Untitled
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Just rediscovered potentially the funniest thing I’ve written in recent memory
Imagine if people wrote all their Les Mis modern aus in the style of Victor Hugo
An excerpt
(via carmarthenfan)
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I swear if you have a deep bass voice your attractiveness level goes up 1000% and if you sing in that voice I will just strip right there. (I’m not saying I have a voice thing, but I super have a voice fetish)
bass: my wife doesn’t love me and I can’t sleep and also I lowkey want to die
opera fandom: LET ME LOVE YOU
bass: also I want to kill my son and I am really mean to my wife and might end up killing her too, also mean to random Flanders people
me: …just sing some more with that cello, will you? LOVE.
On the other hand:
bass: I am a nice guy and really love my wife!
me: TOTALLY SOLD FOREVER
(via stoportotouch)
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Don Carlo :D
:D
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After hearing Carlos’ plea that the King allow him to go to Flanders, Elisabeth said to him, “Prince, if the King is pleased to accede to my prayer … you will be able to depart tomorrow for Flanders, entrusted by him to your hand.”She did not want him to go, and yet she knew it would be the best thing, for him, and also for her. She had managed not to say anything compromising, anything that referred to their previous love – but she was not sure if she could keep from it, if he said more.
Carlos looked as if he were going to say something more; he even opened his mouth, with a miserable expression on his face – and then he closed it again. He closed his eyes and took a deep breath. Finally he said, “Well. Thank you.”
She closed her own eyes and said a brief prayer of thanksgiving that Carlos had said nothing more. “You are welcome, my son.”
He made an almost violent motion at that name for him, but then he shook his head again, bowed to her, and left. She was aware there were tears streaming down her face, though she made no sound. Silently, the Countess of Aremberg came to her, put her arms around her, and handed her a hankerchief.
“The King!” came Thibault’s high voice.
Philip said to Elisabeth, “I am happy to see you, madame, in the company of your lady-in-waiting.”
“Sire,” said Elisabeth, “I too rejoice to see you, for I crave a boon in the name of your son.”
“Speak,” said Philip.
“He desires to go to Flanders, with the Marquis of Posa his friend. He desires to leave as soon as possible.”
Philip’s brows came together. After a second he ventured, “He wants to leave the court? And you, madam?”
“Me?” asked Elisabeth blankly. “What, leave the court? Why would I do that?”
Philip exhaled. “I see no reason why he should not go. Yes, let him spend some time with his aunt Margaret. That will be good for him.” He put a hand on her shoulder. “Will I see you tonight, my queen?”
His voice was soft, more tender than it had been in some time, and she leaned her head against his hand. Had he thought –? Why, the man was ridiculous, and she smiled a little. “Of course, should you wish it.”
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All right, I’ve wanted to do this for a while:
The problem with operas is that they’re too long. By which I mean, if anyone in them was sensible they’d all be at most half the length. I mean, possibly still tragic (if it’s the villain who was sensible), but at least shorter!
So: send me an ask with an opera (*) and I’ll respond with a short fic snippet of a canon-divergence AU where the opera is Much Shorter. Warning, of course, that at least some of the characters will be wildly out of character. That is to say, probably much more sensible. :)
(*) If it’s an opera I know, you’ll get the ficlet much sooner. If it’s one I haven’t watched yet, I’ll put it on my list to watch and you’ll get the ficlet once I’ve watched it. This is a good opportunity for you to get me to watch your favorite opera, since after I finish Norma with Caballé I’m gonna go back to RL opera friend and ask for more DVDs! (Though given my previous track record, this might also take a while.)
(cross-posted to DW)
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this is seriously my favorite thing in the world
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It’s weird to me that the LA opera promo stuff for their Titus doesn’t mention Elizabeth DeShong/Sesto at all??? Like why would you ignore one of the MAIN ROLES and how worried shoud this make me?
On the other hand, the LA Opera promo stuff for Don Carlo, as far as I could tell, was all COME SEE DOMINGO AS RODRIGO, as if Rodrigo was the main character and there were no other important characters…
(I want to hear all about Titus!! I am so bummed I won’t be able to go)
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A basic plausibility problem in opera is that – vocal ability being equal – has anyone ever found a tenor’s voice more attractive than that of either the mezzo or the baritone/bass?
yesssss – um, but only when the tenor is Ian Bostridge or Anthony Rolfe Johnson, which kind of restricts the range to Baroque opera and Britten. (I, uh, have been mainlining ARJ this last month or so.)
Verdi, yeah, the baritone/bass is always more attractive :P
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The Fourth Riddle - reconditarmonia - Turandot - Puccini [Archive of Our Own] Happy New Year, everyone! Now that reveals have happened, I can share that for this year’s Yuletide, I wrote this massive Turandot-based text adventure game.
this is pretty great
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Amélie Niermeyer’s Otello at the Bayerische Staatsoper
All right, you convinced me, I guess I’m gonna try to watch this if I can
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