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Solera

ArtFight attack on Fleeks/Ayvaire! I drew her Goodra character, Solera✨

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Name: Solera Khorras Age: 28 Pronouns and Sexuality: She/her, lesbian Personality: quiet, pensive, strategic, intuitive, persistent, studious, thrill-seeking, adventurous

Second born to the royal family of the Burnished Lands, Solera had accepted her destiny; remain dutiful to her family and resplendent in the eyes of her people. Thankfully her older brother had already married and carried on the bloodline, so such pressure was not put solely on her. She could remain in her home, and only her home, as the outside world was deemed too dangerous for a princess. Her life would be boring, but at least for now her fate would not be solely to mother children. When famine puts pressure on her parents to expand their domain into the Penumbra, a land once fought over for its resources, her mother sees a chance to save her child from a future marriage to any man. A proposal is struck; humans and their ancient rivals, the Hrrathi, will work together to cultivate the expanse between their homelands. It is agreed that a partnership be formed between two new rulers; the secondborn princess of the Golden Kingdom, and a champion of the Howling Peaks. The two meet in the beautiful no man's land, tasked with creating agreements and plans, while getting to know each other. Solera finds herself instead being whisked away on small adventures, experiencing sights and sounds she's only read and dreamed about. Asza'kii, or Azsi, is intimidating and even frightening at first, but Solera quickly learns how similar they are. Suddenly building a kingdom from the ground up alongside her new wife and friend, who accepts her for exactly who she's always wanted to be, doesn't feel like much of a hardship. Likes: early sunlight, warm rain, reading, history, archaeology, anthropology, music, travelling, hot drinks and stews, journaling, sleeping under the stars, hunting, archery, horses Dislikes: dresses, makeup, gossip, parties, socialite life in general, sarcasm/passive aggressive talk, cake, wine

#buya draws #art #oc #Solera #Penumbra

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#paco de lucia #fuente y caudal #solera

"Hello Hello", single de Noel Soto, Polydor 1975, lo más rock and roll que grabó jamás. Es un vigoroso stomper glamota en una onda descaradamente Slade. Son imágenes de TVE emitidas en Nochevieja 1974 con baile locatis del Ballet Zoom y el realizador Valerio Lazarov haciendo de las suyas.

La canción fue rescatada en el álbum "El Arca de Noel", no así la estupenda cara B, la bluesera "Dejándome Llevar por la Corriente", una de mis favoritas. ¡Ayyy! ¿Pero a quién se le ocurre?

Otra canción muy Slade fue "Vamos a Hacer el Amor", en su segundo álbum "Alfa y Omega".

Noel dejó una docena de LPs, mereció mucho más, pero ya se sabe que España y el rock, a nivel popular, nunca han encajado demasiado bien. Los años 70 aquí se los comieron los cantantes solistas melódico- ligeros, y los 80 fueron de los grupos. Noel quedó perdido en medio de la vorágine.

Nota: Noel Soto estuvo a punto de ser miembro de Cánovas, Adolfo, Rodrigo y Guzmán en 1974, una vez los dos últimos deshicieron Solera, pero entre todos decidieron que era mejor que siguiera en solitario (minuto 4, 18 segundos).

#noel soto #slade #ballet zoom #crag #canovas adolfo rodrigo y guzman #solera #youtube

Yeah she may have conceded 3 goals but the Costa Rica keeper is keeping them in this game I mean and she saved a penalty 🏆🏆

#solera #women’s World Cup #wwc 2023 #woso #woso soccer #woso community #Spain #Spain v Costa Rica #Costa rica

Opera Simplified #6: I Lombardi alla prima crociata

I Lombardi alla prima crociata (The Lombards at the First Crusade)

Opera Simplified #6

The Basics:

Music: Giuseppe Verdi

Libretto: Temistocle Solera

Premiere: February 11, 1843; Teatro alla Scala, Milan.

Based on: Tommaso Grossi’s epic poem of the same name, available here in Italian.

Setting: Milan, Antioch, and various locations in the desert near Jerusalem; 1095-1099 CE.

Characters:

Arvino, a nobleman, one of the two sons of Lord Folco of Rò—tenor

Viclinda, his wife—soprano

Pagano, his brother—bass

Giselda, Arvino and Viclinda’s daughter—soprano

Pirro, Arvino’s squire—bass

Acciano, Governor of Antioch—bass

Sofia, his wife—soprano

Oronte, their son—tenor

A Prior of the City of Milan—tenor

Recommended Audio Recordings: if you can get over the presence of The Tenor Turned Baritone Who Shall Not Be Named [yours truly opts to skip over the parts featuring That Singer, as luckily there are not many such parts], this 1971 recording also starring Cristina Deutekom and Ruggero Raimondi is quite good (YouTube; Spotify). Another quite good recording, with That One Conductor From The Met Who Shall Not Be Named, June Anderson, Samuel Ramey, Luciano Pavarotti, Richard Leech, and young Patricia Racette and Ildebrando d’Arcangelo in supporting roles is this nice 1996 take (YouTube; Spotify). A third is this live recording from Parma in 2009 (YouTube; Spotify).

Recommended Video Recordings: The Met 1993 production, which has [unfortunately] the same conductor as the 1996 recording but also Ramey, Pavarotti, and the delightful Lauren Flanigan, is great (and also the source of the vast majority of the featured video clips). The 2009 Parma production is pretty good too, as is this 1999 Santiago production (Part I; Part II).

The Opera, Very Simplified: After one of the Folco brothers returns from exile to (allegedly) reconcile with his brother, who himself has been named leader of the Lombard forces for the First Crusade, things could not look more rosy. But when the brother just returned from exile horribly botches an attempt to murder the other brother, that combined with the family’s imminent departure for the Crusade throws the family into chaos, especially when the heiress to the family is captured by the enemy and summarily falls in love with a local prince...and who is the mysterious hermit helping the Lombards at every turn anyway?

A couple more things:

Here’s some quick geographical/historical context going in, courtesy of your history and European studies dual-degree student and series author.

DISCLAIMER: the author of this Opera Simplified would like to make explicitly clear that she roundly condemns both the Islamophobic nature of the Crusades and the Islamophobic sentiments that certain characters in this opera voice. At the same time, she has also written about how this opera was not intended to be Islamophobic, although there are certain potentially uncomfy aspects to the drama on account of the subject matter.

With that in mind,

THE OPERA:

#opera #opera tag #opera simplified #I Lombardi alla prima crociata #I Lombardi #The Lombards at the First Crusade #Verdi #Giuseppe Verdi #Solera #Temistocle Solera #oh look hahahaha I'm back after another extended hiatus lol

okay so, as promised in the liveblog today, the post about why Lombardi as “trying to make a point” doesn’t really work:

it’s because while I don’t really like saying “oh the creators would have wanted this” or something like that, I will go ahead and say this: I think Verdi and Solera were trying to do two different things that are...not necessarily incompatible, but in this case they were.

number one: they were trying to create a Risorgimento allegory

number two: they were trying to make a point about why religious violence is not very cash money

unfortunately, they used the Crusades for the purposes of the former, and they thought they could somehow maneuver to also do the second, but it didn’t really work at all.

Verdi and Solera had had an absolutely massive triumph with Nabucco, and they tried to do more of the same here. however, unlike in Nabucco, this time they made the oppressors—the Catholic Lombards and other associated Crusaders—their stand-ins, with the concept of leading a difficult, underdog-esque movement of “liberation”. now, though I am a scholar of history, I am not a medievalist nor do I have a specialist’s level of understanding about intercontinental relations during the time period. however, I can tell you two things:

number one: it is fundamentally unacceptable to invade a place that isn’t yours and murder and rape and pillage the inhabitants already living there.

number two: tragically, religion that is designed to be a source of love and hope and all things good in the world is often twisted into an instrument of hate. the Crusades were no exception.

Verdi, as many of you know, had...extremely complicated feelings about religion, a perception which I share. and he was also intensely anticlerical, which comes through in many of his operas, including this one. it is to Verdi’s credit, however, that his operas portray exceptionally nuanced portrayals of people wrestling with religion. take Don Carlos, for example, which portrays religion both at its best—the welcoming of the auto-da-fé victims into heaven in spite of what men may say, the solace characters seek—and its worst (the Grand Inquisitor, the auto-da-fé itself). and Verdi is always sure to make it clear when he is roundly condemning the worst of it.

even Lombardi gets in on this action: Giselda wrestles with her faith and comes to the brink of losing it completely, Pagano strives to find redemption through becoming a hermit (though his subsequent actions are...questionable at best).

so it no doubt comes as a bit of a shock when there is a chorus with the opening words “Stolto Allhà!” (literally “Stupid Allah”) or that Act IV in particular portrays the Crusaders’ victory in a positive manner. the former, I believe, is not intended to portray the Crusaders in a good light: this is just how they are.

I’ll come back to the latter in a bit.

there is plenty of that wholehearted condemnation of the worst of religion in this opera, most notably in one of my absolute favorite moments of the opera, the Act II finale. Giselda’s grand cabaletta leaves no stone unturned, blunts absolutely no edges. here’s my translation:

GISELDA

No! To flood the earth with human blood is not the just cause of God!

It is because of vile insanity, not pious direction, that now you are driven to seize the Muslims’ gold!

This was not the word of heaven...no, God does not will it!

... (other characters cut in)

A divine force has torn the dark cloth from my eyes!

The vanquished people arise—soon, horrible revenge from the shadows!

None of your souls will be granted the right to die on your native soul!

The God of humanity always scorned the evil slaughter of human bodies!

... (other characters cut in again)

I already see your heads hanging by their hair, the playthings of the wind;

I see barbarians rising up in torrents...barbarians who conquer Europe and enslave its people!

These were never the words of God, to let waves of blood flow!

No! God does not will it!

He only came down to earth to speak of peace!

(the original libretto)

so we can say pretty well confidently that Verdi and Solera did not really condone the horrors of the Crusades, least of all the religious justification for them.

but if they do not condone it...then what? why does Giselda suddenly rejoin the Crusaders in Act IV? and what about the “liberation” Risorgimento narrative?

for the former, there are two possible explanations: Solera’s libretto includes a passage seemingly cut and unused by Verdi at the beginning of Act IV in which Pagano rescues Giselda, who is now otherwise alone in the world, from certain death by dehydration and exposure and returns her to her father, convincing Arvino (her father) to forgive her. however, as is, Giselda has a clear motive for rejoining her people: she has a vision informing her that her people are on the brink of death by dehydration and since the vision also tells her of a magical water source, she is the only person who is able to save them. and because Giselda is a fundamentally decent human being, she rejoins them, gives them the news, and saves them all. however, her joining in in the Crusaders’ chorus at the end of Act IV, Scene 2, is not clear. perhaps it is that she simply has no one else left in the world besides these people she’s known all her life.

but the wrench is in the nature of using the Crusades as a Risorgimento allegory, particularly in light of all this. the liberation/unification of Italy, which is definitely something to be celebrated, I believe, is equated to the “liberation” of Jerusalem, which is obviously much more problematic. we are expected to root for the accomplishment of this goal. however, this fails to account for the very real human side of the equation and the whole “maybe genocide isn’t good” factor, which as just discussed, is itself a major point in the opera.

ergo, particularly as we in the 21st century are beginning to look at history with a much more critical eye that relies less on “great man/event” history and traditionally dominant forces (such as those that drove the Christian side of the Crusades), this duality makes the work feel far too fractured and uneven. it was really just a bad choice of historical allegory: I fully believe that had Verdi and Solera picked a different sort of conflict, or hell, had even taken a different angle with the Crusades, this could have been much more consistent and successful in its messages. however, things are as they are, and so it is not.

anyway, that’s my two cents.

#opera #opera tag #I Lombardi alla prima crociata #opera thoughts #opera analysis #I Lombardi #The Lombards at the First Crusade #verdi #giuseppe verdi #Solera #Temistocle Solera #on narratives ideas and history #historical approaches #religious violence #allegories

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