#the characters and their interpersonal dynamics are what made this show such a standout to me | Explore Tumblr posts and blogs

my-bated-breath · 5 years ago

Text

Research Shows that Zutara Would Have Been the Ideal Friends to Lovers Dynamic

(featured below: a very self-indulgent Zutara post that uses Facts and Evidence to be self-indulgent)

When I joined the ATLA fandom, a common trend I've seen used to discredit Zutara was the belief that upon transitioning from a platonic relationship to a romantic one, Zuko and Katara would immediately become The Worst (TM) for each other. It's quite the stretch, and the Zutara fandom nearly unanimously recognizes that. Still, since the attacks have yet to cease even 15 years after the show’s first release, I'd like to add my two-cents on the subject, along with a reference to actual research that is much harder to dismiss.

The reason why Zutara is framed as a “toxic and unhealthy” relationship is that their romance would be a classic example of the enemies-to-lovers trope, a trope which modern media has not been particularly kind to. However, when executed correctly, enemies-to-lovers can produce a healthy and loving relationship, frequently relying on friendship as an intermediate between the “enemy” and “lover” stages in the most well-executed versions of this trope. Meanwhile, the trope of friends-to-lovers is just as popular as enemies-to-lovers, though the specific dynamic required between two individuals to achieve this transition is not well-known. Recognizing this, Laura K. Guerrero and Paul A. Mongeau, both of whom are involved in relationship-related research as professors at Arizona State University, wrote a research paper on how friendships may transition into romantic relationships.

While “On Becoming ‘More Than Friends: The Transition From Friendship to Romantic Relationship” covers a variety of aspects regarding how friends may approach a budding romantic relationship, this meta will focus on the section titled “The Trajectory from Platonic Friendship to Romantic Relationship,” which describes stages of intimacy that are in common between platonic and romantic relationships.

(I am only using this one source for my meta because as much as I love research and argumentative writing, I can only give myself so much more school work before I break. If you wish to see more sources that corroborate the argument from above, refer to the end of this meta at the “Works Cited.”)

According to Guerrero and Mongeau, “...scholars have argued that intimacy is located in different types of interactions, ranging from sexual activity and physical contact to warm, cozy interactions that can occur between friends, family members, and lovers…” Guerrero and Mongeau then reference a relationship model where the initial stages (i.e. perceiving similarities, achieving rapport, and inducing self-disclosure) reflect platonic/romantic intimacy through communication while the latter stages (i.e. role-taking, achieving interpersonal role fit, and achieving dyadic crystallization) often see both individuals as achieving a higher level of intimacy that involves more self-awareness.

Definitions, because some terminology in this quote is field-specific:

_____

Perception of similarity: (similar in background, values, etc.) which contributes to pair rapport

Pair rapport: produces positive emotional and behavioral responses to the partner, promotes effective communication and instills feelings of self-validation

Self-disclosure: a process of communication by which one person reveals information about themselves to another. The information can be descriptive or evaluative and can include thoughts, feelings, aspirations, goals, failures, successes, fears, and dreams, as well as one's likes, dislikes, and favorites.

Role-taking: ability to understand the partner's perspective and empathize with his/her role in the interaction and the relationship

Role-fit: partners assess the extent of their similarities in personality, needs, and roles

Dyadic crystallization: partners become increasingly involved with each other and committed to the relationship and they form an identity as a committed couple

_____

(Source: Quizlet -- not the most reliable source, I know, but once again field-specific terms tend to be ubiquitous in their definitions, and I doubt that this Quizlet can be that inaccurate)

(Additional note: only the first three definitions will be relevant to this meta, but the other definitions are left in for all of you who want to speculate what the next part of this meta, which may or may not be published the following week, will be about.)

Let’s apply what we just learned back to the real Zuko-Katara relationship we see throughout the show. What attributes of healthy and natural friends-to-lovers dynamics may they check off?

Perceiving similarities:

Zuko and Katara share an astounding number of parallels in background and character throughout the show. Both their mothers had sacrificed their lives to save them, and then there are many deliberate parallels drawn between Zuko and Katara’s confrontations in the Day of Black Sun and The Southern Raiders, respectively. Of course, there are more, but since I do not have much to add to this subject, I’ll say that perceiving these similarities helps contribute to…

Pair rapport:

We see three standout examples of this from the show in which Zuko and Katara “make positive emotional and behavioral responses” towards each other: In the Crossroads of Destiny, the Southern Raiders, and Sozin's Comet, Part 2: The Old Masters.

(1) Crossroads of Destiny. Zuko and Katara bond over the loss of their mothers in the Crystal Catacombs, allowing themselves to truly see the other for the first time as well as for them to speak civilly and intimately (is this self-disclosure I see?) with each other. Of course, their conversation (on-screen or off-screen) is meaningful enough for Katara to offer to use the Spirit Oasis water to heal Zuko’s scar.

(2) The Southern Raiders. The journey Zuko and Katara take for her to achieve closure (which is something Zuko himself knew was necessary to heal and grow) is the catalyst for Katara forgiving Zuko. Though there is no true “rapport” in the scene where Katara forgives him, all other banter/conversations (in the Ember Island Players and the ATLA finale) between Katara and Zuko are reliant on the moment she forgives him.

(3) Sozin's Comet, Part 2: The Old Masters. In the finale, Zuko experiences a moment of uncertainty before just before he faces his uncle -- his uncle who had always been there for him since the days of his banishment, his uncle had loved him unconditionally even when Zuko did not know that such love was possible, his uncle who loved him like his own son, his uncle who he betrayed in the Crystal Catacombs, his uncle who turned away when he was encased in crystal, too disappointed to look him in the eye. He tells this to Katara -- and what does Katara say to Zuko in response?

“Then he'll forgive you. He will.”

The dialogue speaks for itself. The positive emotional response, the open communication, and the (rightful) encouragement Katara provides, all without invalidating Zuko’s self-doubt, demonstrates the epitome of pair rapport. Further elaboration would simply be me gushing over their dynamic.

Self-disclosure:

Self-disclosure involves revealing intimate feelings. We’re revisiting the same three episodes that we covered up above since they all include self-disclosure.

(1) The Crossroads of Destiny. When he reaches out in the Crystal Catacombs, Zuko reveals something to Katara that he has never told anyone before, perhaps something he didn’t even want to admit to himself -- in response to “the Fire Nation took my mother away from me” he says “that's something we have in common.” And to say that out loud, to say it to himself and Katara when for three whole years he’s been trying to convince himself that the Fire Nation is good and that his father loves him -- there are no words to describe it. It’s both awe-inspiring and heartbreaking to see that Zuko and Katara’s shared pain is what allowed them to see each other as more than the “face of the enemy,” and it’s something so poignant that it forms an immediately profound connection between the two.

(2) The Southern Raiders. On their way to the Fire Nation communications tower on Whale Tail Island, Katara tells the story of her mother’s death, a story that has haunted her memories for years, looming over her as a ghost, a wound that festers into fear to grief to anger. This was the moment that divided Katara’s life into the Before and the After, the one that forced her to abandon childhood and to become a mother to her own brother (as implied by Sokka in his conversation with Toph in the Runaway). And yet this is the first time we see her tell someone her story in the show, full and vivid as if it happened yesterday. Because even though she mentioned her mother before to Aang, Haru, and Jet in order to sympathize with them -- it’s just that. Sympathizing. This time she tells Zuko about her mother’s death for her own sake rather than for another’s. And it’s an incredibly intimate moment, one that is made even more fragile, wrenching, and beautiful by Zuko’s response -- “Your mother was a brave woman.”

(3) Sozin's Comet, Part 2: The Old Masters. Throughout the second half of season 3, Zuko shares his love and insecurities regarding Iroh to every member of the GAang.

In the Firebending Masters, he mentions to Aang offhandedly -- and perhaps too offhandedly, as if he didn’t want to believe it himself -- that Iroh, Dragon of the West, received his honorary title for killing the last dragon.

An episode later in part one of the Boiling Rock, Zuko talks about his uncle with near constancy. He brews tea for the GAang and (endearingly) tries retelling “Uncle’s favorite tea joke.” He tells Sokka, “Hey, hold on. Not everyone in my family is like that… I meant my uncle. He was more of a father to me. And I really let him down.” He (fails at, adorably) giving advice to Sokka when the rescue mission to the Boiling Rock has begun to look helpless, asking himself “what would Uncle say?” before completely floundering away.

Then, in the Ember Island Players, he shares a sweet moment with Toph, bitterly spitting out that

“...for me, [the play] takes all the mistakes I've made in my life, and shoves them back in my face. My uncle, he's always been on my side, even when things were bad. He was there for me, he taught me so much, and how do I repay him? With a knife in his back. It's my greatest regret, and I may never get to redeem myself.”

Toph, in turn, reveals the thoughtful side to her character, the side that is almost always hidden, telling Zuko that “you have redeemed yourself to your uncle. You don't realize it, but you already have.”

And every one of these moments matter, because we see Zuko’s inner conflict (though this inner conflict does not exist to the extent at which it did at the first half of season 3) and its evolution. First, with Aang, he remains skeptical and disillusioned. Second, with Sokka, his longing for Iroh’s love and presence manifests itself in him imitating his uncle as well as he can. Third, with Toph, he finally admits everything he had been afraid of ever since he saw Iroh’s empty prison cell during the eclipse -- that Iroh is disappointed in him. That Iroh hates him. That Iroh will never accept him again.

And for a moment, with Toph’s encouraging response and Zuko’s resulting little smile, it appears as though Zuko’s internal conflict arc is concluded. But we are wrong -- because in the finale of the show, we are given the true climax and resolution to Zuko’s insecurities, fears, and self-loathing. And who is it that he shares this moment with?

It speaks volumes about Zuko and Katara’s relationship that Katara is the one to comfort Zuko in this scene, in that last moment of hesitation right before he steps inside his uncle’s tent, preparing himself to see his uncle as a completely changed person. As a person who now knows humility and unconditional love. And remember -- selecting Katara to be in this scene is a deliberate narrative choice because ATLA was written by a team of producers and writers, and perhaps even if it wasn’t, it becomes a powerful moment in which Zuko’s arc with Iroh reaches its peak.

Simply having Katara there in this scene already has such a great narrative impact, but then the show gives us some of the most intimate dialogue that Zuko, a naturally closed-off person, delivers (although his emotional outbursts may suggest otherwise, Zuko tends to hide most of his internally conflicting feelings to himself. Hence, he is always able to dramatically monologue about his honor, his country, and his throne -- because he’s trying to convince himself to play a part. But that’s another meta for another day).

Let’s begin by comparing Toph and Zuko’s dialogue with Katara and Zuko’s dialogue because both see the other party validating Zuko’s feelings.

(Warning: the following section plunges deep into the realm of speculation and overanalyzing dialogue. Regarding literature or any media, there are countless ways to interpret the source material, and this is simply one way it could be done.)

_____

Ember Island Players Dialogue:

Toph: Geez, everyone's getting so upset about their characters. Even you seem more down than usual, and that's saying something!

Zuko: You don't get it, it's different for you. You get a muscly version of yourself, taking down ten bad guys at once, and making sassy remarks.

Toph: Yeah, that's pretty great!

Zuko: But for me, it takes all the mistakes I've made in my life, and shoves them back in my face. My uncle, he's always been on my side, even when things were bad. He was there for me, he taught me so much, and how do I repay him? With a knife in his back. It's my greatest regret, and I may never get to redeem myself.

_____

Although Toph and Zuko’s dynamic is one of the most innocent and understanding throughout the show, the conversation begins with Toph joking with a negative connotation -- that “even [Zuko seemed] more down than usual, and that’s saying something!” Thus, the conversation opener is not one that allows for Zuko to easily be emotionally vulnerable, and so he responds bitterly and angrily -- “You don’t get it, it’s different for you” and “...and how do I repay him? With a knife in his back.” By stating that their portrayals in the shows were different, Zuko mentally places a wall between himself and Toph, saying that “[Toph doesn’t] get it.” Then, the rhetorical question Zuko asks himself and the shortness with which he answers the question showcases a forceful and biting tone, indicating that he is covering up his inner turmoil with vehemence. This tendency is something we’ve seen Zuko default to before, whenever he had shouted the oft-mocked “I must restore my honor!” lines in response to a few introspective questions Iroh had asked (though once again, that’s another meta for another day). Now, let’s examine the remainder of their conversation.

_____

Ember Island Players Dialogue Continued:

Toph: You have redeemed yourself to your uncle. You don't realize it, but you already have.

Zuko: How do you know?

Toph: Because I once had a long conversation with the guy, and all he would talk about was you.

Zuko: Really?

Toph: Yeah, and it was kind of annoying.

Zuko: Oh, sorry.

_____

Here we see Toph and Zuko’s conversation take a more serious turn as Toph becomes more sincere. Zuko, however, is still full of self-doubt as he is constantly questioning Toph with “how do you know?” and “really” and “oh, sorry.”

(featured up above: Zuko looking dejected and doubtful.)

Still, the conversation ends on a sweet and inspiring note:

_____

Ember Island Players Dialogue Continued:

Toph: But it was also very sweet. All your uncle wanted was for you to find your own path, and see the light. Now you're here with us. He'd be proud.

_____

Hence, though Zuko and Toph’s conversation displays a heartening and hopeful dynamic, Zuko is ultimately still guarded for the majority of their conversation. Now, let’s look at how Katara approaches Zuko in the Sozin’s Comet, Part 2: The Old Masters.

_____

Sozin’s Comet, Part 2: The Old Masters Dialogue:

Katara: Are you okay?

Zuko: No, I'm not okay. My uncle hates me, I know it. He loved and supported me in every way he could, and I still turned against him. How can I even face him?

Katara: Zuko, you're sorry for what you did, right?

Zuko: More sorry than I've been about anything in my entire life.

_____

In direct contrast to the conversation opener with Toph, Katara begins to engage Zuko with an openly concerned question. And even though Katara never disappointed an Iroh-figure in her life in the way Zuko has, Zuko immediately doesn’t close himself off from her, he doesn’t create a wall that prevents him from revealing his deepest fears to her. During this scene, he neither sounds bitter or angry -- he sounds lost, doubtful, and afraid (perhaps even afraid to hope). This shift in tone is blatant in his voice (thanks to Dante Basco’s line delivery) but even with nothing but the written dialogue, we can note the difference in which he describes his turmoil to Toph and as compared to Katara:

With Toph: “But for me, it takes all the mistakes I've made in my life, and shoves them back in my face. My uncle, he's always been on my side, even when things were bad. He was there for me, he taught me so much, and how do I repay him? With a knife in his back. It's my greatest regret, and I may never get to redeem myself.”

With Katara: “No, I'm not okay. My uncle hates me, I know it. He loved and supported me in every way he could, and I still turned against him. How can I even face him?”

With Katara, the underlying bitterness from his conversation with Toph is toned down to the point of nonexistence, though a part of it is still there. With Toph, Zuko says, “it takes all the mistakes I’ve made in my life, and shoves them back in my face,” which is a rather incensed statement. Meanwhile, by saying, “no, I'm not okay. My uncle hates me, I know it,” Zuko directly addresses his self-loathing without the use of language such as “shoves them back in my face,” the latter of which is reminiscent of how individuals may unthinkingly reveal information in a sudden emotional outburst.

Then, when Katara asks him if he’s sorry for what he did, the words come easily to Zuko, the most easily he admits to his own mistakes after three years of not admitting anything truthful to himself: “More sorry than I've been about anything in my entire life.”

And Katara, just as Toph did, says with the utmost confidence and sincerity, “Then he'll forgive you. He will.”

This moment of affirmation that runs parallel between both dialogues is where Zuko’s responses begin to diverge. Whereas Zuko reacts to Toph with disbelief and doubt, this is how he reacts once he hears Katara’s words:

He takes Katara’s words to heart and accepts them. Because out of all the GAang, Katara is the one who knows the most about forgiving him, who most keenly feels the change he underwent since his betrayal in the catacombs. And so he stands, still nervous but no longer afraid, facing forward towards the future instead of back into his past.

Iroh and Zuko’s relationship is one of the most important ones throughout the entire show, so to see Katara play a pivotal role in a critical point in their dynamic shows just how important Katara’s character is to Zuko (and vice versa, though in here I do touch upon the former in more detail).

Although my analysis on the self-disclosure between Zuko and Katara may have run away from me a bit (due to my love for far-too-in-depth critical analysis), these all show an undeniable bond between Zuko and Katara, displaying a profound friendship rooted in narrative parallels, mutual understanding, and interwoven character arcs. Ultimately, their fulfillment of perceived similarities, pair rapport, and (the one I rambled most on) self-disclosure is what establishes Zuko and Katara as not just a strong platonic bond -- but one that has the potential to transition into a romantic one.

Thus concludes my essay on Zutara’s friendship and its connection with the initial stages of intimacy that are shared between both platonic and romantic bonds. After all that analysis, it would be remiss to simply dismiss the Zutara dynamic as one that would instantly become toxic should they pursue a romantic relationship.

That being said, I will explore the possibility of a romantic relationship between Zuko and Katara and how this connects to the latter stages of intimacy -- role-taking, interpersonal role fit, and dyadic crystallization -- in part 2 of this meta-analysis. Click on the link if you want to read it!

Part 2

Works Cited

(only partially in MLA 8 format because I want to live a little)

Close Relationships: A Sourcebook. By Clyde A. Hendrick & Susan S. Hendrick. Link

“Nonverbal behavior in intimate interactions and intimate relationships.” By P.A Andersen, Laura K. Guerrero, & Susanne M. Jones. Link

“On Becoming ‘More Than Friends’: The Transition From Friendship to Romantic Relationship.” By Laura K. Guerrero & Paul A. Mongeau. Link

The Psychology of Intimacy (The Guilford Series on Personal Relationships). By Karen J. Prager. Link

(If you check some of these links, you may note a few of these sources have been cited quite a few times. With just a bit more research, it appears possible to find a plethora of other sources to corroborate the theory of shared platonic-romantic intimacies.)

Thank you all for reading!

#atla #atla meta #zutara #zutara meta #my bated breath analyzes #research on relationship intimacy #influenced by academic writing #i have more metas coming soon #but until then you can find that i do other writing as well #like fanfiction #check out my fanfiction on the My Writing tab on my blog #please like and reblog to prove Zutara with Facts and Evidence everyone #my bated breath's posts

509 notes · View notes

mirandagoing4baroque · 5 years ago

Text

Field of Streams: Ariodante, in Concert, While Making Lasagna

The English Concert was supposed to perform Rodelinda in concert at Carnegie Hall on May 3rd 2020. Obviously they did not. In some ways I am lucky--if the Met hadn’t done Agrippina I might have made plans come to New York to see Rodelinda instead. It wouldn’t be unprecedented. In fact, in 2014, I finally got to call in an IOU over a decade old. As I mentioned on this blog, when I was in kindergarten and first heard Alcina, I managed to get my father to promise to take me to see Alcina live whenever it came to the east coast. And more than twenty years later we finally got to see the English Concert perform it in concert in Carnegie Hall. In the intervening years there was a debate about whether Toronto counted as the east coast, but my father insisted that he had only meant the east coast of the United States. And when the English Concert brought Ariodante on tour in 2017 they were kind enough to take the show to the Kennedy Center which was considerably more convenient.

As a replacement for the aforementioned cancelled Rodelinda concert, they streamed a recording of the Ariodante in Concert recorded at and live streamed from Carnegie Hall in 2017. As I mentioned above, I was lucky enough to see this concert at the Kennedy Center when it was touring, and I also watched the stream at the time, and then I rewatched it when it was streamed again this past weekend (twice, I regret nothing). So I am, shall we say, intimately familiar with this production.

Opera in concert is an interesting phenomena. I’ve seen three operas in concert (Alcina, Ariodante, Zelmira) and a few others that were only ‘semi-staged’ (Don Giovanni 2x, Radamisto, Giulio Cesare at Boston Baroque). Well, Miranda, you say, “the monkey paw has curled, and you got what you wished for in the Acis and Galatea review, an opera stripped of any ‘razzle dazzle’ or distractions. So, can the emotional drama stand alone?” On this subject I cannot speak for anyone other than myself but I believe it can and it does. I am sure that there are those for whom the grand sets and costumes are an integral part of the experience, and that is a legitimate position to take, but not one to which I ascribe.

However, especially in these times, watching operas in concert (stay tuned for my review of the Boston Baroque Agrippina stream) makes me think about what the bare essentials of opera are. The sets and costumes are fun, sure, and all other things being equal, I would rather have sets and costumes and the full spectacle. And they can cover a multitude of sins. It is far more difficult to create an entertaining production when it is just the orchestra, the singers, and an empty stage. But this production is, to me, as moving as some fully staged productions I’ve seen. So what is the immutable core of these operas? What is it that I am searching for when I am “Going for Baroque?”

The value I find in opera is as an emotional touchstone. This is not a novel concept, and I am not the first, or even the thousandth to think it. Why it is Baroque Opera for me and Jazz or R&B for you, I cannot say,* but when I hear this music performed well my heart (or my soul, or my grey matter, or whatever the thing is that is that feels the feels) stirs in response. So what I am looking for when I am going to an opera is not a spectacle. I am looking for a conflict that put the characters through a variety of feelings, music that is performed with care in a baroque style, and singers and musicians who will sing or play with pathos, so I can have the transcendental experience of sharing an emotional response with a room of strangers, and most importantly, with my father. We have been watching many of the same streams, and sharing our thoughts over the telephone but it’s not the same as sitting next to him in a hushed auditorium and seeing, out of the corner of my eye, a small small creep across his face as the horns come in because he knows they are my favorite. I am counting down the days until we can share this again.

But enough philosophizing. Let’s review the stream. So we know the standard, how did this production measure up? Well, I watched it four times, so that’s a hint. In fact as to music performed in the Baroque style, this performance could be considered a gold standard (of course along with the Glyndebourne Giulio Cesare). I am such a sucker for period instruments. To my ear the difference between Baroque Opera performed with and without period instruments is the difference between your average red wine vinegar, and an expensive aged balsamic. The red wine vinegar is fine, but the aged balsamic has a far more interesting, layered, intense flavor. This is especially true with respect to brass, where the natural horn is basically a completely different instrument from the french horn. The English Concert has never once disappointed me. Harry Bicket is always a master of the correct tempo, but in this concert, the flowing dance rhythms that undergird the arias really shone.

So next up we have a drama that puts the characters through a variety of feelings. If you need a refresher on the plot of Ariodante, I covered it earlier here (and if you’re too lazy to click the link, think the Hero/Claudius plot from Much Ado About Nothing), but there is no debating that it certainly takes the characters on a roller coaster of emotional situations. The stellar cast dug deeply into the libretto and squeezed every drop of feeling from Handel’s brilliant arias. Ariodante was composed when Handel was at the peak of his operatic abilities and it contains some of his most sublime music.

Mirroring the tasteful stylings of the orchestra the cast had subtle but effective ornamentations in the da capo sections that elevated the theme but did not obscure it (no mean feat in such arias as “Dopo Notte”). The King of Scotland was played by Matthew Brook, who I do not believe I had seen before and nor have I seen him since. I really enjoyed his performance and he was an especially capable actor. He leaned into the paternal aspects of the role, and I found his emotional arc quite moving. David Portillo was a wonderful Lurcanio, and I still hope to see him again in something (hint, hint, DC directors). I particularly enjoyed his “Tu Vivi.” In this aria Lurcanio tries to dissuade his brother Ariodante from choosing suicide after seeing a woman they believe (incorrectly) to be Ginevra let a man into her rooms. It is often sung in a rage, which allows for blistering speed and impressive displays of vocal prowess, but in David Portillo’s interpretation, it was a desperate plea to save his brother's life. By toning the aria down a notch, he accessed some very interesting interpersonal and emotional drama that added novel layers to a familiar aria.

This was my first time hearing Sonia Prina live, but I had fallen in love with her voice on many Baroque recordings. She has a wonderful vibrancy and fluidity in her lower register, which is particularly critical for women playing Polinesso, in my opinion. Sometimes they can sound a little stilted in the low runs, but she had full power and flexibility. I also appreciated her aesthetic. The punk rock bad guy Polinesso she portrayed was believable as a love interest for Dalinda, and as a villain. It is not her fault that Polinesso’s arias are all a little one note (think Iago’s extensive monologues in Othello).

I absolutely adored Mary Bevan’s Dalinda. I hadn’t heard her prior to this concert, and I eagerly await my next opportunity (still waiting......). She was believable as a young woman who fell in love with the wrong manipulative man and made a mistake. I loved her portrayal of the rising horror throughout the second half as she realized what was going on. I always love "Neghittosi, or voi che fate?", the aria where she calls on the heavens to strike down the man who wronged her, but I found her interpretation to be a particularly affecting vision of female empowerment and rejecting the notion that she was culpable, and laying the blame squarely at the feet of Polinesso, where it belongs.

This was also my introduction to Christiane Karg, who was a vocal standout as Ginevra. I would have liked a little more emotion from her, but, as I’ve acknowledged above, I like my Handel drama cranked to eleven, so that may just be personal preference. Regardless of the acting, her singing was note-perfect and I have no real complaints.

Which brings us at last to Joyce DiDonato. Her performance in this production is one of my most treasured concert memories, and the kind of magic you are just grateful to bear witness to. Any performance of “Scherza Infida” is a miracle of acting and vocal stamina. As I said in my last review of Ariodante, the song is 12 minutes long, and contains four lines of distinct lyrics. To hold the audience’s attention with no prancing dancers in nude bodysuits, with only your voice and the music--that is a gift. But you can google reviews of this production and read critics who know far more about this than I do raving about her “Scherza Infida” and her “Dopo Notte.” I want to talk about the redheaded stepchild of Ariodante’s third act arias “"Cieca notte." This is the moment when Ariodante learns that he was fooled--that he was betrayed by his beloved, that in fact he has betrayed her. (Apparently I have a thing for arias in which Handelian heros realize they have been fooled, see also, “Mi Lusinga” from Alcina) To watch her sing this aria, and to see the distinct waves of realization rolling across Ariodante’s soul as the aria progresses is to watch a master at work. I will at some point write up my magnum opus on how, when properly performed, da capo arias should replicate the structure of the Hegelian Dialectic, but that is a problem for another day.

So there it is, how you can strip away all but the absolute essential bits from an opera and still have a dynamic, dramatic, engrossing evening (even when you’ve seen the thing three times already). Because for me, I got what I needed out of it. I felt that resonance in my soul. I found a little comfort in these times. It’s no replacement for live opera, but it soothed a bit my parched throat. Okay, I lied, I do have a few things to say about “Dopo Notte.” Ever since I watched this stream, I’ve been listening to “Dopo Notte,” the bravura aria Ariodante sings at the end of the show, rejoicing in his reunion with Genevra, almost every day, because it is the tonic I need during these times (you can listen here if you think it might be the tonic your soul needs too). It is a promise I make to myself; permission to let myself hope. A promise that the sun will shine again, that these dark and stormy waters will not drag us under, and that someday I will sit next to my father in a dark opera house, and we will once again share in the experience of Handel’s glorious music.

“After a dark night, the sun shines in the heavens and fills the world with joy...”

*It was definitely the brainwashing.

#ariodante #joyce didonato #baroque #opera #english concert #carnegie hall

1 note · View note

poipoi1912 · 8 years ago

Text

More 19x01 Thoughts

I just wanted to respond to some of your comments on my premiere post (thanks so much for reading that, by the way! You can find it here.)

But first, let me talk about the Sonny/Fin deleted scene (posted here).

Fin and Sonny

I LOVED EVERYTHING ABOUT THIS.

When we first saw that Fin/Sonny pic at the bar, I assumed it was part of a stakeout scene or something to that effect. I didn't dare hope that Fin would actually ask Sonny out for a drink to pick his brain! That was better than anything I could have imagined, because yet again the show acknowledged Sonny's identity as a lawyer, but this time it wasn't in annoyance, like we usually see (e.g. the Rollins scene). This time, another cop actually reached out to Sonny for legal advice! That's a perfect use of a character like Sonny. The others can go to him with questions on matters Barba should be left out of, if only for reasons of plausible deniability. Sonny is a cop, still, so he's on their side (up to a point, because again we saw how strongly he felt about upholding international law), so it’s easier to go to him.

And it wasn't just the setting of the scene. It was also the humor, and the lovely camaraderie between Sonny and Fin (a rather underdeveloped dynamic, even though their team-ups have given us some standout moments in the past few seasons). We got so many good jokes, with both of them landing some decent jabs. Truly, if this episode had one single thing going for it, it was good dialogue. These one-on-one scenes, they can so easily be ruined by bad, out of character or stilted dialogue, despite the best efforts of the cast. Instead, this scene came to life.

And there was a balance, too. Fin joked about Sonny's legal knowledge (or lack thereof), but Sonny teased back (about the Cuba thing, as if he didn’t know, lol) while holding his own and defending both the law and his position as a cop-slash-lawyer. They were on equal ground as characters, as friends, even, and the warm (and hilarious) ending painted both of them in such a positive light. Fin was buying the drinks, Sonny sassed him about being on retainer, and Fin came back with that perfect line about attorney-client privilege. That showed they both knew what this was, and they’re close enough to joke about it, and they trust each other enough to keep it to themselves.

Sonny and the Law, Vol. 2

But we also got Sonny characterization! Fin asked about his law license (and I'm glad he at least remembers Sonny passed the bar, lol) and Sonny very pointedly said it was "gathering dust." Sonny didn't sound particularly happy, even if he wasn't 100% regretful. That line reading, it was just wistful enough to let us know that Sonny is torn between the two careers, and his constant nagging about the law was enough to remind us that Sonny is more than just another cop, but the show didn't beat us over the head with his dilemma. Instead, we got a more subtle way of conveying Sonny's potential dissatisfaction.

I can't wait to see more about that. I'm even a little more excited for the new ADA's arrival, because now I'm curious to see how Sonny might react to him and his more harsh (I assume) approach. So many possibilities!

Squad Thoughts

Despite the fact this scene was deleted (like all the best scenes are, like the Barisi scene from Depravity Standard, or that Rollaro elevator scene, or the Barba mentioning Hamilton scene, etc etc), the new showrunner truly seems to want to cultivate stronger interpersonal relationships between all the characters. In the premiere alone we got Liv/Amanda, Liv/Barba, Liv/Fin, Barba/Fin, Sonny/Amanda, Sonny/Fin, and I'm hoping we get more and more iterations as the season advances.

Your Thoughts

@avenuepotter said:

ALWAYS love your analyses. I lost myself in a crazy chuckle when I read this part: Fin - rule breaker, fashionable (lol), has negative fucks to give. Can’t wait for next week.

First of all, thank you so much, and I always love reading your thoughts as well! Secondly, after watching the aforementioned deleted scene, it appears that Fin just might give the tiniest of fucks, since he wanted to check with Sonny to make sure the guy wouldn't walk. While still being a rule-breaker and fashionable, of course.

I loved that touch. It's more characterization than we usually get for Fin, and it put Ice-T's entire performance in the premiere in context. When he grinned and told Liv "I didn't even know it was legal!" his surprise was because he had actually checked, lol! Now I love that moment even more.

@shadowassassin32 said:

Yay you are back!!!! I love reading your analysis of things. It’s always very interesting.

I have a question for you. When Liv confessed to Rafi about the gun thing and asked “What was I thinking?” do you think that she might finally stop putting herself in dangerous situations for Noah’s sake at least? Curious on what your interpretation of that scene was.

Thank you so much, it’s great to see all the regulars back for this season. We're all still here, somehow, and I hope this season will give us more food for thought.

As for your excellent question, I don’t know if Liv's realization will affect her behavior as the season goes on. If I'm being honest, I think this was just a tiny seed planted by the writers which will eventually blossom when the Noah custody issue gets explored. There's a chance Brooke Shields will challenge Liv's adoption (I'm assuming), or, at the very least, there's next week's investigation, and I think Liv might momentarily question her situation, especially if she sees that Noah could possibly live in a "safer" environmentin a different, "normal" home. Which is ridiculous, of course, if not offensive (I hate to see good mothers doubting themselves, though I realize it's part of the deal, lol. A good mother always worries. Plus we did get that great Amanda moment, which served to reassure Liv.)

That said, I think a good mother like Liv just might put herself last, and consider the possibility her child might be "better off" someplace else. I think that's what that scene was about. It's true, it's harder for Liv to risk her life knowing she has a kid at home, but then there are so many cops with kids, and they do their jobs every day, and they go home to the little ones. Then again, Liv's stunt was a little too dangerous and self-destructive. It is certainly possible that she'll realize that she needs to stop doing that. It's one thing to find herself in a dangerous situation (like all cops sometimes do), but to actively seek it out? To show no regard for her own life?

Again, this could potentially be offensive (do mothers need to be more worried than fathers? Would this storyline ever involve a male cop, like, say, Nick?) Also, to quote Brooklyn Nine-Nine:

That said, it was something new, at least. Something we haven’t touched on. Original Recipe Liv used to be way messier and more self-destructive (and I loved her for it), but we never truly saw her struggle with that since becoming a parent. So I’m interested to see where it goes.

@extrovertedsparkle said:

^^^^ YES! I was so grateful for an episode where I couldn’t decide if I liked it or not, and didn’t just hate it outright lol! Some parts were overacted, omg Carla’s husband but I felt it had a really good pace overall and felt like old times, as opposed to the mess that was season 18.

I’m here for the quirk, and the friendship, and the snark of the squad and I cannot wait to see what season 19 has in store for us.

Agreed. I was surprised by how much I didn’t hate it, lol. I sat down to watch it with hesitation, ready to cringe, but I ended up actually liking it. No one knows how the season will play out, but at least this premiere showed potential.

@bensonismymom said:

Yes!!! I’m really glad we have the dynamics back again between characters!!! The scenes with sonny and Amanda / Amanda and Liv / Liv and Fin / Liv and Barba WERE SO GREAT!! I missed having the characters interact with each other again!

Absolutely. I said it many times, the number one mistake made by the writers last season was the loss of the sense of a squad. We do watch the show for the cases (which tbf were also terribly underwritten and repetitive in S18 as well), but mostly we all love the characters. We want to see how the cases affect them, and we also want to see them interacting with each other, as colleagues, and friends, and family. That's the heart of the show. Otherwise it's just any other procedural.

These characters have been so well-drawn, some (like Liv and Fin) for literal decades, and some (like Barba, Sonny and Amanda) for years, and S18 wasted all that history. Season 19 seems to be doing better already, even one episode in. That gives me hope.

Thanks again, for all your comments.

I love you all <33333

#sonny carisi #fin tutuola #olivia benson #svu #law and order svu #episode thoughts #part two #long post #that deleted scene slayed me #and i loved all your comments #let's hope the second episode follows through on what the premiere gave us

36 notes · View notes