Sleepwalker,Maximilian Pirner
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Rachel Cusk, from Outline
[Text ID: I became aware of this feeling of having deserted my own life, as once I would desert my room; and I was suddenly filled with the most extraordinary sense of existence as a secret pain, an inner torment it was impossible to share with others, who asked you to attend to them while remaining oblivious to what was inside you, like the mermaid in the fairy story who walks on knives that no one else can see.]
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RENATA SCOTTO
as Vitellia in MOZART's *La Clemenza di Tito*, 1984 (ph 1&2)
IDEM
as Violetta Valery in VERDI's *La Traviata* (ph 3)
as Amina in BELLINI's *La Sonnambula* (ph 4)
as La Gioconda (PONCHIELLI) (ph 5)
as Lady Macbeth in VERDI's *Macbeth*
as Elisabetta di Valois in VERDI's *Don Carlo*
as Lucía in DONIZETTI's *Lucía di Lammermoor* Copyright ©️ Tamino Autographs
as Anna Bolena in DONIZETTI's opera of the same name.
in *Iván Susanin*
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Natalie Dessay - Metropolitan Opera - La sonnambula's aria
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what it means that a Great Work was pop culture of its time is not necssarily that it's not Great, it's about how to approach it. so many things are like -
where the aura around the work and the layers of reception and whatever perception the individual brings to the work because of cultural osmoisis really prevent them from actually engaging with the thing itself and not with those extra layers. and that's not even getting into the things where it's like
as anyone who's done Dracula Daily has experienced!
and ok, it's not actually possible to really approach these works the way you would a book that came out this year, nor is it really the best lens of analysis a lot of the time (many Classics™ are Classics™ as much because of dialogues they sparked when they were new or innovation of form as any inherent quality), but it's often a fun exercise to approach these works not as objects of analysis but as stories in their own right.
[there's also a corollary: today's pop culture may enter into the future's canon, in part because canonicity isn't really about quality, but in part because it is nearly impossible to predict what will remain of our time when we are in our time. we're simply too close to it.]
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Ballet Moodboards // La Sonnambula
Where do you go when you’re asleep? Through aeons of silence, to a happy memory?
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oh NO
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Inktober Day 1: Dream
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Si gira La Sonnambula (1941): il regista Piero Ballerini è con l’attrice Germana Paolieri. Da un episodio della vita di Vincenzo Bellini, che ispirò al compositore la celbre opera.
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Maria CALLAS, accompagnée par l'Orchestre National de l'ORTF, dirigé par Georges PRETRE, chante "Ah, non credea mirarti", extrait de l'opéra "La Sonnambula" de Vincenzo BELLINI.
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He was tired. […] He wanted to go home and lock his door and sleep. He was tired of the troubles of real people. He wanted to get back to the people he was inventing, whose troubles he could bear.
James Baldwin, from Another Country
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Diva of the Romantic Age
Despite passing away at 28, Maria Malibran was one of the best-known opera singers of the 19th century. Known for her range, power and flexibility of voice, Malibran could sing both contralto and soprano parts. She also had a stormy personality, which remained legendary long after her death.
María Felicitas García Sitches, born on 24th March 1808, grew up in a Spanish musical family in Paris.…
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I've started my opera fanfic on AO3 if anyone else is Incredibly Normal About Bellini......
But also if you want to read some space orgies and genderfuck shenanigans then this will be the read for you :*
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