ahahaha, I am happy to let you ramble on about your fandom not least because it affects mine :D (and also because I can also ramble on about mine, lol)
wowwwwwww yeah those words from Friedrich are quiiiiite telling, I agree with you!
And, ahhhh, another parallel! Carlos and Posa are both super freethinker progressive types (Posa even more than Carlos), and one of the big sources of conflict in the play (and opera) is that King Philip and his advisors are.. not a progressive type (also super Catholic; see also Spanish Inquisition and the part where Protestant rebellions in Flanders were dealt with super harshly). Although the parallel fails in the sense that a) Philip is kind of fascinated with Posa anyway, and b) Posa never recants, he just doubles down on presenting himself as the villain, heh.
Also also, go back to the bit where the King taps Posa with the sword as he makes him a duke: you can see this Posa tense up and wince at that point. (THOMAS HAMPSON. [the baritone who is playing Posa] HE IS SO GREAT. But I digress!)
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Date: 2019-08-10 04:20 am (UTC)wowwwwwww yeah those words from Friedrich are quiiiiite telling, I agree with you!
And, ahhhh, another parallel! Carlos and Posa are both super freethinker progressive types (Posa even more than Carlos), and one of the big sources of conflict in the play (and opera) is that King Philip and his advisors are.. not a progressive type (also super Catholic; see also Spanish Inquisition and the part where Protestant rebellions in Flanders were dealt with super harshly). Although the parallel fails in the sense that a) Philip is kind of fascinated with Posa anyway, and b) Posa never recants, he just doubles down on presenting himself as the villain, heh.
Also also, go back to the bit where the King taps Posa with the sword as he makes him a duke: you can see this Posa tense up and wince at that point. (THOMAS HAMPSON. [the baritone who is playing Posa] HE IS SO GREAT. But I digress!)