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homilius replied to your post: “top five depictions of joan of arc?”:
Dreyer? (I think Bresson's done a Joan too, but I haven't seen it.)
Yes, the Dreyer film. I've seen about two... I was going to say classic films, but really films at all. The painting is the one by Ingres.
Lake Ontario, The Master of Ballantrae, Albert Lamorisse
on the principal of two-ish out of three ain't bad, I'll ignore Lamorisse (whom I had to google: my knowledge of film does not exist) and give you the Sea-King's song, from Joseph Holbrooke's Dylan, Son of the Wave, for being oceanic and vaguely Celtic.
caraspeme replied to your video:How to play Coronation Chicken: Find a friend. ...
SOLO I LOVE YOU
Aw, I love you too, kid. I can always count on you to laugh at my nonsensical food puns.
homilius replied to your post“30 Day Opera Challenge, Day 4”
Was reading Wharton's 'Day of the Funeral' last week, where a man, thinking of his mistress in Hawaii w/o him, has "an excruciating vision of a throng of Pinkerton tenors in immaculate white duck and gold braid."
That is A) hilarious; B) horrifying.
gringa-and-mexicana-in-love replied to your post “So my mom basically said flat out to me that if I had a kid that was...”
I'm so sorry! That is the worst thing to hear. We have the same fears about Michelle's parents, seeing the way her dad treats her (half, on her mom's side) brother's son. Just remember they will be surrounded by so much love from other people.
twomammasonebabyboy replied to your post“So my mom basically said flat out to me that if I had a kid that was...”
Even if it wasn't exactly a surprise, I'm really sorry you had to hear those words come out of your own mother's mouth. <3
flammable-femme replied to your post“So my mom basically said flat out to me that if I had a kid that was...”
I'm so sorry Solo <3 <3 <3
plaidadder replied to your post“So my mom basically said flat out to me that if I had a kid that was...”
AAAAAAAAAGH this makes me so angry.
operanerd replied to your post“So my mom basically said flat out to me that if I had a kid that was...”
W O W. That's rough, I'm sorry. :| Does this logic go so deep that she'd say the same if you adopted a child that was not genetically connected to either of you or is it just this particular scenario?
Thanks, all. Definitely helps a hell of a lot to have you guys to vent to. This is the sort of thing I can't go to my wife about, because once you let this particular demon out of the bottle, there's no putting it back in. My wife's relationship with my mom is somewhat guarded but so far pretty good. I know if I let this loose, though, it would inevitably poison whatever good feelings were there. So she knows that my mom said something hurtful while we were in California, but I told her I didn't want to talk about what it was.
The thing that's so frustrating and infuriating, the thing that gives me this hollow lump at the bottom of my stomach that's still there two days after she said it, is that she said it strategically. You know, it's one thing to worry that you won't feel the same way about a non-genetic grandkid. Even to vent to a friend that you're worried, so you can work out your feelings about it before it's an issue and hopefully be able to pay attention to your own behavior so that you can make damn sure you don't treat the kid any differently.
But that wasn't what this was. This was just straight out blackmail. "You have to be the one to have the kid, because if you don't, I won't love it as much as I would otherwise. And you can't be mad at me for feeling this way, because your mother-in-law would be the exact same way from the other side."
Who DOES that?!
All it did, apart from making me feel like I had to put on a fake mask of cheerfulness and warmth for the entire rest of the visit because otherwise she'd have been constantly arguing that I wasn't allowed to be upset at her for what she'd said, was make me even more absolutely certain that I want our kid to be genetically related to my wife, if we can possibly, possibly make that happen. For so many reasons; partly because I want there to be another little being like her in the world. Partly because my genes have already been gloriously perpetuated in the form of my nephew and nieces. Partly because I think there's some truth to what my mom said, that my mother-in-law might treat our kid differently if it were made out of me rather than out of my wife.
And that's exactly the thing. I can handle this from my mom. Even on this scale. She's never let me down before. If this is going to be the single big disappointment of our relationship, well... I can bear up under that. Not much fun, but I know I can do it.
My wife's mom has let her down over and over and over, her entire life. She can't handle another disappointment. Especially not one like this.
If that's the choice we're left with, the choice is made.
(Thanks, plaidadder, caraspeme, homilius, twomammasonebabyboy, flammable-femme, operanerd, gringa-and-mexicana-in-love. You guys make things about a million times easier.)
最新のヴィンズバッハの動画でホミリウス。好きな曲です...＾＾
So yeah, I'm on a Gluck kick today. I watched the Monnaie Orphée last night (which is why I went to bed at 4:00 am; go me!) and I just spent the last hour listening to recordings of Se Mai Senti Spirarti from his Clemenza. One each by Joyce DiDonato, Audrey Michael, Magdalena Kožená, and Raffaella Milanesi, plus two by Cecilia Bartoli. I hate to say it (I love to say it), but Bartoli beats them all by a country mile. It's unequivocally the showstopper of the opera (he wisely stole it to use later in Iphigénie en Tauride), and without doubt the best track on the Milanesi recording. But it pales in comparison to this one.
(I don't think I ever gave my review of that recording, by the way. In a nutshell: Milanesi's Sesto and Trost's Tito are quite good. Aikin's Vitellia is okay, but I personally think her timbre is too thin to be effective in the role. Sabadus has a very pretty voice, but lacks control; several of his arias are so pitchy and flaily that I found myself leaping for the skip button whenever Annio showed up. Servilia and Publio are fine but unremarkable, except for that completely wacky-ass aria I posted earlier. Overall, I'm glad I bought it and I'm glad I have it in my collection, but I hope it gets recorded again in the future by an even stronger cast, maybe with some judicious cuts of the secco recit, which I felt kinda bogged down the momentum and diluted the drama of the story.)
Back to this particular performance of Bartoli's, though, and why it's absolutely unmatched. She's like a bulldog on this recording. She digs in and doesn't let go, 'til the orchestra's forced to wrest each note from her grasp. Hers is the only one of all the recordings to give the heavy notes their proper weight -- and yet at the same time she can levitate those piannisimi like a wraith. Every time I hear this track, my hairs stand on end and my belly churns and my teeth start to chatter. It's uncanny. Or maybe I mean unheimlich. Either way... Freaking great goddamn stuff.
I'm sure this isn't original to me, but I think I've finally been able to articulate what separates good!Gluck from meh!Gluck. It's the cross-currents and counterforces. When his characters sing about simple, straightforward emotions, his melodies veer toward the banal. When there are two contradictory forces working against each other, though, they somehow ignite and become sublime.
I mean, listen to the suspensions in this track. The dissonances. The feeling of being pulled apart in two inexorable directions. It's agonizing. It's glorious. That's the real power of Gluck. It's also why the Che Puro Ciel I reblogged earlier is so exquisite. Orfeo is wandering through this beautiful but sterile realm, full of passively virtuous ghosts, and he's marveling at the calm order of the place while all his vital soul recoils in dread. Contrast that with the much-trotted-out Dance of the Blessed Spirits, which is nothing but syrupy yawnsville. There's nothing to pull against there, so it's just a blandly pretty melody that all too quickly cloys.
Ungh, Gluck, Gluck, Gluck! I love you so damn much, dude. Sometimes you transport me. Sometimes you vex me. Sometimes you bore me. But when you're at your best, nothing can touch you.
homilius replied to your post:homilius replied to your post:tangentially related...
Ashbery does. (Ashbery!)
I forgot about Ashbery mainly because I haven't read enough of him! His collected poems are on my Amazon wishlist, but so are 499 other things, so it takes a while for me to decide to actually buy something.
homilius replied to your post:tangentially related to what you're posting about, but: what are some poets you would consider required reading?
Also Dickinson, Browning, Williams, the two Cranes, Housman, Moore, Bogan, Aiken, Carroll, Rossetti, E. Bronte, Hopkins, Melville, Spenser, Marlowe, Dryden, Pope, John Clare, Cowper, Robert Burns, Smart, Gray, Marvell, Herrick, Suckling, Lovelace…
All very important additions! though I admit that I don't really get why people are into John Clare.
homilius replied to your post “in an effort to ignore the coming Living Latin conference and get me...”
A response to Campion's 'When thou must home to shades of under ground.'
Here's Campion's, by the way.
You will come to regret introducing me to Helen. When you have joined us, as join you must, you will see us laughing and wonder - is it I that provoked their mirth? It is. We will look from our walls at men who died for us all unasked she sorrowing, and I - well, let me speak my piece, though it break your heart.
Helen knows what it is to be loved too much, to distraction, to the edge of death, to be hated for being loved. I did not love you, nor ask you to love me. If it is murder to wait while some poor fool forces the knife into his breast then indeed name me murderess.
