#pelleas et melisande

[saintarmand]

pelléas et mélisande

i found an english translation of pelléas and mélisande (the libretto is on pages 34-72) aka the opera referenced in the lyrics of "come to me." i recommend reading it yourself because HOLY SHIT but i'm here to bring you the highlights

this is canonically how lestat sees louis and their relationship. welcome inside his brain. it is BEYOND PARODY

plot summary: an old guy named golaud marries a random girl he finds in the woods. her name is mélisande and she is so beautiful and so sad. she starts spending a lot of time with golaud's younger brother pelléas and they fall in love. golaud becomes suspicious of their relationship and when he sees them kissing he kills his brother in a jealous rage. mélisande gives birth to a beautiful baby girl and then dies of a broken heart.

mélisande's entire characterization is being sad and frail and beautiful. obviously

pelléas is called upon to protect her so she won't be afraid. lestat. buddy. my guy

(i'm pretty sure she's just pretending to be upset she lost her wedding ring but this is just her general disposition)

they're playing at some rapunzel shit and pelléas gets a little carried away and uhhh...

this is just him fooling around but. the vibes. and yeah there's a bird motif going on with mélisande

oh and she's pregnant in this btw. this is some fanfic shit

ofc golaud is being sarcastic in that last one cause he's feeling betrayed but mélisande does have doe eyes apparently

balcony monologue vibes????

church scene vibes?????

of course she uses only the tiniest voice. and he's immediately like ARE YOU FOR REAL ARE YOU LYING

"his gaze tied a string around my lungs" "in the quiet dark we were equals" ok ok. hand size ppl ur welcome btw

mélisande is ready to die bc ofc she is

one more kiss before he dies

aaaaaand he dead. and she feels dead

"her face seemed not her face" anyone????

also here's loumand breakup vibes. and HER CHILD IS LIKE HER SIBLING

tl;dr the opera lestat projects onto reads like loustat fanfic

[awindinthelantern]

Costume for Ganna Walska as Mélisande, 'Pelléas et Mélisande', 1931

designed Erté (Romain de Tirtoff) (Russian, active France and United States, 1892-1990)

Silk voile Center back length: 95 in. (241.3 cm) Purchased with funds provided by Rita and Ross Barrett, Costume Council Fund, and gift of Anna Bing Arnold (M.87.80.31) Costume and Textiles

[livyamel]

That moment when your new favourite song you have to listen to over and over till you're tired of it is ...

40 minutes long

💀

[that-stranger-in-paradise]

debussy’s pelleas p1: recordings I love

I’ve been so busy... midterms are hell. 

I wrote this a long time ago, @notyouraveragejulie​, but I never posted it. Might as well drop it now. Voila. 

Abbado/Le Roux/Ewing is such a gem. It is one of the few recordings I’ve encountered where the acting aka vocal inflections are so good that we almost forget it’s a studio recording. 

Abbado conducts on the faster side, but his dramatic timing is really good. The sound quality is pretty beautiful as well. The muted sailor choir in Act 1, the moon lighting the cave in Act 2, the darkness to light transition in Act 3 all sound gorgeous. Debussy’s sound world is so dreamy.  

I prefer Pelleas as a light baritone rather than a darker sounding tenor. Le Roux is so perfect. Hearing a slight strain during the climatic high notes really makes the character come to life. It also contrasts well with Golaud. 

For Melisande, I feel there is a larger range of portrayals from naive to seductive to everything in between. I prefer Mezzo Sopranos to Sopranos here, and Maria Ewing definitely makes this role her own. Her smooth voice and mysterious interpretation belongs with this ambiguous soundscape. 

Golaud has a lot of angry scenes that bring lots of tension: not as beautiful as the rest of the opera but dramatically necessary. My favorite scenes with him are his Act 1 conversation with Melisande and his desperate Act 3 conversation with Yniold. Jose van Damm does a fine job, very beautiful, solid voice in literally anything he records. 

Here are 2 tracks I like on other recordings: 

https://open.spotify.com/track/0MxAwOuWI2MLSlISZExmYL?si=80e6373c16984329

Starting at 6:20, Yniold sees the light in Melisande’s tower and Golaud lifts him so he can see his stepmother through the window. When Yniold then innocently reports seeing Pelleas with Melisande in the room, Golaud gets super distressed and Yniold, still stuck on his shoulders, gets super scared. 

Patricia Pace in the Abbado recording is a very cute Yniold, more believable than some of the other sopranos out there. However, hearing a boy soprano(Anthony Britten) here singing Yniold just feels right. His delivery of “j'ai terriblement peur” is perfect, so afraid and desperate. Donald McIntyre really gives anguished Wotan vibes. Those “Regarde”s are heartbreaking. 

https://open.spotify.com/track/5zPkT6xkbqBp2QYoP0lMIk?si=11ce94fea60b4c0f

Spotify somehow has this live Karajan recording, and wow this one has a few seconds of amazingness. But it’s very Karajan. Definitely feels more heavy and “German”. Even as a Wagnerian, I dislike the orchestral approach, but...

Karajan’s live dramatic take of the last scene of act 4 is just ridiculously exciting. It’s super fast, much faster than his official recording, almost as if someone had nerves or felt something magical in the air. Then we have Henri Gui(an absolute revelation like Le Roux, I wish we had a better quality recording of his work) and Hilde Gueden(have a soft spot for her work, so light and bright compared to Ewing). 

At 3:46, Pelleas starts telling Melisande that he has to leave, and it builds into a breathless “Je t'aime”. Melisande replies with a low  “Je t'aime jussi”. Then, 

Gui waits 6 fricking seconds. And responds with the most shy “Oh! qu'as-tu dit, Mélisande!” I’ve ever heard. This whole section is so precious, we need more opera characters like this...

This recording is hampered by a lot(horn fumble, voice mishap, loud prompter, poor sound quality in general), but I can not move on from the last part of the scene (11:58 and onwards). Karajan’s frenetic conducting with Gueden’s precise high notes and the dramatic dialogue after Melisande spots Golaud is addictive. 

The strings playing during the last kiss as well as the stabbing section dig into your skin. The cornets blaring Golaud’s theme are another great touch.  

Gui’s timbre on “Encore! Encore! donne donne donne!” sounds really different from his previous singing, almost as if he truly ascended to another dimension. Gueden’s “Toute! toute! toute!” matches his tone very well, completing a really satisfying take of the dramatic Act 4 finale. 

[dijeh]

Pelleas et Melisande, Maurice Maeterlinck

[emvisual]

Os gusta la música clásica pero no lo sabéis:

Satie, Fauré, Satie, Fauré... No se cual os gusta más. Vamos a suponer que hoy tenéis cuerpo para escuchar la Sicilenne de Faure. Esta pieza introduce la escena de la fuente donde Mélisande pierde su anillo de bodas en el agua.

*https://youtu.be/yCAD-jdPieU

[chiropterancreed]

A Playlist For Lestat de Lioncourt

Lestat de Lioncourt: A Playlist For The Love of My Life!

Obviously I had to make a playlist for songs that remind me of Lestat, and/or that I think fit him very well. I've been working on this for months and I've gotten it to a good point now, I think. Let me know if you like it!

(Tracklist below the cut!)

Orfeo ed Euridice - Bach

The Garden - Pj Harvey

Loverman - Nick Cave and The Bad Seeds

I Wanna Be Adored - The Stone Roses

I Can't Escape Myself - The Sound

Dangerous Land - The Chameleons

Soul Love - David Bowie

Love, Love, Love - The Organ

Coldsweat - The Sugarcubes

Les Nuits Sauvages - Order89

Alone - Colin Newman

Pelleas et Melisande: Mes longs cheveux descendent - Debussy

Piano concerto in G Major, M 83 II. Adagio assi - Ravel

No I In Threesome - Interpol

We Carry On - Portishead

I Might Be Wrong - Radiohead

Eye - The Smashing Pumpkins

Call My Name - Madrugada

Teeth - Perfume Genius

Iolanta Op. 69 - Tchaikovsky

Ami ! Amant ! - Opera de Nuit

Sense of Purpose - The Sound

Hang On Me - St Vincent

Mama - Genesis

All Night Long - Peter Murphy

Never Enough - The Cure

Ultraviolence - New Order

I'm Deranged - David Bowie

Don Giovanni: Fuggi, crudele, fuggi! - Mozart

Sin - Nine Inch Nails

Prince - Deftones

Surrender - Depeche Mode

Whole Lotta Love - Led Zepplin

Am I Demon - Danzig

The Black Widow - Alice Cooper

Heaven Tonight - Cheap Trick

L'Amiable. Gracieux - Royer

Bad Penny - Big Black

Bull In The Heather - Sonic Youth

I Am the Crime - The Wolfgang Press

The Eternal - Joy Division

The World is Not Enough - Garbage

Don Pasquale: Tornami a dir che m'ami - Donizetti

[la-femme-au-collier-vert]

A List of Works Influencing and Referenced by IWTV Season 1

Works Directly Referenced

Marriage in a Free Society by Edward Carpenter

A Doll’s House by Henrik Ibsen

Madame Bovary by Gustave Flaubert

Cheri by Collete

A Streetcar Named Desire by Tennessee Williams

La Nausee by Jean-Paul Sartre (credit to @demonicdomarmand )

Complete Poetry of Emily Dickinson edited by Thomas H. Johnson*

Blue Book by Tom Anderson

The Book of Abramelin the Mage

Don Pasquale by Gaetano Donizetti with libretto by Giovanni Ruffini

Iolanta by Pyotr Tchaikovsky with libretto by Modest Tchaikovsky

Pelleas et Melisande by Claude Debussy

Epigraphes Antiques by Claude Debussy

Bram Stoker’s Dracula (1992)

Nosferatu (1922)

The Graduate (1967)

Marie Antoinette (1938)

On the Origin of the Species by Charles Darwin

De Masticatione Mortuorum in Tumulis by Michael Ranft (1728)

Emily Post’s Etiquette

Bach’s Minuet in G Major (arranged as vampire minuet in G major)

Artworks referenced (much credit in this section to @iwtvfanevents and to @nicodelenfent )

Fall of The Rebel Angels by Peter Bruegel The Elder (1562)

The Storm on the Sea of Galilee by Rembrandt (1633)

Three Peaches on a Stone Plinth by Adriaen Coorte (1705)

Strawberries and Cream Raphaelle Peale, (1816) credit to @diasdelfeugo

Red Mullet and Eel by Edouard Manet (1864)

Starry Night by Edvard Munch (1893)

Self Portrait by Edvard Munch (1881)

Captain Percy Williams on a Favorite Irish Hunter by Samuel Sidney (1881)

Autumn at Arkville by Alexander H. Wyant 

Cumulus Clouds, East River by Robert Henri 

Mildred-O Hat by Robert Henri (Undated)

Ship in the Night James Gale Tyler (1870)

Bouquet in a Theater Box by Renoir (1871)

Berthe Morisot with a Fan by Édouard Manet (1872)

La Vierge D’aurore by Odilon Redon (1890) credit to @vampirepoem on twt

Still Life with Blue Vase and Mushrooms by Otto Sholderer (1891)

After the Bath: Woman Drying her Hair by Edgar Degas (1898)

Bust of a Woman with Her Left Hand on Her

Chin by Edgar Degas (1898) credit to @terrifique

Backstage at the Opera by Jean Beraud (1889)

Roman Bacchanal by Vasily Alexandrovich Kotarbiński (1898)

Dancers by Edgar Degas (1899)

Calling the Hounds Out of Cover by Haywood Hardy (1906)

Dolls by Witold Wojtkiewicz (1906) credit to @gyzeppelis on twt

Forty-two Kids by George Bellows (1907)

The Artist's Sister Melanie by Egon Schiele (1908)

Paddy Flannigan by George Bellows (1908)

Stag at Sharkey’s by George Bellows (1909)

The Lone Tenement by George Bellows (1909)

Ode to Flower After Anacreon by Auguste Renoir (1909) credit to @iwtvasart on twt

New York by George Bellows (1911)

Young Man kneeling before God the Father

Egon Schiele (1909)

Kneeling Girl with Spanish Skirt by Egon Schiele (1911)

Portrait of Erich Lederer by Egon Schiele (1912)

Krumau on the Molde by Egon Schiele (1912)

Weeping Nude by Edvard Munch (1913)

The Cliff Dwellers by George Bellows (1913)

Church in Stein on the Danube by Egon Schiele (1913)

Self Portrait in a Jerkin by Egon Schiele (1914)

The Kitten's Art Lesson by Henriette Ronner Knip credit to @terrifique

Three Studies for Figures at the Base of a Crucifixion by Francis Bacon (1944)

New York by Vivian Maier (1953)

Self Portrait by Vivian Maier (Undated)

Self Portrait by Vivian Maier (1954)

Slave Auction by Jean-Michelle Basquiat (1982)

(Untitled) photo of St. Paul Loading Docks by Bradley Olson (2015)

Transformation by Ron Bechet (2021)

(Untitled) sculpture in the shape of vines by Sadie Sheldon

(Untitled) Ceramic Totems by Julie Silvers (Undated)

Mother Daughter by Rahmon Oluganna

Twins I by Raymon Oluganna

@iwtvfanevents made a post of unidentified works here.

Works Cited by the Writer’s Room as Influences

Bourbon Street: A History by Richard Campanella (as it hardly mentions Storyville I think interested parties would be better served by additional titles if they want a complete history of New Orleans)

Invisible Cities by Italo Calvino (This was also adapted into an award winning opera)

poetry by Charles Simic (possibly A Wedding in Hell?)

poetry by Mark Strand (possibly Dark Harbour?)

Works IWTV may be in conversation with (This is the most open to criticism and additions)

The Picture of Dorian Gray by Oscar Wilde, uncensored (There are two very different versions of this which exist today, as Harvard Press republished the unedited original with permission from the Wilde family.)

Absalom, Absalom! by William Faulkner

Warsan Shire for Beyoncé’s Lemonade

Faust: A Tragedy by Johann Wolfgang von Goethe

Wuthering Heights by Emily Bronte

La Morte Amoreuse by Theophile Gautier

Carmilla by Sheridan LeFanu

Maurice by E.M. Forster

Sailing to Byzantium by Yeats

The Circus Animal's Desertion by Yeats

The Second Coming by Yeats

Invisible Man by Ralph Ellison (credit to @johnlockdynamic )

1984 by George Orwell (credit to @savage-garden-nights for picking this up)

The Yellow Wallpaper by Charlotte Perkins Gilman

A Rose for Emily by William Faulkner

Gone With the Wind film (1939)

Hannibal (2013)

Beauty and the Beast by Gabrielle Suzanne de Villenueve

Music used in Season 1 collected by @greedandenby here

*if collected or in translation most of the best editions today would not have been available to the characters pre-1940. It’s possible Louis is meant to have read them in their original French in some cases, but it would provide for a different experience. Lydia Davis’ Madame Bovary, for example, attempts to replicate this.

** I've tagged and linked relevant excerpts under quote series as I've been working my way through the list.

Season 2 here

Season 3 here

[vieneinpace]

Rudolf Nureyev and Margot Fonteyn seen here at the press photo call for the Royal Ballet's production of Pelleas Et Melisande, 1969

[theresa-of-liechtenstein]

it’s actually starting to sink in that my last undergrad year in orchestra is over but in the meantime. concert recap post 2, electric boogaloo. i am putting this under a readmore to spare you all. it was so long i literally fell asleep drafting it

on my way to the theater i passed by the arts building and swore i saw tita conductor fishing around in her car trunk in the arts loading bay which felt very much like

the warm-up/spot runthrough was so lackluster and tired that tita conductor looked around at us and said ‘did you all go out drinking after last night’s concert or what? your energy is wacked’

we managed to scrape ourselves back together and honestly? i think we sounded better sunday than saturday in the end

especially that english piece. whoooeeee. that sounded so good.

right before the part where the second violins drive the melody back into the folk song, i managed to make eye contact with tita conductor as she turned to bring us out and we were just smiling at each other for a split second. it was genuinely so lovely

at the end of the english piece, which was our opener, we had several bars of rest before the final note and i noticed that my shoulder rest was falling off. i was so scared that if i tried to put it on my shoulder, it would fall off and cause noise, so i very quietly slipped it off, rested it on my lap, and managed to play the last note sans shoulder rest

the second movement of the fauré pelleas et melisande orchestra suite may just have been my favorite

at the very end of our set, before the lights went down for our exit and for the stage to be reconfigured for the chamber singers, i was trying to put my copy of pel and mel back into the folder when i fucking DROPPED the damn part in front of everyone. which was my mistake, i shouldn’t have moved before the lights came back down, but i was trying so damn hard to stifle my laughter as i picked it up

i managed to make my way off with my folder and instrument in hand and lost it as silently as possible once i had cleared the stage

tita conductor was standing in the wing waiting to go back on to conduct the chamber singers, locked eyes with me, and said, very concerned, ‘what’s the matter, em? are you okay?’

i managed to wheeze back ‘i dropped my music’ before a member of stage crew directed me to continue heading backstage

funnily enough, saturday’s concert was a non-clapping audience while at this one, everyone clapped between movements of both the pel and mel and the requiem

the requiem was so much fun and i was sad to see it end—but god did it end all too soon. time really just seems to pass more rapidly on stage for me: before i know it, im looking up for a cutoff

it turned out that one of the freshman girls from the one (1) year i spent in my high school women’s ensemble just committed to transfer to my university and actually attended the concert, which fucking blew my mind when she came up to me and pressed a pair of hand-folded origami flowers into my hand 🥹

headed to the party afterwards with my high school best friend as a plus-one, held in the home of two older flute players, and spent most of it talking with three violas (including associate principal and principal), concertmaster, my second clarinet friend, and my flute friend (who also graduates this year)

i was cognizant that not only had it been a year since That Pivotal Conversation with tita conductor that had changed everything, but that it had also been in this exact house. so i was already kind of anticipating that something of a similar nature was likely to occur. and it did

at one point i was trying to get a spoon from the food table when i came face-to-face with tita conductor, who, upon seeing me, hurried over, threw her arms open, and said effusively ‘oh, em—come here, give me a hug’ 🥹

it was so funny to me. like no options. give me a hug. which to be fair i have wanted to just give her a hug for a while since yayy favorite person in the music department etc. but the way she worded it was inexplicably funny

tita conductor told me ever so fervently that me staying was such a blessing and that i was a bright and intelligent section leader which like. auughghhghaggagagwgwyywwu. i feel like she’s the first person to call me bright

i told her the bit about how my decision to stay was solidified on the way back from the university visit to make it to rehearsal, and then how poignantly funny i had found it that i had walked into rehearsal and was immediately asked by her to cut the strawberries

at this—i swear to god—tita conductor let out a full-body GUFFAW that caused everyone within twenty feet to look at us.

she told me ‘i remember that because you had a really funny look on your face when i asked you—’

i cringed. ‘oh, i always seem to have a funny look on my face,’ i said, slightly embarrassed, before i could think

‘no—but you went and did it anyway. i didn’t know you had been thinking very hard at the time’

apparently in many situations i just happen to be the ‘nearest available’ person to her who she knows would ‘do anything asked without making a fuss’ and was ‘habitually helpful’

being too intimidated to say no in the workplace sure has its perks! (joke)

she really couldn’t stop saying that i was a blessing which was just. man. made me want to curl up on the floor and cry immediately. 30 years of doing this and she really just seems so fond of her students it’s very sweet

it was hard enough for me to consider saying goodbye to her. but i think it might have been harder vice versa

additional highlight for levity: tita conductor letting out a single, angelic high C out of fucking nowhere near the drinks table

eventually i walked my friend to her car and came back to find my flute friend and second clarinet at the piano with another second violin and a gaggle of chorus members

as the night wore on things started to get crazier (i.e. second clarinet friend straight up pulled out a tenor recorder out of nowhere and began to improvise off of someone on the piano 😭)

one of the hosts said ‘i could give you a soprano recorder right now’ when second clarinet mentioned he didn’t have one, disappeared, and came back with a HUGE bag of soprano recorders and began passing them around. so now i have a soprano recorder

flute friend and i mutually agreed that we both functioned the best in musician gatherings LMAO

i left because it got very late but before i left i went to thank the hosts and the other host stretched out his arms and said ‘here, can i hug you?’ and i was like ‘oh!’ and he gave me a hug and said ‘so sorry i didn’t get to talk to you, but it’s so good to see the strings here. we only ever see the backs of your heads and you can turn to look at us but we can’t really do the same. you’re a great player’ 😭😭😭

anyways. man what a fucking year. it went by all too quickly; it feels like yesterday to me that i went and re-auditioned for tita conductor. so much has changed since then. i’ve grown as a musician in ways that i didn’t even imagine—which i realize i also said last year, but last year i didn’t expect i’d become a section leader. and thankfully i think i’ll get another shot at it next year. i started off not wanting the position, but in the end it made me stronger and i have to be grateful for it. anyways! enough yapping! onwards!

[opera-ghosts]

OTD in Music History: Revolutionary composer and pianist Claude Debussy (1862 – 1918) is born in France. Born into a family of modest means, Debussy was admitted at the age of ten to the Paris Conservatoire. He originally studied piano, but quickly discovered that his true vocation was composition; nevertheless, he took a long time to develop his mature style, and he was nearly 40 by the time he achieved international fame with the success of his only completed opera, “Pelleas et Melisande" (1902). Debussy's major orchestral works include “Prelude to the Afternoon of a Faun” (1894), “Nocturnes” (1899), “La Mer” (“The Sea”) (1905) and "Images" (1912). He was arguably the most revolutionary piano composer after Frederic Chopin (1810 – 1849), and his approach to writing for that instrument was fundamentally different from what came before. Debussy's major works for solo piano include the two books of 24 Preludes (1910 / 1913) and the 12 Etudes (1915). His “Impressionistic” style (he hated that term) was a direct reaction against the stifling power that the works of Richard Wagner (1813 – 1883) exerted on "classical" music during the last half of the 19th Century. Debussy in turn exerted a powerful influence on 20th Century music -- Bela Bartok (1881 - 1945), Olivier Messiaen (1908 - 1992), and Jazz pianist Bill Evans (1929 - 1980), to name just a few, all owed him a clear debt. “Prelude to the Afternoon of a Faun,” inspired by a poem of the same name by Stephane Mallarme (1842 - 1898), is arguably Debussy's most important work. It is now hailed as a turning point in the evolution of Western music; indeed, renowned 20th Century conductor and composer Pierre Boulez (1925 – 2016) called it “the dawn of modern music." PICTURED: A color postcard reproduction of a famous portrait of Debussy, which Debussy signed in October 1912, just after completing “Jeux” (or “Games”) -- which Boulez memorably described as “‘Faun' all dressed up in sports clothes."

[scotianostra]

February 20th 1874 saw the birth of the Scottish Soprano Mary Garden in Aberdeen.

Her family emigrated to the US in 1880, eventually settling in Chicago, Illinois. She showed an aptitude for music at an early age, studying the violin and piano and taking voice lessons while still a young girl.

In 1895 she went to Paris, France, to further her voice training. She made her public debut five years later in Gustave Charpentier's Louise at the Opera-Comique in Paris. In 1902 composer Claude Debussy personally chose her to sing the female lead in his opera Pelleas et Melisande, and this became her most famous and celebrated role. She was so highly regarded among composers that Jules Massenet specifically rewrote the lead part in his Le Jongleur de Notre-Dame--which he had originally written to be a man--for her.

She made her New York debut in 1907, in Massenet's Thais. She was acclaimed by critics not only for her superb singing but for what many deemed her remarkable dramatic ability as well. She toured extensively in Europe and the US and joined the Chicago Civic Opera in 1910, being their featured singer until 1931. In addition, she served as general director of the Chicago Opera Association from 1921-1922. Although she retired from the stage in 1934, she remained active in operatic circles, making many lecture and recital tours over the next 20 years and serving as audition judge for the National Arts Foundation. In a quote that perhaps explains something of how she approached life she said: "They liked me in "Thais" because I wore least".  Although Mary Garden spent most of her life away from Scotland eventually she retired retired to Scotland, where she spent the last 30 years of her life, she died in Inverurie on January 3rd, 1967. Mary was cremated and her ashes were scattered in the Garden of Remembrance at the old Crematorium in Garthdee, Aberdeen.  There is a Memorial Garden to her near Kittybrewster in the Granite City.

[cuntylestat]

claudia bringing a debussy piece to play with lestat to trick him into her plot and debussy's opera pelleas et melisande being referenced in come to me... this show

[nablah]

didnt finish my to watch list but oh well, that means more for next time !

die tote stadt

der zwerg

L’AMANT ANONYME (!!!!!!)

idomeneo

don carlo

eugene onegin

pelleas et melisande

rusalka

fidelio

dialogues

nabucco

[cparti-mkiki]

personally:

for the unexpected— 100% looking forward to rameau castor et pollux AND debussy pelleas et melisande (which i only got to hear piano-only at the athenee). also offenbach les brigands, why not

for the less unexpected— i will be seated for faust and don carlo lmao (shocker)

[taffetastrology]

The signs as Pelleas and Melisande opera costumes

Aries

Taurus

Gemini

Cancer

Leo

Virgo

Libra

Scorpio

Sagittarius

Capricorn

Aquarius

Pisces