#elisabeth korea

[thegirlisuedtobe]

이지혜 Lee Ji Hye backstage at her first performance as Elisabeth on August 31st, 2022.

[dertotentanz]

마지막 춤 넌 나와 춰야 해

no min woo as der tod in the 10th anniversary 2022 korean production of elisabeth das musical.

[lucygold95]

Third POTO Korea Production Cast(and informations)

- 2. Christines

손지수(Sohn/Son Ji-soo/Ji-su)

송은혜(Song Eun-hye)

She sang POTO number with Brad Little at TV show.

And she was ensemble at 'Elisabeth das Musical(Fourth Korea Production)'.(2018 Nov 17~2019 Feb 10).

P.S. Both Christines majored in Opera at university.

[wangmiao]

[sovamurka]

A sentence that I cannot say among my musical circle because I'd be bullied immediately: European musicals are ten times better than Broadway ones 😔

[box5intern]

…he can handle it…

[six-costume-refs]

hi! may I know your thoughts on six korea having 2 principal casts per queen without alts? i think its interesting!

Honestly don’t really have any thoughts! It’s just the norm so it’s what I was expecting! I think my only real thought is wondering if they’ll standardize the queens’ vocal and acting choices more. My hope would be that they don’t (and if they don’t I’m curious to see how the different principal combos play off of each other).

[k-star-holic]

Ock Joo-hyun equal Lee Ji-hye "was praised during 'Elisabeth' audition"

[ukn0ws]

WENN ICH TANZEN WILL,ㅤ(2019 korea)ㅤock joo hyun as empress elisabeth of austria & leo / jung taek woon as der tod / death.

[filmbyjy]

TWITTER SUCKS! > special! enhypen behind the scenes

a/n: not me using papago😍 also using papago is better than using google! so if you wanna know what some Korean translation mean use papago!! (not sponsored, I just used this during my trip to korea)

vote for my next smau here!!! (ends in 2 days!! so vote!!)

-

synopsis > who knew you could become famous overnight for paying $8 for a single blue checkmark? however, it does come with consequences…what happens when the actual BELIFT Lab comes knocking at your door. all because you simply impersonated your bias.

masterlist | chapter 28 | chapter 29

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(to be added please send an ask or click here)

[thegirlisuedtobe]

In this last world, we welcome you To your destruction

Elisabeth, Elisabeth

Happy 10th Anniversary, 2022 엘리자벳 Elisabeth!

[lucygold95]

🔥

[wangmiao]

(x)

[shoggothkisses]

Lore Bites: Neuvillette's Opera-Going

Not sure if I'll have the spoons to do my next Shahnameh post today, but I did want to write up this little bit of meta-lore I cobbled together from last week.

I was going through some of Neuvillette's voice lines since I only have him at Friendship 1 atm, and I came across this one I really liked:

Now, I have to confess that I've never actually read Daphne du Maurier's Rebecca. Or seen a film version. But I know of it. So I was like - huh. That premise sounds a lot like Rebecca.

Two things: 1) Neuvillette's comment that the opera "reminded him of the current state of affairs" tells me one major thing: that the ghost of Egeria, the previous Hydro Archon, is "haunting" Fontaine in one way or another. We know that Egeria isn't exactly DEAD-dead - what's left of her consciousness is tied to the Amrita Pool and perhaps elsewhere but that's not confirmed yet. So it stands to reason that her influence is being felt by many residing in the Court now - especially by the "new Mrs. DeWinter," or New Ms. Hydro Archon, who constantly doubts her ability to govern.

2) I read this and after thinking, "huh, this sounds like Rebecca," my second thought was, "but Rebecca doesn't have an opera adaptation, right?"

It turns out that it does. German lybrettist Michael Kunze turned Rebecca into a musical in 2006, and it was exceedingly popular in Japan and Korea (though there's no mention of a Chinese production on the Wikipedia page). Michael Kunze is the same lybrettist who produced Elisabeth in 1992.

Elisabeth, btw, is a musical adaptation of the life of Empress Elisabeth of Austria, the wife of Emperor Franz Joseph I, and her figurative-turned-literal love affair with Death. Terminal Tumblrites among us might be familiar with it (as I was) from a collection of gifs from the Takarazuka Revue productiona a while back. Elisabeth appears to be a Takarazuka favorite, as they've produced it regularly since 1996.

I don't know about you, but I think Neuvillette's outfit has quite a lot of Takarazuka flair.

[kdreader02]

hey!

so im curious about this elisabeth das musical thing and instead of doing the logical thing (that is, googling everything about it and deciding what to do by myself) i'd like to ask you if you would have some kind of "beginner's guide to elisabeth das musical" thing to help any random person to get into it? i see you reblog a lot of it and it sounds fun :3

Okay so!

Elisabeth das Musical is a German musical about the life of the Austrian empress Elisabeth. The events of her life helped directly lead to WW1. But they included the character of the personification of Death, who for lack of a better word, stalks her the majority of her life.

EDM has been translated and performed in multiple countries, including Germany (where it originated), Hungary, Japan, and Korea. Strangely, despite being the most successful German musical of all time, it has not been translated officially into English.

Be warned it is a very dark show, especially dealing with mental health, suicidal ideation, suicide, and eating disorders. Depending on the performance, Death can also be triggering, considering the stalking. Imo, the 2005 version with Máté Kamaras makes me uncomfortable for that reason, but I do know that version is very popular.

If you want to start with a German version, I would highly recommend either the original 1992 or the 2002 version, both with Pia Douwes as Elisabeth and Uwe Kroger as Death. Imo, I like what they did with 1992 a little more, but the performances improved a lot in the ten years between shows. Here are links to them both with English subtitles:

And the 1992 performance:

Unfortunately, my personal favorite is not on YouTube with subtitles, it’s the Japanese 2015 Toho White version with Mari Hanafusa as Elisabeth and Shirota Yu as Death. But here’s the clip that got me hunting down the full version with subtitles!

[glassprism]

there is a big difference in acting styles between eastern and western people, especially in tv. Is there the same difference in theater?

So I may be the wrong person to ask this, because as a Chinese-American who straddles both the "east" and the "west" and who watches movies and the occasional TV show from both sides, I don't see much difference at all! At least in terms of emotional affect, I get the same whether I'm watching "eastern" or "western" media, and maybe that's just my brain being split between them, but yeah, that's all I can tell you lol. (Unless you're thinking of, like, Chinese soap operas or k-dramas or something? Because yeah those I don't watch and for all I know the acting is different there, but I imagine the genre plays as much a factor there as anything else.)

As for theater, I think my knowledge is pretty spotty and is centered almost entirely on East Asian theater (Japan, Korea, China), and even then there are large gaps. Like, I'm pretty familiar with Korean musicals, I've watched quite a few different shows from there (and they're excellent! Korean musical theatre is really underrated outside of, you know, Korean musical theatre fans). With Japan I'm mainly confined to a few select shows and companies, which I think skews my perceptions (let me tell you, Takarazuka can be really different from the rest of Japanese musical theatre). And with China the only thing I've seen is their production of Phantom (I'm not counting the World Tours that have gone there, to me that's "western" musicals taking a visit to the east). So take whatever I say next with a pretty big grain of salt.

For Korean musical theatre, I honestly don't find much if any difference in their acting styles. Watching their versions of Phantom, Elisabeth, Wicked, and so on, it affects me just as much emotionally as any other production I've watched; if there are any differences, I find it's usually because of an individual actor, not because of some culture-wide trend.

For Japanese musical theatre, I think they do tend to go for a more restrained, subtle form of acting, and a lot of them do come off more reserved, but I can also think of a number of exceptions. Also, since my main expertise is Phantom, it's difficult for me to make generalizations because, if you don't know, the Japanese production uses pre-recorded orchestrations anytime the production plays outside Tokyo (and Yokohama in 2017), and that forces an actor to work within a very rigid structure in order to stay in time with the music. And then on Takarazuka's end, they have a certain aesthetic and style of their own that the actresses have to adhere too. So it's hard for me to make sweeping statements because there's always that thought in the back of my head: "Okay, is it a culture thing or is it because the music is pre-recorded? Is it a culture thing or is it just Takarazuka being Takarazuka?"

For Chinese musical theatre, I've only watched their version of Phantom. And the videos all look like this. I'm not ungrateful, mind you, I'm just pointing out that it's hard for me to say anything about anyone's acting because they all look like white dots on my screen.