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This is totally too good to keep to myself: on my "I showed my family opera clips" post, ![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
mildred_of_midgard and selenak are talking about Frederick the Great (by way of Don Carlo, of course) and it is like this amazing virtuoso spontaneous thing and whoa
Things I knew about Frederick the Great before a year ago: he was king of... Prussia??
Additional things I knew about Frederick the Great before the last couple of days:selenak informed me last year that he and his dad may well have been at least somewhat the inspiration for Schiller's Don Carlos, and everything that goes with that: his dad (Friedrich Wilhelm, henceforth FW) was majorly awful, he had a boyfriend (Katte) who was horribly killed by his dad
Only a partial list of the additional things I now know about Frederick the Great (henceforth "Fritz") and associated historical figures due to mildred and selenak:
-Fritz and Katte's escape plan (which resulted in Katte's execution) was... really, really boneheaded. As boneheaded as opera plots! :P
-Katte was in the process of destroying 1,500 letters when he got caught (! puts all those letters in Don Carlos into perspective) (ETA: but also see mildred's comment below)
-Fritz wrote opera libretti and so did his sister
-Fritz decided to use himself as an experimental test subject to see if it was entirely possible to do without sleep via the application of coffee WITH PEPPERCORNS AND MUSTARD
-Fritz wrote a poem about orgasm that also reads as if he's never actually, like, had sex (although that was not in this post, it was in the comments to this one)
-FW apparently beat up George II when they were kids
-I am totally not even going to try to summarize the discussion about FW's "rationalized sadism" and sexual hangups and the reeeeeally bizarre Dresden interlude (go down a couple of comments for the really insane stuff)
-Fritz' sister Wilhemina wrote tell-all memoirs about her totally insane family which I am SUPER going to read now, watch this space
Also, there is apparently some subplot involving Russian fanboys that introduces an entirely new cast of people which I am dying to find out about
mildred_of_midgard and selenak are talking about Frederick the Great (by way of Don Carlo, of course) and it is like this amazing virtuoso spontaneous thing and whoaThings I knew about Frederick the Great before a year ago: he was king of... Prussia??
Additional things I knew about Frederick the Great before the last couple of days:
selenak informed me last year that he and his dad may well have been at least somewhat the inspiration for Schiller's Don Carlos, and everything that goes with that: his dad (Friedrich Wilhelm, henceforth FW) was majorly awful, he had a boyfriend (Katte) who was horribly killed by his dadOnly a partial list of the additional things I now know about Frederick the Great (henceforth "Fritz") and associated historical figures due to mildred and selenak:
-Fritz and Katte's escape plan (which resulted in Katte's execution) was... really, really boneheaded. As boneheaded as opera plots! :P
-Katte was in the process of destroying 1,500 letters when he got caught (! puts all those letters in Don Carlos into perspective) (ETA: but also see mildred's comment below)
-Fritz wrote opera libretti and so did his sister
-Fritz decided to use himself as an experimental test subject to see if it was entirely possible to do without sleep via the application of coffee WITH PEPPERCORNS AND MUSTARD
-Fritz wrote a poem about orgasm that also reads as if he's never actually, like, had sex (although that was not in this post, it was in the comments to this one)
-FW apparently beat up George II when they were kids
-I am totally not even going to try to summarize the discussion about FW's "rationalized sadism" and sexual hangups and the reeeeeally bizarre Dresden interlude (go down a couple of comments for the really insane stuff)
-Fritz' sister Wilhemina wrote tell-all memoirs about her totally insane family which I am SUPER going to read now, watch this space
Also, there is apparently some subplot involving Russian fanboys that introduces an entirely new cast of people which I am dying to find out about
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So here's the thing. "Io morrò, ma lieto in core" is actually the death aria Posa sings after he's been shot and is dying. You will also want the aria he sings right before that, "C'est mon jour suprême" / "Per me giunto è il dì supremo" a) because one really cannot have enough of Simon Keenlyside, in my opinion :P (he is the Posa in the clip I gave you with Philip) b) Alagna (the Carlo) and Keenlyside are both such great actors and also c) I CANNOT BELIEVE I didn't make this connection before, for this or Io morrò, but in this first aria he totally sings "l' estremo spiro lieto è a chi morrà per te" (The last breath is joyful for the one who dies for you) which, you know, just in case you don't get it in the scene where he's actually dying :)
I am having a bit of trouble getting to this but I think it has to do with this particular computer; hopefully you don't :)
Anyway, the scene starts at 2:54:08 and ends 3:05:02.
I'm also going to give you a couple more time coordinates, but you really really want to watch the whole scene:
Death: 3:01:10
Io morro starts 3:02:46
https://drive.google.com/open?id=1hCf6wiMZgqYf-2LrvSqO9AsAt0R_0H0a
It's also seriously amazing that he sings WHILE LYING DOWN and even more so WITH HIS TORSO AT A 45-DEGREE ANGLE. That man has serious abdominal muscles.
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I will check all this out when it's not 1 am and well past my bedtime, thanks!
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What struck me was how passive Carlo is throughout the scene, and then I watched the next minute or two, and it looks he does a total 180. It reminded me of a passage I ran into on the internet a couple days ago. It's from a novel, by an apparently famous German author Nobel laureate author named Günter Grass, whom
After Katte is killed in the play, Fritz curls up into a tiny ball of trembling despair. Then, and here you have to forgive Google Translate: "While a white sheet was being draped over Katte's body, the Crown Prince, who at the moment was still folded on the floor, his heart broken, rose and grew larger than life. The young girl who played him indulged in acrobatic exercises as a young man in the interweaving of the scaffolding. She made clowning, jumped on the platform, suggesting the flight of an eagle, jumped over the friend's corpse, walked on her hands, shone by serial dangerous jumps, forwards and backwards, declared symbolically some wars for a yes, for a no, tore up treaties, stole provinces, fought dozens of battles, passed over corpses with a skill now well acquired, drove on one side, then on the other chorus of mimes - was driven out in turn but did not admit defeat."
Now, of course Don Carlo doesn't end that way, but the sudden rise of Carlo to his feet, sword in hand, defiant, reminded me of that passage.
Also, if you hadn't pointed out the poses in which Posa's singing, I wouldn't have noticed, but YES! That's impressive.
Günter Grass
I can do better; I have a photo of myself with Günter Grass. ;) (Made when PEN Germany celebrated its 90th anniversary; I translated for some foreign guests who wanted to have their picture taken with him, and he said yes, so I thought I might as well.) He died a couple of years ago, controversial to the end. His big breakout novel was "The Tin Drummer" in the 1950s. He was a huge stylistic influence on Salman Rushdie, so if you've read Rushdie, that's similar to how Grass wrote in German, occasionally, but not always, venturing in magical realism. (Rushdie in Joseph Anton, his memoir about the fatwah years, is hugely complimentary about Grass as a erson, too, since when all hell broke loose after Chomenei's edict GG was one of the few international writers supporting Rushdie in word and deed throughout. He - Grass - was the instigator for publishing the German translation of The Satanic Verses via a collaboration of several publishers, for example. (This was when the Japanese translator had already been killed.)
The two main controversies linked to Günther Grass were:
- back in the days when he was a young rebel, the explicit sexuality in his writings and his relentless attacks on 1950s and 1960s cover up/complacency about the Nazi past
- the casual reveal in his memoirs decades later, that in the last year of the war when he was 17, he didn't just join the army (as had been previously assumed), he joined the Waffen SS. Cue major uproar of "Et Tu, Günther?!? Of all the people, you?!?" (I.e. if the guy most famous for his "you bourgois assholes need to be honest about your Nazi past" attitude turns out to have been, however briefly and however young, a member of one of the most vicious Nazi institutions around, well…)
There were a lot of other Grass related controversies, but these tend to come up first. He was born in Danzig, Poland (today), and thus literally was an East Prussian. In his middle age, he got very interested in Fontane and Prussian history.
Re: Günter Grass
So you've heard of him, have you? :D
More fascinating material from you (this and Wilhelm and Liselotte), thanks as always!
Danzig, Poland
A memory that always makes me laugh: I happened upon one of those large world maps on the wall of some department hall during my freshman year of college, glanced at it, and was shocked to find Danzig/Gdansk smack in the middle of Poland. "That can't be right! I *swear* it's right near the border with Germany." I walked away with feelings of shame that my European geography wasn't as good as I prided myself on. To the point where I went home and got a second opinion from a different map, which, to my dismay, agreed with the first one.
Later that day, I realized my mental map of Europe, and Germany especially (thanks, Fritz), was heavily skewed toward the second half of the 18th century, the setting of that novel I'd spent most of high school writing. Oops!
Re: Günter Grass
Map problems: yes, I can see how imprinting on late 18th century borders would have been confusing. :)
Re: Günter Grass
I'm getting the feeling that any time anyone in power 1900-1945 opened their mouth about Old Fritz, he had to turn over in his grave. "Look, there's a reason I asked to be buried with my dogs. It's because you humans are stupid!"
Also, Fritz discussed abdicating after Kunersdorf, yeah? Or does this fall under "Fritz got a miracle, and so will I!"?
Map problems: yeah, it came as no small relief to know that I wasn't misremembering, per se, just remembering anachronistically. Being wrong for the right reasons.
Other Fritz fans of note in German history
Got it in one. Because destiny was with the House of Hohenzollern, etc. But seriously, 1900 to 1945, Fritz fandom is the kind of fandom where no one makes you cringe as much as your fellow fen. Including Thomas Mann. Which reminds me, there is this Wonderful exchange of letters near the end of WWI, when Wilhelm was ranting about "no descendant of…" etc:
Background: Anglosaxons associate Thomas Mann mostly with the later stage of his existence, as the dignified nobel prize winner in exile, recording speeches against Hitler for the BBC. In 1914, by contrast, he was very much pro-war, and singing the same tune as most people: superiority of German culture, decadent shallow France, perfidious Albion etc., you name it, he said it. Meanwhile, his older brother Heinrich was among the minority of writers firmly anti war. In the lead up, he'd written what is still the best satiric novel about Wilhelmian Germany, Der Untertan (translated as Man of Straw and later as The Subject); he'd also written an essay about Emile Zola (focusing specifically on Zola the political journalist, J'Accuse as the centre) which among other things was very much an attack on the increasingly nationalistic output of many other writers of the day. These of course included his younger brother, who was outraged and stopped talking to Heinrich at that point except through the press. (He also wrote Betrachtungen eines Unpolitischen - "Contemplations of an Apolitical Man" - in which he attacks the Zivilisationsliterat (guess who) and which is so anti democratic that it's not surprising Thomas in later years prefered not to talk about it.
In the last year of the war, at a point when even the most fervent of war believers had to face the fact Germany was about to lose, Heinrich attempted to get into contact again. So, a hundred years ago, he wrote thusly:
Dear Tommy,
your article in the Berliner Tageblatt was read out loud in my presence. I don't know whether the other listeners had the same impression, but it seemed to me as if at least in some parts it was addressed to me, almost like a letter. Which is why I feel the need to reply to you, although without the press as an intermediary, if only to tell you how unjustified the accusation of fraternal hatred is.
In my public announcements, there is no "I" and hence also no brother. They are addressed to the public at large, disregard - at least this is my intention - my advantage or disadvantage, and are solely focused on an idea. Love for humanity (which is in its political manifestation: European democracy) is indeed love for an idea; but he who can open his heart this way has to be capable of doing it on a smaller scale. (...)
I've been following all your work with the best intention to understand and empathize with it. NOw I've always been familiar with the antagonism of your mind. If your extreme position during the war surprised you, well, I found it predictable enough. This knowledge of you never stopped me from often loving your work, even more often to penetrate it and to praise or defend it publically, and to comfort you, when you were doubting yourself, as my younger brother.
If you hardly ever returned this, I didn't mind. I knew that in order to define yourself you didn't just need self confinement but the active repelling of the other - and thus I coped with your attacks (...) without much effort. I did not return them, or returned them only once, when the issue at hand wasn't a literary preference anymore, or a intellectual knowing-all-ness, but the most basic threat and misery. My essay titled "Zola" was a protest against those who, as I had it see it, were falling over themselves to do damage. Not against solely yourself, but against a legion of writers. (...)
Perhaps my explanation today will be listened to. This could be possible if your newest lament against myself was dictated by pain. If this is the case, please know you need not think of me as an enemy.
Heinrich
Thomas was, shall we say, not in the mood for what he saw as being patronized by his older brother. His reply (Carla and Lula were their sisters):
Dear Heinrich,
your letter finds me at a moment where it is physically impossible for me to reply to its true sense. (...) Besides, I wonder what the point would be of pressing the mental torture of two years into a letter which of necessity would have to be much longer than your own. Oh, I believe your assurance that you don't hate me. After that absolving outburst of a Zola article and given your current circumstances and the way all is well for you, you don't need to anymore. Using the phrase "fraternal hatred" had been meant more generally anyway. (...)
Calling my behaviour during the war extreme is a lie. Your behavior was extreme, and despicable, completely so. I haven't suffered and struggled for two years, neglected my dearest plans, investigated, tested and contemplated myself, and condemned myself to artistic silence just to sobbingly hug it out with you - after a letter which exudes understandable triumph and was dictated in no line by something other than self righteousness and ethical smugness. (...)
You can't comprehend the rightness and the ethics of my life, because you are my brother. Why didn't either Hauptmann or Dehmel who even praised German horses to the skies or Harden who demanded a preventive war need to feel the insults of the Zola article adressed to them? Why was its entire sensational invective tailored to fit myself? The fraternal Welterlebnis (untranslatable term roughly meaning "way of experiencing the world and life") forced you to do it. (...)
Let the tragedy of our brotherhood complete itself. Pain? Ah, well. One gets hard and numb. Since Carla committed suicide and you broke off relationships with Lula, separation for all time isn't anything new for our community anymore, is it? I haven't made this life. I despise it. One has to live it out as good as one can.
Farewell.
T.
Heinrich drafted a reply:
Dear Tommy,
against such bitterness, I should fall silent. (...)But I don't do separations intentionally, and never forever. (...) I regard myself as a self reliant being. My Welterlebnis is not a fraternal one, it is simply mine. I don't mind you. As far as I can see, you have underestimated what you mean to me emotionally and overestimated your intellectual impact. (...) For example: if you ever wrote something other than childishness about French subjects, I'd be honestly delighted. But you know what you'd do if I suddenly decided to declare myself a follower of old Prussia? You'd throw your notes for a Frederick the Great into the fire. (...)
Don't see my life and actions as being all about you, they are not revolving around you and would be literally the same if you didn't exist.
Your inability to take seriously another life finally births monstrosities. And thus you find that my letter, which was meant as a gesture of simple kindness, "exudes triumph". Triumph because of what? "All being well for me" - i.e. the world smashed to pieces and ten million dead bodies in the ground. What a justification! How promising of satisfaction to the ideologue! But I am not the man to fashion the misery and death of nations after my intellectual pet peeves, not I. I don't believe the victory of any cause is worth discussion at a point where humanity itself is getting destroyed. All that will be left after the last, most terrible ending will taste of bitterness and sadness. I don't know whether any of us are able to help our fellow humans to "live better", but I should hope our literature will never again help them to die more eagerly.
They're still dying. But you, who approved of the war, who still approves of it and calls my attitude (...) "despicable, completely so" can have, God willing, another 40 years to "investigate and test", if not to reclaim yourself. The hour will come, I hope, in which you'll see human beings, not shadows, and then you will see me, too.
Heinrich
Re: Other Fritz fans of note in German history
To be fair, as an older sister myself *ahem*, it's a fine line between coming across as loving and coming across as patronizing, and the whole time I was reading Heinrich's first letter I was like, "...this is not going to end well." Though Thomas certainly... exceeded my expectations, there.
When you say Heinrich drafted a reply, does that mean he never actually sent it?
Also, lol to Heinrich's mention of Frederick the Great. What happened with Thomas Mann's Frederick the Great?
Re: Other Fritz fans of note in German history
"The Koalition may have changed a Little, but it is his Europe, the Europe allied in hate, which does not want to endure us, does still not want to endure him, the King, the Europe which has to learn again in lengthy Detail, maybe even through another seven years, that it will not manage to murder him."
("Die Koalition hat sich ein wenig verändert, aber es ist sein Europa, das im Haß verbündete Europa, das uns nicht dulden, das ihn, den König, noch immer nicht dulden will, und dem noch einmal in zäher Ausführlichkeit, in einer Ausführlichkeit von sieben Jahren vielleicht, bewiesen werden muß, daß es nicht angängig ist, ihn zu beseitigen.")
Oh, Tommy, as Heinrich would have said and did say. Just last year, I discovered there's a Fritz novel which is also a Brothers Mann novel, with a great premise: in their exile years, at which point they've long been reconciled (but the past is unforgotten), they decide to write a Friedrich novel together, only it's going to be a Fritz-and-his-brother-Heinrich novel. Guess who gets two write whom? Heinrich is uncertain whether roleplaying feuding Hohenzollern brothers is really a good idea, given, you know, but can't resist, and they start writing chapters, at which point the novelist does a credible parody of both Thomas Mann's style and Heinrich Mann's style, but then, alas, the whole thing collapses and stopped being credible, and I stopped reading.
No, Heinrich didn't send the second letter. They were reconciled in 1922 or 23 (I Forget which), when Heinrich was really dangerously ill and Thomas made a tearful appearance at his hospital bed.
Re: Other Fritz fans of note in German history
I got rather excited about the Fritz-Brothers-Mann novel from the first part of your description -- that's really too bad it didn't live up to its premise.
Re: Günter Grass
Re: Günter Grass
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https://drive.google.com/open?id=1eIhYz4DgIj4YhJdwRo8aBpKqHkJja1BZ
2:42:58 to 2:54:07, you are less likely to be super impressed by the wild duet Carlos and Philippe sing over Rodrigue's dead body than iberiandoctor and I were, but I love it SO MUCH (and it is cut from the revised versions))
Unfortunately I only have French subtitles for this.
(oh man,
(mildred, I deleted your comment below so I could edit this -- apparently I put the ENTIRE COMMENT in the username tag, gah)
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And no worries about the French, my passive French is just good enough (a teensy bit better than my German) that I could follow along with the subtitles.
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[NOTE: I wrote the rest of this comment while on a plane (yes, I have this version of Don Carlo offline to reference :P) and before
link to comment: https://cahn.dreamwidth.org/158748.html?thread=1018652#cmt1018652
https://drive.google.com/open?id=1eIhYz4DgIj4YhJdwRo8aBpKqHkJja1BZ
]
I didn't have time when writing the last comment to point you to other Posa parts but I'm going to now, because if you think of Rodrigo, Marquis de Posa as Katte and Carlo as Fritz I think you'll enjoy these too. (If not, then of course you don't have to watch it :) ) Same link as parented up: https://drive.google.com/open?id=1hCf6wiMZgqYf-2LrvSqO9AsAt0R_0H0a
-Early on, Rodrigo and Carlo sing a duet affirming their friendship ("Dieu, tu semas dans nos âmes" / "Dio, che nell'alma infondere"). This is widely regarded in Don Carlo fandom as a love duet :P (I really like friendships in my fandoms and therefore I was probably the only person who didn't emphatically ship them, but now that I know about the Katte reference I see it's more of a canon ship than I thought...) 36:21 to 44:32. (Notes on this: 1. See Simon run! It's kind of amazing to actually run onto stage and then sing, not too many singers can manage this, but he does this all the time. Showoff :D (I'm really joking here. I saw Keenlyside give a masterclass last year and he was the nicest person ever.) 2. Look at his reaction when Carlo says he's in love with the Queen (okay, fine, they couldn't make this ALL Frederick/Katte), lol. He's been asked to make this shippy! 3. I have another video of this same staging with Keenlyside (though a different Carlo) and he plays it a little gentler; this Rodrigo is a little more soldierly and aggressive. Not sure how you envision Katte, although I (who know not much about him besides what you guys have told me) think of him as a little gentler than Keenlyside plays Rodrigo here. I can of course find that one for you as well :P This one is better though as a first introduction to Don Carlo because the videography is SO much better than the other one that it's clearly very exciting even if you don't care about the music, which you don't.)
-Here's where Posa takes Carlo's letters. You don't have to watch the trio preceding (where he gets into a scuffle with the Princess Eboli), although I like it too because Rodrigo's all "I keep having to get my boy Carlo out of trouble!" I just really like how the letters bit is staged in this version --
I'll have to give you some background here, as this is similar to but differs from the Schiller
so as to maximize plot confusion-- and gets all excited until he realizes it's Eboli, at which point he tries to put her off (even though Eboli points out she can help him, that he's in danger, that Posa and the King have been talking about him...). Eboli, meanwhile, because of the veil, realizes he must be in love with the Queen!At this point Rodrigo
who is apparently stalking Carlo in the evenings because his boyfriendjumps in (1:39:22 will give you a little of the flavor before the trio plus trio, but if you don't want to listen to the trio read on) and threatens Eboli if she tells everyone that Carlo is in love with the Queen; he almost stabs her at one point (but Carlo prevents him). Notably, he also threatens her with being the favorite of the King, which Carlo hears and is taken aback by, thus his reaction in -- and finally this is the place for Carlo/Rodrigo interaction -- 1:46:07 to end of act at 1:48:10.(You may not notice, but the tune that plays at the end of this bit is the same as in the "love duet." This tune also comes back in the middle of Rodrigo's death scene, although when I watch it I'm always so emotional that I never really notice.)
-Also, auto-da-fe in this version, still sad pandas although out of context I like the first clip I showed you better. But this one has a swordfight! Here: 2:04:24 to 2:07:19, although rewinding a couple of minutes will show you the Flanders delegation and everything just ramping up. (Posa's shellshocked face as they take Carlo away, omg.)
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Notes:
1. OOMMMGG SOO SHIPPY THIS IS SHIPPIER THAN THE DEATH SCENE \O/ \O/ \O/ <333
I really like friendships in my fandoms and therefore I was probably the only person who didn't emphatically ship them, but now that I know about the Katte reference I see it's more of a canon ship than I thought...
Yes, sorry, I love friendships too, but canon ship is canon. :P
2. See Simon run! Heee.
3. Rodrigo's reaction to (I started to type 'Fr', lol) Carlo's declaration of love is exactly how I (and most of AO3) imagine Katte reacting Fritz proposing escape. "Betraying your king? Your country? Your oath?? No, no, you're suffering, nothing else matters to me." I really think that one line perfectly encapsulates Katte's struggles over his divided loyalties: Fritz's suffering and Katte's love for him won out over everything else: Katte's oaths, his desire not to let down his own family, his sense of self-preservation, everything. Not without a struggle. But I think every time he went around and around in his head, agonizing over what the right thing to do was, he came back to "Fritz is suffering."
Not sure how you envision Katte, although I (who know not much about him besides what you guys have told me) think of him as a little gentler than Keenlyside plays Rodrigo here.
Weeelll, it's really hard to get a read on Katte. There's so little evidence. I mean, for Fritz we have 76 volumes in his own hand, plus a gazillion eyewitness volumes, and the #1 word most used of him by scholars is "enigma." Katte? We have a few paragraphs here and there, and two of our major sources didn't like him? It's really, really hard to draw many firm conclusions. Most of my growing sense of his personality is a fanon interpretation, one of many possible interpretations, rather than anything I would defend as canonical.
Reasoning backwards from Fritz, I would say that you probably had to have a certain amount of gentleness to get anywhere with him (I can't find the quote rn, but contemporaries said this too), which is not to say that you couldn't also be firm with him on occasion. IF you can trust Wilhelmine's account, Katte wrote in no uncertain terms to tell Fritz that he wasn't going to follow him into exile (but later said he would, so who knows). As discussed elsewhere, I get the impression Fritz was more strong-willed than Katte, BUT, 1) we have a very small data set for the latter, 2) their situations were radically different on that occasion, and 3) if you cherry-picked a data set of the same size from Fritz's life, you could get a picture of a vacillating individual as well.
All of which is to say, I saw nothing in Keenlyside's reaction here that couldn't have mirrored Katte's, although it's also possible to read Katte as someone who would have patted Fritz on the head while silently freaking out in his own head. After all, Wilhelmine's memoirs are, for many reasons, not the same thing as having the letter in Katte's hand saying, "Hell no, I won't go!" (We do have a letter in Katte's hand saying, "Remember when I tried to talk you out of this?" but as discussed, that was meant for a lot more eyes than just Fritz's. I don't think we actually *know* how gentle or otherwise he was about his reluctance.)
I have to say, I loooove how Rodrigo segues from "You're in love with the Queen WTAF??!" to "This is exactly why you should go to Flanders!" I get the impression that if Carlo had announced, "I have developed a sudden passion for collecting giraffes," Rodrigo would have reacted with, "What a coincidence! Flanders is the perfect place to use your newfound freedom of action to collect giraffes to your heart's content, aided and abetted by the grateful people whom you will save!" <-- Not!Katte.
Aaaaalso, I love how during the "fight for freedom" song near the end of that clip, Carlo is staring into space and Rodrigo keeps looking over at Carlo. Also Keenlyside's Determinator face next to Alagna's "I guess" face, haha. So awesome.
Carlo is kind of a failboat, if we didn't make this clear before.
This has been made clear to me, as has the fact that this opera should have been called Posa. :P
I can of course find that one for you as well :P
Yes, please. :P
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https://drive.google.com/open?id=1eIhYz4DgIj4YhJdwRo8aBpKqHkJja1BZ
34:40 to 44:17)
I have to say, I loooove how Rodrigo segues from "You're in love with the Queen WTAF??!" to "This is exactly why you should go to Flanders!" I get the impression that if Carlo had announced, "I have developed a sudden passion for collecting giraffes," Rodrigo would have reacted with, "What a coincidence! Flanders is the perfect place to use your newfound freedom of action to collect giraffes to your heart's content, aided and abetted by the grateful people whom you will save!" <-- Not!Katte.
LOL YES. Rodrigo is a little... obsessed. Not Katte :)
I can of course find that one for you as well :P
Yes, please. :P
Here you go:
First half: https://drive.google.com/open?id=1-PN_u3VGnBAjgHWw0THoCdjdO9PwxkfI
"Dio, che nell'alma infondere" part of scene starts at 35:25
Second half: https://drive.google.com/open?id=1TR7mEcK5UaUeKt_F0yCIbtVxaqx-GiSM
Death scene starts at 39:35.//
(This is my evil mastermind plan to get you into my fandom! Heheheheh.)
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OMGGGG, they're so huggy! I read a parody of Prisoner of Azkaban where one of the characters reacts to a Remus/Sirius interaction with, "You know, I think that counts as a marriage ceremony in Massachusetts now." (Thus thoroughly dating itself to 2004.) I watch Hampson and Alagna interact in this and I'm like, "Pretty sure that counts as wedding vows!"
This is my evil mastermind plan to get you into my fandom! Heheheheh.
Turnabout is fair play! You know, I had to go rewatch the bit where Keenlyside/Rodrigo/Katte says "You suffer? Then nothing else in the world matters to me," because that's the closest I will ever come to seeing RL Katte say that to Fritz. <33 And that's how you can tell I'm getting sucked in involuntarily. :P
Also, I kind of really like Keenlyside's facial expressions, irrespective of Katte. <3
Will continue watching the suggested clips at my slow pace, but definitely enjoying. Many thanks for luring me into the fringes of your fandom!
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Keenlyside has great facial expressions! <33333
I'm glad you're enjoying it! (And, of course, don't feel obligated to watch just because I gave you a bunch of clips :) )