"Thank you, thank you. I love all of my fans. I hope you all buy my newest CD"
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post-Lucia still rather incoherent thoughts:
was this a perfect production? no. was there a LOT of great stuff in it? yes. did it make me think about and feel the material in a whole different way? HELL YEAH.
loved the sets. LOVED them.
Anthony Roth Costanzo was everything as host and I died when he popped out of the pickup truck at the beginning.
the musical and dramatic performances were PHENOMENAL. chorus, actors, and orchestra TOP NOTCH.
Nadine Sierra is 110% captivating and her mad scene has to be seen to be believed.
Javier Camarena is *chef’s kiss*. no more needs to be said.
Artur Rucinski is perfection itself and King of the Baritone High Notes. also loved him calling Putin “pure evil” in the interview and saying that he was channeling that pure evilness into his role.
Christian Van Horn was great, ultimate luxury jump-in, if you didn’t know (and didn’t catch the one pre-recorded video in which Matthew Rose appeared) you would’ve thought he was originally in the show.
Arturo and Normanno actually had personalities! thanks Eric Ferring, Alok Kumar, and Simon Stone.
and Alisa had a personality! and Deborah Nansteel sounds kinda like baby Stephanie Blythe!
the amount of blood used was even more than photos indicated. utterly correct decision.
Frizza is an amazing conductor.
the harp, glass armonica, and cello soloists all need raises stat.
I’d love to see how this production works in-house—from what it looks like, I think the HD did a great job of showing what needed to be showed between the live action and the videos.
loved Stone’s comments about how his ideas are only the catalyst and a director’s ideas shouldn’t be the endpoint; everyone should get to contribute. ideal tbh
I couldn’t keep my eyes off for even a second for all of Act I.
HOW THE FUCK DID NADINE JUST BLAST A HIGH D AFTER DOING SOME NINJA LEVEL SHIT WHILE TRYING TO GET AWAY FROM ARTUR IN ACT II
I want to eat that cake
the mad scene, once again, pure perfection. SO many good staging choices, you could just see how she was trying to convince herself that she was finally free only for those Arturo zombies to come back and remind her no you never truly will be free (and then she shoots herself).
also LOVE the Alisa/Lucia bond this production had going on.
there was a moment right before the mad scene where Raimondo is asking that heaven not punish the community for Lucia murdering Arturo and suddenly a bunch of shit just clicked—it’s one single moment of self-awareness that everyone has contributed to this mess, this culture has made this mess, and then they go right back to gawking and making a pitiful spectacle of Lucia during her mad scene.
also, for the first time I really “get” the opera not ending with Lucia’s mad scene. maybe this wasn’t what Donizetti and Cammarano had in mind, but the opera is called Lucia di Lammermoor. it’s all about her struggle and beatdown by these men around her. she gets the ultimate showcase. but it’s not the end. she still dies, and the men around her still make it all about them—it’s no accident that there are no women at all in the last scene. the men twist her death to make it about them, which is why nothing can truly change. they get the last word, not her.
just something to think about, I guess.
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i need to get back into drawing and animating so i can animate Olin Blitch’s sermon/the awakening scene from the niche and underrated opera Susannah. it would also be in a style reminiscent of Hellfire from The Hunchback of Notre Dame btw……
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Something that always confused me when I read TPOTO was why The Phantom chose box five out of all the private boxes to be his.
Out of all the seats in the house, box five is among the worst and would be (and still is) sold cheaply (average 65 francs at cheapest in 1880, now sold a between 10-25 euros nowadays) on general sale. A higher profit would've been made from a year-long booking, especially since there are multiple seats, so it would be 65 francs per person on a yearly booking no matter how many people are in there at once, but still not as much as other seats.
Visual wise, a good chunk of the left side of the stage is cut off and parts of the performance that would occur in the higher wings would be completely unseen, so, why choose it? Isn't the main point of going to go watch an Opera is to actually see the performance?
(A screenshot from the Palais Garnier's seat listing stating the best seats for viewing and the view from the box five via this video)
Having been there myself in late May, I found an answer to my own question and I'm gonna share it with you guys because maybe someone else was asking the same thing!
Although yes, the stage is half cut off, it's one of, if not the, best seats acoustic wise. You're a perfect distance from the orchestra as well as the stage for everything to sound just right. As much as The Phantom would've loved the operatic performance, I don't doubt he would've been more focused on the music itself as well as the vocals, and, mainly, Christine.
Further, although going to the opera was more of a social thing than an entertainment thing, so the boxes were built for aristocracy to be seen above all things, you can disappear from public view quite easily in that box. There are two to three rows of seats going backwards to the door, so all one would have to do to disappear from sight of anyone on stage or in the audience would be to just move a seat backwards (which means he wouldn't have been able to see the stage at all, but would still be able to hear everything perfectly well).
Plus, the box is located right at the end of the row of private boxes, as well as very close to entry and exit stairs, both public ones and private ones meant for stage hands and general workers.
All in all, those three reasons are why the box was chosen and kept in high priority for The Phantom, because he could quite literally disappear, like a ghost, by just moving himself in the box, as well as disappear out of the box and hear Christine almost perfectly.
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Out of every single relationship in the Whoniverse, whatever the Doctor and the Master have going on just hits different. Like a rock. I’m sure everyone feels this way about their fave Doctor ship, but my experience is that once you go Thoschei, you cannot go back. Given the narrative symmetry, character foiling, interwoven parallels, tragically dramatic irony, frustratingly unspeakable ambiguous romance that defies traditional ship canonization in the true chaotic spirit of Doctor Who, and a unique backstory setup that allows the characters to have history that other individuals cannot match, while fate (and the format of the show) pushes them together over and over again indefinitely, without hope of lasting reconnection lest the setup break, the Doctor and Master’s codependent anti-soulmate life or death partnership arguably cheapens every other pairing beyond comparison. Their tragedy never leaves you. (And keeps you up at night)
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Headcannon: Lavender may be in Pride ring but she's very gentle. Her and her Sister Poppy haven't seen eye to eye ever since they were orphaned. Funny enough it was Steallas family who took them out so that Stolas was forced to marry only her.
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i think we as a society need to return to campy movies. i wanna see more "ghostbusters," more "repo! the genetic opera," more "rocky horror picture show." i wanna see more movies where you can see the effects, where it's all over the place and insane, where the music isn't something you'd find in an opera house, but you can tell that the people behind it put their whole chests, their blood, sweat, and tears into it. you don't need avatar level special effects to make a good project. you don't need marvel level complexity to make a good story. you don't need john williams making your soundtrack to have good music. we should be less afraid of movies being seen as "flawed" or "imperfect" because imo, that just makes them all the more fun and heartfelt.
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"God give me courage to show you, you are not alone."
Jon Robyns (The Phantom of the Opera) and Lily Kerhoas (Christine Daae), in The Phantom of the Opera, West End, January 2024.
@or-what-you-will and @hyperfixatra, master (you can get it here)
It's fine, this sequence doesn't live rent-free in my head or anything
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