ÉCHANSON - AERWIN VOCALOID FILK

All right - this is a Cendrillon filk -- even though, if it's Aerwin, the title just has to be Échanson! -- A few enlightenments (never better said):

This is an eighteenth-century Westeros AU - the setting is the Red Keep we all know, but everything is baroque-rococo (interiors, landscaping, fashion): Aerys is still the crown prince, Tywin is still a cupbearer at court - just arrived in the capital fresh from the Westerlands. I thought of a setting more or less like Tywin being forced into an Anckarström role by conspirators in order to reinstate the Lannister family (plus, young Aerys does remind me of Gustavus III)... Only that, instead of a gun, Tywin has a phial of a blue almond-scented liquid that a certain Dornishwoman (Oberyn's and his siblings' mum - if anyone wonders - since her name is not given in canon, I have the headcanon that it's Nymeria!) amongst the conspirators has entrusted him to. However, when you fall in love or at least bromance with your victim, there are always sacrifices to make...

So it's a duet: the lines in the Lannister colours are Tywin's, those in the Targaryen colours are sung by His Grace, and those in usual black and white are sung by both of them at unison... 

... (ticking)

ÉCHANSON

*an aerwin tale*

After waking from a dream, where we danced all night it seemed,

knowing that the spell will break at midnight's chime...

why do you lead me away, showing to the door the way?

I storm down the flight of stairs, descend steps three by three...

That cabin below deck must have been ice-cold...

Dance in these clothes within this ballroom tonight,

and be yourself by the dawn!!

In the crowd, I follow instructions:

"Find a young man with long platinum hair..."

I ready my phial at hand, brace myself to wrest

everything that he owns from him...

Royal ballrooms where orphans gather,

each of their smiles concealed, or gone, or fake,

will ne'er know sincere love, and never the answers hold,

for they will not help you know the truth!

... (csárdás + sound of footsteps to the rhythm)

The powdered wig... that the cupbearer wore...

and left upon the stairs... burns bright in greenish flames...

Right now I must take my leave - I am trembling like a leaf...

Every now and then you glance to check the time...

Thus, without my wig, I dance - to confess I've not a chance...

I seize your neck and tighten my grasp around your throat...

My lips dry up your tears with soothing kisses...

Ah-ah... the shiver that I felt deep inside 

course down my spine... was too much!!

Please don't let the bells peal for midnight!

I find that before you I have to bow so low...

Although I resisted the urge, ah, my right hand slips,

seals your destiny forever...

You who have the air of a lordling,

wearing the scent of almonds on your eyes...

My frozen façade was no match 'gainst your inner fire,

I felt your gaze shattering the ice...

... (minuet, strained breathing)

I feel your warmth upon my skin as we lie breathing out;

everything feels like a dream fading...

Silvered by the light of the full moon, your fair hair makes a veil;

your smile shines like the brightest stars...

... (strained breathing + pounding heartbeats, clanking bayonets)

My tailcoat is torn at the waist height,

everyone's feet will tread on my cravat...

Sparks flame between eyes that lock, green with amethyst,

for what I have just done to you...

Thus, two lonely souls bind together,

wildfires kindled by death's bitter draught;

Yet, if I am not the one who will stop your tears,

there is no satisfaction on my own...

Stop the time at this very instant;

I am completely drawn into you...

I wish I could store away this sound for evermore,

as I count your every heartbeat...

Overwhelmed by rushing emotions,

left to drown within this spreading warmth...

From this moment on, my body will move no more...

Just like in a fairytale!!

And here are some cues to help you visualize:

• Steffon and Cassana may be among the guests; ditto Olenna.
• At "three by three," Tywin drops his powdered wig (part of the livery) as he descends the stairs in haste. One of the plotters burns the wig with wildfire to create a distraction for the kingsguards.
• At "seals your destiny forever" - Tywin has already laced Aerys' drink (right hand slipped), and the prince has already downed at least three sips or a deep draught, whatever you prefer.
• The effect kicks in for real, with respiratory symptoms, at the second interlude, after "shattering the ice." At this point, Tywin loosens Aerys' coat and waistcoat and takes off his cravat to help him breathe, cradling the poisoned royal...
• When Tywin says that his tailcoat is torn at the waist height - the kingsguards on duty came to him with drawn bayonets as he ran away (cradling a dying Aerys), and the bayonets cut off the coattails of his gold-brocaded servant's livery; he also casts off his cravat.
• The ending is open... maybe Aerys survives and Tywin is pardoned, maybe one dies in a canopy bed and the other on a chopping block before the Great Sept. I leave it to you, dear readers.

Critical evaluation of Verdi's Othello

Critical evaluation of the opera

In Otello, the flow between the set pieces is much smoother than in any of Verdi's earlier works. Whereas in his earlier masterpieces he had made significant strides away from the aria-recitative structure, here Verdi did away with it entirely. Verdi's librettist, Arrigo Boito, was extremely faithful to Shakespeare's original play, though act 1 of the drama was omitted and the other scenes were condensed in length. The roles of Otello (Othello) and Iago are among the most fully developed in all of opera, as much so as in Shakespeare's original drama—especially the character of Otello himself. (Iago is much more a standard villain in the opera than in the play). Verdi's orchestral writing in Otello is more highly developed than in any of Verdi's previous masterpieces. Though the orchestra plays a significant role in his earlier works, never before had Verdi, or Italian opera in general, been so daring and complex in orchestration. Throughout the score instances of dissonance appear, and Otello's entrance is marked by a cluster chord made of C–C♯–D. It has been argued that Otello was influenced by Richard Wagner's work, whereas others believe it was pitted directly against it.

Musical analysis

Act 1

The storm which dominates the opening chorus is portrayed vividly by the orchestra. Rapidly changing sixteenth notes played by the lower strings and woodwinds create an image of a turbulent sea while rising and descending scales in the upper woodwinds represent the unpredictable patterns of the wind in the tempest. Frequent interjections from the brass and percussion portray the bolts of lightning and thunder which accompany the storm. Otello's first entrance is marked by brass instruments for a sense of grandeur. Verdi adds to the anxiety by having the organ hold its three lowest notes in a cluster (C–C♯–D) through the entire scene. At the end, the woodwinds gradually calm down to portray the fading of the storm, and finally the release of the low organ discord completes the feeling of relief. When the chorus sings of their joy, the high woodwinds now portray the sparkling, cheerful flames.

In the drinking song that follows, Verdi makes use of the bassoons and other low instruments in order to represent the internal effects of alcohol upon Cassio. However, this is gradually eclipsed by the merry themes which follow in the orchestra and chorus ("Chi all'esca ha morso"). The merriment of the celebrations suddenly become frantic, as Cassio challenges Montano to a duel. The full orchestra builds up to a climax as they fight whilst Iago orders Roderigo to go and alert the entire town until the ordeal is interrupted by a loud statement made by the entering Otello.

Accented notes in the orchestra, particularly in the strings, reflect the annoyance of Otello at having his sleep disturbed. Notes played piano and pizzicato by the strings accompany Iago's account of the events, giving his account a feeling of false remorse and unhappiness. Upon Otello's orders, the disturbed islanders return to their homes, accompanied by legato notes in the upper strings and woodwinds depicting the calm that has once more been reestablished.

The great love duet which ends the act commences with a statement from Otello accompanied by cellos playing pianissimo. Desdemona's reply to him is accompanied by the violins and violas, providing a contrast to the statements made by Otello previously. When the duet proper starts ("Quando narravi"), sixteenth notes played by the harp and quarter notes played by the horns and bassoons give the music a sense of motion as Desdemona describes the narrations that Otello had given her about his life. As Otello commences to speak about how he narrated the battles in which he fought, thirty-second notes in the strings in addition to the inclusion of the lower brass instruments reflect the violent topics of Otello's previous narration. However, upon Desdemona's next vocal entrance several bars later, this immense energy is translated to an overall sense of the passion of the two lover's love for each other through the use of some of the more expressive wind instruments such as the English Horn. The duet continues to build up in passion until its climax, the appearance of the "kiss" theme which reappears twice more in the Opera near the end. After this, the music begins to tone down until the act ends with a trill in two of the first violins and a plucked chord on the harp.

Act 2

The act commences with a series of dark threatening statements from the bassoons and cellos followed by repeats of these in the clarinets and violas. Quickly, a theme forms that appears to reflect the calm that has remained in the castle after the brawl the night before. However, this tone is only superficial; repeated descending chromatic scales in the strings during the brief orchestral prelude create a darker atmosphere associated with the plotting of Iago.

Iago's brief conversation with Cassio is marked by the theme from the act's introduction, making Iago appear strangely affable when he suggests that Cassio consult Desdemona; however, as before, an underlying dark tone remains.

Upon Cassio's exit, this dark tone rapidly becomes predominant as the gestures which opened the act repeat, but this time, will a full string and woodwind section. The famous aria that follows ("Credo in un Dio crudel") is marked by trills in the lowest clarinet register and quick yet powerfully accented notes played by the full orchestra at several intervals that portray the evil of Iago to its fullest extent.

Nevertheless, Iago's evil reverie is interrupted by the appearance of Desdemona and Cassio. The urgency felt by Iago in the situation is reflected in the staccato eight notes in the strings which accompany his witnessing of the situation. However, upon Otello's entry the music suddenly becomes much calmer. Otello's response to Iago's question about the preexisting relationship between Cassio and Desdemona is a typical love melody which would have been standard in an earlier Verdi opera, yet it lacks the passion that would typically accompany it and is cut short by Iago's interjection. Otello's annoyance with Iago for not directly stating his "suspicions" is suddenly reflected by an outburst in the orchestra. This is the second instance in the opera in which Otello's potential anger has been made apparent. As Iago gives the equivalent of the famous Shakespearean line from the play ("È un'idra fosca"), the low strings and woodwinds create a dark tone during this scene.

This darkness, however is interrupted by the appearance of a chorus. The chorus is accompanied by folk instruments such as the mandolin and guitar in order to give the music a more authentic feel. However, the music is slow and intentionally sweet in quality, reflecting the kind innocence of Desdemona.

The quartet that follows the episode begins with a similarly sweet statement by Desdemona, asking for Otello to forgive her if she has done anything. This is overshadowed by the aside brooding of Otello about his perception of her guilt, which is marked by shorter, more separated phrases in the strings. Meanwhile, as Iago and Emilia join into the music with their quarrel, the music darkens until it is strangely sad towards the end, even when the orchestral accompaniment ends. After the end of the quartet proper, the music once again regains its sweet nature, as Desdemona's farewell statements are accompanied by the violins and oboe, however soon after her departure, it rapidly darkens, Otello broods to the incessant notes of the bassoons and lower violin statements. However, this is immediately transferred into an anger towards Iago which is reflected in the accented statements made by the full orchestra. Otello's distress is reflected by his farewell to fame and glory ("Ora e per sempre addio"). Repeated lower chords on the harp along with triplet movement in the lower strings give the portion a dark tone, despite the majestic interludes of the brass and the melody (which would, on its own, be cheerful).

During Iago's untruthful account of Cassio's dream, strings and high woodwind instruments are used in order to create a dream-like atmosphere in the music. Descending chromatic scales both add to this atmosphere and maintain the dark overall tone which has pervaded.

The act ends with an energetic finale in which Iago and Otello swear to have vengeance. The energy of this final duet is provided by the full orchestra, which accompanies it.

Act 3

The brief prelude to the third act uses the theme which had accompanied Iago's warning to Otello about jealousy in the second act. It begin with the lower strings, immediately creating the dark theme that will be present throughout the act, even if in a hidden subsurface manner. The prelude gradually builds up until its climax with the entire orchestra.

Desdemona's appearance in the act is once again accompanied by a sweet melody, however, this is quickly subdued as Otello, in his frustration, calls her a "vil cortigiana" at which point the anger of Otello is once again portrayed by a full orchestra with brass. The music that accompanies Desdemona's reaction to this sudden outburst is sad, yet the woodwinds give it an oddly noble character, which again reaffirms her overall innocence.

After Desdemona's departure, Iago stages an interrogation of Cassio in front of Otello. This interrogation takes the form of a friendly conversation and is accompanied by jocular sixteenth note runs in the woodwinds, reflecting the joy of Cassio about his love interest with the woman Bianca. This happily playful tone is contrasted with the dark asides of the watching Otello. Throughout this scene, the dark tone pervades.

The full scene that follows is grand in the orchestration, with abundant use of brass throughout. However, following Otello's angry outbursts near the end, it quickly becomes dark and sad after Otello strikes Desdemona.

After the departure of all of the members of the scene, the turmoil within Otello's mind is reflected by the restlessness of the orchestra, which becomes increasingly violent as he falls into his trance. The dark singing of the triumphant Iago is contrasted with the majestic brass and external choral interjections praising Otello..

Act 4

The act begins with a brief prelude of woodwind instruments, particularly the English horn and oboe, which bring a sad and mourning atmosphere to the act, reflecting the sentiments which manifest themselves in Desdemona. All the while, clarinets playing in the lowest register on repeating chords create a sense of impending doom. The theme upon which this prelude is built is that of the later "Willow Song".

In the brief recitativo between Desdemona and Emilia which begins the act, the despairing tone begun in the introduction continues.

The "Willow Song" ("Mia madre aveva una povera ancella") which follows is marked by an increasing orchestral sound, with woodwinds and strings adding to it, yet what compounds the sadness of the piece is the wail-like cries of "Salce" made by Desdemona followed by similarly despairing, yet softer "echoes" played by the English horn. Near the end of the song, Desdemona's fear, which has been hidden up to this point by a veil of sadness, is made apparent; she mistakes the noise of the wind for that of an intruder. The orchestra immediately builds to a fortissimo, reflecting the genuine worries possessed by Desdemona. The music that gradually lessens with the comforting of Emilia and returns for a final repetition of the theme of the "Willow Song".

Afterwards, Desdemona begins to bid Emilia adieu. This goodbye is initially accompanied by repeated notes on the lower woodwinds and strings such as those in the introduction of the act but in a much more noticeable and dominating manner. This reflects the increasing expectation of Desdemona of her death. Initially, she attempts to keep these feelings to herself, but the orchestra reveals her increasing inner thoughts. These feelings finally reach a point at which they can no longer be contained and Desdemona lets out a loud passionate cry of goodbye to Emilia, one that is reinforced by the full orchestral accompaniment.

Following Emilia's departure, Desdemona prays. Like many of Desdemona's earlier vocal appearances in the opera, these prayers contain a sweet nature, reflecting, for the final time, the innocence of the wrongly accused woman. The melody within the strings that appears later in the prayer scene adds significantly to the poignancy of the situation.

After she goes to bed, a sinister theme appears in the string bass, depicting Otello's entrance. This effectively replaces the sad tone which was present throughout the first portions with the dark one which marked much of the second and third acts. The low theme begins very slowly, but gradually accelerates until there is a sudden outburst with the full orchestra. However, soon afterwards, the music drops down to a soft tremolo in the strings. Above this, a theme that evokes Otello's longing for Desdemona appears in the English horn and bassoons. This theme builds up until it finally gives way to the "kiss" theme from act 1, as Otello embraces the sleeping Desdemona. However this second appearance of the theme is even more passionate than the first one and adds to the poignancy of the tragedy.

Once Desdemona awakens, the music retreats to the theme that accompanied Otello's entrance, but with a more threatening feel this time as brass instruments are added. As Otello demands that Desdemona confess, the music accelerates, reaching a climax at the point where Desdemona is strangled. After this, though the power of the orchestra lessens, it maintains its darkness throughout the scene of Emilia's discovery of the murder and Desdemona's final death.

The scene with that follows is marked by a theme that is somewhat majestic and proud, however, as it is limited to the woodwinds, it seems weak. This reflects the loss of power and honor that have faced Otello.

As Otello laments his actions to the theme of his longing, he decides to commit suicide. Just before he dies, the orchestra plays the "kiss" motif one final time before the opera ends.

IN THE WHITE-FLOWERED HAWTHORN BRAKE

William Morris (1834–96) SONG.

SHE   In the white-flower’d hawthorn brake, Love, be merry for my sake; Twine the blossoms in my hair, Kiss me where I am most fair— Kiss me, love! for who knoweth         5 What thing cometh after death? HE   Nay, the garlanded gold hair Hides thee where thou art most fair; Hides the rose-tinged hills of snow— Ah, sweet love, I have thee now!         10 Kiss me, love! for who knoweth What thing cometh after death? SHE   Shall we weep for a dead day, Or set Sorrow in our way? Hidden by my golden hair,         15 Wilt thou weep that sweet days wear? Kiss me, love! for who knoweth What thing cometh after death? HE Weep, O Love, the days that flit,   Now, while I can feel thy breath;         20 Then may I remember it   Sad and old, and near my death. Kiss me, love! for who knoweth What thing cometh after death?

HAPPY EVER AFTERLIFE

I never asked to carry a gun

I always wanted to be a ballerina

I was as drafted as you
I spun round on one leg in the womb

I lost my right leg in a battle we won
To stay paper thin I took apples for bread

Or maybe I never had two
Or skipped meals to plié instead

It's all the same now, isn't it? Some would ask why

Survive the inside of a fish...
Torture yourself for a wish?

To be burned alive on a whim?
You'll burn out; a spinster in slippers too tattered to spin

Not me; the answer descends from above
So what if, in a way, they were right?

I got one long last look at my love
This encore is love at first sight

Jude Tulli lives in the Sonoran Desert with his beloved wife Trish and a small pride of housecats.

NOW IN THE STARLIT NIGHTTIME

This is my own translation of the love duet between Verdi's Othello and Desdemona in the opera, at the end of Act One, into English. I can also imagine my other OTPs (James and Lily, the Prince and the Princess in The Snow Queen, Nistro and Dextra, Finnick and Annie, even Akira and Yukari...) singing these duets. And also myself with whatever interesting husbando or bifauxnen waifu I may have found...

HE:
Now in the starlit nighttime,
all clamour fades away;
right now, my restless heart is
within your embrace soothed and
comes to its senses...
Let war break out, and let the end of days come,
should, after that great fury,
come even greater love!

SHE:
My warrior, so proud and tall!
How much I've sighed, how much I've shuddered, my darling,
and how much hope that
has led me to such soft, warm embracing!
Oh, how sweet is our lively conversation!
Do you remember?

When you told me of all your wayward lifetime,
shocking events that so long pain had wrought...
I listened to you, entranced... rather enraptured...
shuddering, teary, my heart 'gainst reason fought!

HE:
I painted for you battlefields,
and stormings,
perilous breachings through keep walls...
or climbing, clinging to ivy ropes,
up all the way to battlements,
as gunshots rang around!

SHE:
Then, you took me to dazzling remote wastelands,
to the parched grasslands of your own native soil...
how you, one day, were torn away from everything,
orphaned, enchained, constrained to want and toil...

HE:
Sweetened with crystal tears was
the story, by your lovely visage,
upon your lips, a sigh...
Upon my darkness then descended
glory, paradise, and...
all the stars in the sky...

SHE:
And I saw then upon your raven tresses
of wit the bright, unearthly beauty shine...

HE:
And you loved me for all of my distresses,
and your compassion made your heart be mine...

SHE:
And I loved you for all of thy distresses,
and my compassion made my heart be thine...

HE: 
And your compassion...
SHE:
And my compassion...
HE:
And your compassion made my heart be mine...
SHE:
...made my heart be thine...

HE:
If I could die now!
May I pass away in the elation of these embraces,
as we crown all our pleasure!
Such is my heart's enjoyment, that I dread that...
dread that...
that I will nevermore be given
this instant of such glee
within my unknown future destiny...

SHE:
Ne'er be to me a stranger,
may love with the years ne'er change him or change her!

HE:
May granted be your prayer...
How wonderful the stars are, and the power of love is!

SHE:
May it be granted...

HE:
Ah!! The floodgates of joy within me have opened!
I lie down to rest now...

Please kiss me!

(They kiss)

SHE:
My darling!

HE:
Please kiss me!

(They kiss a second time)

HE:
Please kiss me once more...

(They kiss for the third time)

HE:
Right now, the Seven Sisters are descending!
SHE:
It's early morning...
HE:
See? Venus is shining!
SHE: 
My darling!

GIÀ NELLA NOTTE DENSA... TSQ-IV/OTHELLO TRIBUTE

 

TSQ-IV Birmingham illustration "At the Court," my personal fave, combined with Othello's Verdian love duet. This is my tribute to my Andersen One True Pairing (The Clever Princess and her prince consort) and my Shakespearean OTP, Othello and Desdemona... for April, this month to celebrate both Andersen and Shakespeare.

Due to similarities (the castle setting: more palace-like in the former tale and more fortress-like in the latter... romance and marriage between man of the world and learned, sheltered damsel, yet these two not that different at heart) and different endings (happy ever after for Andersen's royals, star-crossed tragedy in the Bard's tale)... I just felt that I had to cross these two pairings over...

The first we see of the princess in Elena Green's illustrations is a royal blue ribbon, a mirror with a ribboned pearl frame, a clear blue tsurime eye with a confident eyebrow above, and dark hair that is wavy and soft. The combination of Brainy Brunette, Innocent Blue Eyes, and True Blue Femininity, with many ribbons and Tomboyish Ponytail, instantly recalls the Belle of my adored childhood animated musical.

Vague images, diffuse, as the story is told by a third party, the whole form of the princess and that of her unseen prince first coming to light in their twilit bedchamber.

This TSQ-IV illustration by Elena Green, with its masks, nude bodies, and handless clock, also reminded me of the themes of Othello.

SCENA III Otello e Desdemona
OTELLO
Già nella notte densa
s'estingue ogni clamor.
Già il mio cor fremebondo
s'ammansa in quest'amplesso e si rinsensa.
Tuoni la guerra e s'inabissi il mondo
se dopo l'ira immensa
vien quest'immenso amor!
DESDEMONA
Mio superbo guerrier! Quanti tormenti,
quanti mesti sospiri e quanta speme
ci condusse ai soavi abbracciamenti!
Oh! com'è dolce il mormorare insieme:
te ne rammenti!
Quando narravi l'esule tua vita
e i fieri eventi e i lunghi tuoi dolor,
ed io t'udia coll'anima rapita
in quei spaventi e coll'estasi in cor.
OTELLO
Pingea dell'armi il fremito, la pugna
e il vol gagliardo alla breccia mortal,
l'assalto, orribil edera, coll'ugna
al baluardo e il sibilante stral.
DESDEMONA
Poi mi guidavi ai fulgidi deserti,
all'arse arene, al tuo materno suol;
narravi allor gli spasimi sofferti
e le catene e dello schiavo il duol.
OTELLO
Ingentilia di lagrime la storia il tuo bel viso 
e il labbro di sospir;
scendean sulle mie tenebre 
la gloria, il paradiso 
e gli astri a benedir.
DESDEMONA
Ed io vedea fra le tue tempie oscure
splender del genio l'eterea beltà.
OTELLO
E tu m'amavi per le mie sventure
ed io t'amavo per la tua pietà.
DESDEMONA
Ed io t'amavo per le tue sventure
e tu m'amavi per la mia pietà.
OTELLO
E tu m'amavi…
DESDEMONA
E tu m'amavi…
OTELLO
Ed io t'amavo…
OTELLO, DESDEMONA
… per la tua, (mia) pietà.
OTELLO sempre dolce
Venga la morte! e mi colga nell'estasi
di quest'amplesso
il momento supremo! Il cielo si sarà tutto rasserenato: si vedranno alcune stelle e sul lembo dell'orizzonte il riflesso ceruleo della nascente luna
Tale è il gaudio dell'anima che temo,
temo che piu non mi sara concesso
quest'attimo divino
nell'ignoto avvenir del mio destino.
DESDEMONA
Disperda il ciel gli affanni
e amor non muti col mutar degli anni.
OTELLO
A questa tua preghiera
"Amen" risponda la celeste schiera.
DESDEMONA
"Amen" risponda.
OTELLO appoggiandosi ad un rialzo degli spaldi
Ah! la gioia m'innonda
si fieramente… che ansante mi giacio…
Un bacio…
DESDEMONA
Otello!
OTELLO
Un bacio… ancora un bacio, alzandosi e mirando il cielo
Gia la pleiade ardente al mar discende.
DESDEMONA
Tarda e la notte.
OTELLO
Vien… Venere splende.
DESDEMONA
Otello!

Yana Sedova