, should go.”

He’s crestfallen

But fear not! Zenitsu perseveres 😤

“I’ll join you for lunch, then?”

You audibly growl

“It’s a date!” he grins, ignoring you

“You better bring extra seaweed crips,” you hiss

So sue me, resting is boring

And his persistence is… charming persistent?

“You can’t hang out with me forever,” you smirk fondly

He pouts

Somehow, Zenitsu’s kept you company for almost an entire week

You occasionally catch yourself thinking My water boy bc srsly — he gets you whatever you ask for, the second you ask for it

Before remembering that he’s supposed to annoy you

Which, he does

But

He’s also…

Interesting ??

An open book

If you’re curious, then he’ll answer

“Why does your hair look like—that?” you gesture vaguely

He blushes, “As in, its color, or its messiness?”

If you lean in as Zenitsu proceeds to tell about his encounter w/ ⚡️🌩⚡️, then he doesn’t mention it

Which is tactful of him

Bc you would’ve kicked him out 🦵💥

Literally

It’s not like both of your legs are on bedrest

“[y/n]…” he’s tentative

“Hm?”

“What’s your favorite weather?”

“Depends on what I’m doing.”

He stares expectantly

🙄

You cave

“On missions, partially cloudy. Less exhausting to fight in a moderate temperature, and an ideal amount of light.”

Zenitsu is thrilled by the details you’re providing *dreamy sigh*

“In general… I appreciate when the weather matches my mood. It’s frustrating when I’m content inside but it’s dreary outside, or when I’m sad inside but it’s rainbows and butterflies outside.”

And then you just, stop

That’s it 👏

That’s the [y/n] info sesh for the day

He gets the message, doesn’t push it

Giggles and waves at you as he leaves

“Tell me more tomorrow?”

Your silence is… more soothing, than usual

So he goes ahead and interprets that as a resounding YES

😬

“What’s your favorite fruit?”

Zenitsu sits at the end of your cot

He’s totally inched closer and closer to you throughout the week

Initially he’d just stood

Until you’d realized he was determined to continue standing

So you’d clenched your jaw and told him to Just get a chair

His excitement had not been subtle

“Nikkori.”

(Nikkori = type of Japanese pear)

“So big and juicy.” 😋

You glare at him

Hard

—I 💗 innuendos hehehe

“When will you quit bothering me?”

You’re not as harsh anymore

Even you can hear the difference

“When will I be able to address you as [y/n]-chan?” Zenitsu quips, winking boldly

He flicks a switch he didn’t even know existed

Lights out

“Out.”

“Huh?” he’s dismayed, “What did I-” he protests weakly, shriveling rapidly

Why is she suddenly dismissing me?! Look at me… look at meee…

You don’t look at him

If this were a game of stubbornness, then you’d win

But it isn’t a game of anything

“Out.” 😦

Tail tucked between his legs, he gets off your cot

Glances timidly at you

Nothing 😕

There’s nothing on your face even hinting that you might like, want, need him to defy you

He doesn’t

The next time he sees you

In another clearing in another forest ?? Let’s assume it’s sunny ☀️ this time bc you’ve suffered enough

He’s still lost tho

He’s… apprehensive

You’re as pretty as ever

That glow in your eyes? 👌

Your hand painted haori? 👌

How warm your gaze is? 👌

He only wishes it was directed toward him

But he hasn’t figured out how exactly he screwed up 😓

“Zenitsu asked to call her [y/n]-chan?!” — Tanjirou

“IDIOT !!” *insert howling here* “AHAHAHA HE’S GOING TO PERISH ALONE.” — Inosuke

“That was quite forward of Agatsuma-kun!” — Shinobu

“How flashy! A shame it went poorly!” — Tengen

“Aww how adorable! My fingers are crossed for Agatsuma-kun!” — Mitsuri

“Hm.” *insert shrug* “That’s unfortunate.” — Giyuu

“Agatsuma-san.”

…

“Agatsuma-san.”

You startle him from his pity party

Wide eyed, he points at his chest

Me? She’s addressing me?! Meeeee!

Dude: there’s just two ppl in the clearing—you, and them 😐

Poor guy nearly trips moving closer to you

“I’m sorry for discomforting you! I overstepped.”

You’re amused

“I promise to call you [y/n] or [y/n]-san!”

You snort

“I miss answering your questions and you sometimes answering mine,” he sucks in a deep breath, “And I’m glad you’re back to normal!” he freezes, “I mean, you’ve always been normal! But you’re healed now too!”

You laugh quietly

His favorite laugh

“Zenitsu-san.”

—When I tell you his heart flip flops

—It’s doing round off back handspring full twisting doubles 🤸‍♂️

“I owe you an apology.”

He gapes at you

Jaw noticeably dropped

Starts stammering an objection, but you interrupt him

“What was the first question you asked me?”

“How should I address you?” he squeaks

—FYI

—Zenitsu hasn’t forgotten a single second, minute, hour of your time spent together

—Everything about you is #longtermmemoryworthy

“That isn’t an easy question for me,” you smile wryly

“Oh?” he’s confused

“How do you… imagine, me?” 😳 “Not like that.” 😅 “Am I… masculine? Feminine?”

Maaan he’s sweating bullets

How tf is he gonna answer politely ??

“Um,” he swallows, “You’re… pretty?”

Aaand now you’re sweating too

“Thank you, Zenitsu-san. More precisely though… why did you ask to call me [y/n]-chan?”

He’s connecting the dots

“Would you prefer [y/n]-kun?”

You chuckle, “I’d rather [y/n]-san or simply, [y/n].”

The corners of his mouth downturn abruptly

“Zenitsu-san?”

Dread swims in your stomach

Ambient noise ringing dissonant in your ears

I guess I can’t stay pretty forever

Your nervous grasp on your haori tightens

Bracing to depart — bracing to flee

“[y/n],” he chokes out

You refuse to look at him

“[y/n],” he whispers

“I’m ashamed,” he exhales raggedly

“I’m ashamed that I made this… so, difficult. For you.”

You let go of your haori

Dumbfounded

“I’m happy to address you however you’d like. I’m happy to imagine you however is most comfortable. For you.”

He’s… soft

How he looks

How he stands

How he waits

“You’re pretty,” he murmurs, “No matter the weather,” he cups his palms out to you

Sunshine

For them

You mime putting something in your pocket

He laughs

Elated

Exuberant

Enthralled

You laugh

His favorite laugh

Quiet

For him

#zenitsu agatsuma #agatsuma zenitsu #zenitsu x reader #agatsuma x reader #headcanons #kimetsu no yaiba #demon slayer

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langbloor · 2 years

Text

On Language, Pronouns, and Gender - Part III : Bengali

TL;DR : Bengali has no gendered pronouns and no gendered verbs so this is actually a much shorter read! So when you find a Bengali person struggling to learn the gender hoops of your language, keep in mind that these hoops don't exist in their native tongue!

Link to Masterpost

Part I : Japanese

Part II : Hindi

Note : I am an Indian native Bengali speaker but not a linguist. I have never formally studied Bengali grammar since I am a Probashi Bangali (a bengali person who has moved out of the Bengal region). I do speak it at home but am very likely to make grammar/spelling errors or mention things unique to 'Indian' Bengali. You are very welcome to start a discussion with me about things if you notice something off, but please be polite about it!

Amar shonar Bangla! No gender information in any part of speech at all! What a wonderful language! Here's an example to show how translations to Bangla turn things gender neutral -

English - He is eating.

Bangla (polite) - উনি খাচ্ছেন (Uni khacchen, gender neutral)

The pronoun in the Bengali sentence is 'Uni' - gender neutral polite third person pronoun. The casual version would be -

Bangla (casual) - ও খাচ্ছে (O khacche, gender neutral)

The pronoun changes from 'Uni' to 'O' but remains gender neutral. Verb inflection also changes from 'khacchen' to 'khacche' but again, remains gender neutral. Bangla is fairly strict about politeness levels and conveying respectability but simply does not care about gender at all. The sentence structure is similar to Hindi (subject-object-verb), but Hindi to Bangla translations also omit gender information. Watch this -

English - I am eating an apple (gender neutral)

Hindi (Standard) - मैं सेब खा रही हूँ। (Main seb kha rahi hoon ; Female)

Bangla - আমি আপেল খাচ্ছি। (Ami apel khacchi; gender neutral)

And an example where both English and Hindi are gendered but Bengali is not -

English - She is singing (Female she/her pronouns)

Hindi (casual) - वो गा रही है। (Wo ga rahi hai. Female 'rahi' verb inflection)

Bangla (casual) - ও গাইছে। (O gayichhe. Gender neutral 'O' pronoun, gender neutral casual verb inflection.)

Is that it? Is that the whole post? Well pretty much, but I do want to make a note of a few things. Consider this as my ending note for this series. When Bengali folks learn and speak Hindi not as a native language, they tend to misgender things. I have noticed this a lot less with Bengali English speakers, though it may happen sometimes. But Hindi's 'everything has a gender' messes things up. Non-native Hindi speakers from other parts of India who don't have to jump those mental hoops instinctively to gender things, make these mistakes when learning and speaking Hindi too (example - folks from South India). And more than often, their accent becomes the butt of jokes - among friends, within families, in movies, tv shows, and more. South Asia as a society is fairly insensitive to language differences - pretty ironic for a culture which doesn't really have one uniform language throughout (no, Hindi is not it), but maybe that's a rant for another time.

Bengalis are prone to misgendering things in Hindi but not because they don't respect your or someone else's gender. This is simply because Bangla conveys next to no gender information outside of proper nouns. Yes, proper nouns do have a 'gender'. There is a word for a 'girl' (মেয়ে/mey) and a 'boy' (ছেলে/chhele) and mother (মা/ma) and father (বাবা/baba) and more that are culturally gendered and viewed as such. But proper noun is the extent of gender information that gets conveyed in speech itself. If I were to translate 'She is a girl' to Bangla, I would say 'ও একটা মেয়ে' (O akta meye, casual) which is also a valid translation for 'He is a girl'. 'He' or 'She' is not in the language and any gender information or assumption is coded in the word মেয়ে (mey) which is the limit of what Bangla uses to provide context for gender.

That is all I have to say on gender and language things for now! If you haven't checked out the previous posts in the series, Part I is here and Part II is here. See you in other posts and maybe in the notes/askbox!

#gender and language #bengali #bangla #south asia #long reads #pronouns #verbs

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joyokosuka · 4 years

Video

youtube

Are you ready for some Deep Sam Flam lore?

...Well, kind of?

I have started a project to compile as many Samurai Flamenco quotes as possible and put them in a Twitter text bot. This is partially for my own amusement, but also so I can collect Samurai Flamenco translations and put it in the attached linktree for cohesiveness. I am starting with quotes from the anime, which includes song lyrics.

...So, I came to a bit of a conundrum when I got to episode 4, Idol Devastation, and Mari blasted a song out of her hummer. Turns out that it is not an original song, but I made an Executive Decision to put it in the bot regardless. Except there’s no English translation. And Japanese lyric websites don’t have it properly transcribed. And it turns out that it requires hours and hours of research to properly decipher all of its religious references.

If you would like to just know the lyrics to the song, they are as follows:

Tera Zukkyun! Ai no Ryouhouji!

Before our love ripens, we’ll have an eternal sleep! Ryoyhou Temple!

Anye manye mane mamane cite carite shame

Shamitavi shamte mukte

It’s a miracle! Ryouhou Temple!

The shintai will help you, shining halo guidepost

Leave the prayers to me; the mutual love of one hundred shrine visits

Lotus Sutra, Chishaku, bodhisattva Manjushri, bhava!

This sutra is profound, complex, subtle, and treasured; worship!

You’re troubled, aren’t you? (Mt. Fuji kamikaze)

You’re in agony, aren’t you, aren’t you? (Shuriken tempura)

Right now, come come come take shelter (Unruly bonze)

Brain fragmentation

Temple buh-bam! Temple buh-bam!

The Ryouhou Temple of love love love love love!

Singing and studying and dancing love will fulfill you

The love love love love love of Hachiouji!

Your hypermutation! Ecstasy! Embrace sukhavati!

Syrupy Tro-Benten!

Sold lots tower over the cemetery’s shining headstone

We’ll give a warm welcome to even the most inexperienced

Bhava, bhava, sattva, sadhana, devote yourself to this sutra to attain bodhi!

Manjushri said the daughter of the dragon king Sagara did this year!

You’re anxious, aren’t you? (Pervert tsundere)

You’re forlorn, aren’t you aren’t you? (Tiny boobs, fatty cut sushi)

Right now, come come come take shelter (Nipples, decapitation)

Entering nirvana, reincarnation

Temple buh-bam! Temple buh-bam!

The Ryouhou Temple of love love love love love!

With my sparkling sadhana, attaining enlightenment, I’ll come into moksha!

The love love love love love of Hachiouji!

Your hypermutation! Ecstasy! Embrace sukhavati!

Syrupy Tro-Benten!

Eight years! (Eight years!) Eight years! (Eight years!) Eight years! (Eight years!) Innate prajna! (Love!)

Factor of life: form, factor of life: nature, factor of life: embodiment, factor of life: potency

Eight years! (Eight years!) Eight years! (Eight years!) Eight years! (Eight years!) Innate prajna! (Love!)

Factor of life: function, factor of life: primary cause, factor of life: secondary cause, factor of life: effect

Eight years! (Eight years!) Eight years! (Eight years!) Eight years! (Eight years!) Innate prajna! (Love!)

Factor of life: recompense, factor of life: recompense, factor of life: recompense, factor of life: recompense

Factor of recompense, factor of recompense, factor of complete fundamental whole

The Ryouhou Temple of love love love love love!

Singing and studying and dancing love will fulfill you

The love love love love love of Hachiouji!

Your hypermutation! Ecstasy! Embrace sukhavati!

Syrupy Tro-Benten!

Temple buh-bam! Temple buh-bam!

You’ll fall in love! Ryouhou Temple!

However, if you want a big deep dive on the lyrics, here it is:

This is the theme song for Ryouhou Temple, a Buddhist temple in western Tokyo. The temple is notable for being...moe, to the degree that it’s nicknamed moeji (moe temple). The reason for this is that it features a moe-fied version of Benzaiten. Benzaiten is a Buddhist goddess, often shown with a biwa.

She is the Japanese version of Saraswati, the Hindu goddess of music and wisdom.

The moe version of which is Tro-Benten.

This video is a pretty good summary of the surreal nature of Ryouhouji. With that out of the way, here’s a breakdown.

恋の実ったその先は二人で永眠！了法寺ー！

Koi no minotta sono saki wa futari de eimin! Ryouhouji!

Before our love ripens, we’ll have an eternal sleep! Ryouhou Temple!

“Eternal sleep” or “eimin” here is actually a phrase in Christianity, especially the Orthodox Church. It is a euphemism for death in the Bible.

安爾曼爾摩禰摩摩禰旨隷遮梨第貝余

Ani mani mane mamane shire sharite shamya

Anye manye mane mamane cite carite shame

This is sanskrit, and each of these words is a spell. Technically, each kanji character has meaning, but they serve more of a phonetic sense than a semantic one. Here is the meaning of each of these spells (per this link)

Anye: mysterious

Manye: pondering

Mane: mindfulness

Mamane: serenity in mind

Cite: eternity

Carite: religious practice

Shame: tranquility

貝余履多王韋羶帝目帝

Shabi tai sentei mokutei

Shamitavi shamte mukte

Shamitavi: non-attachment

Shamte: inexpressibly serene silence

Mukte: emancipation

ご利益あります！了法寺！

Goryaku arimasu! Ryouhouji!

It’s a miracle! Ryouhou Temple!

お助けします御神体輝く後光の道しるべ

Otasuke shimasu goshintai kagayaku gokou no michishirube

The shintai will help you, shining halo guidepost

A shintai is a physical object worshipped at temples that has a spirit in it.

They can have a lot of different forms; here is an example:

However, this is the shintai at Ryouhouji:

恋の願いはお任せよお百度参りで両思い

Koi no negai wa omakase yo ohyaku domairi de ryouomoi

Leave the prayers to me; the mutual love of one hundred shrine visits

Hyakudomairi, or one hundred shrine visits, is a practice in Shinto. It’s what it sounds like - visiting a shrine to pray one hundred times.

妙法華経智積菩薩問文殊師利言有!

Myou hougekyou chishaku bosatsu monmonju shirigon u!

Lotus Sutra, Chishaku, bodhisattva Manjushri, bhava!

In general, sutras are canonical scriptures within Buddhism. Buddhism has two main branches - Mahayana and Theravada. Mahayana Buddhism is popular in East Asia, and the Lotus Sutra is one of the most influential texts within that branch. More specifically, it is used for the Nichiren and Tendai sects of Buddhism. Here is a link with a basic breakdown of the concept.

Chishaku(-in) is a Buddhist temple in Kyoto. It is the headquarters of Chisan-ha sect of Shingon Buddhism. That is a sub-section of Vajrayana Buddhism, spread from India to East Asia. In turn, Vajrayana is part of Mahayana Buddhism.

The person for whom the temple was named, Chishaku, is also known as Wisdom Accumulated. He is the oldest son of Great Universal Wisdom Excellence Buddha.

A bodhisattva is someone who is on the path to Buddhahood.

Manjushri is a bodhisattva associated with prajna (wisdom) in Mahayana Buddhism.

Bhava is a term meaning earthly tendencies, birth, and production. Bhava is one of the twelve links of Pratityasamutpada, originally taught by Great Universal Wisdom Excellence. Pratityasamutpada is a key doctrine within Buddhism which emphasizes the connectiveness of all phenomena (dharma).

此経甚深微妙諸経中宝世所希有拝!

Shigyou jinjin mimyou shochou chuu hou sesho keu hai!

This sutra is profound, complex, subtle, and treasured; worship!

This is a reference to Chapter 12 of the Lotus Sutra, in which Chishaku asks Manjushri if one can quickly obtain Buddhahood through practicing the Lotus Sutra.

悩んでいるのでしょう（フジヤマ　カミカゼ）

Nayande iru no deshou (fujiyama kamikaze)

You’re troubled, aren’t you? (Mt. Fuji kamikaze)

English-speakers probably know kamikaze in terms of World War II. However, it is also a reference to a typhoon thought to protect Japan from a Mongolian invasion in the 13th century.

...As a side note, the bits in parentheses are sung in an American accent. Make of that what you will.

悶えているのでしょでしょ（シュリケン　テンプラ）

Modaete iru no desho desho (shuriken tenpura)

You’re in agony, aren’t you, aren’t you? (Shuriken tempura)

Shuriken is a fairly well-known term, but it is a star-shaped concealed weapon.

Tempura is a popular Japanese dish of meat or vegetables fried in batter (would recommend).

今すぐ来て来て来て駆け込んで（ボウズ　ノホウズ）

Ima sugu kite kite kite kakekonde (bouzu nohouzu)

Right now, come come come take shelter (Unruly bonze)

A bonze is a Japanese or Chinese Buddhist monk. In common speech, you’ll often hear “bouzu” as a casual way to refer to boys. This is a reference to the word “bonze.”

脳みそフラグメンテーション

noumiso furagumenteeshon

Brain fragmentation

テラズッキュン寺ズッキュン

Tera zukkyun tera zukkyun

Temple buh-bam! Temple buh-bam!

Tera means temple. The first tera in this is in katakana, and the second is in kanji. I translated them the same, but the first tera may mean the prefix tera-. Terabyte is an example; you could see this line as a SUPER zukkyun.

Zukkyun is a sound effect for gun shots, like “pew pew,” “bang bang,” etc. However, it also is used as a sound effect for rapidly falling in love with something. You can think about it similarly to how one is shot with Cupid’s arrow. Zukkyun can be a sound effect for actual romantic love, or just casual internet talk for indicating you really like something.

愛の愛の愛の愛の愛の了法寺！

Ai no ai no ai no ai no ai no ryouhouji!

The Ryouhou Temple of love love love love love!

歌って学んで踊って恋が成就します

Uttate manande odotte koi ga jouju shimasu

Singing and studying and dancing love will fulfill you

愛の愛の愛の愛の八王子！

Ai no ai no ai no ai no hachiouji!

The love love love love love of Hachiouji!

Hachiouji is where Ryouhouji is located, in West Tokyo.

you超変！有頂天！朴楽抱きしめてね

You chouhen! Uchouten! Gokuraku dakishimete ne

Your hypermutation! Ecstasy! Embrace sukhavati!

This is a reference to Pure Land Buddhism, or Amidism, which is a branch of Mahayana Buddhism. Amitabha is the principal Buddha of this, and the basic idea is that the world is corrupt, so people should wish to be reborn in the Pure Land instead. Sukhavati is the western part of the Pure Land.

とろとろとろ弁天！

Torotoro torobenten!

Syrupy Tro-Benten!

分譲しますぼっち墓地輝く墓石そびえ立つ

Bunjou shimasu bocchi bochi kagayaku boseki sobietatsu

Sold lots tower over the cemetery’s shining headstone

未経験者も大歓迎お一人様でもお気軽に

Mikeikensha mo daikangei ohitorisama demo okigaru ni

We’ll give a warm welcome to even the most inexperienced

頗有頗有衆生勤加精進修行此経速得仏不

Hau hau shuujou gonka shoujin shugyou shigyou sokutoku bubbu

Bhava, bhava, sattva, sadhana, devote yourself to this sutra to attain bodhi!

In Samkhya, one of the six schools of Hindu philosophy, sattva is one of three gunas. Gunas are the modes of existence (traits) that one may have, and sattva means the quality of balance. It is connected with purity, and serenity.

Sadhana is essentially a disciplined ritual used to obtain one’s goals. The classic trope of standing under a waterfall is an example of Japanese Buddhist sadhana.

Bodhi essentially means “awakening,” often in reference to enlightenment.

文殊師利言言有有裟竭羅龍王女年始

Monju shiri gongon uu shakatsura ryuu ounyo nenshi

Manjushri said the daughter of the dragon king Sagara did this year!

This is another reference to Chapter 12 of the Lotus Sutra. When Wisdom Accumulated/Chishaku asks if someone can attain Buddhahood through studying the Lotus Sutra, Manjushri mentions that the dragon princess already has.

不安があるのでしょう（ヘンタイ　ツンデレ）

Fuan ga aru no deshou (hentai tsundere)

You’re anxious, aren’t you? (Pervert tsundere)

Anime fans probably know this, but tsundere is a portmanteau of tsun tsun, and dere dere. Tsun tsun is basically standoffishness, and dere dere is having a sweet demeanor. A tsundere is a character/person that blends these traits in some way. They are usually either sweet, but become irritable, or irritable by default, then become sweet under some circumstances.

(Hidenori “It’s Not Like I’ll Marry You Or Anything B-baka!” Goto is a tsundere.)

心細いのでしょでしょ（ヒンニュウ　スシトロ）

Kokorobosoi no desho desho (hinnyuu sushitoro)

You’re forlorn, aren’t you aren’t you? (Tiny boobs, fatty cut sushi)

今すぐ来て来て来て駆け込んで（チクビ　ウチクビ）

Ima sugu kite kite kite kakekonde (chikubi uchikubi)

Right now, come come come take shelter (Nipples, decapitation)

成仏リインカーネーション

Joubutsu riinkaaneeshon

Entering nirvana, reincarnation

Nirvana is a concept in Buddhism (and other Indian religions) that means the release from reincarnation. It is the ultimate goal for salvation.

テラズッキュン寺ズッキュン

Tera zukkyun tera zukkyun

Temple buh-bam! Temple buh-bam!

愛の愛の愛の愛の愛の了法寺！

Ai no ai no ai no ai no ai no ryouhouji!

The Ryouhou Temple of love love love love love!

修行でピカって悟って解脱しちゃいます

Shugyou de pikatte satotte gedatsu shichaimasu

With my sparkling sadhana, attaining enlightenment, I’ll come into moksha!

Moksha is the release from reincarnation. The difference between this and nirvana vary by religion and branch.

愛の愛の愛の愛の八王子！

Ai no ai no ai no ai no hachiouji!

The love love love love love of Hachiouji!

you超変！有頂天！極楽抱きしめてね

You chouhen! Uchouten! Gokuraku dakishimete ne

Your hypermutation! Ecstasy! Embrace sukhavati!

とろとろとろ弁天！

Torotoro torobenten!

Syrupy Tro-Benten!

八歳！（八歳！）八歳！（八歳！）八歳！（八歳！）智慧利根！（愛！）

Hassai! (Hassai!) Hassai! (Hassai!) Hassai! (Hassai!) Chie rikon! (Ai!)

Eight years! (Eight years!) Eight years! (Eight years!) Eight years! (Eight years!) Innate prajna! (Love!)

“Eight years” is a reference to the fact that Sagara’s daughter was only eight when she attained Buddhahood.

如如是相如如是性如如是体如如是力

Nyonyozesou nyonyozeshou nyonyozetai nyonyozerisa

Factor of life: form, factor of life: nature, factor of life: embodiment, factor of life: potency

This is a reference to the Buddhism Ten Factors of Life. Interestingly, these factors were not originally in the Sanskrit text. They were added by the translator, Kumaraju, in the 5th century.

八歳！（八歳！）八歳！（八歳！）八歳！（八歳！）智慧利根！（愛！）

Hassai! (Hassai!) Hassai! (Hassai!) Hassai! (Hassai!) Chie rikon! (Ai!)

Eight years! (Eight years!) Eight years! (Eight years!) Eight years! (Eight years!) Innate prajna! (Love!)

如如是作如如是因如如是縁如如是果

nyonyozesa nyonyozein nyonyozeen nyonyozeka

Factor of life: function, factor of life: primary cause, factor of life: secondary cause, factor of life: effect

八歳！（八歳！）八歳！（八歳！）八歳！（八歳！）智慧利根！（愛！）

Hassai! (Hassai!) Hassai! (Hassai!) Hassai! (Hassai!) Chie rikon! (Ai!)

Eight years! (Eight years!) Eight years! (Eight years!) Eight years! (Eight years!) Innate prajna! (Love!)

如如是報如如是報如如是報如如是報

nyonyozehou nyonyozehou nyonyozehou nyonyozehou

Factor of life: recompense, factor of life: recompense, factor of life: recompense, factor of life: recompense

八歳！（八歳！）八歳！（八歳！）八歳！（八歳！）智慧利根！（愛！）

Hassai! (Hassai!) Hassai! (Hassai!) Hassai! (Hassai!) Chie rikon! (Ai!)

Eight years! (Eight years!) Eight years! (Eight years!) Eight years! (Eight years!) Innate prajna! (Love!)

如如報如如あ如報如如是本末究竟等

nyonyohounyo nyoanyohou nyonyoze honmatsukukyoutou

Factor of recompense, factor of recompense, factor of complete fundamental whole

愛の愛の愛の愛の愛の了法寺！

Ai no ai no ai no ai no ai no ryouhouji!

The Ryouhou Temple of love love love love love!

歌って学んで踊って恋が成就します

Utatte manande odotte koi ga jouju shimasu

Singing and studying and dancing love will fulfill you

愛の愛の愛の愛の八王子！

Ai no ai no ai no ai no hachiouji!

The love love love love love of Hachiouji!

you超変！有頂天！極楽抱きしめてね

You chouhen! Uchouten! Gokuraku dakishimete ne

Your hypermutation! Ecstasy! Embrace sukhavati!

とろとろとろ弁天！

Torotoro torobenten!

Syrupy Tro-Benten!

テラズッキュン寺ズッキュン

Tera zukkyun tera zukkyun

Templue buh-bam! Temple buh-bam!

恋ズッキュン了法寺！

Koi zukkyun ryouhouji!

You’ll fall in love! Ryouhou Temple!

....So, why the hell is this in Samflam?

Good question! I can only give some educated guesses.

1. Its chaotic, yet cute nature fits Mari well. I mean...what line better describes her than “chikubi uchikubi”?

2. The repetition of ai no ai no ai works well when compared to the 2nd OP of SamFlam, Ai Ai Ai. In fact, the ai no ai no ai no part is really the only part that appears in SamFlam itself. It could be coincidence, as “love” is a really common word in moe songs, but it is interesting.

3. Might be a stretch, but the song itself is about the juxtaposition between old traditions and modern pop culture. This fits well with a lot of SamFlam’s themes of growing up. Additionally, Masayoshi’s whole shtick is about combining old traditions (his Japanese samurai and Spanish flamenco dancer ancestors) and applying it to...tokusatsu.

I really appreciate if you’ve read this far - I can’t begin to describe the amount of work that went into this. I hope to translate more SamFlam stuff in the future, so stay tuned!

#samurai flamenco #iosys #trobenten #translations

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cto10121 · 3 years

Text

Thoughts On Aimer (Multilanguage)

Back into another Aimer hyperfixation, so here’s some meta on the translations of various versions! Note that this comes from the perspective of a non-native speaker of most of these languages (except for Spanish) relying on English translations. I’m mostly basing my analysis on the lyrics, not so much the arrangement or singers. And so, in no particular order:

French: The simplest but purest expression, almost to the fault of triteness. That said...weirdly enough...it’s still the best version. I really can’t say the other versions do it better (except perhaps the Hungarian). I think it’s the juxtaposition between Romeo’s light/heaven/flying imagery vs. Juliette’s the time/life/fire/burning imagery that works so well—it even forms part of the imagery in the Shakespeare as well, even in the equivalent scene in the play. I’m so amazed Presgurvic had picked it up even in translation. The other versions do not quite understand this (even the Hungarian mixes it up) and when they do, it’s not as powerful. Otherwise, I’m stumped. Maybe it’s the power of the infinitive? French being a Romance language? The privilege of being first? The D&C dream team? That splendid Chorus backed with the power and might of the Budapest Symphony Orchestra? All of the above?

Hungarian: The best apart from the French, no question. Faithful in both translation and intensity, while resolving some of the repetition of the French. That new Chorus verse before the Juliette one is super nice, and R&J not singing it really works. That “Nincs szebb, égni e tűzben!” line especially hits so. damn. hard. The only thing that maybe makes it not surpass the French is that it’s a little too smooth and lacks a bit of emphatic punch that the French gives. YYMV. Also, show-wise, after the showstopper of La Haine in-show, it does feel more of an anti-climax. Still my most revisited version, and even the covers are a bop.

Spanish: The most faithful of all the translations—that Hector King had it so easy, I’m crying in envy. Probably too easy, though: A lot of it is grossly simplified and awkwardly kiddish. First of all, I would have translated it as “Amar” instead of “Te Amo,” frankly, since the latter is much more awkward to sing; we don’t do that nifty Italian trick of using contractions so “T’Amo” is out. Also “Amar” is much more impressive in the infinitive. “Y soy como un ave en vuelo” (And I am like a bird in flight) is probably nicer than the French equivalent, (And touching the wings and birds) but Juliet’s “Et brûler au cœur d’un volcan” (And burning in the heart of a volcano) is turned into “Y quema en mí este fuego” (And this fire in me burns), which is just lamer. Their shared verse is inferior to the French. I would have been much more adventurous; at least the Italian had “E brucia nel desiderio”—“y quemar en su/mi deseo” would have worked. King obviously wanted more of an intimate address, but the infinitive works just as well in Spanish as in French, right??? It’s only in English that the direct “you” has more power. And “Aimer,” despite being a love song, is just not an intimate one. It’s emphatic, triumph, occasionally sweet and longing…but not intimate. But at least it’s coherent and they kept the “paying the price” part!!!! They’re the only version that manages this and I am so grateful. I always do like my foreshadowing.

German: The Austrians are always professional, though Michaela Ronzoni’s translation is uneven in the Austrian (her Les Rois is especially lame). I do like her Liebe, though. They use the united/binded motifs to especially good effect at the end especially, which is always strong in Germanic languages. It’s only too bad they had that slowed-down concert-hand-wavy arrangement—no doubt they were inspired by that Production That Must Not Be Named.

Dutch: Always awkward with the zijns, which the German managed to avoid, but there is at least some good lines, namely “Liefde—haar kraft zu leven.” I’ve always liked the sound of Dutch, those nasals are attractive, but overall it’s definitely one of the weakest of the official versions.

Russian: It’s hard to judge this because they went in a way different direction, pretty much writing original lyrics more in the lines of a wedding vow song. In general I prefer this direction over others the Italian one, but it could have been much better done. There is intensity in the “Give us, in the name of all lovers” and “Time, prolong this moment!” lines, (hardcore) but the beauty, passion, fire of their love...it’s all gone. :/ Can’t say I prefer it. Exchange vows as you like, but where is the love??? One amateur Russian production had lyrics closer to the French; no idea if they were better, but the Russians seemed to approve if the comments are anything to go by. It at least sounded less strange.

Japanese: Again, this is part of the Russian-Japanese-Romanian trio that make it more of a wedding vow song. The first half is very weak, a too-simple paraphrase of religious wedding vows, but it does get better and the last two choruses do deliver the intensity needed and they fit with the soaring melody. So it does redeem itself somewhat, but it’s still the weakest sung. But I do have a soft spot for the Toho, and Japanese does have a kind of pure sound that is apropos for the song and lyrics.

Romanian: Pleasant surprise with this one, introducing a pinch of Hungarian into the mix (with the hearts and the flying) but otherwise going its own way. More eternity motifs, and a nice imagery about two dewdrops always united (dos pequeños rocíos...your Latin is showing, Romanian). It’s not as developed as the Hungarian, though; Romanian’s Latin may have impeded it from following the Hungarian too closely, or perhaps they wanted a purer imagery on the song. They may have done better just by going with the French.

Italian: Not the worst, but by far the biggest disappointment. “Love and change the world” is especially lame; it sounds like a self-help slogan. Love and change and the world! Light up the darkness! Shout out your presence! Learn how to be your best you for only $29.99! I feel like ReG are trying to sell me something. They could have been much more faithful to the French imagery, frankly, which is much more impressive. At least “Ama” is a good starting note. “T’Amo” could have been another option. I remember there was an amateur Italian version on YT that began with “Cosa ti fa sognare?” Still remember it after these years, so maybe they were on to something. (Ed: Found it! YMMV, but it doesn’t sound too bad. Much smoother than the Incenzo and less dry, but it does lacks punch). Overall, it feels much more shallow than most versions, which have at least some gravitas.

Korean: Never mind, this may be the most faithful translation yet, as far as I can tell. Incredible for an Asian language. I like how the Chorus obscures the subject until the last line—gives it more punch that way. Def one of the nicer versions.

English: Hi, we interrupt Romeo and Juliet to bring you National Geographic: The Musical! The worst, hands down. Nature metaphors /= love. Don Black actually has a good track record with translating otherwise tricky French songs (re: Legrand’s Les parapluies de Cherbourg as “I Will Wait For You”), but he was obviously too out of it or just too old to do a decent job with Aimer. This is a song that really does not tolerate much deviation from the original meaning or even the original arrangement. I would have assumed he would have at least glanced at the Shakespeare or did an indirect translation with the same theme. Not...whatever the hell this is. The best that can be said for this is the meme-level quotability; once you hear British Romeo shout-sing THESE ARE MY MOUNTAINS!! you can never go back again.

#romeo et juliette #aimer #romeo e giulietta #ama e cambia il mondo #romeo es julia #this song is so hard to do and be singable #*gazes sadly at all my aimer attempts* it’s a lot of failure #most aimers are solid tho. it’s really hard to ruin this song unless you rage quit and do a don black

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the-roadkill-cafe · 3 years

Text

Fic Writer Interview

I was tagged by @phoenixyfriend

Tagging: @stormwind13 @elenathehun @hiruma-musouka @kendochick-moor

Remember to make a new post!

How many works do you have on AO3?

What’s your total AO3 word count?

75,290

How many fandoms have you written for and what are they?

One fandom - Naruto. In the past I’ve written for other fandoms, but not on this account.

What are your top 5 fics by kudos?

The Company of Trees, Throwing a Stone in a River, If The Bird Doesn’t Sing, Tree Branches, the devil and the deep blue sea

Do you respond to comments, why or why not?

I try to respond to everything, though it can be quite some time before I get around to replying. I like to respond to comments to say thank you and to interact with people. While I don’t think fic writers are owed reviews or comments, I do think mutual interaction helps make fandom go ‘round, and to that end, I want to interact with people who leave me comments.

What’s the fic you’ve written with the angstiest ending?

Considering my fics are all pretty much WIPs, there aren’t really endings, per se. But the one with the angstiest planned ending is Throwing a Stone in a River.

Do you write crossovers? If so what is the craziest one you’ve written?

At the moment, no, I don’t really write crossovers or fusions.

Have you ever received hate on a fic?

Not...really? I’ve had some rude comments, but none that I say really qualify as hate. I have really kind readers.

Do you write smut? If so what kind?

I do write smut! I write all kinds of smut, from non-con to fully consensual. However, the vast majority of it is not published, mostly because I haven’t actually finished anything.

Have you ever had a fic stolen?

Yes. About...three times now, someone has plagiarized The Company of Trees. I’ve always been told by someone else, and luckily, the issue has always been easily resolved.

Have you ever had a fic translated?

A long time ago, I had someone start translating one of my fics on another account, but the website shut down and I don’t know whatever happened.

Have you ever co-written a fic before?

A few times, but nothing that was ever published. I’ve written a lot with jaycrowind and @stormwind13.

What’s your all time favorite ship?

Pretty hard to say. My favorite ship depends on my mood and what fandom I’m currently reading in. I will say that my first OTP was Sesshoumaru/Kagome in Inuyasha.

What’s a WIP that you want to finish but don’t think you ever will?

Sorry to say, but probably all of them, hahaha. The three posted on my AO3 accounts are behemoths and I write pretty slowly. I haven’t given up on them! I just don’t know if I’ll actually finish them.

What are your writing strengths?

I like to think that my writing strength is characterization.

What are your writing weaknesses?

Dialogue. Sentence variation. Pacing.

What are your thoughts on writing dialogue in other languages in a fic?

Oh boy do I have thoughts about this. When it comes to anime, I’m actually a bit nitpicky, but then, I’m nitpicky about a lot of stuff in general, hahaha.

Presumably, in the vast majority of anime, everyone is speaking Japanese. There are exceptions, but I won’t get much into those. For things like suffixes (-san, -sama, etc), I prefer to leave those untranslated because they are very revealing of the speaker’s personality and the hierarchical nature of Japanese culture. They also don’t really have good translations in English. There are ways to translate them, but in my opinion, they don’t convey both speaker personality, social status, and also social+emotional distance the same way, because English speaking cultures (typically) just aren’t as stratified as Japanese culture.

I also leave familial terms of address untranslated (Okaasan, niisan) and certain titles and positions (In Naruto, Hokage, Shodai, Nidaime, etc.) untranslated because again, they’re difficult to translate. For familial titles, it feels incredibly awkward to type “Brother” in dialogue when directly addressing someone. Again, not only does it leave out the nuance of the relationship between the speaker and the addressee, but in English we just don’t directly address people like that, generally speaking. In Japanese, you do, because you try to avoid using someone’s name.

I don’t like to translate attack names because I just think they sound silly in English, that’s why.

For things that aren’t anime, I generally try to avoid outright writing whole sections of dialogue in another language. Instead I prefer to indicate a different language in the dialogue tags or something (The two men started speaking in Spanish blah blah blah) or italics. There are really only a few times where I would write dialogue in another language, usually to show that someone was previously not understood but through magic/a translating device/etc suddenly they are now understood.

Can I put a pet peeve here? I’m going to put a pet peeve here. In Naruto, Hashirama is not the Shodaime, he is the Shodai. Shodaime is grammatically incorrect and you can even check the wiki, he is literally not called the Shodaime. Basically, the -me suffix in Japanese makes a regular number (one, two, three) into the ordinal version (first, second, third). However, Hashirama’s title Shodai is written not with the kanji for “one” ( 一 ) but with the kanji for “beginning” ( 初 ) which means it can’t take the -me suffix because it isn’t a number. Essentially, Shodai translates as “starting generation” or “beginning generation”, therefore Shodai Hokage is “starting generation Hokage” (or Fire Shadow, if you prefer). But Tobirama is the Nidaime, because his title uses the number ( 二 ), so translated, he is the “second generation Hokage”.

What was the first fandom you wrote for?

Inuyasha, a long, long time ago.

What’s your favorite fic you’ve written?

Mmmm. Either The Company of Trees or Throwing a Stone in a River. However, although they’re my favorites, I’ve been finding my SI/OC (more OC than SI) fic very compelling.

#replies #ask meme #phoenixyfriend

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streetsteel · 4 years

Text

Me splitting my language headcanons here real quick before I go off about my own muse’s approach to languages.

-The two trade languages would be the equivalent of Japanese (with Kanto/Johto/Hoenn/Sinnoh) and English (Unova/Galar). Many schools will give people the choice to pick one or the other as a second language class.

-Kanto, Johto, Hoenn and Sinnoh share the same language, though there still are sometimes some major differences in dialects depending on where you are, down to regionalisms proper to a smaller area. Kanto and Johto share the most idioms, being very closely tied to each other, and Sinnoh is the one that has the most difficult dialect to learn for other non-Sinnohan ‘tohjonese’ speakers. Hoenn sits at a nice middle ground and is a bit more sing-song-y than its other sister dialects.

-Unova and Galar share the same language that would be akin to North American English VS British Isles English. Again, even in these regions, colloquialisms and accents will be plenty (think Scottish/Irish accents, Southern drawls, ye olde Canadian ‘eh’ that I’ve only heard a french canadian use, that kind of thing).

-Alola has its own official language, with dialects differing depending on the island you’re on, though everyone can still pretty much guess what the other is saying and often just reacts with a ‘huh, that’s a funky idiom, I like it.’ They also inserted some Unovan/Galarian in their language, and it’s almost recognized as a second official language there.

-Kalos goes hon hon hon.

#❞░▐ OOC;#❞░▐ HEADCANON;#i havent played the other games so uh #ransei orre oblivia and so on im sorry ;;v;;

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moltre-s · 4 years

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hi! sorry for being nosy, but im interested as to what life is like in HK as a (non asian?) foreigner & how do you navigate your way around, how others treat you and if you feel "out of place"? sorry if its too personal, im just looking to eventually move to hong kong and im collecting notes of as many experiences/advice/etc. as i can to better prepare myself haha.

hey! omg no ur not nosy!! i love hk and i love talking about it!!

tldr; overall, living in hk has been a great experience and i’m so grateful that i grew up there :)

on navigating around: hk is very easy to navigate as an english-speaker. the official languages of hk are canto and english, so most people speak at least a little english and pretty much all signs/announcements/news/etc. will be in english. public transport is incredibly easy, clean, cheap, and convenient, and u’ll get the hang of it super quickly :) hk is also generally very safe (especially compared to the u.s. where i go to university). also, everyone has an octopus card which is basically like a debit card that works for public transport, supermarket, fast food restaurants, and more. it’s so convenient and u can add money back onto it whenever u want.

on how i’m treated / feeling “out of place”: there are quite a few expats in hk, and expats are generally treated well. growing up as a white girl, i did feel like i had to to act/behave a certain (non-western) way. i felt like i was always representing all foreigners - if i were to do something stupid in public, people would assume it was because i’m a foreigner. however, if someone else were to make the same mistake, it would just be viewed as that individual person doing something stupid. i think this is a common experience of minorities everywhere, and even though i absolutely benefit from white privilege in hk, i’m still a minority there, and do sometimes feel out of place. i’ll also note that there is definitely discrimination/racism against ethnic minorities in hk (eg. Black people, brown people, SE asians, etc.). unfortunately, many places have this problem, so it isn’t unique to hk, but should be addressed nonetheless all that said, my feelings of being “out of place” have been a small part of my life in hk, and i want to emphasise that my experience is overwhelmingly positive otherwise!! i just want to share the less glamourous side of things because it’s much easier to see all of the wonderful, amazing things about hk :)

all in all, hk is very accommodating of expats, and there is a large, friendly, welcoming expat community that is super helpful and a great resource for newcomers. there are tons of online websites/forums and organisations created to help expats adjust and make friends!

i’ll also note that i’m basing this off of my life (as an affluent white american girl) the past 10 years. with the national security law, hk will probably change quite a bit over the next couple of years and has already undergone changes in the past few months. i can’t predict how the nsl (and whatever else the ccp imposes) will impact life in hk, but it is such an incredible place full of amazing, passionate people, and i don’t think anything the ccp does can change that.

some random quick tips/advice:

the local and street food is AMAZING. i miss pineapple buns every. single. day. when i’m at university

get an octopus card first thing when u arrive! super useful

7/11’s are amazing. u can get fresh garlic noodles, a bottle of vodka, and a SIM card all in one stop

as someone who doesn’t know much canto - try and learn it! it’s notoriously difficult (even harder than mandarin!), but worth it :)

this isn’t a tip, but i just want to say that my favourite thing is when old men taxi drivers sing cantonese opera to me. literally makes my whole week and it happens more than you’d think

if ur american, stock up on american snacks before u go! british/australian/japanese/korean/etc. snacks are pretty easy to come by, but american snacks not so much

do the tourist-y things! big buddha and cheung chau are super underrated imho

since most people walk to the supermarket, when u check out they can deliver ur non-perishables right to the door of ur flat that afternoon so u don’t have to lug it all back yourself

people will wear t-shirts with random incoherent english words and it’s amazing. like u’ll see a little old grandma walking down the street with a shirt that says “hey, nice drug” and i love it

lots of fun english names. can’t tell u how many women i’ve met named Princess, Kitty, and Rainbow. i’ve also met multiple people named Double which is neat

take advantage of the gorgeous hiking trails!!

be prepared for insane humidity. i have to wear waterproof mascara bc the non-waterproof stuff just melts off

if ur pale and wear makeup, stock up before u go! i’m very pale and could never find concealer or foundation in my shade

hk style karaoke is 1000x more fun than american style

that’s all i can think of for now, but if u have any other questions or want me to clarify anything, please don’t hesitate to reach out!! :)

#thanks for the question!!!#ask #anon #text #long post #mine

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margridarnauds · 4 years

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I know you prefer a-cast, but what are some pros to buying m-cast instead? There's a bit of a war going on abt which is better. I heard m-cast is better bc the cast is more senior and experienced, but I don't know what to believe. Is a-cast or m-cast just a taste thing, or is it abt smthing else? Would you mind making a chart or smthing for the pros and cons of both versions? Maybe ratings per category? I know you have a preference, but I just think you are quite nuanced. Thanks in advance!

I am very honored that you would think of me as someone who’s fair and nuanced!

Before I begin, I’m going to say one thing that might or might not be considered....well. Very American of me, from the perspective of Japanese fandom: I do not believe, when it comes to spending the amount of money that these cost, on holding back information in order to appear diplomatic. I’ll try to be diplomatic, for the sake of people who might like anyone I criticize, but, also, if I dislike an aspect, I will try to find SOME way of making said displeasure known, because, again: The amount of money required to buy one DVD, let alone two, is quite a lot. I personally like to buy both, since it lets me compare and contrast, but my God, is it a bit of money (and this year, with the exception of the 2016 Elisabeth, I’ve had to cut down quite a bit while I’ve been abroad: I haven’t touched Frankenstein or Phantom...at least not yet.)

Also, I am always willing to arrange streams of either/both casts, since this musical is my baby, so that anyone reading this now can see whether what I say is true or not, as well as in order to determine your own preferences.

Alright, so that disclaimer out of the way, let’s start off:

I kind of disagree that M cast is more experienced, as a whole. Let’s compare:

Marie

Rena Sasamato (A Cast) - Had her debut when she was ten years old, in 1995. She is a Toho veteran with many, many musicals under her belt, including The Woman in White, Love Never Dies, Jekyll and Hyde, Les Miserables, West Side Story, Rudolf, Fiddler on the Roof, and, of course, the original 2006 production of Marie Antoinette, where she played Margrid Arnaud.

Hanafusa Mari (M Cast) - Almost needs no introduction, such is the fame that she has. And I say this as a detractor. My personal feelings about her personality, acting, and singing aside, I can admit that Hanafusa Mari is a living legend in the Japanese musical industry. She certainly lives up to her title of “Empress”, in all senses of the term. She had her debut in 1991 (after, admittedly, undergoing the training of the Takarazuka Revue, so I will give her that she had experience beforehand, just not in acting and singing on stage), and remained there until 2006, when she retired in conjunction with her fellow top star, Yoka Wao. From 2010 onward, she appeared in non-Takarazuka roles, including my very first exposure to Japanese theatre, Dracula, in 2011.

Now, of the two of them, I won’t deny that Hanafusa has more experience, however I also feel like saying that Rena has less experience is making it sound almost like she was some starving waif that Toho picked off the side of the streets in order to star in their new musical, as opposed to a seasoned actress in her own right who, on top of having an impressive number of musicals under her belt, also has experience in the musical itself. Hanafusa, when it comes down to it, only has four years’ more experience than Rena, though she is almost a decade older and undoubtedly, when she premiered, had more polish than 10 year old Rena. But, on the other hand, she DID remain with the Revue an impressively long time, which is very intense as far as how many musicals they perform on a yearly basis (most Top Musumeyaku only last about...2-3 years or so), she was the original Elisabeth in Takarazuka (a legendary role in its own right), and, my snark about her having the best career money can buy aside, I am willing to say that, for the most part, she’s earned her status as a legend.

And I want to say that I’m not ripping YOU apart when I say this, I want to make that absolutely clear. You’re asking me a very good question, but it is something I tend to find quite a bit of when I talk Japanese musicals, in the sense that there is often this...assumption that actresses who started off in non-Takarazuka musicals (also a moment of silence for the Shiki actresses, who I almost never talk about but who are kicking ass as Disney Princesses) are somehow...lesser, or that they have less training. Takarazuka is and remains very prestigious, but it’s hardly the be-all, end-all of all musical theatre, and, in many ways, I would argue that Rena has more experience than Hanafusa, in terms of the world of Toho musicals, which require a different style of acting and singing: Less stylized, less affected, more what you would expect from a Broadway or West End show. It’s actually something that I find quite a few Takarazuka actresses struggle with when they come to Toho, as they have to adjust how they’ve done things for a new audience.

Now, what does this have to do with the overall point? Well, a lot of people bought Marie Antoinette FOR Hanafusa to begin with, since she does have a huge following. I have seen plenty of people admit that they only bought it for her in the first place and didn’t bother with the other cast. I have even seen, in the past, people argue with me on the idea of a musical that DOESN’T have Hanafusa in it getting a proshot, simply because, for them, she IS the world of Japanese musical theatre. Coming from that perspective, of course Rena is less experienced, because she, simply put, isn’t Hanafusa.

In terms of their overall presentation of the characters, I found that their respective training really impacted how they portrayed the characters: Rena played Antoinette as being very elegant, with a pride that could turn to haughtiness. It made for an Antoinette that is interesting in her own right to watch, which is tricky, since I find that Antoinettes tend to be overshadowed by the other characters, especially Margrid, Fersen, and Orléans. She did include certain aspects of a Takarazuka performance in her performance, since her mother was a Takarazuka star in her own right, such as how to properly use an 18th century fan, but, for the most part, I’m willing to say that she played it much more naturalistically.

Hanafusa, meanwhile, emphasized the tragedy of Marie’s life. Throughout a decent portion of the musical, she can be seen crying, especially during the trial (which Rena played straightfaced, playing a Marie that is totally numbed by grief), and expresses her happy, joyful moments in a very exaggerated, almost forceful way, more what I would expect from a Zuka actress given that Zuka performances tend to emphasize extremes of sadness and happiness. (Keeping in mind, of course, that traditionally, it’s expected for musical/opera singers to act in an exaggerated way in order to be seen from the back.) If you are used to Hanafusa, then you’ll LOVE it, because she is very much there, and it’s very much what you’ve been accustomed to. She does show her training; she doesn’t miss a single note in the entire production, but I do find that, in this one area, her added age over Rena might be to her detriment, as I find that her voice has thinned somewhat with age, comparing her now to where she was in Dracula or during her Takarazuka days. Her vibrato also isn’t quite to my taste. Not BAD, but not for me. She isn’t UNPLEASANT to listen to, and again, if you are buying it to hear Hanafusa Mari’s voice, that is exactly what you’ll get, but I also do think the luster of it has faded.

So, in terms of overall ratings, here is what I would put them:

Rena:

Year of Debut: 1995

Acting: 9/10

Singing: 10/10

Hanafusa:

Year of Debut: 1991

Acting: 4/10

Singing: 6/10

Margrid

Sonim (A Cast) - Sonim’s history has been gone into detail here by my friend, @chibimyumi who, unlike me, has a native speaker’s understanding of Japanese (as opposed to getting lucky with Google Translate), so I’ll leave it to her. But, suffice it to say, Sonim had her musical debut about...2007 or so (she was involved in other stage projects, but for sanity’s sake I’m marking her appearance as Johanna in Sweeney Todd as her musical debut) after the idol industry decided to be cowards and kicked her out because she didn’t conform to their pretty pink princess dreams, was offered the title of Ogosho IMMEDIATELY upon her joining up with Toho, and, since then, has distinguished herself as one of their undisputed leading ladies. She has appeared, to my knowledge, on three proshots, two of which I own: Mozart, 1789, and Marie Antoinette, and has also appeared in Kinky Boots, Tanz der Vampire, FACTORY GIRLS, and Rent.

Natsumi Kon (M Cast) - Natsumi Kon is, admittedly, also no slouch in the world of Japanese musical theatre: She had her debut in 2011, with the coveted role of Juliette Capulet in Romeo and Juliet, and has since been in Les Miserables, Grand Hotel, the Addams Family, The Fiddler on the Roof, and The Secret Garden, as well as being the voice actress for Belle in the 2017 Beauty and the Beast. She has been praised as essentially being “the next generation of the musical world”.

By the same standard I’ve set re: Hanafusa and Rena, there isn’t THAT much in terms of their ages, since they have the same difference in debut time (though in this case, it’s in Sonim’s favor, and I also think that it’s much more dramatic in terms of younger musical performers as opposed to older ones.)

I feel like, of the two of them, more people would have come for Sonim, since she is an Ogosho herself, being at the same level of ranking as Furukawa and Hanafusa. What I suspect, in fact, is that Toho, in a CLASSIC Toho move, split the cast that most people would have wanted, with Hanafusa, Furukawa, and Sonim, but I can’t confirm and, honestly, I feel like Hanafusa’s very expressive Antoinette would have clashed with Furukawa’s more aloof Fersen, but that will be dealt with down the line. As it is, M cast has Hanafusa, and A cast has two Ogosho-level performers for the price of one with Sonim and Furukawa. (Meaning that, on a purely technical level, it has the most starpower behind it.)

Sonim has a strong belt and has a reputation for playing scrappy girls, possibly because she herself easily qualifies as a bit of a “scrappy girl” herself. Her Margrid is bitter and cynical, not necessarily kind. The years on the streets have warped her into someone who is primarily motivated by herself and her own personal revenge. She uses “the people” as a self-justification to pursue her own vendetta, only realizing by the end what it’s done and cost her. She doesn’t care for social norms AT ALL, and would be the exact type of person that you would see on a tabletop counter at 2 AM, legs spread out, trying to stuff an entire pizza down her mouth. She’s distrustful, especially towards men and, even for those that she trusts, she has a low level of tolerance for. She is, frankly, a bit of a bitch. And I adore her for it, because it’s more realistic to what I think someone would be like after undergoing what she has. She’s a kind of female character we get relatively little of, really. I do think that, on a few occasions, Sonim perhaps outbelts herself here but, in general, I feel like it suits Margrid’s personality more.

Natsumi Kon took a more tragic bent to the character. Her Margrid IS a good person, at heart, but she lets her desire for justice, along with her own revenge, steer her towards a course that just causes more suffering. She is more like an 18th century Eponine from Les Miserables, the street girl who, if she’d JUST had the upbringing that Antoinette had, could have been a great lady like her. She seems to play up the love triangle with Fersen more, getting a little closer to him at different times, giving him more longing looks, while also seeming to have...some sort of dynamic with Orléans, with the two of them often touching and laughing with one another. She does have a very smooth, strong voice, though I feel like, on some level, she has never quite escaped playing ingenues, and, rewatching it with a critical eye, I think that, as the musical continues, her voice starts getting a little breathy and strained. I don’t really know whether this is by intent or simply because of the musical being very vocally demanding for the Margrids, but I do think that, if Sonim overbelts at times at the beginning, Natsumi has some issues by the end; the notes aren’t coming out quite as clear or as strong as they should be. Her Margrid has a little bit more of a polish to her and, in general, seems a little younger and more naive compared to Sonim’s. I do give her credit for really being willing to go UP CLOSE to her fellow actors in stand-offs, giving her Margrid the sense of being a little bit of a bull in a China shop; during the duet that Marie and Margrid share, there’s one point where it seems like Natsumi is only INCHES away from her face. I know that it’s out of style to make Harry Potter analogies, but Sonim plays Margrid as a Slytherin; Natsumi as a Gryffindor. She didn’t do a BAD job as an actress, and in fact adds some nice touches to Margrid that I do like, but she doesn’t really do anything too new with the character.

Now, why does THIS matter? Well, for one, I think that, if you go in expecting the best of everyone, Sonim’s Margrid can be like a dose of cold water. Natsumi is more...palatable. Less conflict, less difficult questions, especially since it becomes that much easier to separate Orléans-As-Villain from Margrid-As-Heroine.

Overall:

Sonim:

Year of Debut: 2007

Acting: 10/10

Singing: 9/10.

Natsumi:

Year of Debut: 2011

Acting: 8/10

Singing: 8/10

Fersen

Furukawa Yuta (A Cast) - Probably one of Toho’s most bankable male leads at the moment. His presence in a musical is generally a VERY good sign to me that Toho is planning on a proshot, since they know that fans will buy anything he’s in. (To illustrate: I wasn’t PLANNING on buying Marie Antoinette, I had more than my fair share of doubts after the disastrous German run, but then I saw Furukawa Yuta and Sonim were signed on and I promptly got both casts. Best insanely rash move I’ve ever made in my life.) He had his stage debut in 2007 with The Prince of Tennis series, and since then he’s played in the Black Butler (Kuroshitsuji) musicals, Elisabeth, 1789, Romeo and Juliet, and Mozart. Though he initially made his name with his dancing and acting abilities, along with his personal charisma, he has since worked on his singing, putting himself through Hell and back to earn his spot as Ogosho. While Mozart was his official debut, I would argue that, in some ways, it was as Fersen and then, later, Romeo that he REALLY got to demonstrate what made him star material.

Mario Tashiro (M Cast) - Mario Tashiro, like Natsumi Kon, is absolutely no slouch either. He has a full, operatic voice that he uses to excellent effect, making him very recognizable even if you don’t know who exactly he is. Plenty of times, I’ll be listening to a trailer on Youtube and hear this BOOMING voice and go “MARIO TASHIRO?” He has been very prolific on the Toho scene, taking roles in Sunset Boulevard, Chess, Love Never Dies, Elisabeth (marking the first time in known history that Fersen is locked in a love triangle with Fersen for Marie Antoinette and then seduces Fersen’s son, Fersen), The Great Gatsby, Jekyll and Hyde, and Sweeney Todd, among others.

In terms of approach, both men took very different approaches to their role. Furukawa played Fersen as much more aloof and distant, which makes for a contrast with Marie’s sunny, naive personality. He has a dry sense of humor and has a long-running cat and mouse game with Orléans where both understand, on some level, that they’re on equal ground. His love of Marie, while definitely a real, true love, is also very idealistic: Marie represents a world that, for Fersen, is slowly dying out, she represents the best part of humanity for him, especially after being gone during the war. I do not believe, looking at Furukawa’s Fersen, that he and Antoinette ever actually slept together, rather that it was very much a courtly love. He cares for Margrid, entreating her to have compassion, but there’s just enough wiggle room to wonder how MUCH of it is genuine VS him needing something from her at the time, and he’s very aware of his status as an aristocrat and makes use of it. It’s really unlike any other take on Fersen I’ve seen, in any media, and it’s part of why I ended up leaning towards this production, since it’s generally a MASSIVE feat to make me like Fersen. Furukawa’s voice in the role is softer, lacking the strength of Tashiro’s but still making for some very impressive low notes.

Mario Tashiro, on the other hand, focuses more on Fersen as a romantic hero, full of dash and daring. He has a notably dramatic take on Fersen, with flourishes and exaggerated movements, which, as an opera singer, are probably part and parcel of his acting training. If he’s aware of Orléans’ general presence, he doesn’t seem bothered by him, with their being really little sign that Orléans has any respect for him at all. He loves Marie as well, but it is much more of a sort of fairytale, Rose of Versailles love. There’s not as much moral gray areas to his Fersen, even though he makes the exact same decisions as Furukawa’s and, like Hanafusa Mari’s Marie, tends to go through extreme emotions. His voice was, as always, phenomenal, I give him full and complete credit for it, however, unfortunately, when put up against Hanafusa Mari, I found that the two of them had the tendency of trying to outbelt one another, leading to a distinct lack of chemistry during romantic scenes. (And you’ll notice that, despite generally being weighted against Hanafusa, I am NOT giving her the full blame for this one.)

Furukawa Yuta (A Cast)

Year of Debut: 2007

Acting - 10/10

Singing - 9/10

Mario Tashiro (M Cast)

Year of Debut: 2009 (He had his singing debut in 2007, but his overall musical debut was 2009)

Acting - 7/10

Singing - 10/10

Louis

Takanori Sato (A Cast) - Probably the baby of the group, in the sense that he had his own debut a little while after the others, in 2015. In his case, and his case alone, would I say that there was a REALLY strong case for him not having as much experience compared to his counterpart. He has played in Titanic, Elisabeth, the Scarlet Pimpernel (the one with Kazutaka Ishi), Mata Hari, Legally Blonde, and Chess, the latter possibly most impressively since he did the entire thing in English.

Yuichi Harada (M Cast) - I’ll be honest, I’ve never in my life been tempted to look up his biography before, but when I did, I was impressed to find that he’s actually been working in the world of musicals since 1992, when he was in Anne of Green Gables and then again in Les Miserables as Gavroche. He has had a long career with Toho, too, being in musicals such as Les Miserables, The Sound of Music, Titanic, the Beggar’s Opera, and La Cage Aux Folles, none of which I literally had any idea about until today, but that is very impressive. Massive props to him, honestly, as well as working as a director for Bare: The Musical, which...well. Props to him for branching out. I will never understand the love for Bare worldwide, but you know what? Almost all musicals deserved to be loved by SOMEONE. He has an impressive track record, I’ll give him that. One of these days, I’ll probably have to dig deeper, since I suspect that there’s a lot more to him than meets the eye.

Takanori has a very smooth, strong voice, without the projection of Mario Tashiro. I found that his take on Louis was quite charming, tender to his wife, a normal man who Marie respects even if she doesn’t love him in the same way as she loves Fersen. (Honestly, can I just say: While we all know that Orléans has my entire heart....if Takanori’s Louis asked me to marry him....#PhilippeWho.) He’s a steady man, not really dumb, but well-intentioned and occasionally oblivious to the real danger, and it’s that that kills him, in the end.

Yuichi’s Louis is much more...confused throughout the thing and, while I think Antoinette has some compassion for him, I don’t really feel like it’s love so much as...affection, mixed with a certain amount of pity. He does show moments where it looks like he knows a lot more than he lets on, but in general, I think he did play it as much more humorous, a lot more...well, dumb, at least until the second act. He does have a solid voice, I give him that, but in general, it felt like there was a little less subtlety in how he interpreted the role. There’s something almost childish about the way that he grasps Orléans’ hands when he’s asking him to intercede for them, whereas in Takanori’s case, it’s more him realizing that his cousin is...well. Orléans, but knowing that he has to do a little bit of crawling if he’s going to survive.

Yuichi’s Louis DOES still get sympathy from me, but it’s in a way that is kind of insulting to him as a character, mainly because it’s less about HIM and more like “......god. Killing him is a bit like kicking a puppy. Like, you could do it, but my God, why would you?” Like, I do kind of want to write a fanfic where he can just......be safe........far, far away from everything, because I’m not sure if he would notice if they took him any place else, but it does kind of...take away his complexity? I will say, in his defense, looking over his entire performance, that seeing him constantly trying to smile as he’s being led while Marie panics, trying to let her know this is all going to be alright, is a tearjerker, though I still feel like his Louis is played a bit too much like the caricature of Louis that, at this point, I’m kind of used to seeing. That being said, while I don’t necessarily like all of the DIRECTION he took Louis, I can see that he put genuine thought into constructing the role, so I’m not going to nuke him too much in the acting category.

This one, more than any of the others, is probably YMMV, because I know people who were genuinely shocked to realize Louis is double-cast at all. Mainly because it isn’t like the role leaves THAT much of an impact, overall, having only one major song. I honestly think that the 2021 cast is making the right call in splitting Orléans and giving Louis one role, all things considered.

Takanori Sato

Year of Debut: 2015

Acting - 10/10

Singing - 10/10

Yuichi Harada

Year of Debut: 1992

Acting - 8/10

Singing - 8/10

The Case for M Cast

Now that we’ve gone through the rankings, it’s time for the original question: What are the pros of M Cast? And, if you just listened to me laying all this out, you would think that I wouldn’t have much positive to say. That being said, when I was back in the States and could spend an hour or two watching musicals every day, a LOT of the time, I would watch M Cast. There has never really been a point where I said “You know? I regret getting that cast, I wish I’d just had A the entire time.” If I was dangling off a cliff and I could only save one cast recording, I would HAVE to choose A (and then promptly sob), but I do, genuinely, like M on its own and would recommend getting both simply to compare.

- Mitsuo Yoshihara. Now, this is going to be odd for anyone reading, because I can hear it now: “But he wasn’t double cast! Wouldn’t you get him on A too?” Yes, you definitely would. But he is a very unique type of Toho actor in the sense that he changed up his performance for EACH cast he was in. If you look at M cast, he has a much warmer dynamic with Natsumi’s Margrid, either as a paternal substitute (making up for her own aristocratic father) or as a prospective love interest. He is MUCH more hurt in the final court scene, very clearly viewing Margrid’s decision as a personal betrayal. As the admitted and confessed Morléans shipper, I have to eat the angst up like it’s candy. The two of them have a nice amount of familiarity and chemistry with one another, presumably due to having worked with one another on other projects before.

- Mario Tashiro’s voice. This deserves its own section because it is REALLY, REALLY phenomenal. You know whenever you’re seeing Mario Tashiro in something simply because that voice is VERY distinctive and is totally overwhelming each time you hear it. I noted my misgivings in his section, but overall? It is very much worth the price of admission just to hear him.

- Different shots. I’m still figuring out exactly WHAT shots dramatically change from each cast, but M cast does contain some shots that A doesn’t have and vice versa. M cast doesn’t have this shot of Margrid and Antoinette, and A cast doesn’t have the one here of Antoinette and Fersen’s hands touching, which is a wonderful little bit of cinematography. I do think that, depending on the shot, you can get more or less of a character’s motivations in that moment. A personal favorite is Hébert trying to get Margrid alone during the scene just before the ball and Margrid shoving him off, which foreshadows what happens near the end of the second act.

-Hanafusa and Natsumi’s voices actually do go quite nicely together at the end.

-Mario Tashiro does make for a very splashy Fersen; yeah, you might not spend too long dissecting what he’s doing when he’s on stage, but he is fun to watch swish around in his 18th century officer’s outfit.

-My griping on Natsumi’s Margrid aside, I do think she has a lot of charm. No, it isn’t my FAVORITE take on the role, but I do actually like what she does, she adds quite a few nice touches to it, and she does make the song “Enough is Enough”, near the end of the first act, her actual bitch, adding her own riffs onto it to give it a sense of individuality. The parts where she’s smiling, hanging onto Orléans’ arm, make even my wrinkled, shriveled heart grow three sizes. I’ll be genuinely excited to see her return to the role in 2021 to see if there’s anything she changes, though I doubt I’ll be able to see any part of it in person.

-If you’re a Hanafusa Mari fan, you get to see the kind of performance from her that you’ve grown to expect and appreciate. If you’re not, you get to see her get splashed in the face with champagne. Win, win, win.

Overall, I think that it will depend on what you’re looking for. I really enjoyed the realism and the grit of the A cast, but not everyone WANTS grit, and in that case...I suppose M cast would appeal more, since M cast relies on everyone involved being much better human beings than A cast, though I do want to emphasize that everyone in A cast is still redeemable. (Except Hébert. Because fuck Hébert.) M cast is....easier to digest, in many ways. There’s a good queen, a stupid-yet-sweet king, a dashing hero, and a misunderstood-yet-angry-poor girl, manipulated by the siren’s song of the Revolution and her unrequited love for Fersen, who bullies the poor, downtrodden queen when she gets a chance before realizing the error of her ways. I think that, for many people, that’s perfectly fine, and that’s what they wanted, especially if they’re already used to Rose of Versailles. I do still LIKE it, because it’s a production of one of my top 2 favorite musicals, but I do think that, if it was the ONLY version of the musical available, I wouldn’t have spent so much time picking it apart. (Though I still would have thought it a MASSIVE improvement on the German.)

I do put a lot of it on Hanafusa Mari’s influence, though, because of the prevalence of her fanbase and the general belief that no one could ever come close to their star, so why bother getting another cast. Especially given how....devoted the Takarazuka fanbase is in comparison to the Toho fanbase, and the Thing I’ve noticed where fans try to argue that there is some sort of empirical reason for their bias as opposed to simply liking one more than the other.

#Anonymous #long post #toho stage #jmusicals

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