#like seriously when it comes to opera and MT

[terrainofheartfelt]

Gossip Girl Playlists: Theatre Kid AU edition! —Nate’s

[Blair's] [Dan's] [Serena's]

I don’t even remember exactly how this started, but it’s @strideofpride’s fault. 

The concept began as: if they were in this world, what would be in the GG mains’ MT books? What would be their go-to song? Their 16 bar cut? And then, I got on spotify, and got wayyyy too carried away (typical me), and it sort of morphed into: what are the NJBC’s (plus Daniel’s) senior musical theatre recital programs? And now I have this: a quartet of playlists of repertoire handpicked by me for these fake people, and I am very proud of them. 

All selections based on my very particular taste, honed from a childhood in community theater, an adolescence in high school musicals, and a 4 year degree from a majority musical theatre school

And, as in the tradition of Glee and all plays within a play, the rep reflects something profoundly personal about the character, because you know I love a theme. 

the meta:

Okay so Nate’s was realllllyyyyy hard to pin down, which makes sense because he as a character is hard to pin down, bc the show really only treated him like a whole-ass person for like 2 seasons. But, the beauty of men in musical theatre is they have much more license to just….do whatever the fuck they want—as opposed to women who get put into teeny tiny uncastable little boxes (but that’s a rant for another day). 

The point is, Nate’s type: because of his looks and talent, people try to put him in the romantic leading man box, but he finds that sooooooo boooooooring. He does play some himbos (bc, why not play to your strengths?) but he gravitates to roles that are more of a stretch. The fun roles, the character roles. The ones that less enlightened folk would say he’s “too pretty to play.” He likes to go for the laugh! He doesn’t want to be Billy Bigelow, he wants to be the Emcee! (I also see him having a great run being one of Les Amis in Les Mis in his 20s; and as the hot boy in Mamma Mia.)

His range is—and I hate that I’m saying this but it really is applicable to men in MT–bari-tenor. He can get up there when he wants to, but doesn’t necessarily want to live in the land of the high belt. He has a great low range that makes him prime golden age hunk material, but again, not really his thing. Also, theatrekid!Nate is a DANCER. He’s good on his feet and he knows it!

References: Hugh Jackman, Jonathan Groff, Derek Klena, Killian Donnely, Matthew Morrison (but like, with a better personality); and a kid in my voice studio who I’ll call Bobby, who had the rich low range of a deep voiced angel but could dance his lil heart out. 

the tracklist:

The Streets of Dublin — A Man of No Importance

A story about an Oscar Wilde stan who’s trying his darnedest to put on Salome with his community theater group. He tries to convince his hunky buddy Robbie to join in, but it’s not really Robbie’s thing. 

I’m Not That Smart — The 25th Annual Putnam County Spelling Bee

A zany raunchy comedy where grown ass adults play 12 year olds battling to the bitter end for a spot in the national spelling bee. 

Leaf, a homeschool kid, is endearing, if easily distracted.

Joey, Joey, Joey — The Most Happy Fella

I’ll be honest, I just like this one because when sung right, it’s soooooo hot. 

A traveling farmhand (can you guess his name?) explains why he never stays too long in one place. There’s lots of plot happening around him, but his only job as a character is to be sexy and cause problems. 

Try to Remember — The Fantasticks

It’s the world’s longest running musical ever, so it must be doing something right! It’s an inverse Romeo and Juliet. Two fathers pretend to feud for years, to reverse psychology their children into falling in love. There’s also this spanish bandit? Idk. the fathers go a bit overboard with the plot and some strife happens, but there’s a happy ending!

This is the show opener, sung by the narrator/Spaniard-ex-machina El Gallo

Brush up Your Shakespeare (duet w/ Dan) — Kiss Me, Kate

A musical version of Taming with the Shrew is trying to get off the ground. There’s mobsters and divorced exes with sexual tension and lots of nonsense. And this bop. 

Agony (duet w/ Dan) — Into the Woods 

The only good thing that movie version gave me was Chris Pine tearing his shirt open. Ok, whore. 

Two princes, one in love with Cinderella and one in love with Rapunzel, commiserate on their love lives. I’d call them himbos, but they don’t respect women enough. They’re kinda just sluts. 

I’d Rather Be Sailing — A New Brain

See title for why I picked it. 

The show was written from the composer’s experience when he was diagnosed and treated for an AVM. this song is actually sung by the main character’s boyfriend, so it nautical AND gay!

The Song that Goes Like This (duet w/ Serena) — Spamalot

I can so see Serena and Nate just enjoying being little freaks on stage together, they feed off each other and are big hams. 

Sir Gahalad and the Lady of the Lake tick off the box of the broadway love ballad. And they break some glass. 

I Am Aldopho — The Drowsy Chaperone

Severely underrated musical. This and Curtains are both wild, gershwin-y sounding romps where I don’t really remember the plot, but I remember not being able to breathe for laughing. This show is about a grand 20s wedding, but there’s hijinks afoot, and the bride’s chaperone is drowsy because she’s drunk, and for some reason the Spaniard-ex-machina, Aldolfo, tries to seduce her with this song. I can’t not picture this scene without a cape. 

I Don’t Care Much — Cabaret

I just think. Nate would be such a good MC. I want that for him. I really do. 

MC sings this song as narration, when singer Sally fights with her lover Cliff. Lots of shit is going on, but it’s really about the desperation and precipice and uncertainty that the MC and the Kit Kat Clubbers are living in in jazz age berlin.  

You’ve Got to Be Carefully Taught — South Pacific

MT guys get cast in this role if they look good shirtless, so. And it’s a better song than Younger than Springtime, like, yeesh. (this is the soldier set. I think Nate could also play that Miss Saigon guy, I don’t know the whole show well but I tried to listen to the guys big solo and I could not. anyway.)

Even though he’s in love, Lt. Cable’s deeply entrenched racism causes him to be a total jerk to his wartime love, Liat. Nellie’s same deeply entrenched racism ends her relationship with hot french dilf, Emile, when Emile seeks out advice, this song is Cable’s answer. 

Come Back — Dogfight

Everybody was losing their minds over DEH but the real Pasek and Paul opus is this musical. It only ran off broadway but the feelings! And the songs! 

In SF, a young GI meets and falls for a girl the day before he ships out to Vietnam, also the day before JFK’s assassination. This is the eleven o’clock number. He’s returning home, haunted, and broken, a marked contrast to the kid who left. 

Make ‘Em Laugh — Singin’ in the Rain

A classic! Nate the actor would always be going for the bits 

I Can’t Be Bothered Now — Crazy for You

a role for a DANCER. Bobby is a blue-blood banker’s son who just wants to dance. His mission takes him to a small cow town out west where he puts on a show. Gershwinian nonsense like that. It is very cute, though. 

Moon-faced, Starry-eyed (duet w/ Serena) — Street Scene

Street Scene is technically an opera, but it’s a big extravagant blending of musical styles, from romantic 1900s opera to 1940s jazz. Guess which end of the spectrum this one’s on. It’s the comedic dance break before shit hits the fan in this New York apartment building. I can so see besties Serena and Nate being complete hams in this number.

Mae, a tenant of the building, comes back from a night out with her boyfriend, Dick. They are drunk and they are dancing!

Soul of a Man — Kinky Boots

Nate wearing those shoes. Send post. 

Charlie makes the bold—but sound! —business decision to redirect the family shoe factory to produce shoes designed and marketed towards drag queens. When Charlie snaps from the pressure of running the business, he ponders his family legacy and “what does it mean to be a Man”? Nathaniel-coded!

Not the Boy Next Door — Boy from Oz

I just think….theatre kid!Nate is soooo gay. And being in the “gay by may” MT major world, he grows into himself in a marvelous way. 

Aussie musical legend Peter Allen returns to Australia after his separation from Liza Minelli, and realizes he’s grown out of the place. Also he’s so very Not-Straight.

#gossip girl #nothing but respect for my njbc #nate archibald #playlist #*ggmt #on today's episode of liz was a music major and she's gonna make it everyone's problem #like seriously when it comes to opera and MT #I am an evil dictator of taste #s/o to S my ride or die for encouraging to make these #the other three are coming! I just gotta finish the annotations

[elianamarie-blog]

Hiii! Can you do one Hyde and y/n are secretly together bc she’s Forman’s sister but Kelso is always flirting with y/n and it upsets Hyde so maybe Kelso and Hyde get into it and they admit they are together?

Yes, baby doll! Thank you for being patient with me <3

Told You So

Steven Hyde x reader

"Hey, good lookin'," Kelso said smoothly to Y/n as he slid in the booth seat of the Hub.

Y/n rolled her eyes at him as she scooted away from him. "Kelso, do you mind? I'm trying to eat here."

"What's a pretty girl like you doing here by yourself?" he asked, completely ignoring her.

"Because I want to be," she said and slammed the book she was reading. "And why are you acting like that? We see each other everyday."

"Yeah, but we're not alone everyday," he replied and scooted closer. "Now we are."

"There's a reason for that, Kelso." She shifted further away from him, closer to the edge, but all that did was make him shift with her. "If Eric found out what you've been trying to do, he'd kick your ass."

"Oh, come on, he doesn't have to know!"

"Kelso, even if we did, you wouldn't be able to keep your fat mouth shut. When you were with Laurie, you announced it to the whole world that you slept with her. I don't need that." She gathered up her stuff and started to head out, but Kelso stood up with her.

"So, you're saying there's a chance?" he grinned stupidly at her.

"No, you dink," she spat and pushed passed him. "I don't like you and I don't want to get with you. Why don't you get that?"

She walked outside while Kelso watched her leave, staring at her ass.

"She totally wants me."

Later in the basement...

"I don't know why he even keeps hitting on me," Y/n said to Donna, Jackie, and Hyde while in the basement. Donna and Y/n sat on the couch, Jackie in the lawn chair, and Hyde in his usual seat. "We've been friends forever and he never looked at me like that until, like, a year ago."

"Well, have you looked in a mirror lately?" Hyde asked.

"Yeah, why?"

"Do you notice your new shirt fillers?"

Y/n looked down at herself, then realized what he meant. "You're saying he's trying to get me in the sack because of my knockers?"

"That's exactly what I'm saying," Hyde grinned. "Even a blind man can see how much you've grown into your shirts."

"Ugh, what a pig," Jackie sneered. "I'm glad I broke up with him."

"Jackie, to be fair, you broke up with him because he cheated on you," Donna pointed out.

"Eh, whatever," Jackie said, flapping her hand to the side.

"Okay, seriously, guys, how do I get him to stop?" Y/n asked, turning the conversation back around. "Eric gets pissed and tells him to shut up, but he finds new ways to still hit on me."

"Tell him to get bent and that you've found someone else," Hyde suggested.

Y/n eyed him suspiciously. "Kelso may be a bonehead, but when it comes to women and sex, he's freaking Sherlock Holmes."

"Well, then lie."

"Lie?" Y/n asked and fully turned to him. "And say what? That I'm seeing someone so back off before he kicks your ass?"

"Exactly."

Y/n thought about it for a minute and then turned to the girls. "What do you girls think?"

Donna and Jackie shrugged.

"It could work," Jackie said.

"I don't think it's a bad idea," Donna responded. "Kelso doesn't like competition. He'll bitch a lot, but at least he'll back off."

Y/n shrugged. "It's worth a try."

"Good," Jackie said and stood up. "I should get going. My mom is going to attempt to make dinner tonight. If you see the fire department at my house, you'll know what happened." She walked over to the door and tugged it open. "But on the bright side, there'll be lots of fireman. Bye!"

"Maybe I can get a piece of that action," Y/n joked, making Donna laugh.

"I better get going too," she said. "I have to meet your brother at the hub for our date."

"Ohhh, where's he taking you? Mt. Hump?" Hyde asked.

"Ew, gross! Hyde!" Y/n shrieked, making Hyde laugh. "That's my little brother."

"Little?" Hyde asked. "You guys are only ten months apart."

"I'm still older by a couple months."

"Whatever you say," Hyde said, unconcerned and crossed his arms.

"Actually, no, he's taking me somewhere else for once," Donna said, grabbing her coat. "He says it's a surprise."

"I can guarantee his surprise is what's in his pants," Hyde said.

Donna rolled her eyes and looked at Y/n. "Good luck with him."

Y/n nodded as she watched Donna leave the basement. She turned back to him who was staring at her through his aviators. "Now I know what's on your mind."

"How could it not be when you're here looking like that," he responded and stood up only to crawl his way onto her, making her lie on her back.

A smirk played at her lips as she reached up and removed his glasses, finally seeing those blown pupils in his baby blue eyes. "Looking like what, Mr. Hyde?"

He growled at the nickname as he dipped his head into her neck, peppering her flesh with light kisses. She closed her eyes and leaned her head to the side to give him more access.

"All hot and don't even know it," he muttered, trailing his hands up her blouse. He brought his face up to meet hers and pressed his mouth against hers.

"You are mine," he growled when he pulled apart from her. "Not Kelso's. Mine."

She nodded. "Now show me just why I'm yours."

The next day...

The gang hung out in the basement as usual as the tv played quietly in the background. Y/n sat on the couch wearing a mini skirt wearing Hyde's Led Zepplin shirt, reading a magazine. Kelso couldn't help but stare at her bare sun kissed legs, his eyes roaming and try to see under her skirt.

"Stop staring at me," Y/n demanded.

"Well, I'm sorry, Y/n, but you're freakin' hot!" he responded.

"Hey, Kelso, have you tried not hitting on my sister?" Eric asked calmly, yet sarcastically.

"I gotta, Eric," Kelso asked. "It's like asking me not to breathe!" He snapped his fingers and pointed at Y/n. "I know! We should do it."

Y/n shook her head, keeping her eyes glued to the magazine. "You are as dumb as you are pretty."

Kelso smirked and leaned on the arm rest next to her, face inches from hers. "So, you're saying I'm pretty?"

She tore her eyes from the magazine and made eye contact with him, noses barley brushing, and glared at him. "Bite me, Kelso," she spit before pushing his face away from hers.

"Is that a promise?," Kelso asked, smirking.

Hyde walked out of his room in that moment, seeing Kelso on the floor and Y/n sitting on the couch. When he moved from behind the couch to his seat, he noticed Y/n wearing his shirt. "Is that my shirt?"

Y/n looked up at him with a hint of innocence in her eyes. "Yeah, I saw it in the dryer and thought it looked comfy. Plus, I thought it'd look good with this skirt. Is that okay?"

"Um," he replied, swallowing thickly as he scanned her body, especially at her smooth and shapely legs. "Yeah. It's whatever."

She grinned at him. "Thank you."

"Whoa," Eric said as he stood from the couch. "Since when do you let chicks wear your shirts?"

Hyde shrugged. "I never had a problem with it to begin with."

"Yes, you did," Donna said with a smile on her face. "You said that no girl will ever your shirts unless you're banging her." Her eyes grew wide as she shot up from her seat. "Are you two sleeping together?!"

"What?" Y/n asked calmly. "Don't be crazy; of course we're not."

"Good, because you know if you were, I'd have to kick your ass, Hyde," Eric said, relief flooding over him as he went over to the fridge to grab a popsicle.

"What's the big deal? It's just a shirt," Hyde replied and set his feet up on the table, crossing his arms. "Besides, I live here. Why would it be weird?"

"I don't know," Fez replied. "I mean it's pretty obvious you have the hots for her."

"Shut up, Fez," Hyde said threateningly. "I do not."

"Oh, sure," he replied quietly.

"So, on this whole doing it," Kelso said and knelt down next to Y/n. "Are we doing it or not?"

Hyde didn't hesitate to reach over and connect his fist as hard he could to Kelso's shoulder.

"Ow, Hyde! What the hell was that for?"

Hyde grinned at his dopey best friend. He tried his hardest not to just beat the ever living hell out of him, but luckily for him, he had a good poker face. "Just love messing with you, man."

Kelso went from offended to laughing in seconds. "That's a good one." He turned back to Y/n. "So, what do you say?"

"You know, you begging me like this is kinda hot," Y/n commented with hooded eyes.

"Oh, yeah?" Kelso asked, shifting to be eye level with her.

"Yeah," she smiled and inhaled deeply.

"Y/n, what the hell are you doing?" Hyde asked.

"Yeah, what he said," Eric said. "Look, I don't need Kelso sleeping with both my sisters AND worry about knocking her up to. It's like a weird porno soap opera."

"You know what also is really hot?" Y/n asked, ignoring her brother and secret boyfriend.

"What?" he giggled, loving how close they were.

"Leaving me alone!" she responded and hit him with the magazine she was holding.

The group chuckled as Kelso stood up. "Damn, Y/n, I just wanted to get a little action!"

"Leave her alone, man. It's like you're deaf," Hyde said, annoyed.

"Hey, I've never given up on a girl before and I'm not going to start now!" Kelso defended.

"Well, you better!" Hyde said, growing frustrated. "I'm tired of hearing this everyday, man. So, shut up and leave her alone before I make you."

"Damn, Hyde, what's got your panties in a twist?" Kelso asked glumly and stood up.

"Nothing. I'm just tired of hearing you everyday trying to get into her pants! So, knock it off!"

"Well, it's not like she's your girlfriend, so you knock it off!" Kelso argued.

"Really? That's the best you can do?" Hyde asked, smirking.

The entire time the two men were arguing, Y/n found herself, staring incredulously at them as if she was a prize.

"Well, I can tell you to get bent and I'll do whatever I like, but I know you'll hit me," Kelso said.

"You just basically said it to me, you moron!" Hyde said, yelling. "And now I'm going to hit you."

Kelso took a couple steps back, backing away from Hyde. "You do that and it will not end well for you."

"Okay, guys stop it!" Y/n shouted, jumping up from her seat. "This isn't cool. Kelso sit down over there," she said pointing to the lawn chair. "And Hyde, sit down over there." She pointed to his usual seat.

Hyde and Kelso glared at each other for a minute.

"Fine," Hyde said and turned around.

"Fine," Kelso repeated and sat down in the lawn chair. "But I think something else that would've been interested to know on what exactly I was going to do."

As everyone looked at him in confusion, Kelso reached into his pocket and pulled out a pair of pink panties.

"What the hell, Kelso?!" Y/n shrieked. "Are those my panties?!"

Kelso smirked in victory as he held the panties close to his ear. "What's that panties? You want me to do what to you? Oh, I can't do that. Naughty panties!" He clapped the cotton fabric between his hands and glanced over at Hyde who was practically steaming from the ears.

"You're dead," Hyde spat through gritted teeth and practically lunged at Kelso.

Before Kelso could react, Hyde was on top of him, his fists hitting wherever they would land.

"Hyde! What the--Ow! My eye!" Kelso shouted.

Before Hyde could connect his fist once more, he felt two arms wrap under his arms and around his chest and was pulled off the man.

"Hyde, get off of him before you really hurt him!" Eric shouted, trying to be heard over Kelso's wailing.

"What is it with you?!" Kelso asked. "We're just messing around!"

"No, you're not!" Hyde yelled, ripping himself from Eric's grip. "You're being a complete tool to Y/n."

"Why do you care this much?" Kelso asked with Y/n's panties still in hand. Y/n walked over and snatched her panties back from his grip.

"Because she's my chick, man!" Hyde blurted, but quickly realized what he just said as he saw everyone's wide eyes on him. Except for Y/n who was eyeing her brother.

"She's...she's your...what now?" Eric sputtered.

"Uhm...I meant...she's a--a chick," Hyde said, trying to save himself.

"No, no. No, no. You just she's your chick," Jackie corrected, pointing a finger at him. "Don't try to wiggle yourself out of this one."

"She's...uh--uh...Y/n, a little help here?" he asked his girlfriend who was standing there awkwardly.

"What he meant to say was that as a woman he respects me and he didn't appreciate Kelso's boneheaded advances towards me," she said, rather smoothly even though her voice wavered.

Eric stared at his sister wide eyed with his mouth open. "You guys are dating?"

The couple sighed in defeat as Hyde rubbed his hot neck. "Yeah."

Y/n nodded, trying not to look Eric in the eye.

"Have you two...had s-sex?" Eric stuttered, forcing that image out of his mind.

"Eric!" Donna said. "You don't ask that."

"Do you really want to know that answer?" Hyde asked.

Eric screwed his eyes shut, now the image really colorful behind his eyelids. He shoved the heel of his hand deep into his eyes until he saw different shapes, desperate to erase the unholy sin that was between his sister and best friend.

"How long?" Kelso asked after he was able to get over the initial shock enough to speak.

"About a month," Y/n responded with a strong voice.

"A month?!" Eric cried out. "You've been screwing my sister for a month?! Oh, God." He forced himself to swallow the bile that had risen up his throat.

"You sure it hasn't been longer than that?" Jackie asked. "Because, you know, sometimes, time can feel a lot shorter when you're...having fun."

"Don't call it that!" Eric yelled and eyed the couple who were now standing near each other. "This can't be happening. This can't be happening! My best friend and my sister bumping uglies? Why would you two do this?"

"Because I like him?" Y/n challenged. "And he likes me."

"Yeah, man. We're not just fooling around."

"I don't care what you're doing or not doing!" Eric shouted, face turning red. "You went behind my back and starting dating my sister when you knew it would bother me!"

"Forman--"

"No! Don't even--! You know what? I--I can't stay here. I need some air," Eric said before he stormed out the basement.

The couple looked after him, sighing and turned back to the group.

"By the way, yes, it's been a month," Y/n said, answering Jackie's question.

"Ah, damn!" she replied and pulled out ten dollar bill from her wallet and handed it to Fez.

Fez whooped and gleefully took the money. "Told you!"

I hope you enjoyed this one! Let me know if there is anything I could've added! Thanks for reading my lovely.

#steven hyde #that 70s show #that 70's show imagine #eric forman #donna pinciotti #jackie burkhart #fez that 70s show #michael kelso

[ofonikabutobeetlesandmen]

Teyvat Anaylsis: Liyue & Geo

Another post I originally wrote on my previous Genshin meta blog yallremembermsscribe. That sucks but at the very least, this will be the last post I have to rewrite! This isn’t something too crazy, just my take on how all the nations of Teyvat and the people there embody their home element.

These are just my own opinion but do feel free to share yours too! Last time I talked about Mondstadt and its relationship with Anemo, this time will be about the China inspired Liyue Harbor, nation of Geo. It seems like a good fit to post now that I’m done sulking about my deleted original post with Lantern Rite around the corner this update.

And for new players stumbling on this series, don’t worry! I do my best to keep these posts as spoiler-free as possible so you can enjoy them too. I hope you guys are having fun exploring the world of Teyvat! Welcome.... to my pick-me-post to the Geo archon (okay let’s be real, my pick-me-post is going to be for inazuma since electro is my favorite element in the game)..

Liyue: Harbor of Stone and Contracts

Larger than life mountains,

leaves with the hues of gold,

flavorful cuisine and opera,

legends of the adepti and Rex Lapis walking amongst mortals.

The stark differences we see upon our arrival to Liyue after our adventures in Mondstadt are immediate the moment we come across it. Goodbye rolling green hills and glowing dandelions, hello impressively tall mountains and clear, expansive pools. 

Compared to Mondstadt, the physical essence of Geo is very apparent in Liyue’s geography everywhere you look. Almost everywhere you look is jagged rock, it would be extremely surprising if the nation of Geo was plains and flat land.

But the nature of Geo in Liyue goes beyond the geography. Geo is the element of earth. It’s sturdy, immovable, and immutable. And in the world of Teyvat, Geo is the element of contracts. This is apparent in Liyue’s history. At least until recently, Morax -- or as, as Liyue natives refer to him, Rex Lapis-- played a much more direct part in Liyue’s development as a nation.

According to legend, his spears were the cause of Liyue’s mountains by casting them down to the earth.

He forged contracts with the adepti to fight monsters and evil gods in order to keep his people safe.

Once a year Morax descends in one of his many forms to give the people of Liyue divine predictions of the upcoming year, which they use to determine their country’s policies and business trends.

Because of this, Liyue natives are very devout in their belief in their archon and his presence in their country. In fact, due to Morax’s involvement in Liyue’s history, the people of Liyue pity the people of Mondstadt and have harsh opinions of Barbatos. They pity their neighbors in the land of Anemo, believing they were abandoned by their deity in contrast to native Mondstadters perspective and opinion.

They are also quite hardworking individuals, even more so than those in Mondstadt. With their god being the God of Contracts, the word of others are taken quite seriously. All contracts, spoken or otherwise, must be upheld and the people of Liyue are very particular about them. Contracts aren’t made lightly in the nation of Geo.

Just like Mondstadt, Liyue is a rich and beautiful country with so much to discover as you dig deeper and explore further. To be quite honest, there isn’t enough words to go on about it. Anyone who’s played Genshin will tell you, walkthroughs alone aren’t enough to fully experience this game.

The beauty of sites like Qingce Village and Mt Aocang aren’t quite the same when viewed on a youtube video.

The feelings you get wandering through the stone forests are wildly different when you’re the one doing the wandering yourself.

Even if you don’t resonate with Mondstadt, there is bound to be a place that you enjoy exploring in this game. You just might find that place being the land of Geo.

If you’re someone who isn’t a player who somehow stumbled upon this post looking for reasons to play the game, definitely give Genshin a try for the design of the game alone. Check out my Mondstadt post if you haven’t already!

#genshin impact #genshin #liyue #zhongli #morax #rex lapis #ninggaung #beidou #ganyu #yanfei #xiao #madam ping #guizhong #baizhu #qiqi #yaoyao #shenhe #yun jin #xiangling #xinyan #xingqiu #chongyun #hu tao #keqing #i really liked my og post so it sucks i had to rewrite this one but i think this one is good too

[ballet-symphonie]

Is it just me or the stage at the Mariinsky looks 'empty'? I think the company has the best costumes that's for sure, but when it comes to the stage decoration it looks so simple. For example, the ROH, POH, Bolshoi look absolutely beautiful in comparison to the overly marked floors, poor decoration and terrible light at the MT. What's your opinion on that? Or has it always been like that?

While I think the poor light is generally perceived as the 'charm' of the old MT stage, I agree MT's costumes and sets tend to look very dated (R&J is probably the biggest eyesore here but SB prologue is a close second). It's hard to compare old/poor quality pics to the HD stuff we have now, HD shows all the flaws haha. But what was modern decades ago will of course look dated now, even if the costume itself is still in decent condition? The floor is especially bad, and it only gets worse as they pile on more and more tape. This is just a money investment, they'd have to prepare the funds and choose a flooring company to redo the stage and the rehearsal stage in the offseason one year (It should have happened like 5+ years ago) I wish they would do something, slowly upgrade each production one by one but of course, this is a massive expense and time commitment. The MT costume and set departments must be worked like mad, they have to costume and stage one of the busiest ballet and opera theaters in the world. There's not always time to fix/make new things when you have to constantly be cleaning, repairing, and preparing for that week's performances. It would have to be done gradually, in chunks over the summer but again, those workers are often laid off during that time, so paying them to work during the summer would likely be a substantial chunk of money. Maybe they should talk to Tsiskaridze, the VBA girls always look good in their graduation performances, and he's pulled off some seriously impressive costume commissions that he got outsourced. If they have the money and not the time, perhaps that's a solution for some ballets?

#mariinsky theatre #ballet #ballerina #ballet ask #ballet costumes

[theotherwesley]

Wesley Watches And Rates All The Faust Operas

You thought I was kidding, but here we are: 

*I am not an expert, and my advice should never be followed.  I am but a humble nerd with a passion, dragging you along on my youtube-tour. You probably shouldn’t quote me, but using this as a starting point and guide to this particular musical and literary phenomenon is encouraged! The information below was gleaned largely from wikipedia, vague memories of my BA degree, and my own assessment of the source materials.

My ratings are based on my subjective enjoyment, and a few preferential criterion such as:  1) Was Mephistopheles fuckable, 2) Did I get to see an orgy of witches, 3)Does Marguerite pass the Sexy Lampshade Test, and 4) Was Faust Dragged to Hell.

Preliminary Notes: originally, the legend of Doctor Faust came from the sixteenth century and was inspired by one man (or possibly two who were later conflated), Johann SpidersGeorg Faust, who was your average practitioner of Renaissance Magic. He was not an especially savory individual; he had racked up quite a criminal record and been boastful enough of his “christlike” abilities to heal the sick and perform miracles that he’d seriously annoyed the church. He was denied entry into a city due to accusations of Necromancy and Sodomy. Being an alchemist, Faust got up to some particularly adventurous chemistry experiments, the last of which failed so spectacularly that his lab exploded and the doctor was reduced to his component parts. His remains after death were so gruesome that his colleagues came to the obvious conclusion: He’d been personally dragged to Hell by Satan himself. AND THUS WAS A LEGEND BORN.

The story of Faust was told and disseminated in sixteenth century chapbooks (early printing-press zines, if you will) as a dramatic morality tale. It is from the chapbooks we originally get the character of Mephistopheles, the pact exchanging 24 years of service for the soul, the famulus named Wagner, the wild adventures through various courts, and the conjuration of Helen of Troy. Aside from in the chapbooks, there is one version of Chrisopher Marlowe’s play Doctor Faustus, where the titular character is torn asunder by demons as he is dragged to hell-- but unfortunately for me, a known B-movie horror enthusiast-- this ending appears in no subsequent retellings of the Faust legend. Cowards.

Goethe’s play Faust is obviously the most famous adaptation of the legend, and through it the legend turns from a cautionary tale to a story of hubris, love, faith, and philosophy. If you’re not already familiar with Faust, you might take a moment to read it or at least check out the act summaries. You’ll understand everything that references it a lot better if you do, even if you just read Part I (the second part gets a bit tedious unless you have a fetish for Herodotus and metaphysics-- but there’s a cute homunculus in a bottle! and talking sphinxes and griffons! and kinky rose petals! Angel butts!!!). 

 Armed with this knowledge, let the opera tour begin:

Faust (1816, Louis Spohr)

--The Libretto with English translation 

--Playlist of the whole opera

It’s very pretty! The style and over-all sound reminds me of a Mozart opera, which, I guess, is not too surprising considering they were more or less contemporaries who trained and worked in similar circles. (Louis Spohr! He did collaborations with Beethoven! He invented the violin chinrest! Who knew! Not me! Anyway--) This Faust is not based on either Marlowe or Goethe’s Faust, but rather some miscellaneous adventures from the early Faust legends and chapbook pamphlets. In this version Faust ensnares a devil named Mephistopheles to his service, vowing to use his powers for the good of mankind. Great plan! That always goes well! 

There’s a love potion, a flying cape, a duel with an outraged rival-- all the usual necessities for a Faust story, only now there’s not one but TWO young women screwed over by Faust’s philandering! (His first love, Röschen, and erstwhile damsel-in-distress, Kunilingus. ....*checks notes*, sorry, no, “Kunigunde”). Mephistopheles is cattily insightful, the wronged women team up to avenge themselves against their seducer, and yes, yes indeed, Faust Is Dragged To Hell!  

The poetry of the libretto is quite pleasing, it’s got some great dialogue and epic fantasy sequences. Mephistopheles puts on show of infernal pyrotechnics with 17th century stage effects, all of them tremendous fire hazards. Someone gets dragged to Hell by a chorus of dancing goblins before Act 1 even finishes-- O my cup runneth over! We get the witches’ sabbath atop Mt Blocksberg, there’s a guest appearance by Sycorax, everyone gets real horny up there with a love potion, it’s great. 

Mephistopheles seems to be on the ladies’ side in the story (as much as he’s on any human’s side), in that he cautions them not to trust Faust, and urges them on when they FREAKING TEAM UP AND GO TO SEEK VENGEANCE. Oh my god it’s so great. Kunigunde attacks Faust and Faust freaks out and tells Mephistopheles to save him and Meph is all “what’s that? I don’t know, suddenly I can’t read”. Meph is also the one doing all the actual rescuing of distressed maidens, at Faust’s behest. He views Faust’s attempts to break the laws of Love and Nature with contempt, knowing that Faust’s soul is on the fast track to Hell. There’s no actual pact here; Meph is the one being held hostage. He makes sure that Faust doesn’t enjoy any of the spoils of his sorcery, so Faust’s ennui and dissatisfaction remain the same as before he began his quest to “Use Hell’s Powers For Good”. 

And just quick review of the scoreboard: Faust used his powers to do 1 (one) useful thing with his power before he ruined a bunch of people’s lives in quick succession, murdering Kunigunde’s betrothed and driving Rose to suicide. He still cries about it and the “rich seeds of Good he sowed” but Meph is having none of it and HE. DRAGS. THAT. BOY. TO. HELL!!!!!!! EXEUNT.

Rating: 4/5 Stars. Better than expected! I want a revival of this version! With stabbing! And special effects! Mephistopheles is truly doing the Lord’s work here, no offense to his demonship. Lost some points with me for being so very, very heavy on the pining and lovesick maidens, but won me back when the lovesick maidens picked up daggers. 

Faust and Marguerite (1855, Lutz) and Faust up to Date (1888, Lutz)

Straight up can’t find this one! But this early silent film short is apparently based on it?  IDK folks, if you have a recording of this you’d like to share with me, I’d be delighted to hear it. 

As for the burlesque, I suspect it hasn’t actually been performed since 1888. But the music is pretty cute! The Pas de Quatre, aka “Skirt Dance” seems to be the only track that’s stuck around. Here it is played on an old disc music box. 

Rating: ??? 

La damnation de Faust (1846, Berlioz) 

--Libretto in French and English

--La Damnation de Faust with Jonas Kaufmann --I like this one because Faust is super duper cute and this Mephistopheles reminds me of an OC makes yellow work. 

--This is the first of what I’m called The Big Three Faust Plays; all modeled after Goethe’s Faust specifically, written within roughly ten years of each other, and which feature the most well-known arias that I’m aware of. 

This opera positively reeks of Romanticism; it’s got Byron out the ears, it’s wading through Wordsworth, it’s doing the Grand Tour, it’s gazing mournfully from the top of Mont Blanc, contemplating Nature and the Human Spirit. It’s Berlioz, buckle up. 

The beginning is obviously Faust wallowing in ennui. He considers suicide, but is interrupted by a timely reminder of Christianity. Suddenly the devil appears in order to take advantage of a soul precariously teetering on the edge between redemption and damnation.  In this version, the devil does not announce himself as the devil, but rather as the ~Spirit of Life~, here to show Faust the joys of the world. (There’s no pact at first, Meph is just “get in bitch we’re going debauching” and Faust’s like “aight” and they’re off.) The devil takes Faust on a fun tour of life’s noteworthy attractions such as “Drunk Student Karaoke”, “Dancing Gnomes”, and “A Nice Forest Nap”.

During his magical nap Faust sees a vision of Marguerite (later we learn she has simultaneously dreamed of Faust) and falls in love. He awakes with the usual boner for this Maiden of Radiant and Humble Virtue who Nature Hath Sheltered In Perfect Simplicity, because that’s always a big turn-on. Meph steers the course of their interactions very carefully, using magic and fairies and wisps to enchant the couple’s surroundings to ensure they are surrounded by romantic atmosphere the whole time. Once they’ve gotten into some heavy necking, he bursts in and tells them that the whole town is coming with pitchforks and also someone’s told the girl’s mother and they’re in big trouble. Faust flees. 

Everyone does some quality Pining, Faust sings a sad song about Nature, and then Meph shows up again saying “hey I hope this doesn’t put a damper on our vacation, but Marguerite is in prison for murder and she’s going to be executed BUT QUICK, ACT NOW AND WE CAN SAVE HER for just one quick easy payment of your immortal soul” and Faust is just like “WHAT WHERE WHO WHAT UH FINE YES SURE OKAY SHIT, WOW, LET’S GO” and Meph is >:))) and they jump on their horses and ride off to go save her except OOPS, NO THEY DON’T because actually they are RIDING INTO THE WAITING JAWS OF HELL!!!! NYAK NYAK NYAK NYEEEEEHHHHH!!! Faust burns for eternity, Marguerite goes to heaven, curtain. 

Rating: 3.5/5 Look, I’m not saying I’m biased, but Mephistopheles doesn’t even show up until half an hour into the opera, okay? I find this one hard to sit through even though the music is really delightful; and I do mean it is gorgeous music. Between the two famous mocking serenades, “Devant la maison” shoots “Vous quid faites l’endormie” right out of the water; all the chorus pieces are fantastic; the Hungarian March is a great instrumental piece; Faust actually has some decent arias for once (rarer in each subsequent opera), and there is Brander’s wonderfully irreverent Rat Song... I think the reason this doesn’t hold my attention as much as other versions is that the plot is very meandering and the characters don’t have concrete motivations; they’re sad teenagers in love, I guess? And the devil tricks them? This whimsical aspect is 1000% part and parcel of the Romantic Aesthetic I realize, but personally I came for a recognizable story and got mostly pastoral vignettes. We spend half the opera listening to Frolicking Peasants and Men At Arms. Mephistopheles just hops out of the woodwork to play a dirty trick on a random guy getting his Byronic Mope on. There’s no pact, no soul-signing until the very end, and it’s just a plain ol’ tricky trap, not a device to punish hubris or moral crimes. I’m even reluctant to give this its rightful Dragged To Hell points because out of all the Faust scenarios, this is the one where he seems to deserve it the least! He doesn’t actually do anything bad! It’s not satisfying if he’s dragged to Hell for no reason! Pfui. However, points gained back for the made-up Satanic babble sung by infernal chorus at the end.  

Faust (1859, Gounod) 

--Libretto in French and English

--1995 Adaptation with Samuel Ramey as Mephistopheles  You already know I’m a slut for Samuel Ramey playing the devil in any capacity so I’ll spare you my gushing play-by-play of his performance. The quality of this video is.... not great. I apologize. I still love it, but you’re going to want to find a clearer recording of the music if you want to get the most out of this opera. 

--2011 Adaptation with Paul Gay as Mephistopheles (Warning: this version is quite lurid and includes some staging choices that I find pretty uncomfortable-- I can’t decide if the director is consciously trying to highlight predatory sexism as a bad thing or if it’s just kind of included to make things seem ~spicy~. Anyway, it’s otherwise a high quality production with an interesting set design, just be warned that there’s some on-stage grossness. Also, a hilariously bad decapitated head prop! --to accompany a truly baffling ending. To its credit, the death of Valentin was genuinely pretty moving and made me feel... er, well, anything about the character. Tassis Christoyannis’s made that aria memorable, which is more than I can say of other productions. 

Second of the Big Three! 

Gounod introduces a more complete cast of characters borrowed from Goethe’s Faust to flesh out the the story and setting; we meet Wagner the student, a regiment of soldiers including Marguerite’s brother, Valentin, and their young friend Siebel (a pants role-- which immediately endears me to this character because I’m a ~big ol’ queer~). Later we meet Marguerite’s nosy old neighbor, Martha, who is REAL thirsty for Mephistopheles and who I relate to very much.

 This opera follows Goethe’s Faust- Part I much more closely than its predecessor, and where it does not follow the original, it diverges in favor of making the story more engaging and streamlined. There is WAY LESS pining into the aether, and more sword fights. The larger cast of named characters makes for more interactions, which in turn makes for more memorable moments on stage, better dialogue, a comprehensible timeline of events, and more concrete motivations for everyone. 

A SUMMARY: Faust’s pact in this version has nothing to do with the philosophical wager seen in Goethe, but is simply an exchange of his soul for returned youth. He is old, he’s spent his life studying, he wants to be young and full of passion again. He seals the deal after the devil offers him a vision of Marguerite, whose sight is so inspiring and lovely that Faust is overcome with desire for her alone. They go to find her, encountering on the way a regiment of students and soldiers, one of whom is Marguerite’s brother, Valentin, who is going off to war leaving his sister in the care of young Siebel. Getting Marguerite to stop and talk to Faust proves difficult since she is so pure and virtuous that A) Mephistopheles has no power over her, and B) she’s wary of the compliments of strangers. Faust gets Mephistopheles to bring her a case of jewels to warm her up to him, then Mephistopheles concocts a ruse to distract her nosy neighbor Martha and give them an excuse to meet Marguerite (shenanigans ensue). The ploy works, Marguerite is seduced, and in love with Faust. Cut to some time in the future, when Oh No Everything Has Gone Horribly Wrong; Faust has gone away and left Marguerite pregnant and unmarried, she is shunned by society with the exception of Siebel, meanwhile her brother has come home from the war to find her in a disgrace. Faust and Mephistopheles eventually return, but encounter an enraged Valentin who duels Faust to avenge his sister’s honor. Faust, of course, uses Mephistopheles’s magic to cheat, and Valentin is fatally stabbed. With his dying breaths, he curses his sister and blames her for his death, since he died defending her honor-- the people who witness this are rightfully aghast that he’d use his last moments to denounce his own sister-- and rightly so, because that’s a real dick move. Faust flees, and Marguerite is left on her own with no support and a newborn child to care for. She seeks refuge and forgiveness in the church, but finds she cannot pray, haunted by voices and cursed by Mephistopheles himself, as he whispers in her ear, promising damnation. She faints, and is presumably driven mad. Cut to Faust, who is being treated to a front-row seat of Walpurgisnacht. During the revels he sees another vision of Marguerite, this time of her in chains and awaiting execution for the murder of her child. Mephistopheles grudgingly takes Faust to see her in prison, where he tries to rescue her. In her fevered state she will not leave, wanting Faust to instead stay with her in the cell. During the delay, she sees Mephistopheles and finally puts two and two together, knowing a devil when she sees one, and understanding that Faust is not only responsible for her suffering but also in league with infernal powers. She pushes him aside, rejects him, and throws herself instead on the mercy of God, choosing death and redemption over being rescued by the man whose affections ruined her. Mephistopheles ruefully pronounces her condemned, but a voice from Heaven pronounces her Saved. Faust watches in awe as Marguerite’s soul ascends to Heaven, and he is left alone and presumably damned. 

Why is this framing of the story significant? Because it’s about her. Faust is only an instrument; his soul is not especially remarkable, he might have been damned without any devil to encourage him.

 But Marguerite’s soul was untouchable to Mephistopheles; he puts a vision of her before Faust for a reason. We don’t waste any time bemoaning Faust’s moral downfall; Faust is not the one seeking redemption at the end of the opera. Faust is a means to an end, and that end is leading an otherwise spotless soul into perdition.

 This opera has Mephistopheles at his most sinister, his most manipulative; he is the one driving Marguerite deeper into misfortune, who isolates her, mocks her, whispers condemnation into her ear her until she doubts everything. Desperate, without support and seeing no way forward, no future for herself or her child, Marguerite kills her baby, or is led to do so by Mephistopheles. Without a doubt, this has been the devil’s plan all along, and with Marguerite now branded a murderess, he thinks he’s won. But Faust, despite taking no responsibility for his actions, nevertheless feels pity and remorse at her misfortune, and goes to rescue her--and  this gives Marguerite the chance to finally see what he is.

 She rejects him; she does not choose love, she does not choose to live or be rescued by the forces that ruined her in the first place. She stays, renews her faith, and thwarts Mephistopheles’s best efforts to damn her. This is not about a man's hubris; it is about Marguerite escaping the devil and saving herself on her own terms. That’s why I find this version to be poignant. 

Some musical highlights: “Le veau d’or” (the golden calf)-- if not my favorite of Mephistopheles’s ballads then in the top three, particularly because it lends itself to some flamboyant acting; Marguerite’s “Ballade un roi de Thulé” (the king of Thule) is absolutely haunting; and "Seigneur, daignez permettre", aka The Church Scene is fucking incredible-- the juxtaposition of Marguerite’s pleas and the choir’s Dies Irae, the echoing church organs in the background, Damnation seeming to gain a voice of its own to summon her... it’s some real Eyes-of-Notre-Dame Hellfire shit. 

Rating: 5/5! A perfect score! Gounod wins the first place ribbon. Though he beats Boito’s “Mefistofele” (up next) on several key points, I want you to know that my personal bias will probably always be in favor of “Mefistofele” on account of being a ho for the titular character. --But Gounod’s is the better opera, fair and square. “Faust” has the most comprehensive storyline, the most memorable arias, and the best (I think) balance of both humor and poignance.  I will give this version the benefit of a Dragged to Hell point even though we don’t actually get to see the final deed. The Walpurgisnacht scene does exist as a ballet, so I’ll still give it the points even though it gets cut out of most productions for length (sometimes the ballet is performed as a stand-alone event). Additionally, he scores most favorably on the Marguerite > Sexy Lampshade scale-- this is a story about her more than it’s about Faust or Mephistopheles, and I’m here for that.

Thank you Mr. Gounod, you may retrieve your Incredibly Prestigious Award from my blog after the ceremony. 

Mefistofele (1868, Boito) 

--Libretto in Italian and English

--HERE IT IS, MY FAVORITE ONE, MY FAVORITE MEPHISTOPHELES, SAMUEL RAMEY, MOSTLY SHIRTLESS, FLIPPING OFF GOD AND LIGHTING A CIGARETTE ON STAGE IN HIS MATCHING CHERRY-RED TAILCOAT AND VIOLIN CASE 1989 (WHICH IS THE YEAR OF MY BIRTH, NO COINCIDENCE, I THINK)

--Oh, fun fact! The opera scene in Batman Begins is the chorus from the witches sabbath. If you thought it sounded familiar, this might be why.

Anyway. This is the third of the Big Three most-referenced Faust operas!  

Unlike its predecessors, Mefistofele covers both part I and part II of Goethe’s Faust, starting with the seduction of Marguerite and moving on to serenading Helen of Troy and finally with Faust’s redemption. The first part of the opera is very similar to Gonoud’s Faust, but first there is a Prologue, which is taken pretty much directly from Goethe.  And oh my god, is the Prologue hilarious. We encounter Mephistopheles, the titular character, on his way to work-- or more just loitering around in the aether as one does when one is bored and immortal and humanity is going on sinning with or without you, when he stops to greet the Lord God in passing, all satirical charm and sarcasm. God, very graciously, does not ask him whether he has anything better to do, but instead inquires if he knows Faust.

 “Oh yeah, that guy. Neck beard, likes science, big fan of yours. Sure I’ve heard of him,” says Meph. “Hey, you seem like a betting man--”

“Um,” says God.

Meph continues; “I bet I can tempt him into sinning and thus damn his immortal soul to Hell!” 

God agrees-- because God already knows the future and thinks this will be a fun way to build character. 

A choir of angels descends and Mephistopheles gets grossed out, sprays them with insect repellent, and leaves. (I am paraphrasing). 

The next few scenes are pretty familiar; Faust laments his ennui, a chorus of peasants and students celebrate a festival, Faust is on the cusp of a revelation that Jesus is neat, but is interrupted by the devil. The devil introduces himself, offers Faust his services on earth if Faust agrees to serve him in Hell after death. 

Faust, who seconds ago was ready to devote himself to a life of holiness, sayeth “yolo” and they shake on it, with the condition that Mephistopheles can reveal to him one moment of such surpassing joy and beauty that Faust will wish for it to last forever-- thereupon Faust consents to being dragged immediately to Hell. Because pssh, that’s later and who cares about later?? They hop on Mephistopheles’s magic cape, and fly off to have adventures.  CUT TO: Faust seducing Marguerite and Mephistopheles distracting her nosy neighbor Martha. THEY KISS, FAUST LEAVES, HE GOES TO A PARTY ON MT. BROCKEN. HE SEES A VISION: MARGUERITE IN PRISON! QUICK, TO THE RESCUE! BUT NO, SHE REJECTS HIM, HER SOUL IS SAVED, SHE DIES-- Wait, what? I hear you ask-- She just got here, she wasn’t even introduced, now we’re skipping to the end? The answer is: yes. Yes, you’re just supposed to know what’s going on already. 

To be fair, Faust operas are the Spiderman remakes of the nineteenth century; there’s a new one coming out every ten years or so, Goethe is required reading, everyone is writing Faust fanfiction-- no one is wondering who the girl is or how they met or is wondering if they’ll kiss or not. Everyone knows the plot already, it’s fine.

BUT THIS ISN’T THE END! No indeed! Now we are on a tour of PART II of Goethe’s Faust! You know, the part you skipped! Don’t worry, Boito isn’t making the entire metaphysical play into an opera, just the juicy bits with Helen of Troy. Marguerite is instantly and completely forgotten-- this is now a Helen/Faust one-shot, which Mephistopheles is forced to watch with annoyance. 

CUT TO: Faust’s old laboratory from Act 1, where he is on the brink of death, lost in a reverie of all the good times he’s had. Mephistopheles is hovering over him, tapping his wristwatch and reminding Faust of his past loves and glories, incredulous that Faust hasn’t yet found his One True Moment™.

 Faust just sighs and says “gee, I guess the REAL happiness was the good I could have done along the way but absolutely didn’t!” and God busts in through the ceiling with a HALLELUJAH and Mephistopheles is like “oh don’t you dare, don’t you fucking-- THINK OF ALL THE GOOD TIMES WE HAD, ALL THE SEXY LADIES I GOT YOU TO MEET! AFTER ALL I’VE DONE FOR YOU AS YOUR WINGMAN--” and Faust faceplants into the bible and goes straight to Heaven. Meph is left spitting in defiance as he sinks into the earth. THE END.

Why this framing is significant: The way Boito has arranged and cropped the scenes makes this story very much center around Mephistopheles. While Berlioz’s Faust was about the suffering of a young man for love, and Gounod’s was about the victory of Marguerite over Hell, Boito’s opera is about the humorous tragedy of Mephistopheles, whose endeavor was rigged to fail from the onset. 

Faust doesn't end up in Hell in Goethe's version, and I accept this because Mephistopheles lost his bet on a technicality: the Moment™ Faust wished to prolong was not provided by Mephistopheles, it was caused by his sincere desire to do a last bit of good in the world, coming to the conclusion (after being made blind by the goddess of Care) that benefiting mankind is what brings one happiness, not knowledge or fleeting pleasures. It wasn’t that he suddenly found Christ or gave himself over to God, as the opera implies, but because he finally realized the worth of striving to do good, and fond a source of platonic love within himself, which makes his soul redeemable despite his pact with the devil. So Goethe gives us a humanist, philosophical explanation for Faust's redemption..... BUT MOST IMPORTANTLY-- he has Mephistopheles lose Faust's immortal soul because he's Too Fucking Horny For An Angel Boy’s Ass. (I know when I’m being pandered to.) 

Unfortunately, Boito misses the whole philosophical trajectory of Goethe’s Faust and reduces it to a simple morality-play where a sinner is saved on his deathbed merely by acknowledging the hereafter. He doesn’t suffer blindness, he doesn’t actually DO anything good in his last hour, he just repents and decides Heaven is real after all at the last possible second before kicking the bucket. It would be disappointing, IF that were the point of the story. But that’s not where the drama is!

Like Gounod’s Faust, the focus was never really on the doctor at all; his redemption is not what we paid to see. It’s Mephistopheles’s reaction to losing Faust’s soul that makes the ending interesting, not the fact that Faust gets a free pass to Heaven. 

Highlights of this version: It’s fucking hilarious, and Mephistopheles is the star of the entire show. His arias are in turns sinister and sardonic, playful and powerful. The dialogue is taken directly from Goethe’s Faust in most cases (translated into Italian obviously), and hey, the dialogue in Goethe is really funny and good and witty! Hard to go wrong! 

“Ave Signor” (Hail, Lord!) is such a terrific opener; there will always be something delightful about the idea of the devil conversationally sassing God and daring to make a bet with the Almighty in the spirit of work-place rivalry. “Son Lo Spirito Che Nega Sempre Tutto” (I Am the Spirit That Denieth All Things) is full of dark bravado and rebellion, whistling defiance at the Lord. It’s a great Villain Song and as someone with sympathy for the devil it is completely my jam. “Ecco Il Mondo” (Behold the World) is both teasing and menacing and the staging lends itself to some glorious melodrama. “Ah! Su! Riddiamo, riddiamo” (Turning, turning) gets a prize for being the best infernal chorus and witches’ sabbath scene out of all of them-- it’s frenzied and spooky and satanic and whirling, everything you could want from an orgy of infernal creatures. Ten out of five stars, would exalt Satan to again.

Rating: 4.5 / 5 stars. Second place prize, and Honorable Mention for being the judge’s favorite. It’s not perfect. The story leaves much to be desired-- let’s face it, Part II of “Faust” isn’t especially... dynamic on its own, and especially when condensed to fit into opera format, the events don’t add up into a satisfying narrative.  Boito glosses over some frankly essential elements in the original and just has Faust skip right from his life-ruining adultery to being carried to Heaven on the backs of angels-- just for thinking of all the good he *could* have done if he hadn’t been, you know, a real stinker this whole time.  So I’m not giving Boito a pass for omitting Faust’s Hell Dragging. Furthermore, this play is woefully short on Marguerita; she basically just shows up to be seduced and then a second later is Ruined and Saved. Booo.

But hey-- is this play called “Faust”? Is this play called “Faust and Marguerita”? No. This play is called motherfuckin’ “Mefistofele”, because it’s about Mephistopheles. It’s about our suave, under-appreciated servant of Hell working hard for his cut, trying and squeeze just ONE life-altering moment out of this absolute dehydrated turd of a man, and the play is rife with his frustration. He is the one who whistles in defiance of God, and he loses because it is *inevitable* that he loses. God was never going to let him win that bet; Meph was a tool in his ultimate design to shepherd Faust closer to redemption. Mephistopheles is dragged off stage whistling in defiance as a lifetime’s worth of effort is flushed down the drain in a single moment of seemingly undeserved redemption. Not for a *solitary second* did we want this opera to be about Faust. No. This is the devil’s opera, and that’s why it’s so fucking great. 

Doktor Faust (1916–25, Busoni)

--Adaptation with Thomas Hampson 2006 

--Libretto in German and English

...And now, a German libretto written by an Italian, in contrast with Boito’s Italian libretto translated from German. 

God, this is such a modern ass Modern Opera. It does that thing I hate that modern operas do where the composer is like “What? You wanted a ~melody~? What is this, musical theater??” Like obviously they’ve transcended the need for anything so plebeian as a tune I can fucking hum. It’s very Intellectual, very High Art. The plot is full of tortured genius manpain, naval gazing, and I can’t remember a single aria from it. ...Okay, that’s a bit harsh; in the final two scenes Faust gets some lovely melancholy solos that actually stuck out to me. But this is a three hour long opera. So. Maybe skip ahead.

Plot-wise, this is the most existential of the bunch. No Marguerite in this one, just a Duchess with no name. Faust still ruins his lover’s life but in his final act he rejects both God and the Devil and uses his Supreme Human Will to transfer his life-force into his dead child’s body, resurrecting him as a young man with a blossoming frond of some kind. (Symbolism!!!) 

--This marks the full 180 turnaround from “Faust is forcibly dragged to hell by Satan himself and his body explodes all over the stage” to “NOT ONLY IS FAUST REDEEMED OF HIS SINS BUT HE TRANSCENDS BOTH HEAVEN AND HELL WITH THE INDOMITABLE FORCE OF HIS HUMAN WILL, GOD IS DEAD, FAUST IS THE ÜBERMENSCH”, and to that I say *ptttttttbbbbbbbb*.   

Rating: 1/5 stars.  Plot is ponderously philosophical, overweighted with symbolism, and the music, while interesting, is largely forgettable with a few exceptions. Also it is Three Goddamn Hours Long. Points lost for nameless female character who fails the Lampshade Test. Loses further points for a dry and flavorless Mephisopheles, boooo.     

The Rake's Progress (1951, Stravinsky)

--1992 production with Jerry Hadley and OH LOOK WHO IT IS IT’S SAMUEL RAMEY AGAIN HUH WELL DON’T MIND IF I DO this production is really, really well acted and funny and the dance portions are especially cool. 

--Libretto in English and Italian

Another modern opera, this time by a composer I actually like! 

Now, this isn’t technically a Faust opera; its based on a series of delightfully comedic prints by William Hogarth, detailing the decline and fall of a young man who inherits a huge sum of money, spurns his true love, and wastes his inheritance on foolish ventures and hookers, eventually ending up insane in Bedlam (I’m not saying tertiary syphilis, but definitely tertiary syphilis-- Let us take a moment to appreciate both condoms and penicillin.) 

In the original paintings there is no deal-making devil, but but luckily he’s been added in by librettist W.H. Auden (who was intermittently friends and lovers with Christopher Isherwood!!!!-- I just wanted to add that because it makes my gay little heart very happy). The names are all vaudevillian puns, such as “Tom Rakewell”, “Anne Trulov”, and “Sellem, the Auctioneer”. Mephistopheles has been exchanged for the slick, modern Nick Shadow.

Highlights of this version: Baba the Turk, the bearded lady that Nick convinces Tom to marry as a demonstration of his free will (???). Listen: I know she’s meant to be comic relief and is an unflattering stereotype, but dang if she didn’t win my heart completely. I like that her marriage with Tom apparently falls apart, not necessarily because she’s a bearded lady, but because she’s just very chatty and overbearing and is much better traveled than Tom, and has had numerous wealthy and important suitors who she won’t shut up about. She’s knows her own worth and conducts herself accordingly, and is very vocal when she knows she’s being treated badly. She’s got Anne’s back when they meet at the auction of all Tom’s property (which she was included in as an object because she was under a spell of silence and immobility-- rude), telling her to watch out for Nick Shadow and generally being very forgiving and understanding about the whole affair; she was hurt that Tom lied about his affections, but she doesn’t blame Anne for it, which is wholesome. Then she announces that she’s going back to her career on the stage because she is BABA and she has had enough of these scrubs. Anyway. I love her. She’s described very beautifully if you happen to like beards, which I do (and so did the author).  

“No Word From Tom” reminds me why I love Stravinsky so much (and Dawn Upshaw sings it like a nightingale). “Lanterloo My Lady” is spritely and fun and texturally interesting; besides, “sweet dreams my master, dreams may lie, but dream-- for when you wake you die” is chill-inducing. “How Dark and Dreadful is This Place” plus the whole card game in the cemetery is sad and grim and comical all at the same time; Tom is such a pathetic and naive mess you can’t help but feel sorry for him, even while Nick’s smugness is delicious. Tom’s mad songs are all quite touching and beautiful. 

Rating: 4/5 stars. The libretto is really excellent, jazzy, full of great wordplay and aphorisms. Nick is a delightful Mephistopheles; thoroughly modern, witty, sly, arch, fourth-wall breaking. Faust is not dragged to hell, but he is condemned to insanity. Loses points for a female lead whose entire purpose in life is to babysit this asshole through his poor life decisions. Also, while certainly more memorable and melodic than Busoni’s Faust, it still has that sort of shouty modern opera sound that I find a little challenging to listen to; but that said, the music fits the plot, and the plot is fun and absorbing, so while there may be fewer individual arias I’m likely to put on my jogging playlist, it’s engaging to watch as a production from start to finish.  

--Okay! That’s it! I know, I know, this isn’t actually a review of every Faust opera to date, but I have to get back to my life, and you already know my feelings on modern and contemporary opera. Thank you for bearing with me for this entire novel-length post that literally no one asked for!! You’re a the real hero here! I love you almost as much as I love Samuel Ramey in tights.  *stage kiss*  Yours in Service Here but in Mine Below, ~Wesley 

#Faust Tag #Wesley's Opera Hour #Faust #Mephistopheles #lifeblogging #long post #Phew! This took a million years to write but it's done and I'm happy!

[almost-random-stuff]

Translation of the interview to “Il Volo” on “Dear Martian”on 30/05/2017

Like always: sorry for my bad English, mistakes are all mine. In square brackets, my comments or explanations. Interviewer's art name is Piff

*Piff is sitting on an armchair, writing this:*

Dear Martian, I don’t know if there are famous people among you… forgive me, famous Martians. There are many of them in our planet and they come almost all from the same country: USA When you are a famous American then you are usually famous around the world. The opposite is far more difficult. In fact it is more difficult to find truly famous Italians in America. Yet for you, my dear Martian, I met three Italian singers famous in the US and tonight I want to understand how they have become famous in those parts. *clip of Barbra Streisand who presents them, and some duets with famous people* Pif: You, when you were 14 years old,- PB: did not have the beard Pif: -singularly, each for his own, went to this program of Antonella Clerici, then they put you together to form a group. GG: To arrive at Il Volo, since it all started as an international project especially for the united states, we  wanted a simple name, easy-to-say for Americans. In Italian of course. We found this name, metaphorical, Il Volo, as we are always on the plane. But first it was The Tryo Pif: The Tryo did not sound good PB: Imagines if we were women [plural female name, in Italian, generally ends in –e, so it comes natural for us to change it in “The Trye” which sounds like “troie”….an offensive word] *laughs* Pif: You did more concerts abroad than in Italy… GG: Because we had a contract with an American record company, their interest was to sell copies with an Italian product… after Bocelli this genre went good, especially in the '90s. And we continued this: bring bel canto around the world. Pif: And you survived the fact that you grew up. IB: There was concern of the 3 prodigy children who become 3 guys… PB: Then there is the muta della voce [IDK how to translate this: is the change of voice when you pass from child to adult], that is the most risky period. Fortunately it went well for all three. Pif: In Italy, if you are successful, they break the balls, tendentially. GG: Especially if you do it abroad first. Pif: And the fact that you're young too GG: They don’t forgive this Pif: How do you survive this? PB: Immediately after Sanremo the journalists were all against us "these make old music" but later, with Grande Amore, we came out with this single… They have changed idea a little. We have tried not to do fool stuff! So we can say that we have been somewhat forgiven for the success. GG: We are a little bit on the nazional popolare [IDK…popular national ??] so whoever has listened De André, de Gregori, probably strugglingly listen to the lyrics of Il Volo… So that kind of audience we did not win. IB: For those who listen to the lyrics. GG: yes, of course IB: Because if you like the music or a character you don’t care for the lyrics. Pif: How do you survive all this? GG: There have been many criticisms but the people were on our side, and the important thing it is not to be liked by everyone, but it is to be liked by many. You can also see this on social media. Pif: Have you done fool things for ego? PB: We did not buy a Ferrari, we did not go to Ibiza. GG: We maybe send a little an image of… that in the end we were afraid we might be judge differently. But in the end we are 22 year old boys- IB: *to Gian* Why shouldn’t we do things for 20 years old guys? GG: Because we have other responsibilities because not every 20 years old have 100 concerts in the US then come back to Italy and maybe have twenty more PB: Obviously. GG: Then this kind of music also requires vocal rest:  we can’t go to sleep every night at three or four. Yes, then when we are at rest, in the summer, we have fun, of course. We play football, tennis, we are with friends.

PB: And we're in three, so when somebody goes out of the *stutter a little* guard-rail, we'll get him back. IB: What did you say? PB: Guard-rail... I couldn’t get the word. Pif: You come from small village… PB: A metropolis of 8000 inhabitants: Naro IB: Marsala is a bit bigger  [83194 inhabitants] GG: I'm Abruzzese. Montepagano, that’s a part of Roseto degli Abruzzi [all Roseto has 25569 inhabitants] *Piff is in front of Pala Lottomatica of rome*

Dear Martian this is the Pala Lottomatica, which is a structure made to host the concerts, tonight Il Volo will  sing here. Another thing I want to understand is if they are agitated before a concert, I'm going to see them in their dressing rooms. [The dressing room looks like kind of sitting rooms]

*First Piero’s* Pif:  ah, you're not really nervous. PB: *sings* [at first he’s listening Latin music but then there is classic music in background] PB: You can’t be nervous on stage, you have to be happy. To get to this point I had to do years of concerts. Pif: At the beginning- PB: - it was difficult Pif: The first big concert was at…? PB: 16 years old. Has been eight since. Pif: this also happens overseas? That you are so relaxed. PB: Si. Maybe when there is the first date of a tour, like this year at the Radio City, we were all anxious to see the audience's reaction in regard to this repertoire, by not for something else. Pif: Are the other two like that too? PB: Looks, we ask for 3 separate dressing rooms. So I don’t know what they do before the concerts in their dressing rooms. Pif: In fact it could be expected that you to do all together, but no. PB: No, no. …we sleep separately. *laughs* PB: We only meet on the stage, but we don’t do all together. Maybe in the days off in… like, Oklahoma where there is nothing to do, we go to a shopping mall together… Pif: What is the topic that usually makes you fight more? PB: Women at first Pif: Really?! PB: Si. First women. At first it was a disaster. Now- Pif: Excuse my but: why? PB: Because… you take three little boys from three countries, little ones, you throw them on stage with everyone who wants to jump on you… and you no longer know for who to open your arms… Pif: Your friend from Naro, who do a normal life, what do they say? PB: They ask for the beautiful part. But they do not know, and they will never understand, but I understand this, the sacrifices we make. Pif: You travel the world, you sang with Barbra Streisand - PB: With many. *Piero shouting to someone outside: “Denny can you close this door? that trumpet is getting into my cerebellum?!”* PB: We surely learned so much from them. Even how to have fun... maybe not from Placido Domingo and Barbra Streisand. Pif: *laugh* well I think Barbra Streisand in the past had some fun. Well, I'm going to see if the other two are so relaxed too. *Knocks on Gianluca’s dressing room* *Modern music here. There's Ernesto on the couch and Gian is putting a jacket on* Pif: Piero told me that you do stuff separately. One imagines all of you together but everyone has his own life. GG: We are friends, but primarily colleagues. Pif: are you nervous now? GG: No, no, no. When I’m on stage, yes. Pif: And first no? GG:  No… You did see: I was listening to music in relax... and then, among other things, this is not the musical genre that makes me crazy. Opera. Among the three of us I'm the one a bit more- Pif: This is a shotgun! You do not like Opera? GG:  They know it, eh! I have never loved it- Pif: But this is a shotgun! GG: No, they know it very well. Pif: If you could, what music would you do? GG:  I go more towards... give importance to the lyrics and a production a little more… current. Pif: Do you have a girlfriend? GG: Io? …You want to know too much.

 *Pif finds Ignazio in corridors, in socks* Pif: Where are you going without shoes? Do you like Opera? IB: I became passionate with this project. Piero was very passionate about it and Gianluca did not like it. Instead I liked it but I didn’t want to study it... I'm taking lessons now. Pif: Are you nervous now? IB: No, I'm not. I get adrenaline, not tension. And adrenaline helps me not to be nervous Pif: Lucky you. IB: I get hungry. Pif: You get hungry?! IB: In fact, I've just finished chicken. Come here, look: Spaghetti! *you see the empty plate*

Pif: Spaghetti! IB: Three hours before the concert I ate pasta. You get the right carbohydrates for the performance. Pif:  Matches the bathroom time? IB: No ... because I'm regular. Pif: I didn’t want to go into detail like this… *Pif goes out* The strange thing, dear Martian, about fame is that being loved in a country does not mean being loved everywhere. I go to the manager to understand how they are perceived here in Italy MT: Envious enough, They are not followed affectionately. Pif: No? MT: No. Not so much by the artists, colleagues… it's more a matter of press. Pif: Well, if you think of an average Italian singer who sees this three who go around the world and do concerts with Barbra Streisand, they reject concerts at the White House… because they have refused Trump's invitation which, I must say, has done them a lot of honors. MT: Clearly there was a whole Latin American audience who was opposed to our participation, and they are very loved in South America. Pif: In Italy they do well. MT: They do well: at the Forum [in Milano] 11000 paying, at Torino 10000… calculating that we’re replaying ‘O sole mio that has been around for 300 years… *The guys are about to get on stage* PB: The most beautiful moment is when we go upstairs… the people screaming… Mamma mia! Give me shiver. IB: How is it? two minutes? Staff: Three minutes *They are in a cubicle in front of the entrance to the stage* Pif: What happen here? PB: Here... can I say that? IB: Yes. Somebody (maybe Gian?): Nooo! PB: *pointing a bucket * here we pee! Pif: Seriously? PB: During the concert we drink plenty of water. IB: We do not have time to go to the bathroom. Pif: *laughs* IB: Do you know what he uses? Do you know the cats litter? The sand you puts in it, he uses that. PB: Alessio, not me. *Framing Piero that puts lip stick on* *Ignazio and Piero again warm their voice a bit* Staff: one minute and twenty *The guys get their hands all three together* *Gian fix his hair, starting to looks worried* Pif: How many songs you sang? PB: 23 Pif: This are two hours without a break?! PB: Without a break, yes. *frame Gian's worried face* GG: Now I’m nervous... And it does not depend on how many people are out there. You know that, sometimes, I'm more worried about what I have to say, the gags, than the songs? Because sometimes I forget them! Staff: Let's go! *people are applauding the orchestra that played the overture* GG:  The warm of Rome. PB: *to Piff* Now, looks when we get up! *they go up on stage* *great screams and applause from the audience* *Some clip of some songs* *Pif go among the audience, frame some poster* Piff: Portugal ?! But you come from Portugal ?! Lady: Yes. Piff: Just for the concert? Lady: Just for the show ... we deserve a concert in Portugal

*laugh* Piff: *to the camera* from Portugal! *Frame of other posters and enthusiastic audiences, including a poster "We came from Brazil for you"*

 Piff is sitting in the armchair, writing: And now, my dear Martian, the message that Gianluca, Piero and Ignazio left me for you: *Video of the three* GG: Dear Martian, humankind unfortunately is no more. The only thing left to you is just this material that you just found… that is, these three guys of 20 who try to bring the name of Italy around the world... I hope you like it! PB: I hope there is a good memory of us on earth. But a tip for you: come with a SUV because Italy’s street is full of holes. IB: We are giving our contribution to making Italy known as beautiful as it is and we want to leave the memory of three boys who love their country. Bye dear Martian. End

Link for the video: http://www.raiplay.it/video/2017/05/Caro-Marziano-4b7c6d4a-91ca-4b18-8380-6121c097ff00.html

Poor Gian, it’s a while that he says that opera is not his genre, journalist just  don’t listen. XD  But I like that he supports this project all the same, without complaint, even if he’s not a tenor and all. It’s like supporting his band mate.

And I can not stop imagining Ignazio eating spaghetti and chicken before the concert. LOL! Always at ease.

Piero is a cocky charming boy :p

Well, it was a good interview... what do you say?

#il volo #ilvolotranslation #translation #ilvolo #interview #il volo interview #ilvolointerview #music #singer #italian singer #caro marziano #italian interview #piero barone #ignazio boschetto #gianluca ginoble #piff #nottemagicatour #2017

[wikitopx]

Not on every visitor’s radar,

Naples can prove to be one of Italy’s most fascinating cities… when you give it a chance. No matter what time of year you plan to visit, here is a list of 10 things to do in Naples.

[toc]

1. Galleria Umberto e Saint Carlo theatre

It is located directly opposite the San Carlo opera house.

2. Capodimonte royal palace and museum

In 1738, Charles of Bourbon decided to convert his hunting lodge located in the forest of Cap Capimimonte in the Royal Palace - Museum, to organize the Farnese Collection, received from his mother.

In fact, even today, walking through the great halls of the building, it seems the Bourbon family has come out of the house right in front of our entrance.

The museum contains masterpieces of: Tiziano, Masaccio, Botticelli, Rafaello, Guido Reni, Brueghel the Elder, Andrea del Sarto, Ribera, Goya, Pinturicchio, Vasari, Mattia Preti, Ribera, Andy Warhol, Mimmo Jodice, Alberto Burri, Mario Merz, Joseph Kosuth, Enzo Cucchi, Michelangelo Pistoletto and the extraordinary “Flagellation of Christ” by Caravaggio.

3. Naples Cathedral

Although dating back to the late 13th century, the church has been significantly altered by earthquakes and restoration, especially after 1456, but the doorway 1407 at the center of the front already exists. In the south aisle is the sumptuous 17th-century chapel of San Gennaro, patron saint of Naples.

On its main altar, a silver bust contains the skull of the saint, who was martyred in 305, during the Diocletian period. In the tabernacle are two vessels containing St. Giam's blood, believed to be of liquid power, held with solemn rites in the church every September 19.

4. Piazza del plebiscito

When looking for things to do in Naples, you should include a visit to its largest square. With an area of six acres, this public space is a gathering place for a casual stroll, the backdrop for large-scale artwork, a wonderful New Year's Eve and a stage for the world-famous singer and performer.

Here you'll find the Palazzo Reale, the 30-room Royal House Museum, as well as Biblioteca Nazionale Vittorio Emanuele III, the largest library in southern Italy.

5. Mount Vesuvius and Pompeii ruins

MT. Vesuvius is known for including Pompeii with ash, rock, and lava 2,000 years ago (and the last eruption in 1944) is only 10 km (6 miles) from Naples. There are tour buses that can take you directly to the parking lot, or for those who prefer to travel independently, it's a short train and bus. This is an attraction of Naples not to be missed.

6. National Archeological Museum

Originally the museum was a horse riding school, then the location of the University. Archaeological Museum was inaugurated in 1816 and today, it is one of the most important museums in the world because of the quality and quantity of buildings offered. Many objects came from excavations at Pompeii and other nearby archaeological sites.

7. Veiled Christ at Cappella Sansevero

Engraved in 1753 by Giuseppe Sanmartino, it shows Christ's image beneath what looks like the thinnest piece of cloth. The facial features are clearly visible, as are the body and even the crucifixion wounds, but the entire body is covered by the delicate folds of cloth. The visual effect is truly stunning.

There are two other notable sculptures in Capella Sansevero, each dedicated to one of the man's parents who commissioned them and built the chapel, but that is the concealed Christ, that makes Attention everyone.

8. Castel dell' Ovo

The Castel dell' Ovo is the oldest fortress in Naples. The name of the castle comes from a legend about the Roman poet Virgil, who was famous in the Middle Ages as a great sorcerer and predictor of the future.

In the legend, Virgil has placed a magic egg on the foundation to support the fortifications. If this egg is broken, the castle will be destroyed and a series of catastrophic events for Napoli will occur.

9. Walk along Spaccanapoli - Unesco World Heritage Site

The city of Naples comes alive with all its splendor, chaos, and charm on the streets as Spaccanapoli, or Via San Biagio. It is the main street that divides Naples and is the heart of the historic center.

Begin in the Piazza del Gesù Nuovo and discover the traditional pizzerias and pastry shops, as well as some of the best monuments and churches in the city. Via San Gregorio Armeno, in addition to Via San Biagio, is famous for its natural workshops and shops.

10. Eat Pizza

It may seem strange that the first thing to do or see in the city is really something to eat, but in the end, this is the birthplace of pizza (perhaps the most popular food export of Italy) and the locals take their food very seriously.

Make sure you go to a pizzeria that serves Napoletana vera pizzas, Neapolitan-style pizzas, and you'll be great. See the Pizzerias suggestion on Visit Naples.

More ideals for you: Top 10 things to do in Pisa

From : https://wikitopx.com/travel/top-10-things-to-do-in-naples-706140.html

#Wikitopx #Wikitopx - Feed

[wayneooverton]

9 amazing reasons to visit Bright, Australia (besides its name)

Australia tops the bucket list of many, and as someone who has been down under many a time, I’ve yet to tick off some of the most iconic spots like the Sydney Opera House, the trendy city of Melbourne or Uluru.

Personally, I love to get off the beaten track, and when the chance came to explore Victoria’s High Country, I jumped as high as I could.

Victoria is one of the states in Australia, home to Melbourne, but once you get out of the big city, you’re in for a real treat.

A lovely mountain town set in the foothills of the Victorian Alps, Bright is the perfect base for exploring Mt. Buffalo and the surrounding Alpine national parks.

It is also the base for visiting Mt. Hotham in winter to ski. While I have yet to visit Victoria in the snowy season, I can heartily attest to the fact that this place is just

Wineries, good foodie spots, friendly locals galore, beautiful views and epic adventures, Bright and the surrounding area really does have it all!

25 photos that will inspire you to visit the Victoria High Country

1. Sunset at The Horn, Mount Buffalo

It seems fitting to begin with the first of several all-time favorite places in Bright (yes, I have more than one, I’m allowed!) The Horn, at Mount Buffalo.

This spectacular lookout is what dreams are made of. With truly breathtaking views you’ll feel (quite literally ) on top of the world. While you can drive most of the way, to reach the lookout you’ll have to don your hiking boots for a short steep hike from the final picnic area to get to the top.

If you had to pick a time of day, chose sunset!

Showcasing sweeping panoramas of Mt Hotham, Mt Buller, Mount Featherton and the valleys beyond, you’d be forgiven for thinking you were in Europe, or even the wilds of China!

At 1,723 meters elevation (or just over 500 ft) The Horn is the highest point in the Mount Buffalo National Park and a definite ‘must do’ when you’re in the area.

As the rolling mountains disappear into the distance, you really feel like you’re on top of the world here.

2. Dip your toes at Ladies Bath Falls

There’s just something about standing under a waterfall in the heat of the day, surrounded by birdsong and native forest. Am I right?

The ultimate bathing spot, Ladies Bath Falls are practically an institution round here.

As the story goes, in the late 1940’s the trains from Melbourne would stop so the ladies on board could ‘refresh’ themselves in the falls before the final leg of the journey to Mount Buffalo. I can heartily attest that that water is, indeed, fresh. It’s freaking cold!

Set just 400 meters back from the road up Mount Buffalo, these crystal clear springs trickle over smooth granite boulders and make for a tranquil detour.

Be warned though, the water is icy! Not shown in pic: My very numb feet. 

3. Get nice and cozy at the Kilnhouses

My accommodation near Bright was extraordinary. The Kilnhouses are a unique experience where contemporary luxury and design is combined with the stunning beauty of the high country landscape on a cattle farm.

And I’m not really a ‘cow’ kind of girl, usually preferring sheep farms, but after this – I think I’m converted.

I stayed in the Sorting Shed which was designed to mirror the old style of tobacco sorting sheds, with amazing views of the farms and mountains around it.

Let me ask you something. When I say ‘Australia’ you picture beaches and kangaroos right? Me too. Well, I used to.

Now, when I think of Australia, my mind often wanders back to The Kilnhouses.

Rolling green fields as far as the eye can see, edged with gumtree forests and snowy mountain peaks. Morning mists, and the sounds of a working farm right outside my seriously luxurious room. Can I hide here forever?

4. Be welcomed by the friendly locals

Down to earth, generous and some of the most welcoming people I’ve ever met, the locals in Bright are a huge part of what what make this place so special. From the baristas who made my daily coffees to the people I met on the trails, I left Bright with such a sense of joy for my fellow humans.

Here I felt safe and happy.

Which is actually saying a lot considering I’m the biggest introvert out there. 

5. Tuck in for a big feed at the Wandi pub

Now getting to one of the more important points – the food. Which, by the way, was exceptional. Topping my list is the Wandi Pub.

Yes, guys, a pub.

The perfect mix between down-to-earth watering hole and inner city gastro-chic, the Wandi delivers in every regard. The portions are big, the garden is delightful and the decor is en pointe (although seriously, what do I know about pub decor?)

I don’t know what I was expecting when I parked outside the Wandi pub, and I could see heaps of local utes and farm vehicles. Expecting a rural farm kind of pub like we have in New Zealand, you know, with antlers on the wall, a big pool table and a lot of men in plaid and short shorts.

I wasn’t disappointed, except I wasn’t prepared for the incredible beer on tap and the delicious and fresh menu inspired by owner’s Tim and Paddy’s travels.

If I could have ordered everything on the menu, I would. However, I’m unashamedly all about ordering food that looks good on camera (not a curry then) and I went with the Zaartar cauliflower and omg guys it was amazing.

6. Go for a wander at sunrise at the Mount Beauty Gorge Walk

If you’re after an easy hike that really delivers on epic terrain – this one’s for you. Roughly six kilometers of sheer granite cliffs, cool green canopy and clear waters, the Mount Beauty Gorge Walk takes you through the heart of a natural canyon.

Starting out you’ll traverse the Kiewa River via swingbridge, before the track descends into the belly of the gorge. Be sure to pack a pair of shoes you don’t mind get wet for wading – there are several river crossings on this hike. 

There’s also a fair bit of boulder hopping! And also it’s Australia, so snakes!

As you continue on, the sun is filtered through the trees, creating the most beautiful light. I’ve been on a lot of hikes, but I was really struck by how magical this place felt.

The further you go, the sides gradually get steeper, and you’ll come across a series of natural pools, perfect for taking a dip along the way! I recommend taking a picnic to enjoy on the rocks post-swim – Everything tastes better with the sun on your face!

7. Enjoy all the colors 

If there was ever a town to embody the essence of landscape diversity, it would be Bright. As happy as its name suggests, I can’t help but make my number seven point all about the color palette.

The soft pastels of dawn give way to a vibrant orange sunrise, which transforms the landscape into a patchwork of greens and browns.

The constant dust in the air mean that during sunset, the horizon is painted every shade of purple and yellow.

Everything is sharp here, bolder and brighter, pun intended.

The vineyards, mountains, red dirt roads, bare rock and lush undergrowth all meld seamlessly, creating a truly wonderful snapshot of Australia at its finest.

It’s also not unlike my hometown of Wanaka, so possibly that explains my affinity with the land.

I know that it’s probably glorious come autumn when the leaves begin to change.

8. Take in a sunrise at  Tawonga Gap

Ok, this one was a happy coincidence I stumbled upon while driving one day and knew it’d be a great spot for sunrise.

Halfway between the towns of Mt Beauty and Bright, on the Tawonga Gap Road is a secluded little lookout with the most sensational views over the surrounding mountains.

It’s extra special because most of the drive you’re shrouded in forest, so when you reach this tiny clearing it makes the panorama seem all the more remarkable.

Native bush turns to lush farmland, turns to mountains and endless skies. I managed to catch the sun as it first appeared, but whichever time of day you choose, the Tawonga Gap is an ideal spot to stretch your legs and get a dose of vitamin N. Plug in into maps on your phone and you’ll find it. 

9. Explore as much of Buffalo National Park as you can!

A natural paradise of walking tracks, waterfalls, wildflowers and wildlife – Mount Buffalo National Park is another essential addition to the ‘must see’ list.

Regardless of your fitness levels, this vast park has something for every hiker.

Tracks range from short 45 minute strolls to steeper six hour treks. Interesting granite formations dominate the craggy peaks, and its endless gum forests provide shelter for the wildlife. If you’re lucky you may spot a kangaroo or two, wallabies, possums and variety of native birds and wombats. Yes, I said wombats. 

I repeat, WOMBATS.

Contained within the park is an old chalet, built in 1910. Surrounded by beautiful gardens it has sweeping views of the landscape and adds a touch of charm.

Camping is allowed, and there are a range of campsites both with basic facilities and others more remote. Oh, and there’s a lake! In the warmer months you can swim or kayak – or simply just relax with book on the water’s edge.

From wombats to wineries, mountains to waterfalls, Bright is a real gem and definitely worth checking out on your next trip to Australia. You won’t regret it.

Have you ever been to Victoria or heard of Bright? Is this the kind of place that appeals? Have anything else to add? Spill!

The Feast High Country Festival coming up from May 3rd to May 19th, 2019 and is an amazing time to explore, eat and drink around the Victoria High Country

Many thanks for Tourism North East for hosting me in Australia – like always I’m keeping it real – all opinions are my own, like you could expect less from me!

The post 9 amazing reasons to visit Bright, Australia (besides its name) appeared first on Young Adventuress.

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[terrainofheartfelt]

Gossip Girl Playlists: Theatre Kid AU edition!—Dan’s

[Blair’s] [Nate’s] [Serena's]

I don’t even remember exactly how this started, but it’s @strideofpride’s fault. 

The concept began as: if they were in this world, what would be in the GG mains’ MT books? What would be their go-to song? Their 16 bar cut? And then, I got on spotify, and got wayyyy too carried away (typical me), and it sort of morphed into: what are the NJBC’s (plus Daniel’s) senior musical theatre recital programs? And now I have this: a quartet of playlists of repertoire handpicked by me for these fake people, and I am very proud of them. 

All selections based on my very particular taste, honed from a childhood in community theater, an adolescence in high school musicals, and a 4 year degree from a majority musical theatre school

And, as in the tradition of Glee and all plays within a play, the rep reflects something profoundly personal about the character, because you know I love a theme. 

Oh Danny boy, my darling. In MT land, he has…sort of the inverse of Nate’s conundrum. He is Leading Man Material, but he gets kind of shoehorned into character stuff because he’s just good at his job. But – come on, this guy? He’s a romantic, and he SHINES in the ~romance~ 

Like, we should always keep talking about he and blair playing opposite each other in all the shows in all the aus amen. 

Like, we should always keep talking about he and blair playing opposite each other in all the shows in all the aus amen. 

His type: the wide-ranging baritenor. He can go low, and there’s an understated richness to his voice that lends itself to that, but I see Dan having the vocal control to do less “singy” roles as well. I think he ends up leaning more into tenor than Nate, like in classical crossover he’d sit just that much higher, but his voice is bigger, which is how I’m justifying the Street Scene song below. Also, in listening to Badgley sing other stuff, he can do that hook into his falsetto and come back belting and it’s hella tender and hella sexy.  And, by nature of his background plus the training a degree would give him, Dan can navigate a wide range of styles, which is hwy of the playlists, this one is…the most all over the place, but I have a reason for all of it, I swear, which is: I do what I want. 

Also: musician!Dan my beloved. He would play piano and guitar and mayhaps…another instrument?

References: Aaron Tveit (lol I know. Cousin Tripp. That guy); Jeremy Jordan; Steven Pasquale; Zachary Levi; Mandy Patinkin; and another guy I know from college, he came into my voice studio for a masters in opera but when he left he could do anything from a gorgeous lyric tenor to Che in Evita and Angel in Rent (he could sing the shit out of them, but those roles shan’t appear in this playlist, because this guy is latino and Dan is not. You know what I mean)

the tracklist:

Tonight at Eight — She Loves Me

Another instance of “S is always right” seriously go read her theatre kid au. 

After months of exchanging letters with his penpal (unbeknownst to him, his workplace nemesis), Georg anxiously awaits meeting her. Tonight. At eight. 

Something’s Coming — West Side Story

Dan is Leading Man Agenda. 

Tony’s best friend Riff convinces him to come to the Dance at the Gym tonight, and Tony, to quote the prophet billy shakes “dream’d a dream” about it

I Could Be in Love with Someone Like You — The Last Five Years

JRB songs are too long when you’re sitting in studio class, but damn. they fuck. 

And for how cynical I got over this musical in college (because every bitch sings Still Hurting), it is a fantastic and clever piece. It’s the story of a couple, from falling in love to marrying to falling apart, told chronologically from Jamie’s perspective, and reverse-chronologically from Cathy’s perspective. 

It’s also semi-autobiographical. A semi-autobiographical work about a star crossed couple and their breakup GEE SOUND FAMILIAR?!

Anyways, this song was replaced after the workshop with “Shiska Goddess”—which was the correct choice, but I like the character study in this song. 

At the beginning of their relationship, Jamie is starting to fall for Cathy, and her Irish heritage may or may not have something to do with it. 

Wondering — The Bridges of Madison County

Again, I love this musical so much. I am a stan, I will accept no criticism. 

After an “almost kiss” kind of moment with the kind woman he meant in the countryside, Robert ponders the moment and the chemistry he felt. With one of the most unhinged (compliment) bridges (pun not intended) in MT. daircore

Leave — Once

It’s guitar!dan time! You think theatre kid dan wouldn’t be all about Once?

(also it’s one of my favorite musicals and OCRs so it gets a whole set. My house.)

Guy’s first big solo, written and performed coming off being dumped. 

Say It to Me Now — Once

Guy plays an audition for a banker of all people, to get a loan so he can take his demo from Dublin to NYC

Falling Slowly (duet w/ Blair) — Once

Guy’s sworn off music, but when a Girl finds sheet music in his jacket, she cajoles him into playing it with her. 

Up on the Roof — Beautiful: The Carole King Musical

I’ve got a lot of opinions on jukebox musicals, mostly that we have enough of them. If Sara Bareilles and Ingrid Michaelson can write originals then no one else has any excuse. But this one is good. Because it’s Carol. 

This is the James Taylor number of the show. So of course Dan has to sing it. 

One Song Glory — Rent

As an Opera Person, I will always harbor a soft spot for 90s rock La Boheme. And it really fits Dan’s son-of-a-90s-rocker schtick doesn’t it?

And like, I think it’s easy to get corny about it, like, we all sang seasons of love at high school graduation, but it really is a masterwork. Andrew Garfield Jonathan Larson was a genius. And, like Boheme, people get swept in the ~romance~ and have to be reminded of how fucking raw it is. 

Like I didn’t really understand this song until I saw the show in undergrad, and sung by a guy who was just — born for it. He and Aaron Tveit. They get what it means. 

Roger is a musician living with HIV and depression (and his documentarian roommate and bff Mark), and is convinced that he won’t be alive very much longer, and all he wants is to write just one song that he can be remembered for. 

Lonely House — Street Scene

Street Scene is a show that plays jump rope with the line between opera and musical theatre, and it really just depends on the singer. Dan would, have big enough classical chops to sing this, but give it a more mt bent, which I wouldn’t hate. 

As someone who leans more on the side of classical in my preferences, sometimes I think operatic tenors overdo it on this song. Honestly if companies didn’t make up the stupid ass rule that every voice type has to have a contemporary aria in their package, operatic tenors wouldn’t sing this as much as they do. But that’s a rant for another time. 

And I remember a colleague singing this to close out a recital program, and we were in this church that had one (1) door, and after he sung, during the outro, he walked right out the door. And it ROCKED. So I think it’s a good act closer. 

Sam lives in an apartment block packed with people, but doesn’t really have anyone.

She Loves Me — She Loves Me

Recital act two opener let’s goooooo

Georg finds out who his penpal is. And he has Feelings about it. 

So in Love — Kiss Me, Kate

Another enemies to lovers plot! or well, lovers to enemies to lovers again. 

This is the reprisal to the song Lilli sings at the beginning of the show, now sung by her ex husband, Fred. His italicized oh moment. 

And the music & lyrics are….sexc

Hero and Leander — Myths and Hymns

Another Adam Guettel offering! Do I have an agenda? Only to be an evil dictator of taste.

Speaking of, this song cycle/revue is such a rare gem that a decent recording of a decent singer is so hard to find, that I had to settle for the mashup Tveit did in his 54 below show. So, when you get to this track, if you want to skip the first…minute and 30 seconds, then you’ll get straight to this song. 

(the first one is from Next to Normal, and is beautifully sung of course, it’s just irrelevant in terms of this playlist

— bc while Tveit could sing Gabe in his 20s, I don’t think Dan Humphrey could.) 

It’s got that falsetto hook that I just know Dan would be good at. 

This show doesn’t have a plot, it’s a revue, so each song is like its own contained story. This one is about the myth of Hero and Leander. 

Leander would swim across the sea every night to meet with his lover Hero, until the gods sent a storm, and on one of his nightly swims, he drowns. Those greek myths amirite. 

When We Dance (trio w/ Blair & Nate) — The Last Ship

Another selection from Sting’s opus that deserves more love!

I think if you’re looking at this meta-wise, Dan’s character is more in line with the other male lead—steady, supportive, romantic, the “right” choice, but hey, they’re Acting, and musically, the main guy’s part is better. And this trio is just sooooo pretty. 

And it can be ot3-esque if you want it to be (I know I do).

After running away from his tiny shipbuilding hometown, Gideon returns fifteen years later to make his move on the girl he left behind, Meg. she’s having none of it, she has a new man (Arthur), and a kid that’s fifteen years old give or take nine months. Her new man also pleads his case. 

One Second and a Million Miles (duet w/ Blair)  — The Bridges of Madison County

Thee big duet of the show. Facing the end of their time alone together, Robert proposes that Francesca come with him when he leaves town. It’s just—promise me you’ll listen to it. There’s nothing like it. “If I Loved You” MAYBE. But nothing else like it. 

Later — A Little Night Music

My guy would absolutely have a sondheim set in his recital I just know it in my heart.

(I’ve seen guys sing this song and play the cello part live themselves, so, why not Dan?)

It’s a complicated domestic drama about a privileged family and all their internal troubles (sound familiar?)

Henrik, a lawyer’s son & lutheran seminary student, is an over-serious over-thinker, and now he’s got to fucking deal with his dad marrying a woman who’s younger than him—and yikes I just realized how close this hits god fucking help me. 

ANYWAYS this is staged with Henrik either actually playing the cello or just miming it, and I find that. very attractive.

Losing My Mind — Follies

Originally written for Dorothy Collins for a women's role, Jeremy Jordan gave a cabaret performance that still blows me away every time I listen. 

And it is BIG Daniel Humphrey Professional Yearner energy

Sally, a former star of the Ziegfield Follies, sings this ballad about Ben, the one that got away. (dairfair vibes, if you will?)

Move On (duet w/ Serena) — Sunday in the Park with George

Probably one of thee best songs in the MT zeitgeist.

It gets me every.single.time

George Seurat (french pointillist) and his lover Dot have a great grandson also named George, who is also an artist struggling to just fucking make something. 

Dot appears to him in a vision, speaks to him like he’s her George (I mean they’re both Mandy Patinkin, so), and they exchange the most poignant lyrics about art and creativity that have ever been written. Oh, Stephen <3

Being Alive — Company

You might say that this one is overdone, but when it’s done well, it always Hits.

and you KNOW Dan would do it right. 

The always single Bobby, in the midst of his paired off friends, rails at the futility of romantic relationships until he finally admits what he really wants: that. 

Don’t Stop — Fleetwood Mac

Because he has to sing an encore with Jenny. Come on, him at the piano, Jen sitting next to him, I can see it :)

#dan humphrey #gossip girl #playlist #*ggmt #source: senamarais #(I knew a guy who opened his recital with tonight at 8. he tried to rig an alarm clock to go off #and he would come out when it rang....the bit didn't work. total sweetheart tho) #listen. everyone should listen to bridges #there's two other big solos for the leads #that i didn't put in dan and blair's playlists bc i didn't think they fit the Theme. but DAMN #they're so good #and there's another duet that's fabulous #musician!dan my beloved #daniel humphrey professional yearner