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tarry-a-lot · 1 year ago

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Because I'm feeling whimsical,

What the fuck do you mean that's a quilt??? Round 2

All quilts are contest winners from the quilt show Road to California, 2022. You can see these quilts and the other winners from that year here.

Best of Show Quilt

Title: Harlequinade Maker: Rebecca Prior Quilter: Jackie Brown Design Basis: Maker's Original Design "Harlequinade" is a theatrical quilt filled with visual clues guiding viewers to discover a hidden story. Inspired by Venetian Carnival masks and commedia del'arte characters, the quilt features the antics of Harlequin, the trickster, who has his own ideas about freedom and fun!

Director's Choice

Title: Welcome Home Maker: David Taylor Quilter: David Taylor Design Basis: Original image by Margo Clabo, used with permission I first saw this image from friend Margo Clabo more than a decade ago. It took years to convince her to let me adapt her photo into a quilt. The image it depicts is especially sentimental for her. The challenge for myself was to create a pieced pictorial background and recreate a traditionally pieced quilt by using my hand appliqué technique. The project size was overwhelming, but I'm thrilled with the finished quilt. So is Margo. Time to exhale.

Note: To be clear, that is not a photo with a quilt in it, that WHOLE THING is a quilt.

Best Machine Stationary Quilting

Title: Emerald labyrinth Maker: Kumiko Frydl Quilter: Kumiko Frydl Design Basis: Maker's Original Design As a starting point I used an image from the entrance to the EL Barkookeyeh Mosque in Cairo. Thinking of an elegant and intricate garden I added bursts of natural color and filled the area between the large elements of the design with finer ornament inspired by butterflies and plants. I set the circular image in a rectangular frame with a subdued complimentary design of rippled reflective pools.

1st Place: Animal

Title: Woodland Wilds Maker: Ann Horton Quilter: Ann Horton Design Basis: Maker's Original Design My morning hikes in the woodland hills of our northern California home inspired this quilt. The rabbits are always alert for danger. This machine appliqued, thread painted and embroidered view through a window is surrounded by wild flowers on hand dyed silk and again surrounded by other wild birds and animals. I love my wilds things in the woods!

1st Place: Human Image

Title: The Memories That Remain Maker: Lynn Czaban Quilter: Lynn Czaban Design Basis: Library of Congress Photos - LC-USF33-006183MI and LC-USF33-0061 I am fascinated by the human face and our ability to communicate without uttering a single word. The Portuguese word 'saudade' meaning a deep emotional state of nostalgic or profound melancholic longing for something or someone that one cares for and loves. Moreover, it often carries a repressed knowledge that the object of longing might never be had again.

1st Place: Naturescape

Title: Desert In Spring Maker: Andrea Brokenshire Quilter: Andrea Brokenshire Design Basis: Maker's Original Design My Mom and I embarked on an epic travel trip we named our "Thelma and Louise Adventure" In Palm Springs, CA we visited the Living Desert Botanical Garden. This quilt is inspired by one of the photographs I took that spring day of a Prickly Pear Cactus in full bloom. I loved the leathery texture of the cactus leaves (paddles) and the almost translucent citron yellow blossoms.

2nd Place: Animal

itle: Not Today Maker: Kestrel Michaud Quilter: Kestrel Michaud Design Basis: Maker's Original Design The chase is on! The Roadrunner is after his next meal, chasing a Common Collared Lizard through a steampunk junkyard. The desert is a favored dumping ground for the detritus of progress, even in a fantasy world. A steam-powered industrial revolution creates iron refuse and pieces of broken machinery have been left to decay in dry desert air. That doesn’t bother these critters. To them, this is home. Will that lizard wind up as dinner? Not today!

2nd Place: Human Image

Title: Declaration of Independence - Voices of Freedom Maker: Nancy Prince Quilter: Terri Taylor Design Basis: Reproduction of John Trumbull's Painting The quilt is a reproduction of John Trumbull's painting which depicts the moment in history when the first draft of the Declaration of Independence was presented to the Second Continental Congress on June 28, 1776. The quilt front and back were created in Photoshop and custom printed on fabric. Four thousand hours over 4 years was necessary to create the quilt. The back captures the story of the Declaration and its signers.

Note: I'm not at all patriotic. But credit where credit is due. That's a fucking quilt.

3rd Place: Animal

Title: Midnight Flight Maker: Joanne Baeth Quilter: Joanne Baeth Design Basis: Maker's Original Design Several years ago we had an injured Great Horned Owl roosting in our willow tree during the day. I took several pictures and was inspired to create him in fabric. The background features a painted sky, old buildings, melting snow and a rabbit on the run The foreground is the swooping owl which was constructed by painting and inking each feather and thread painting over fabrics and needle punched wool rovings

3rd Place: Naturescape

Title: Day Into Night Maker: Deb Deaton Quilter: Deb Deaton Design Basis: Maker's Original Design Inspired from photo by Robert Murray with his permission. When the Arizona sun begins to set, the sky comes alive. I saw this photo and knew the splendor of this landscape needed to be captured with fiber! Sky is hand painted. Raw edge applique. Mixed media used: oil pastels, color pencils, inks to enhance the fabrics and create more dimension. Cheesecloth: painted to create spikes of cactus. Tulle used to capture the sunrays. Machine quilted.

#cool art #quilting

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tarry-a-lot · 1 year ago

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Hey, if you never hear from me again it is because I got lost getting to/from my hotel room and am now trapped

I’m honestly not sure I captured all the twists and turns

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tarry-a-lot · 1 year ago

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Here are the lyrics and their translations that I refer to in my wall of text above, along with their corresponding numbers.

「なぜ神よあなたはあの男に神の力与えた」 “God why have you given that man divine power”

「なぜ私でなくあの男を選んだ、そのわけを教えて.....あの青年さえいなければ私が選ばれていたはず」 “Why did you choose that man and not me, tell me the reason…..If only that young man hadn’t existed, I would have been chosen”

“Mais d'où vient l'émotion étrange, Qui me fascine autant qu'elle me dérange” “But where does this strange feeling come from, which fascinates me just as much as it disturbs me”

“C'est si bon de souffrir, Succombe au charme, donne tes larmes” “It’s good to suffer, succumb to the charm, let the tears flow”

「どこから来るのかこの喉の渇き」 “Where does it come from this dryness in my throat”

「どこへ行けばいい？どこなら見つけられる？何も恐れないで今過ごせる場所」 ”Where should you go? Where it can be found? A place where you can spend time at right now and not be afraid”

「痛みだけが歌う！真実を」”Only pain can sing the truth”

「血を！流す時見つけられる本当の喜び」 “When blood flows down true joy can be found”

「流れ！おちる血が語りかける本当のお前に/俺に〜」 “The blood that flows down speaks out to the true you/me”

「この身体嫉妬の！炎で狂おしく焼き尽くすのだ」”...my whole body crazily burn with the flames of jealousy”

「奪える物なら奪い取ってやる」”If it’s something that can be stolen I’ll steal it”

「奪うことさえも許されないのかそれすら出来ないもどかしさよ」”Will stealing not even be forgiven? Can’t even do that it’s frustrating” and ends each chorus with the line 「神様が私を見つけた」”God has found me”

「心の奥で(心では)尊敬!してるのさ(悔しいけど)それが!真実」”Deep in the heart (In my heart) I respect you (even though it frustrates me)”

“Cette nuit intenable insomnie, la folie me guette. Je suis ce que je fuis…Elle me dit, tu paieras tes délits” “Tonight, unbearable insomnia madness awaits me. I am what I run away from She tells me, you will pay for your crimes”

“J'avoue je maudis tous ceux qui s'aiment.” “I confess I curse all those who love each other.”

“Je joue sans toucher le beau. Mon talent sonne faux” “I play without touching the beautiful. My talent rings false”

“L'ennemi tapi dans mon esprit fête mes défaites sans répit, me défie” “The enemy lurking in my mind celebrate my defeats relentlessly, defies me”

“Je renie la fatale hérésie qui ronge mon être. Je veux renaître, renaître” “I deny the fatal heresy that eats away at my being. I want to be reborn, reborn”

「耳に残る声は消えはしない....叫ぶ逃げられない「お前は行く場所など無い」と」 ”It remains in my ears, the voice won’t disappear…screams, inescapable, ‘There is no place for you to go’”

「...狂ったこの世界に捧げよう憎しみのメロディーを」 "I will offer the messed up world the melody of hatred“

「神に見放されて立ち尽くす哀れな抜け殻」 “Forsaken by god, a pitiful shell that stands still”

「望みなどないなら狂ったこの世界を終わらせようこの手を血で染めても」”If there is no hope, let us end this messed up world, even if these hands stain with blood”

「全て消え去るならお前��地獄まで行こう」 “If everything is going to be erased, then I’ll go to hell with you” 「美しいミュージックこの手から奪われるのなら光など欲しくはない祈りなど聞こえない」 “If this beautiful music is to be taken from my hands I don't want light… I won’t hear the prayers…”

「しかし彼の音楽には敬意を払いたい　殺したいほどに」 “However, I want to pay respect to his music, to the point/extent of wanting to kill”

「俺の耳元で鳴り響く殺しのメロディー　タクト持つ代わりにこの手にナイフを握り締め」"”By my ear, the melody of killing is ringing out. Instead of a baton, I grip a knife in my hand”

「己の喉を掻切るのか　あの男殺すか」 “Do I slit my own throat or do I kill that man”

「この心寒いんだ... 本当は怖いんだ」 “This heart is cold…The truth is I’m scared”

「あの男殺したい!」 “I want to kill that man!”

"Je me croyais l'élu en volant mon histoire, mais je me suis perdu pour gagner. A vaincre sans vertu, on triomphe sans gloire, l'honneur vaut mieux que le trophée" “I thought I was the chosen one by stealing my story, but I lost myself to win. To conquer without virtue, one triumphs without glory, honour is better than the trophy”

"C'est ridicule pas de scrupules il faut triompher. Si on t'adule pas de scrupules laisse-toi porter" “It's ridiculous, no scruples, you have to triumph. If you are praised excessively , no scruples, let yourself be carried away”

“J'ai perdu pour l'histoire” “I lost for history”

"Je me croyais l'élu en volant mon histoire, mais je me suis perdu pour gagner" “I thought I was the chosen one by stealing my story, but I lost myself to win”

「勝利なんて意味などない、自分は騙せない」 “Victory has no meaning, you can’t deceive yourself”

「くだらないことは君次第で。勝利を奪えばいいだけさ」 “The only ridiculous thing is you, one simply needs to steal the victory”

「鏡の中から聞こえる自分を笑う声」 “Audible from within the mirror, my voice laughing at me”

“Mais le miroir fuit mon regard pour ne pas voir que je suis victime de ma victoire" “But the mirror flees from my gaze so as not to see that I’m a victim of my victory”

「信じられるものなど無い, 哀れな道化師さ」 "There is nothing to trust I’m just a pathetic clown”

「自分を笑う声...「地獄に落ちる」と」 “My voice laughing back at me…that “You’re bound to hell’”

「才能など何もないと思い知らされただろう」 "I was reminded that I have not a single piece of talent “ it should be noted that “reminded” is a rough translation it can also be “forcibly realised” or something along those lines

「君と言うライバル巡り会った」 “I met a rival like you”

サリエル: 「モーツァルト、君はきっと回復する」モーツァルト: 「ありがとう...友よ! 」サリエル: 「友? 私を友達と?」モーツァルト: 「当然だ！音楽を愛するもの同志じゃないか？」サリエル: 「そうだな、これからも音楽で君と戦おう。」 AS: “Mozart, you will definitely get better” WM: “Thanks… my friend” AS: “Friend… I’m… your friend?” WM: “Of course, we’re both beings who love music are we not?” AS: “You're right. Let us continue fighting/battling through music”

I cannot express how different salieri is between the French version, 2013 jp and 2019 takarazuka, I’ve been analyzing the lyrics for reasons and it’s just so different

Perhaps with the visuals and acting scenes it all melds together to be similar to each other but the lyrics really paint him so differently

#long post #mozart l'opera rock #mor

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tarry-a-lot · 1 year ago

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Hello, sorry this is late and super long, but I sure can add more. I should preface this by saying I'm not a big Takarazuka fan so my knowledge on it is not perfect, lyrical analysis is not my strong suit and that my French is quite bad, so a lot of machine translation was used so apologies in advance for any inaccuracies. Additionally. I should note that my opinion is formed from watching the French ver. online, listening to the 2013 Japanese soundtrack on YouTube, and owning the French CD, Takarazuka CD, and the "Le CINQ" (Takarazuka Magazine) issue on Mozart L'Opera Rock. I probably will accidentally breeze past some explanations, but I do plan to post the Jp lyrics later so for those who want to go through them themselves there will be that.

Casting:

To begin with, I think it's relevant to know that unlike the Fr!MOR, the Jp2013!MOR cast had double casting (in Jp you may see it written as "w casting") so there are multiple actors cast as a character (usually only 2 but sometimes it's 3 or 4). They are not understudies. Instead, it’s like having multiple versions of a cast. The Jp2013 ver. has 2 cast members playing Mozart and Salieri interchangeably, which created the show having two labels, Indigo and Rouge versions (Rouge=Nakagawa!Mozart +Yamamoto!Salieri, Indigo= Yamamoto!Mozart+Nakagawa!Salieri). This casting method of having two actors sharing and switching between characters reflects the emphasis this production put on the connection between Mozart and Salieri.

Takarazuka casting is also important to consider due to the fact it is a ranking based troupe. The actors are similar to idols (think jpop+kpop), most have a following and fan base. Takarazuka has 2 types of actors, those who only play female roles and those who only play male roles (though some exceptions exist). There is a top pair of male and female role actors that usually are cast as the main characters of each show. This casting culture of Takarazuka is reflected in their shows by often having a main female and male character. For a show like MOR this would be Constanze and Mozart as the main couple, thus this production added more Constanze scenes compared to other productions. This also affected Salieri's characterization, though likely not the only reason for the change, he is the secondary male character and main antagonist, and is an antagonist to a larger extent than the French version. Tkz!Salieri adopts other sub-villain roles and plots into his characterization (for example: Webber marriage contract plot? Tkz!Salieri was behind it). It also should be noted that the actor who played Salieri is a Senka actor and not part of a specific troupe, so perhaps that is also an indicator that while Constanze+Mozart was prioritized Takrazuka still valued the Mozart+Salieri dynamic in the production.

Plot:

I don't know enough about the Jp2013 production to say too much but from what I gather it follows the original French plot closely. Tkz!MOR is a different case (I will focus mainly on the Salieri related changes). Tkz!Salieri is the one who sent a lawyer to convince Mdm. Webber into making a contract to ensnare Mozart in a marriage with Constanze. He also ends up blackmailing Rosenberg to keep helping him (Salieri) after Rosenberg becomes Mozart's fan and wants to stop plotting against Mozart.

Songs:

Before I get into the lyrics, I want to point out the differences in songs Salieri has between productions. In the French and Jp2013 ver. Salieri sings (in chronological order): “Le Bien Qui Fait Mal” (LBQFM), “l'Assasymphonie'' (L’A), “Victime de ma victoire” (VDMV) and “Vivre à en Crever'' (VAEC). In the Takarazuka version they cut VDMV and instead gave Salieri “Penser L'impossible'' (PL’I). So chronologically Tkz!Salieri sings: PL’I, LBQFM, L’A and VAEC.

Lyrics:

Summary (just read this if you want the short ver.)

Fr!Salieri is quite new to jealousy and negative thoughts, and throughout the show struggles with it while also being burdened by his own guilt and self-hatred. He is also the Salieri with the most direct references to having a bad self-image.

Jp13!Salieri is also quite new to jealousy and violent thoughts. He is afraid of this new change, but quickly accepts it because he is desperate to escape all the swirling emotions and believes that embracing it is the only way to alleviate it. He also is the Salieri who negatively comments about the world the most, not only does he see himself as messed up, but he also thinks the world is too.

Tkz!Salieri is made out to be not a good person from the beginning, he doesn’t understand friendship and is obsessed with the idea that it’s him vs. Mozart and that only one can win/survive. However, despite the angry bravado he shows and believes in, underneath it all he is a genuine music lover that is aware and sad about who he is.

Song Analysis (long ver. where I ramble about lyrics)

PL’I (Tkz only)

This is an important song to understand Tkz!Salieri. Salieri speaks of Mozart’s musical talent as something divine, something received from the heavens (1). From the start it’s established that Salieri thinks highly of Mozart’s music. This admiration is heavily contrasted by Salieri’s deep hatred for Mozart, specifically his character and lack of class. Additionally, Salieri implies that the talent that Mozart receives/has could have been and should have been his (2). Unlike the Fr!Salieri and Jp13!Salieri, Tkz!Salieri is not simply jealous, but he also feels that something was unfairly taken from him by Mozart. This really sets the Tkz!Salieri plotline up to be about this intense sense of rivalry and competition Salieri has for Mozart. Technically the other versions are also about Salieri and his perceived rivalry, but those versions also prominently feature his internal struggles and so their Salieri plotlines seem to be more about his internal conflict rather than being about the rivalry.

LBQFM (Fr, Jp13, Tkz)

The French version is hard for me to understand but from what I gather it’s about his newfound jealousy towards Mozart. The part I’m a little vague on is whether the contrast between love/good with pain/suffering is referencing Salieri’s love for Mozart’s music in contrast to his painful jealousy towards him or that it is referring to the way Salieri is drawn to the negative thoughts that come from his jealousy. He is initially confused about the new emotion but is strangely enthralled by it despite it hurting him (3). The ensemble chorus also seems to act as tempters who are urging Salieri to not fight against the emotion and that he should allow it to consume him (4). In other words, they call for him to embrace his jealousy and the accompanying negative thoughts/violent impulses. In summary, Fr!Salieri is confused by his attraction towards the intense jealousy and negative thoughts he has towards Mozart.

The Jp13 version is actually quite similar to the French version with only slight differences. Jp13!Salieri is also confused about this new emotion he feels (5). Rather than feeling conflicted about enjoying the new emotion, Jp13!Salieri is just afraid of it (6). In this version the ensemble chorus also acts as tempters. They tell Salieri that he should not only succumb to his emotions, but that by doing so he will know the “truth” and his “true self” (7). I think this could mean both that the tempters are saying that this new side of him is actually the true version of himself, and that he should face the emotions head on so he can understand it and himself better. Notably, unlike the Fr ver. there is a lack of “good/love accompanies pain/suffering” in the lyrics. At most the tempters try to convince Salieri to give in through a metaphor using blood (8) and so there is some of the French love/pain pseudo-masochistic metaphor present, though Salieri himself never says this. At the end, Salieri implies he’s starting to buy into the chorus’ suggestion by joining them in singing, “The blood that flows down speaks out to the true you/me” (9). In summary, Jp13!Salieri is afraid of his new dark thoughts and emotions but gives into it as he begins to believe that it is the only way for him to be free or at the very least the only way to alleviate him from his struggle with the said thoughts and emotions.

Tkz differs greatly from the other two versions with Tkz!Salieri being fully aware that he feels jealous of Mozart's musical talent (10). This is even reflected in the song’s title being “ジェラシー,” which is just “Jealousy” written in katakana, while in contrast the Jp13!LBQFM is called “痛みこそ真実'' which means “Pain is the truth.” In the verses, a new characterization for Salieri is introduced, which is not present in the other versions. He admits that if there is something he wants he will just take it/steal it (11). It seems that even prior to Mozart, Tkz!Salieri was ruthless and cared only for personal gains and disvalued others (seen later on when he blackmails Rosenberg to help him). Interestingly, there are quite a few references to God in this song, a trend we will see in both Japanese versions as we go along. Tkz!Salieri seems hyper-aware of God’s judgment, and through this awareness it can be determined that he, to a certain degree, is aware of the “wrongness” of his feelings and thoughts (12). In other words, though he is confidently singing about his jealousy, hatred, and feigning nonchalance to his own despicability, there is another self-aware part of him that is guilty and shameful of his actions. I think he is attempting to deny his own self-awareness by claiming that it is in fact God who is judging him and that he just finds it frustrating. We see a glimpse of his true self hidden underneath the hostile persona when he truthfully sings that he really respects Mozart, and that fact is frustrating/humiliating for him (13). In summary, Tkz!Salieri knows he’s jealous and is frustrated that he can't just solve it by taking what he wants. He pretends to have fully embraced his jealousy and the plotting that accompanies it, but in actuality this confidence is hiding his true feelings of guilt and admiration for Mozart as a musician.

L’A (Fr, Jp13, Tkz)

Fr!Salieri in L’Assasymphonie is struggling to deal with his guilt and his continued hostility towards Mozart. The song starts to reveal the negative ways his guilt is affecting his life. He begins with describing his insomnia (14) and troubled mental state followed by admitting that his unhappiness and struggles are leading him to resent others who are happy (15). This is continued in the bridge where he describes how it’s warping his view of his musical capabilities and work (16). Aside from a quite direct admission of guilt, another distinct part of the Fr!L’A is that he admits that he is grappling with the self-sabotaging and self-hating parts of himself (17). He says that he wishes to be reborn: to leave the current painful life and be free again (18). During this whole verse, he has a knife to his wrist, thus the reborn line is not a metaphor for desiring change, but rather actual suicidal ideation. From his guilt Fr!Salieri is becoming jaded and feels trapped in his choices and so he wants to die to escape it all, though he eventually decides to see his plans through to the end.

Jp13!L’A is quite similar to the French version. Jp13!Salieri is plagued by voices which represent his guilt (19). But Jp13!Salieri begins to diverge from the French with how he finds issue with not just himself, but also with the world as a whole (20). Unlike Fr!Salieri who is hostile to his surroundings due to his jealousy over the happiness he sees there, Jp13!Salieri can't even see the hope/happiness in the world because of his internal struggle clouding his perception. In verse two, Salieri now sees himself as changed for the worse (21). Chorus two is where we get more of the distinctness that is Jp13!Salieri; he sings, “If there is no hope let us end this messed up world even if these hands are stained with blood” (22). It seems that while Salieri is aware of the harmful choices he has made, he feels there is no going back and is compelled to embrace it. Another interesting part is the conditional statements he makes about this commitment to his destructive path. He says that “If everything is going to be erased, then I’ll go to hell with you” and that “If this beautiful music is to be taken from my hands, I don't want light… I won’t hear the prayers…” (23). While it is quite different from desiring rebirth like Fr!Salieri, through these “if” statements Jp13!Salieri shows his disregard for his own wellbeing. There is a lack of direct desiring for death, however his thought process of being willing to go to hell and ruin himself for the sake of his desires/jealousy is a self-destructive thought process that is not that far removed from the suicidal ideation of Fr!Salieri.

Tkz!L’A stays in theme with the other two versions, however the language—like the Tkz!Salieri’s personality—is much more aggressive and so it feels quite different from the other two. It starts with the distinct dialogue line of, “However, I want to pay respect to his music, to the point of wanting to kill” (24). As the dialogue indicates, Tkz!Salieri is not going to sing about his internal struggles and the morally questionable path he has chosen for himself, instead, he is gung-ho ready to murder. All jokes aside, Tkz!MOR lyrics are usually more literal and extreme than the French or the Jp13 versions, (L'Assasymphonie lyrics being the most evident case of this). In verse one, unlike the other productions, he doesn't sing about the torment from guilt, rather he sings about being encouraged by the l’assasymphonie as he holds a knife (25). The phrasing makes the voices less like tormentors, as it is in the other versions, and instead they are crowd egging on his violent side. The chorus gets quite direct with the lines, “Do I slit my own throat or do I kill that man” (26). While there is the disregard to his own life like the other two versions, the harm to the self is seen from the perspective of me vs. them, the “this town isn’t big enough for the two of us” concept if you please. Again, like the other Tkz lyrics the Mozart vs. Salieri's idea is pushed to the forefront in the song. It is also interesting to note that in the staging Tkz!Salieri has a knife and puts it against the throat of a dancer dressed as a traditional representation of Mozart. Later on, Tkz! Salieri finally pulls the curtains back and shows what he truly feels. He sings “This heart is cold…The truth is I’m scared” (27). Here we start to see a familiar Salieri, someone who is struggling and is aware of the “wrongness” in his chosen path. However, even after this reveal, in the final chorus he puts his aggressive mask back on and even goes a step further by declaring “I want to kill that man!” (28). I think this change could be connected to the line in the bridge that he is scared. As we’ve seen so far Tkz! Salieri hides his true feelings with hostility; he is scared of what he is becoming and his own lack of self-preservation. Thus, for him, the only way he can only survive is by destroying Mozart.

VDMV (Fr, Jp13)

VDMV is Salieri’s regret song. Throughout the song Fr!Salieri explains that despite winning he feels hollow and unsatisfied due to his unscrupulous methods to achieve it (29). The ensemble chorus are again (like LBQFM) morally questionable in their suggestions by telling Salieri to just enjoy the win and forget the rest (30). With this regret-filled number there is confirmation that despite a successful “false victory” over Mozart, by going down the “wrong” path—that he earlier anguished over in L’A—he still keeps his moral judgment intact. Fr! Salieri ends the song by saying, “I lost for the story” (31) which I assume is a reference back to the first line of “I thought I was the chosen one by stealing my story, but I lost myself to win” (32). Through these lines it seems that not only has Fr!Salieri woken up from his delusions that he would be relieved once he defeats Mozart, but he also realises how much he lost and sacrificed for this unsatisfactory end.

The Jp13!VDMV stays pretty close to the French version with similar lines of regret and emptiness from winning a “false victory’ (33). It also has the ensemble chorus singing similar suggestions as the French version (34). Despite the similarities there are two lines I want to point out. The first is the end part of each chorus where Jp13!Salieri sings, “Audible from within the mirror, my voice laughing at me” (35). This line is clearly referencing the French version of that same section where it says, “But the mirror flees from my gaze so as not to see that I’m a victim of my victory” (36). The Jp13 version is more so a statement for self-mocking and how he views himself as a fool, (he even earlier stated that he is a “pathetic clown” 37). In contrast, though similar, the French version lacks the “pathetic” description and sticks to embarrassment and perhaps shame over his actions. The second line I want to highlight was the very last line of the song. In Jp13 the lyrics are “My voice laughing, saying that ‘You're bound to hell’” (38) Unlike the Fr!Salieri who now sees clearer but regrets what he lost along the way, Jp13!Salieri is still in the thick of the turmoil from before. With the unsatisfactory fake win Jp13!Salieri is doing worse, tormented by self-deprecating thoughts which is quite similar to the state of Fr! Salieri in L’A (39).

VAEC (Fr, Jp13, Tkz)

VAEC is a song about the transience of life and that due to this one should enjoy life to the fullest. These ideas are consistent throughout all three versions of the lyrics. There is not a lot to say about the French or Jp13 versions since they stay quite similar. Tkz stays pretty much similar to the other two but differs slightly at certain parts. Perhaps due to Tkz having more emphasis on the Salieri vs. Mozart rivalry, Salieri sings the line, “I met a rival like you” (40). While I tried to stick to just lyrics since the scripts would be a lot of work, I should mention that prior to VAEC, where Salieri visits a dying Mozart, Tkz!Mozart greets Salieri as “my friend” and when Salieri questions that label Mozart explains that is because they both love music (41). Though it may seem like Salieri not using “friend” in VAEC is a sign that his view of Mozart is not fully resolved, in the dialogue prior to VAEC Salieri redefines how he sees rivalry by saying “You're right. Let us continue fighting/battling through music (40)” (the first part is him agreeing to Mozart’s explanation of the use of “friends”). And so Tkz!Salieri calls Mozart a rival, a person to both compete with but more importantly someone to interact with and exist together with, a stark contrast to his earlier belief of “it's either me or him.”

I cannot express how different salieri is between the French version, 2013 jp and 2019 takarazuka, I’ve been analyzing the lyrics for reasons and it’s just so different

Perhaps with the visuals and acting scenes it all melds together to be similar to each other but the lyrics really paint him so differently

#long post #look at reblog for the lyrics that correspond to the numbers #mozart l'opera rock #it's really rare opportunity for me to talk MOr #so i kind of ran with it my bad #mor

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