Photo by. Yun Seo
Canon 400D
Dec 09

이사 다음날!
언니의 귀여운 포즈와 함께 새 집 외부 공개

Photo by. Yun Seo
Canon 400D
Dec 09

언니와 Phantom of the Opera 한국판 공연을 보러 잠실 샤롯데로 갔다
버스 타니까 한번에 가더군!
음 나이가 들고 다시 보니까 매우 새로웠다
이런 장면이 있었나? 싶은 것도 있었고 …
노래는 두말 할것 없이 좋았고 ..
게다가 100회 공연 기념으로 제작기를 담은 책도 선물로 받았다

통틀어 4번째로 보는 오페라의 유령이지만 역시나 실망스럽지 않은 공연.

Alright children, my muse…Erik…has decided that he is overwhelmed from the amount of replies and updates I owe for both Fan Fiction and roleplay. This sucks, and I’ve tried to reason with him, but have you ever tried talking to a mad masked murdering madman? And yes. He’s mad (angry) and mad (crazy). The Phantom of the Opera is more fickle than a girl during PMS. Even me, and that’s saying a lot.

Basically, I bit off WAY more than my pathetic teeth can chew (even though I’ve never needed braces…thankfully), and Erik…being the genius he is….recognized this before me and has locked the trap door. I’m hoping to lure him out with some bacon and Beethoven (bet you didn’t know the opera ghost liked bacon….), but he has resisted so far. He’s currently writing an opera titled “Christa Has Too Many Stories.” Yes, not the most original title, but he’s a bit tipsy from the Cognac I used in those Greek cookies I made. I didn’t like it, but he has a tougher stomach. And throat…Anyway! Back to the topic. Erik is determined to punish me for my lack of control, and he is succeeding quite well. He’s even locked the cream soda down there with him. I mean, I can’t work under these conditions!

But alas, until I figure out a way to maneuver around the Paris opera house and get to my Angel of Music, I’m afraid you all will have to wait even longer. I do apologize profusely, and I hope that I am wrong about him. He is a genius, so perhaps he will finish the opera sooner than I expect.

You are welcome to contact me, but I feel horribly guilty, so it’s no use reminding me…I know. Please forgive me, and I hope to speak to you in the vast world of erotic literature and cyberspace soon. *blows kisses*

Love and those darned Muses,
~Christa*

What do you think the best-selling albums of all time are?

Yesterday I saw a list of the world’s 75 best-selling albums ever. I was surprised that though The Beatles have a few albums on the list…their highest ranking album is only at #15 (“Sgt. Pepper’s Lonely Hearts Club Band“).

I was surprised that Elvis Presley isn’t on the list at all, and I was disappointed that KISS isn’t on the list at all either.

Even though I don’t like his music, I wasn’t surprised that Michael Jackson’s “Thriller” album is the number one best-selling record of all time (110 million units sold).

The number two record didn’t even sell half that many.
I have never owned a Michael Jackson record…but I do have the number two album.
What do you guess the second best-selling record ever is?

It’s “Back In Black” by AC/DC. An excellent album! Do you own a copy?

AC/DC "Back In Black" (49 million units sold)

Here are the top ten best selling albums ever:

1. Michael Jackson “Thriller“
2. AC/DC “Back In Black“
3. Pink Floyd “The Dark Side Of The Moon“
4. Meat Loaf “Bat Out Of Hell“
5. Eagles “Their Greatest Hits 1971-75“
6. Various Artists “Dirty Dancing” OST
7. Whitney Houston “The Bodyguard” OST
8. Andrew Lloyd Webber “The Phantom Of The Opera” (musical score)
9. Backstreet Boys “Millennium“
10. The Bee Gees “Saturday Night Fever” OST

I can’t believe Whitney Houston and The Backstreet Boys sold more albums than KISS, The Beatles or Black Sabbath!

Here are some albums that I own that are on the list:

AC/DC "Back In Black" (#2)

Meat Loaf "Bat Out Of Hell" (#4)

Led Zeppelin "IV" (#13)

Guns 'N' Roses "Appetite For Destruction" (#32)

Metallica "Don't Tread On Me" / ('The Black Album') (#50)

Greetings from Horrorwood Karloffornia, or , if you prefer Whollyweird LugosAngeles. Don’t forget to visit our favorite scream park: Grislyland, the scariest place on Earth! Come with me now if you’re so obliged,  as I turn back the clock  via HG Well’s Time Machine, so sit back , relax and fasten your safety belts!

“I am Dracula,….I bid you Velcome.”

“It’s ALLLLIIIIIVVVVEEE!”

“You must return that Scroll to me or Die.”

“An Invisible Man could rule the World!”

These classic lines of dialog spoken by some of the most famous horror actors of all time, like Bela Lugosi, Boris Karloff & Claude Rains seemed to leap off the flickering silver screen. There was a time however when moving pictures had no sound. Yes, in the eyes of the young generation of today,what with their ever-advancing technology  this notion is utterly unheard of. But there was a time when subtle gestures, facial expressions, and elaborate theater-like makeup were the only tools of the trade actors had to convey their character in a very silent world.

There was no more befitting a title for silent screen superstar Lon Chaney Sr. than “The Man of a Thousand Faces”. Chaney’s amazing ability to transform himself into whatever character the film called for, made him an instant sensation amongst Hollywood studios and moviegoers of the 1920’s.

Chaney was notable mainly for his tortured horror characters. As Eric the masked Parisian Opera “Ghost” in the Rupert Julian adaptation of the Gaston Leroux novel, “The Phantom of the Opera,” Chaney revealed the most horrifying face in the history of early Horror cinema. Robert (author of “Pyscho”) Bloch once called Chaney’s horrifying visage as “The face of naked Horror.”

As the deformed Bell Ringer “Quasimodo” of the Cathedral of Notre Dame, Chaney portrayed the tortured soul of a man who loves a Gypsy (Patsy Ruth Miller)Esmeralda, who loves someone else. Out of an old mechanics tool box which he had converted into a portable makeup lab ( for at that time studio makeup departments did not exist)which he could take with him from MGM to Universal, a thousand wonderful characters eventually emerged. Sadly after wrapping his only “Talkie” , a remake of “The Unholy Three” in 1930, Hollywood said farewell to there beloved  ”Man of a thousand Faces”. Lon Chaney had died of cancer at the age of 47.

Horror profiles will be continued on a very very mysterious date. Bwahahahaha!

So we all know that Mamma Mia! is a big success not just on Broadway but worldwide. But Mamma Mia! also opened a Pandora box in musical theatre. People really loved the fact that they knew the songs and how they were placed in a new funny context. And from that moment we were cursed with the band based musicals. They are endless: We Will Rock You (Queen), All Shook Up (Elvis Presley), Jersey Boys (Four Seasons), Good Vibrations (Beach Boys), Saturday Night Fever (Bee Gees), Lennon (Do I really have to?), Rock of Ages (80’s Rock) and in Spanish: Hoy No Me Puedo Levantar (Mecano), Besame Mucho (Boleros) and Mentiras (80’s Pop). They are called Jukebox Musicals. And even though some of them were made before Mamma Mia!, it was that production that proved that they could be an incredible success.

But why did they exploded like gun powder? It is simply. Thousands of people around the world discovered that they could now write a musical! Yes! You don’t need a composer now, you don’t even need a good plot, you just need a good CD collection and some time. Think on any story, find whichever song fits and just go for it! And guess what? People will love to go see it! Just because they want to hear the songs. Disney made a show called On The Record with all of their music, but I think something really clever is that they didn’t attempt to add a plot to it, it was more like a concert in Musical Theatre style, and that is what people wanted, to hear them played live with great voices and new arrangements.

I’m not saying that its not a good idea to do a Jukebox Musical, I honestly love All Shook Up (and that one is even worse cause the story is Twelfth Night). But I think that we are reaching the point were its enough of that. We still need original musicals, we still need composers and people that have never done musicals to back off and let musical composers work. If you ask around for people’s favourite musicals, unless they are big fans of a specific band, most likely they are not going to mention one of this Jukebox Musicals. It is clear that pieces like Les Mis, Phantom, Chicago, Cabaret live forever because the music was specifically wrote to match the story, by default naturally. I encourage producers if possible not to go for the safe bet of a jukebox musical, and embrace what could be the next best musical.

There is also the other point to cover that is musicals based on books and movies, or both. But I think this is a totally different case, because at the end the book and songs were written for that specific story, which makes the piece way more coherent. Also, by inspiring your songs and a book or a great novel or movie brings you the best of two worlds. I highly doubt that a brilliant composer is also a brilliant novelist (not that it couldn’t happen). If they inspire their work on each other you can get great musicals with great music and a great storyline, like Phanotm, Les Mis or Wicked. All of them brilliant theatre shows that will stay around forever. No matter what is playing in the radio.

What do you think? Is your favourite musical a Jukebox Musical? Leave a comment (next to post title) and let us know. Subscribe to the RSS. Remember you can join the Facebook Group (button on the right) to be notified when I write and you can invite others to see this posts. Thanks again and happy Xmas shopping!

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On Saturday night Northern Ballet Theatre performed the world première of On Such A Night, a short dance created especially for the Company’s 40^th Anniversary by Gillian Lynne. Best known for her choreography of Cats and Phantom of the Opera, Gillian also created NBT’s own signature work A Simple Man. We spoke to her in the rehearsals of On Such A Night about the work itself and why she so loves working with NBT.

Older podcasts can be listed to on the Northern Ballet Theatre website.

Pretty white spots drop like snow. They make me think of cold fingers traveling every inch of my skin. They remind me of the emptiness I feel. Still, I can not deny myself the soothing sensation they provide my weary soul. Treacherous, you are.

Now I’m left with what little hope these fleeting things can offer, a madness beyond pardon. I know you. You will not forgive.

This year, the rather uneventful year of 2009 has held what could be described as several, rather futile attempts at creating true action movies. I mean the ones with more explosions than if Michael Bay directed Die Hard 4.0, or enough cunning to outwit the beautifully crafted stratagems of The Italian Job.

And you really don’t see enough of them these days, especially within the last few years, the action franchise is unfortunately going to the dogs. That is, before Law Abiding Citizen came along. There’s a line, just one line within the film, even in the trailer which sums up the extent of this film, “It’s going to be biblical.” That, is truly a line which will go down in the film industry. Why? Because of any great film that’s worthy of remembrance, there’s always a line or two that stands alongside it, sharing its glory.

Unsurprisingly, these quotes are often from some of the best Action films to date, whether it be ‘ The name’s Bond… James Bond,’ in the billion dollar franchise which is now entering it’s 23rd film. Or it may be ‘I’ll be back‘ or ‘Come with me if you want to live,‘ or more even more recently the somewhat humorous scene in T4, where Christian Bale merely shouts ‘CONNORRRR!‘ down the radio. Law Abiding Citizen is one of those sort of films. Unfortunately, my love for it, and it’s success is not something which is shared globally, raking in just over $80 million worldwide, on it’s $53 million budget. Sure, it’s a financial success, but hardly.

However, maybe the short-lived success was somewhat deserved, there were many instances where the film could have been considerably better, and with a slightly disappointing ending (by my standards), it’s not truly a surprise why the film didn’t hit the $100 million mark. Despite the film’s downsides, there is some fantastic acting by Gerard Butler (Phantom Of The Opera, 300, PS. I Love You), who portrays an emotional widower who has also lost his children at the hands of a murderer who has subsequently been freed due to a corrupt justice system. In many cases it’s an accurate representation of what happens today, in our society, and it really does. Jamie Foxx (Ray, Collateral, The Kingdom) on the other hand, demonstrates some less favourable acting as a corrupt prosecutor who is obsessed with his 96% conviction rate. To be frank, his character is a bit of an ass, but in these days, what can you do?

As I previously mentioned the explosions, I’d just like to point out that Michael Bay should give his job to the special effects guy/girl, because they are true action movie explosions, not manageable sparks, but full on, “Ah, if we’re caught in this, we’re -insert multiple cursings here-.” With an epic score to match, it’s no wonder why I was on the edge of my seat, and for all the right reasons. A great action thriller which certainly makes you think, worth a place in anyone’s DVD collection. If you like ‘The Taking Of Pelham 1 2 3, you’ll love this. View the trailer here.

So, I go from writing like no blogs, to two in one day. This will not become habit, i am sure, but i could just not pass up on writing this. As I sit here watching the Carrie Underwood Christmas special, eating ENTIRELY too many tortilla chips with salsa and southwestern ranch dip, AND drinking a Dr. Pepper. . .wow, so that looks REALLY sinful seeing that written out. Ok, putting the chips away now. . .

Anyway, as I am watching the amazing Carrie strut her stuff and her voice, it makes me remember the days I dreamed to be a singer and a star.  When I was a little girl and even through college, I had dreams of performing.  My specific dream was to be Christine from “Phantom of the Opera.”  I have sung some of her songs for voice recitals and for my college spring show. . .I loved loved loved that music, so I could not imagine a more exciting life than to BE her on the biggest stage of all! BROADWAY!  Even when I was first out of college and moved to Auburn, AL, then dating, then through engagement, then even into my newlywed years, I still had that dream! I would watch American Idol in awe of those brave enough to sing for Simon!  To be completely honest I was often times jealous.  I had times where I wished I was the one singing on the stage, I was the one to WIN!

I still LOVE singing, but I can honestly say that tonight, I am watching Carrie and LOVING it, just because its fun and funny, cute and witty. I am relaxing and enjoying myself. I am in no way jealous, or even WISHING I was the one singing with Dolly Parton or Kristin Chenoweth. . .In fact, I can now honestly say I do NOT want to be famous anymore, I do NOT want to be a star.  All my dreams changed with the birth of our daughter, Katie Rene’.  You cannot really have both fame and family.  You can try, but I believe, in the end, one would have to be sacrificed, or placed on the backburner.  I would not want to put my family on that burner.  My heart has grown to a size I never knew was possible with the birth of my daughter. Watching Andrew be a father makes me realize that my FAMILY is my dream. God is allowing me to fullfill even better dreams than I had before thank the Lord that he doesn’t always give us what we ask for the way we ask for it Anyway, just wanted to share that. you may have dreams right now that are pretty big, but I can almost guarentee you, that once you have children. . .all those will change. . .WOW, will they change, but trust me. . .it’s for the better

When I first met Niles early last year, I thought he was a singer… But with lyrics as sharp as his clothes (complete with hat perched on the side of his head), I soon learned that Niles was in fact one of the most talented MC’s I would ever know, one that incorporates passion, history and a genuine love of the art of lyricism in his craft.

Originally from Michigan, Niles (born Chadwick Phillips) moved to New York City shortly after graduating from college to pursue his music career. In a few short years, he has already racked up numerous accomplishments:

Harlem Rapathon Winner (out of 100 MCs)

EOW Challenge winner

Performed at Hot 97 Summer Jam 07′ & 08′

Featured in a B.E.T commercial for the Barack Obama You(th) Vote

Winner of the 2007 Hot 97/Koch Records/E1 “Who’s Next Talent Show” and the opportunity to release a single on Koch Records/E1. They released his single entitled “This Time.”

Niles is also featured in a video entitled “The One”, which is directed by the legendary Ralph McDaniels. He has opened up for artists from KRS One to Dead Prez to DJ Premier and DJ Scratch, and most recently Talib Kweli & Idle Warship. He also taught artist development workshops for “The Hip Hop Project”.

Despite all his accomplishments, Niles remains a humble artist, always hungry for the opportunity to share his music with a new audience. His performances are an experience, to say the least… Songs like “Lost Years” tell the story of a man who experienced many a hardship in his life, but still manages to overcome his obstacles with the help of strong family ties and a heavy dose of determination. But my current favorite is “Phantom of the Opera”; don’t be surprised to find many a fellow MC reciting Niles’ lyrics while playing imaginary violins…

Niles is currently working on his soon-to-be-released project entitled “When the Clock Strikes XII.” In the meantime, I’ll leave you with a few clips. Get to know Niles… you’ll be glad you did.

Niles performing “Phantom of the Opera” @ Southpaw; video courtesy of Donovan Kasp.

Niles performing “Lost Years” @ The Art of Lyrics; video courtesy of Natty Night.

“The One” feat. D-Nasty, Kween Kash, Niles, and Purple Haze – Directed by Ralph McDaniels (Video Music Box):

Check out more on Niles at http://www.nilesdavis.net

UPDATE: Niles has a show on Dec. 17 entitled “Niles on Broadway” where he will be presenting his upcoming project, “When the Clock Strikes XII” – not to be missed!

Gerard Butler’s choice to play the Phantom like Gerard Butler was going out on a Friday night for some stalkage may have been … unwise.

Christine Daae is the orphaned daughter of  a Swedish violinist.   Before he died, he promised her he would send an ‘angel of music’ to watch over her.   Christine is taken in by Madame Giry and her daughter at the famous Opera house in France, where no one actually has a French accent except for Madame Giry.    Christine loves to sing but has been too grief stricken to sing properly; until, that is, she hears a voice behind a mirror helping her.

Now begins the parade of idiocy that runs through this movie.  Most of the general populace, however brain damaged, stupid or downright idiotic would hear a voice behind a mirror and do two things:  1) run or 2) grab something sharp and pointy.   No, Christine believes her angel of music has finally arrived.

Madame Giry knows the truth, since she’s totally BFF with the infamous Phantom of the Opera, who’s really a sideshow freak that she let live in the sewer bottom of the Opera.    Sadly, it does not have a charming view but Gerard Butler’s Phantom seems well stocked on candles.   He seems to have nigh on two million; perhaps he is a candle collector?

The Phantom schemes to get Christine in and Carlotta, the diva who can’t really sing, out of the Opera’s shows.    The whole time he’s trying to seduce Christine, taking her on fun boat rides to his Sewer Palace and wooing her with his dark and mysterious pipe organ.   Uh … yeah.

The problem here is that while Gerard Butler may look hungover, in need of a shave and a shower and possibly not all there sometimes, he is not bad looking.   In fact, I’d wager that it’s hard to ugly up Gerard Butler (although The Ugly Truth did a good job of making him seem vile) and sticking a bit of molded plastic on his face doesn’t make him look like a monster who has to chat up a girl by kidnapping her to his Sewer Palace with his candle collection; it makes him look like a guy with a serious brain malfunction.   Oh yeah, and a creepy, perverted one at that.

Competing for Christine’s affections is Raoul, the Vicomte with a heart of gold and nothing upstairs.    If one were to crack open Raoul’s cranial cavity, it would probably contain bits of cardboard and dryer fluff, with  a few starving moths flying around.    He’s obnoxiously bent on Christine-directed chivalry.

Needless to say the Phantom doesn’t like this.   And he doesn’t like that the new Opera owners won’t pay him his extortion money.   … And he really doesn’t like that Carlotta lady.   Yeah, so some people die.

The main problem with Phantom is the cast.  Emmy Rossum is convincingly dim, but her eyes are so … dead.    Not to be mean, but everything I’ve seen her in she’s got the same look that salmon has at the fish counter.   And Gerard Butler can eke out the Phantom’s songs, he looks like he shops at L’Abercrombie & Fitch in his spare time.    He’s not menacing or scary or even remotely creepy; he’s just Gerard Butler, running around an opera and doing his best sexy-eyes at Christine.   The guy that plays Raoul is no better, and Minnie Driver as the divalicious Carlotta is just exhausting.

The real guilty pleasure in all this is the amount of detail lavished on the sets and costumes.   The Opera is stunning, the costumes magnificent and everything seems to be locked down to the minutiae.   Lloyd-Webber’s music is cool, if you view it through the lens of when it was popular on Broadway (the ’80’s) and very bombastic.

Overall, it’s not … good but it is a guilty pleasure, if only to laugh at the idiocy of the main characters and gaze upon some awesome sets and costumes.   … And to see Gerard Butler attempt to act as a conflicted, disfigured person with lots of emo rage.

I suggest you all run off and read Cleolinda’s Movies In Fifteen Minutes Recap of Phantom of the Opera, which is far more hilarious and much more in depth than I could write — you can find it HERE.

Londres, abril de 2007. Participando de um congresso, resolvi em uma das noites assistir ao Fantasma da Ópera no Teatro Majesty. Casa cheia, peça aplaudida de pé, uma verdadeira apoteose, você sai meio anestesiado. Do meu lado, uma mulher comenta com a amiga, sintetizando a razão de tamanho sucesso: “It’s so powerful!”

Um vendedor esperto vendia DVDs do filme de 2004 –  (dirigido por Joel Schumacher), na porta do teatro a preços exorbitantes. Lógico que comprei o meu, para só depois lembrar que o sistema Pal-m não funciona aqui…Desde então, o filme permaneceu intacto na gaveta que fica embaixo da TV.

Semana passada, no Shopping Iguatemi, São Paulo. Lembrei que precisava comprar um CD de presente para alguém e vi, a minha frente, as Lojas Americanas e entrei. Não custa tentar, pensei, embora à medida que andava pela loja foi ficando claro que o melhor seria sair correndo dali e ir para a Livraria Cultura do Villa-Lobos.

De fato, o CD que eu queria não tinha (a vendedora nunca tinha ouvido falar na Céu). Na saída, eis que olho para um display de ofertas e lá estava ele, pedindo para ser comprado: o DVD do Fantasma da Ópera, de Joel Schumacher, por R$ 12,90. Naquele momento, comprendi a verdadeira razão de eu ter entrado naquela loja…era hora de rever o Fantasma.

Trata-se do musical de maior sucesso da história. Mais do que isso: a versão produzida por Andrew Lloyd Webber é a peça de entretenimento de maior sucesso já feita, em qualquer mídia que se considere. Segundo o site oficial,  já foi visto por mas de 100 milhões de pessoas em 14 línguas, desde que estreiou no Majesty, Londres, em 27 de setembro de 1986, chegando depois a New York em janeiro de 1988. Na Broadway, já foi encenado mais de 9000 vezes e em Londres, outras tantas. Foi o Fantasma da Ópera que projetou, por exemplo, a cantora Sarah Brightman, então esposa de Webber - (que estourou com o sucesso Time to Say Goodbye,  com Andrea Bocelli). E não ficou apenas no teatro: já teve nada menos do que 18 versões para o cinema.

Mas porque o romance escrito por Gaston Leroux em 1910 e depois adaptado ao teatro fez tanto  tanto sucesso? Temas que lidam com o mistério sempre têm apelo e, talvez, aí resida parte do sucesso. A história do fantasma/homem deformado/gênio da música que vive nos porões da ópera de Paris e que mantém uma estranha relação com uma jovem cantora lírica tem os ingredientes para tal. A música também é especial. Uma após outra, Andrew Lloyd Weber compôs uma obra-prima. Aliás, o que dizer de alguém que compôs Cats (de Memory), Evita (de Don’t’ Cry for me Argentina, veja versão com a Sinead O’Connor, minha preferida, não se compara com a Madonna) e Jesus Cristo Superstar? Ele é um gênio, tal como o Fantasma…assim como Charles Hart, o letrista, que captou a essência da peça de maneira perfeita. A humanidade sabe reconhecer uma verdadeira obra de arte (há esperança!).

O enredo e a música são essenciais para o sucesso, mas acho que o que faz a diferença é que o filme tem um fundo psicológico complexo, lida com diversas questões que caracterizam a essência humana.

Diante da riqueza de possibilidades e de intepretações, a que mais me chama a atenção é a ambivalência presente do começo ao fim: a luz e a escuridão; o pecado e a virtude; a genialidade e a loucura; a beleza e a feiúra; o padrão aceito por todos e o preconceito; o yin e o yang, enfim, presente na própria essência humana.

De um lado, Christine, a soprano protagonista, vive um romance com o jovem Raoul, patrocinador da Ópera e com quem teria uma vida normal, sendo sua companheira; de outro, a atração meio doentia em relação ao Fantasma, que a seduz e a aprisiona com sua música e a quem Christine confunde com seu pai, cuja perda nunca superou. Christine precisa superar a morte do pai, eliminar os vínculos do passado e ser ela mesma.

Mas quem é “ela mesma”? Alguém que deveria viver uma vida convencional, na luz, ou entregar-se à escuridão, de onde realmente brotava seu talento? Qual seria, afinal, sua razão de ser, qual seria o papel que lhe caberia nesse mundo, se é que se pode colocar dessa forma?  Ao viver com Raoul, seu talento minguaria e ela abandonaria sua carreira promissora, para viver como esposa dedicada e mãe (como está colocado na epígrafe de seu túmulo), mas seria “livre”; ao ficar com o Fantasma, estaria “presa” em seu conflito psicológico para sempre, mas cantaria. Há solução para esse conflito aparentemente insolúvel, que simplesmente nos lembra que não há soluções perfeitas e que escolhas sempre envolvem renúncias?

Não é fácil para ela. A sua resposta a essas questões varia de acordo com as cirscunstâncias e com o poder de sedução de ambos os pretendentes, cada um com seus argumentos.  Aliás, os momentos em que o Fantasma canta Music of the Night e Point of no Return são dois grandes momentos de sedução via música…

Music of the Night – original do filme:

Ao final, Christine escolhe Raoul; para felicidade de todos, o mal foi vencido, a solução convencional se sobrepôs ao bizarro, nos consolando também. Afinal, com a escolha dela, nossas possibilidades sombrias e inquietações são de certa forma enterradas. Mas não foi uma escolha fácil: dá a impressão que sua mente vai para um lado, mas o coração vai para o outro (“você resiste, mas sua alma obedece”, canta o Fantasma). Na música tema dela com Raoul, ela suplica: “Diga que me ama em todos os momentos em que estiver desperto, encha meus pensamentos com histórias de verão. Diga que precisa de mim ao seu lado agora e sempre…”.  Ela precisa disso para afastar os “maus pensamentos” que inundam sua alma.

O lado sombrio, se está presente até na mente da bela e ingênua Christine, estará então presente em qualquer mente, ainda que com contornos diferentes (afinal, “The Phantom of the Opera is here, inside my mind…”). O sucesso do musical, de certa forma, reside na possibilidade de flertar com o sombrio sem riscos para quem assiste. Ou, mais ainda, o reconhecimento de que não estamos sozinhos e que até a bela soprano tem recônditos proibidos em sua mente, que precisam de muita razão e reforço diário para são serem visitados.

Mesmo com a vitória da luz sobre as trevas, ao final não se sabe se a escolha foi a melhor. Christine morreu bem antes de Raoul que, ao final do filme, coloca sobre seu túmulo o macaquinho persa que toca música, que foi encontrado nas dependências do Fantasma e que acaba sendo a metáfora do Fantasma. É uma cena de grande simbolismo: Raoul estaria devolvendo Christine ao Fantasma? Terá sido um reconhecimento tardio por parte de Raoul de que, ao tirá-la do teatro e transformá-la apenas em mãe e esposa dedicada (não que seja pouco!) havia eliminado sua essência, aprisionando-a de uma outra maneira, não menos ruim do que se tivesse ficado sob a tutela do Fantasma?  Será um recado de que não adianta ir contra sua natureza, que razão nenhuma supera a emoção, e que sempre há um preço a pagar ao se escolher a via racional (não sei do que Christine morreu…mas não parece que teve uma vida plena)? Não que Christine não amasse de alguma forma Raoul – mais uma ambivalência presente.

São diversas as possibilidades de interpretação. Aqui, enfoco mais o dilema de Christine, mas certamente o Fantasma também dá boas análises. A história ecoa em cada um, de forma particular. Se você viu a peça ou o filme, comente abaixo o que achou e qual foi a sua visão.

(É interessante que, na primeira versão feita para o cinema, o Fantasma era um louco, totalmente disforme, fácil de ser odiado. Já na versão de Schumacher, foi interpretado por Gerard Butler, o protagonista de PS, I love you…).

Achei diversos vídeos legais no YouTube:

Além de Music of the Night, outras músicas de trilha sonora:

Think of me – original do filme

Música tema – The Phantom of the opera e Wish you were somehow here again, cantadas pela Sarah Brightman

Versão da música tema com o Nightwish– mostrando que, apesar dos vocais meio over, os grupos de heavy metal tem mesmo grandes músicos

Angel of music – cantada por Emmy Rossum, a Christine do filme

All I ask of you – música tema de Raoul e Christine:

Por Carreras, Pavarotti e Plácido Domingo. Com todo respeito ao Pavarotti, que faz a voz da Christine, ficou faltando a voz feminina

Versão com a Emmy Rossum (Christine e Patrick Wilson – Raoul)

Masquarade- original no filme

The Point of no return – original do filme

Em Novembro o ator David Shannon assume o papel título do espetáculo “Fantásma da Ópera” em West End.

David era o substituto de Ramin Karimloo, que deixou o musical para trabalhar em sua próxima atuação em “Love Never Dies”. 80% do elenco da produção londrina foi substituido em Setembro devido a rotatividade de artistas no final do ano.

Antes de assumir o papel de Fantasma, David atuava como Jean Vajean em Les Misérables no Queen’s Theatre. Em 2001 foi indicado para o Olivier Award pela performance em Beautiful Game.

O nome real do ator é David Greenway, ele mudou seu sobrenome quando descobriu que já existia um artista com o mesmo nome (simples não?!). Iniciou sua carreira fazendo musicais amadores na Irlanda.

Musicais importantes de sua carreira:
Les Miserábles (Jean Valjean)
Miss Saigon (Chris)
Phantom of The Opera (Raoul)
Sweeny Todd (Sweeny Todd)
Cats (Rum Tum Tugger)
Martin Guerre (Guillaume)
Grease (Danny)
South Pacific (Joe Cable)

Site Oficial: http://www.davidshannon.co.uk

Trafalgar Square was exquisite. At night it always seems soft to me, with the warm lights and the cosy darkness wrapped around you. But yesterday morning it was as ice. The sky appeared brittle blue, and the sun was hard and chill. The water from the fountain cascaded in the unbreaking tinkle of diamonds flecked with light. The puddles shone like daggers, blinding. It made me want to sit with Virginia Woolf and bite my fingers.

The fountains are beautifully lit by alternating colours after dark

I’d just left the National Gallery, which seemed hot and stifled against the brightness of the morning, wherein was enclosed my friend Ella, a music student at Nottingham Conservatoire, and accomplished flautist, pianist and whatever the world is for piccolo player, and amongst other qualities a wonderful friend. She’d come down to London quite upon a whim; an email advertising the event – a day for undergraduate students on the importance of and how to improve performance in music, based upon the interchangeability of arts – a quick check of coach prices, and a phonecall to me asking if my sofa was available. She saw a moment, could afford it, and did it. I respect her for that, but I love her for it too.

So we went to see Phantom of the Opera, her favourite musical, because she was only down for one evening. We met after my lecture at 5o’clock when her coach arrived at Victoria; I furnished her with an oyster card, and we went for dinner at Pizza Express and then to the show. Naturally, it was mind blowing. Ella must’ve seen the DVD a thousand times over, knew every nuance, every note, and listened to the soundtrack on the way down. I knew nothing, never having seen or heard either. For me, it was a revelation; for her, it was a tautening of the drum skin, a heightening of all she’d known previously. The singing, she assured me, was spectacular; I found my comfortable niche as theatre technician and approved most of the costume, set and lighting designs above all else. It was fascinating. We applauded the orchestra especially hard, and told each other stories of the days when she would be in the pit, and I writing lines for her to play to.

The next day I left early and set her up comfortably in the National well ahead of schedule. We even found time to peruse a few paintings in the National Gallery itself; some Turner, I recall. Then I stole some tea arranged for the participants of the day, and she was called in. They worked ekphrastically, combining poetry, painting and musical performance. She tells me it was interesting and helpful. She’s entering a competition later this month for the day – she will find and record herself performing a piece of music related to a painting of the story of Samson and Delilah, of which she bought a little postcard.

The only trouble was during her day I found myself in a puddle of tears in a small toilet on the strand campus for nearly an hour before my seminar. I got some bad news, which knocked me and left me quaking. It feels like, and I believe is, a big set back – stagnation being something that I see as destructive. The achievements of almost a years struggle seemed desecrated and replaced with the sensation of being right back where I started. Again, I felt a sympathy with Virginia Woolf; a contrast which sickened me after my proasic walk and thoughts of her traversing Trafalgar barely hours ago.

I think it’s not helped by a growing feeling of isolation within my university. Last friday I went out with my workmates – just dinner at an Indian restaurant and then a few drinks at the pub. And I recalled the feeling of my childhood, where I was always at ease with people much older than myself – my parents or even grandparents friends – beyond my peers. I’ve got it constantly through life, but there’s only so many times I want to be told I’m old before my years, or more mature, and more sensible, and more this or that than people my own age. I know it, I’ve struggled with it for years waiting for my age group to catch up. Even now I feel it on my course, with silly little girls set against my genuine passion for language and literature. But beyond even that old gripe, I just don’t seem to have any friends at university. I connect more with 30year-olds at work – I find pleasure more in their company than those who should be my friends and equals.

There are three exceptions; my housemate Jamie, my friend Hell (short for Helen), and a chap called Sam who I only bump into around campus when he isn’t with his girlfriend. There are several acquaintances I don’t think disparagingly of, notably a beautiful girl called Yasmine who I make small talk with sometimes and Frankie, but I feel like they aren’t my friends and we don’t spend time together outside lecture halls. Outside of my course, there’s Sheena, who I adore, and my old halls friends, who I exclusively don’t see. The only other students I spend time with from London go to Imperial, and are my boyfriends housemates, who are some of the best people I know regardless of age or occupation. I can’t speak highly enough of them. But at the same time, the sheer frustration that I like more people from Imperial than from Kings is like a consumption.

Compounded with this my friends at home seem to be bickering, and I don’t even know what about; talk of not speaking to each other communally on facebook anymore, complaints of tension and bitching and insulting, suggestions of avoiding things til Christmas (as if that’d solve a problem) I just can’t see – I feel like I have nothing to contribute to that. And I just don’t know if saying nothing can be considered an option b. (I don’t know, maybe it is. I think there’s overreaction left right and centre and shutting up is a valid (over?)reaction to overreaction. More and more I find myself doing this, and feeling like all I can present to the world is apathy.)

So as always, it comes back to the same old thing. People saying I’m very mature for 21 – oh, you’re only 19? I assumed you were older, you seem very much older – well, I feel much older, in the world wearied sense which is lethargy mixed with exhaustion, and I can’t put a finger on which. It seems to yo-yo wildly between the two. So with a cynical sigh I try to scrape together some enthusiasm for pretending I feel as young as my years and sap strength to convince myself of motivation.

… I failed. I’m missing my lecture today. I doubt I’ll leave my boyfriend’s bedroom. And he shouldn’t have to do this, have to come back to me, sat here like a broken doll on his bed, vampirically hoping to drain his support to substitute my own. It’s him I feel for more me, because he has to deal with it and bear the brunt of it, this “me” made of metaphors and rejections made redundant.

Talk to me in a fortnight’s time, when I’ve spent the weekend with Laura, when I’ve been to the Cosplay ball with Jamie and Sheena and King’s GeekSoc on Sunday, when Elford and I have celebrated our anniversary, when I’ve spent some more time with Geeksoc at the wednesday pub meet and tried the socialising thing, when my friend Rob stays around and I’ve met his Canadian (Canadienne?) girlfriend, when Whyman comes up from Brighton and we all see Eddie Izzard, when my birthday party has taken place, when my parents have taken us to Ronnie Scott’s Jazz Club in Soho, when I’ve tried to sort out that bad news as best as I can for now – and maybe I’ll be more useful, more proactive.

And people will congratulate me and say what a sensible and mature girl I am, especially for my age, and I’ll sigh and feel like my chest is being pressed upon by some great weight I can’t identify, and feel like I’ve not moved a single step forward since last year, so people’ll be right; I’ll be older than my age.

Andrew Lloyd Webber has been readmitted to hospital after suffering a setback in his battle against prostate cancer.

The 61-year-old, Composer, revealed he had been diagnosed with the early stages of the illness last month, for which he underwent surgery.

A statement on his website read: “He has been advised that while the operation was entirely successful, he has developed a post-operative ‘chronic infection’ which needs immediate treatment.”

The theatrical impresario is currently working on Love Never Dies, a sequel to his acclaimed production – The Phantom of the Opera, due to begin in early January 2010.

We wish him a speedy recovery.

Considerado um dos melhores compositores de Teatro Musical da história, Andrew Lloyd Webber está com câncer na próstata. A notícia foi oficializada pelo seu porta voz mês passado: “Andrew está sob tratamento e constante observação. Esperamos que ele já esteja recuperado até o final do ano para continuar com seus projetos” disse.

Um dos fatores que motiva a sua recuperação é o novo musical: Phantom – Love Never Dies, que é a continuação do sucesso “Fantasma da Ópera” com estréia prevista pra 2010.

Eu particularmente estou MUITO ansioso pra saber mais sobre o novo musical. O Fantasma da Ópera além de ser um clássico, é um dos musicais preferidos. Muito corajoso da parte dele propor uma sequência pois o risco de não dar certo é muito maior do que o sucesso.

Segue abaixo a relação de musicais compostos pelo músico:

The Likes of Us (1965)
Joseph and the Amazing Technicolor Dreamcoat (1968)
Jesus Christ Superstar (1970)
Jeeves (1975)
Evita (1976)
Tell Me on a Sunday (1979)
Cats (1981)
Song and Dance (1982)
Starlight Express (1984)
The Phantom of the Opera (1986)
Aspects of Love (1989)
Sunset Boulevard (1993)
Whistle Down the Wind (1996)
The Beautiful Game (2000)
Bombay Dreams (2002)
The Woman in White (2004)
The Boys in the Photograph (2009)
Phantom: Love Never Dies (2009)

Dear Readers. I have created this soon to be fabulous blog in order to share my feelings about the msot wonderful world in our universe: Theater and Performing Arts. Wow! Just the name makes you want to get up onto a nice big stage in an oversized auditorium and sing “La Vie Boheme”! If you’re out there, and you are a true thespian, you’ll know how it feels to be pushed aside as having a wothless meaningless passion. People now a days seem to think that theater is just something to be taken lightly, and would rather just sit alone at home and watch a movie. Do they not realize that if Theater never existed, their pressious movies and tv shows would not exist? Theater is the basis of so much of what our culture is today, and if you agree with anything i am writing while in spanish class, I URGE you to follow this blog as you would your favorite bestseller on broadway!

by Joe Szabo, Szabo Group

If you or your family enjoys musical theater then this event may be just what you are looking for this fall. The Music of the Night is coming to Tempe! That’s right, The Phantom of the Opera is coming to Arizona State University’s Gammage building for a special engagement starting October 28^th and continuing through November 22^nd.

Don’t miss the chance to experience this Andrew Lloyd Weber classic. It is hailed as one of the longest running shows in Broadway history. The show itself has celebrated over 9,000 performances in over 100 cities worldwide. According to ASU’s Gammage show page for Phantom, it’s “a timeless story of seduction and despair and the one show The London Sunday Times called “God’s gift to the musical theatre.” You can read more here:
www.asugammage.com/shows/2009-10-special-engagements/the-phantom-of-the-opera

The story, music and romance will take your breath away.

Ticket prices vary based on the day and time of the show.

You can also have the ultimate Phantom experience by visiting the Phantom – The Las Vegas Spectacular at the Venetian hotel in Las Vegas, Nevada.

ASU Gammage is located on 1200 S. Forest Avenue in Tempe. For more information on this and other upcoming shows visit: www.asugammage.com/shows

The Szabo Group offers first class real estate services to clients in the Scottsdale Greater Phoenix Metropolitan Area.  Award winning Realtors and Re/MAX top producers, The Szabo group delivers experience, knowledge, dedication and proven results. Contact Joe Szabo at 480.688.2020 or visit www.scottsdalerealestateteam.com

Just as I wrote out my “Five Shows You Should See on Broadway” there happens to be five shows you shouldn’t see as well. Let me qualify that by saying that most shows that get produced on Broadway are worth seeing for one reason or another — they wouldn’t have landed on Broadway if there wasn’t something unique/special about them. But there’s some shows that you should probably just stay away from, especially if you are in NYC for only a limited time. I always think, “Will I regret it if I miss this show?” If the answer is yes, than I make sure that I go. Unfortunately, there are a few shows that you might just regret actually going to and spending all that money on.

Here’s a list of shows that I’ve regretted going to:

1. Bye Bye Birdie at Henry Miller’s Theatre – Oh, what can I say? It’s a mess. After sitting through this, my friend and I coined the phrase, “The best high school production of Bye Bye Birdie I’ve ever seen.” But then I digress, I’ve actually never seen Bye Bye Birdie performed at a high school. From the color-coordinated costumes to the lack of choreography, this show is just wrong. Oh, and did we mention that the teenagers are actually teenagers? So, if you are willing to shell out between $86.50 – $136.50 to see high schoolers perform, than more power to you. But I left, severely disappointed. The moment when you really want to walk out is during Gina Gershon’s mess of a dance, “Spanish Rose” — if you actually can call a “half-fan kick” dancing. It’s not scheduled to close till April 25, 2010. April can’t come any sooner.

2. Billy Eillot at Imperial Theatre – I’ll probably get some flack for this one, considering it won the Tony Award for Best Musical this year. The first time I saw this, I actually almost walked out during intermission. I hated it that much. I wanted it to be so much more than it actually was considering that I loved the movie SO much. My biggest beef with this show, is that somewhere along the way, it lost its “heart”. The show changes so much with what Billy you see. The first time, I saw the “angry” Billy. Th second time was the “confused” Billy. These kids have to be a triple threats and both of the ones I saw were incredible dancers, but lacked in the acting department. Maybe the two new Billys will be better? Also, I have to talk about the set: it neither gives a clue of where we are or what time period we’re in. And for a show that specifically needs to identify both, I was sorely disappointed. (And that damn circular bed just drove me crazy.) The show is incredible in regards to the dancing, so if you are a dance enthusiast than you should check this one out. I say: pass. Wait for it to come on tour (or don’t). More info, here.

3. West Side Story at Palace Theatre - This is another show that I should have loved, but instead really felt nothing for. I saw a matinee, which might have influenced my overall feelings, but I really thought I would like it and I didn’t. It has the makings for something incredible. Obviously, the show is incredible, yet I felt that this revival didn’t have anything new to offer, except for the genius performance by Karen Olivo playing Anita (who won the Tony Award). Olivo was the only one to give a fresh perspective to her character. Finally, they are replacing Matt Cavenaugh, who plays Tony, on December 13th. Frankly, they never should have cast him in the role in the first place. Riedel, of the NY Post gives some advice to the next Tony, “Don’t miss any performances, don’t get old, and don’t get married.” Apparently, Ms. Olivo has been missing performances as well, so your best bet is just to miss this one altogether. More info, here.

4. The Phantom of the Opera at Majestic Theatre - I solely write Phantom of the Opera on this list because you are better off seeing it in Las Vegas than in NYC. I’ve actually never seen the Broadway production because there is always something else that is more important. Always. The Vegas version is quite thrilling, especially since they cut all the nonsense to 90 minutes. Besides, the sound design is the best I’ve ever heard from any show, anywhere. See something else on Broadway and take a trip to Vegas to see Phantom. You won’t regret it. Besides, it’s been running on Broadway since 1988. Maybe with the sequel, Love Never Dies, coming out next November on Broadway it will finally die away…. maybe. More info, here.

5. Mamma Mia at Winter Garden Theatre – Really, I mean really. This show should close so something else worth seeing can take its spot. Immediately. The show opened back in 2001. We are at eight years now. Playbill.com says, “The infectious music of ABBA provides the framework for a romp through the preparations of an unusual wedding.” Romp. Now I’m for sure not going.

Seriously, people. Stop. Going. To. This. Show.

More info, here.

HONORABLE MENTION:

Memphis at Sam S. Shubert Theatre – I actually hate putting Memphis on the “shows you should skip” list. I really don’t want to because the performers are kind of amazing — it’s the show that just doesn’t work. All of the sudden the show ended and I didn’t know why? That’s how convoluted the story gets to be at the end. You can’t deny the comparisons between Hairspray and Dreamgirls; it feels awfully similar to both of those shows and not in a good way. My friend and I decided that all of the performers in Memphis should be in Bye Bye Birdie and than, we would have something to write home about. Though Chad Kimball gives a unique and note-worthy performance, we unknowingly ended up hating him and his ridiculous Memphis accent. Montego Glover’s vocal range is impressive throughout, she’s just not given the songs to truly shine and show off her magnificent instrument. Bay Area local, James Monroe Iglehart, stole the show with his Act II performance. The audience couldn’t get enough of him. All in all, it’s a talented cast, just not a great show. More info here.