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Tema: El hilo de los musicales

  1. #76
    Vigilante Avatar de Branagh/Doyle
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    ¿Ves lo que te decía de la variedad estilística de sus musicales, Synch?. No te vas a aburrir.
    Última edición por Branagh/Doyle; 20/11/2022 a las 22:22
    Synch ha agradecido esto.
    My dearest, Angelica

    “Tomorrow and tomorrow and tomorrow
    Creeps in this petty pace from day to day”

    I trust you’ll understand the reference to
    Another Scottish tragedy without my having to name the play

    They think me Macbeth, and ambition is my folly
    I’m a polymath, a pain in the ass, a massive pain

    Madison is Banquo, Jefferson’s Macduff

    And Birnam Wood is Congress on its way to Dunsinane


    Lin- Manuel Miranda, Hamilton.

  2. #77
    Senior Member Avatar de Synch
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    Predeterminado Re: El hilo de los musicales

    Cita Iniciado por Branagh/Doyle Ver mensaje









    ¿Ves lo que te decía de la variedad estilística de sus musicales, Synch?. No te vas a aburrir.
    cinefilototal y Branagh/Doyle han agradecido esto.
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  3. #78
    Vigilante Avatar de Branagh/Doyle
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    Cita Iniciado por Synch Ver mensaje

    Pero ¿en el buen sentido o en el malo?.
    cinefilototal ha agradecido esto.
    My dearest, Angelica

    “Tomorrow and tomorrow and tomorrow
    Creeps in this petty pace from day to day”

    I trust you’ll understand the reference to
    Another Scottish tragedy without my having to name the play

    They think me Macbeth, and ambition is my folly
    I’m a polymath, a pain in the ass, a massive pain

    Madison is Banquo, Jefferson’s Macduff

    And Birnam Wood is Congress on its way to Dunsinane


    Lin- Manuel Miranda, Hamilton.

  4. #79
    Senior Member Avatar de Synch
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    Pero ¿en el buen sentido o en el malo?.
    Bueno, hombre. Sino los emoticonos serían otros

    Este fin de semana le he dado a la WSS de Spielberg. A la BSO, digo. Curioso como film y BSO pecan (es un decir, es cojonuda) de lo mismo frente a la del '61: es todo más nítido pero menos ágil, salvaje, incluso erótico que aquella. Había algo triunfal, álgido en la del '61. Y las coreografías igual.
    cinefilototal y Branagh/Doyle han agradecido esto.
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  5. #80
    Vigilante Avatar de Branagh/Doyle
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    Cita Iniciado por Synch Ver mensaje
    Bueno, hombre. Sino los emoticonos serían otros

    Este fin de semana le he dado a la WSS de Spielberg. A la BSO, digo. Curioso como film y BSO pecan (es un decir, es cojonuda) de lo mismo frente a la del '61: es todo más nítido pero menos ágil, salvaje, incluso erótico que aquella. Había algo triunfal, álgido en la del '61. Y las coreografías igual.

    Cierto eso. Aunque tanto la interpretación de la BSO como la propia peli tienen sus propias virtudes, y en algunos aspectos considero que superan al film del 61. En otros no.

    Pero para agilidad y salvajismo, la grabación del propio Bernstein del 84, aquella hecha con ilustres cantantes de ópera. La orquesta ahí es pura dinamita, aunque es cierto que el experimento vocal no acaba de funcionar.
    My dearest, Angelica

    “Tomorrow and tomorrow and tomorrow
    Creeps in this petty pace from day to day”

    I trust you’ll understand the reference to
    Another Scottish tragedy without my having to name the play

    They think me Macbeth, and ambition is my folly
    I’m a polymath, a pain in the ass, a massive pain

    Madison is Banquo, Jefferson’s Macduff

    And Birnam Wood is Congress on its way to Dunsinane


    Lin- Manuel Miranda, Hamilton.

  6. #81
    Vigilante Avatar de Branagh/Doyle
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    La edad de oro del musical clásico estadounidense.

    cinefilototal ha agradecido esto.
    My dearest, Angelica

    “Tomorrow and tomorrow and tomorrow
    Creeps in this petty pace from day to day”

    I trust you’ll understand the reference to
    Another Scottish tragedy without my having to name the play

    They think me Macbeth, and ambition is my folly
    I’m a polymath, a pain in the ass, a massive pain

    Madison is Banquo, Jefferson’s Macduff

    And Birnam Wood is Congress on its way to Dunsinane


    Lin- Manuel Miranda, Hamilton.

  7. #82
    Senior Member Avatar de cinefilototal
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    La edad de oro del musical clásico estadounidense.

    Esta versión con Julie Andrews es una maravilla, y definitivamente mi favorita... lástima que el video no le haga justicia... intenté verlo en el youtube (creo) completo, pero no pude, está rodado de forma tan cutre y pedrestre, que desvirtúa las melodías, prefiero sólo escuchar el cd...
    Branagh/Doyle ha agradecido esto.

  8. #83
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    Bueno, el papel se escribió para Andrews, ella fue la Cenicienta original, pero el musical fue creado para emitirse por televisión (aunque luego se llevase a las tablas, claro). Fue el evento más visto de la época en Estados Unidos. Yo creo que es delicioso, aunque claro, los recursos de la televisión de la época son los que son.

    Si quieres disfrutar de la música en condiciones, te recomiendo el CD del revival de 2013 en Broadway. Tiene una calidad de sonido espectacular.
    cinefilototal ha agradecido esto.
    My dearest, Angelica

    “Tomorrow and tomorrow and tomorrow
    Creeps in this petty pace from day to day”

    I trust you’ll understand the reference to
    Another Scottish tragedy without my having to name the play

    They think me Macbeth, and ambition is my folly
    I’m a polymath, a pain in the ass, a massive pain

    Madison is Banquo, Jefferson’s Macduff

    And Birnam Wood is Congress on its way to Dunsinane


    Lin- Manuel Miranda, Hamilton.

  9. #84
    Senior Member Avatar de cinefilototal
    Fecha de ingreso
    12 ago, 06
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    Cita Iniciado por Branagh/Doyle Ver mensaje
    Bueno, el papel se escribió para Andrews, ella fue la Cenicienta original, pero el musical fue creado para emitirse por televisión (aunque luego se llevase a las tablas, claro). Fue el evento más visto de la época en Estados Unidos. Yo creo que es delicioso, aunque claro, los recursos de la televisión de la época son los que son.

    Si quieres disfrutar de la música en condiciones, te recomiendo el CD del revival de 2013 en Broadway. Tiene una calidad de sonido espectacular.
    Sí, también lo tengo, además me gusta mucho la voz de Laura Osnes.
    Branagh/Doyle ha agradecido esto.

  10. #85
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    Synch, un poco de documentación.


    Mark Robinson:


    Composer-lyricist Stephen Sondheim, particularly when he was paired with director Harold Prince, moved and shaped musicals through bold experiments that challenged audiences while unearthing new possibilities. The musicals that this duo together brought to the stage included Company, Follies, A Little Night Music, Sweeney Todd and Merrily We Roll Along. Each was innovative in its own way, redefining the Broadway musical as we knew it. There was one other show that they created during this decade (and change) which may have been the most challenging (for audiences), clever (by even Sondheim and Prince standards) and groundbreaking (for posterity) in terms of the possibilities it demonstrated. That musical was the short-lived 1976 Pacific Overtures, which would also employ book writer John Weidman as part of the collaboration.




    To begin, Pacific Overtures was to tell the story of the westernization of Japan, from 1853 and the arrival of the Americans as part of Admiral Perry’s expedition which took the country from a policy of isolation to being an important crossroads of international trade routes. The musical is told from the point of view of the Japanese, as they experience their culture, traditions, and very lives jeopardized, encroached upon, and ultimately altered by western influence. The Japanese, who had remained mostly removed from world politics and commanding no navy of their own, were not prepared when Perry arrived (with large gunboats). It was obvious the Americans were planning on taking their country by force if necessary. Since they had no viable options for recourse, the Japanese had no other option than to concede to Perry’s demands. Pacific Overtures would demonstrate the story of how one country, steeped in tradition, would suddenly find itself thrust into the modern world, whether it wanted to or not.


    For some, this might not sound like a particularly exciting night of musical theatre. For those who were used to shows like Hello, Dolly!, Promises, Promises, or even the more experimental Company, Pacific Overtures was a major departure from what they were used to. Sondheim, ambitious as ever, set out to write a score that would sound Japanese. He did not use the pentatonic scale (traditional of much Asian music), but employed parallel fourths and no leading tone to give a similar effect. Director Harold Prince would stage the production in a style of Kabuki Theatre, with men playing all the female roles and set changes made in full view of the audience.



    Casting Pacific Overtures would prove to be one of the greatest challenges of assembling the musical. In 1976, the pool of male, Asian actors of a Broadway caliber talent was small, or at least hard to locate. Broadway rarely had opportunities for this ethnic minority. Still, the talent was ultimately found and a cast starring Mako, Soon-Tek Oh, Isao Sato, Yuki Shimoda, Sab Shimono, Ernest Abuba, James Dybas, Timm Fujii, Haruki Fujimoto, Larry Hama, Ernest Harada, Alvin Ing, Patrick Kinser-Lau, Jae Woo Lee, Freddy Mao, Tom Matsusaka, Freda Foh Shen, Mark Hsu Syers, Ricardo Tobia, Gedde Watanabe, Conrad Yama and Fusako Yoshida, was assembled.


    Pacific Overtures is best described as a concept musical that explores perspective as it relates to history. Sondheim and Weidman wrote a story that asked audiences to forget history as we had been taught it and to look at it through the fresh eyes of a different culture, those who experienced history as it happened to them, ushered-in by Americans against their will. But the show wasn’t just that. Pacific Overtures also looked at history from the perspectives of seeing it verses hearing it, experiencing it as a child and remembering it as an adult. This is gloriously studied in Sondheim’s brilliant set-piece “Someone in a Tree” which offers all of these viewpoints on one little piece of history. History is subjective. History is an agreed upon collection and recollection of events. Seldom is it ever entirely accurate.



    Pacific Overtures opened at Broadway’s Winter Garden Theatre on January 11, 1976 where it ran for 193 performances. Audiences and critics were starkly divided over the show. Some felt it a tedious evening, a cerebral history lesson and a musical theatre experiment gone wrong at the expense of the ticket buyer. Yet, there was a faction of ticket buyers who thought it an innovative, breathtaking. musical theatre experience, reveling in how Prince, Sondheim and company incorporated conventions of Asian music, theatre and culture into the show. Many were in awe of Boris Aronson’s set and Florence Klotz’ costumes, the only two Tony wins the production would receive (it was the season of A Chorus Line, after all). The patient and reflective theatergoer, however, understood that this experiment in musical theatre was special, even groundbreaking, and they walked away from Pacific Overtures with their hearts and minds bursting as they considered musical theatre’s potential and its possibilities.
    Última edición por Branagh/Doyle; 30/11/2022 a las 10:34
    Synch ha agradecido esto.
    My dearest, Angelica

    “Tomorrow and tomorrow and tomorrow
    Creeps in this petty pace from day to day”

    I trust you’ll understand the reference to
    Another Scottish tragedy without my having to name the play

    They think me Macbeth, and ambition is my folly
    I’m a polymath, a pain in the ass, a massive pain

    Madison is Banquo, Jefferson’s Macduff

    And Birnam Wood is Congress on its way to Dunsinane


    Lin- Manuel Miranda, Hamilton.

  11. #86
    Senior Member Avatar de Synch
    Fecha de ingreso
    21 dic, 09
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    Predeterminado Re: El hilo de los musicales

    Cita Iniciado por Branagh/Doyle Ver mensaje
    Synch, un poco de documentación.


    Mark Robinson:


    Composer-lyricist Stephen Sondheim, particularly when he was paired with director Harold Prince, moved and shaped musicals through bold experiments that challenged audiences while unearthing new possibilities. The musicals that this duo together brought to the stage included Company, Follies, A Little Night Music, Sweeney Todd and Merrily We Roll Along. Each was innovative in its own way, redefining the Broadway musical as we knew it. There was one other show that they created during this decade (and change) which may have been the most challenging (for audiences), clever (by even Sondheim and Prince standards) and groundbreaking (for posterity) in terms of the possibilities it demonstrated. That musical was the short-lived 1976 Pacific Overtures, which would also employ book writer John Weidman as part of the collaboration.




    To begin, Pacific Overtures was to tell the story of the westernization of Japan, from 1853 and the arrival of the Americans as part of Admiral Perry’s expedition which took the country from a policy of isolation to being an important crossroads of international trade routes. The musical is told from the point of view of the Japanese, as they experience their culture, traditions, and very lives jeopardized, encroached upon, and ultimately altered by western influence. The Japanese, who had remained mostly removed from world politics and commanding no navy of their own, were not prepared when Perry arrived (with large gunboats). It was obvious the Americans were planning on taking their country by force if necessary. Since they had no viable options for recourse, the Japanese had no other option than to concede to Perry’s demands. Pacific Overtures would demonstrate the story of how one country, steeped in tradition, would suddenly find itself thrust into the modern world, whether it wanted to or not.


    For some, this might not sound like a particularly exciting night of musical theatre. For those who were used to shows like Hello, Dolly!, Promises, Promises, or even the more experimental Company, Pacific Overtures was a major departure from what they were used to. Sondheim, ambitious as ever, set out to write a score that would sound Japanese. He did not use the pentatonic scale (traditional of much Asian music), but employed parallel fourths and no leading tone to give a similar effect. Director Harold Prince would stage the production in a style of Kabuki Theatre, with men playing all the female roles and set changes made in full view of the audience.



    Casting Pacific Overtures would prove to be one of the greatest challenges of assembling the musical. In 1976, the pool of male, Asian actors of a Broadway caliber talent was small, or at least hard to locate. Broadway rarely had opportunities for this ethnic minority. Still, the talent was ultimately found and a cast starring Mako, Soon-Tek Oh, Isao Sato, Yuki Shimoda, Sab Shimono, Ernest Abuba, James Dybas, Timm Fujii, Haruki Fujimoto, Larry Hama, Ernest Harada, Alvin Ing, Patrick Kinser-Lau, Jae Woo Lee, Freddy Mao, Tom Matsusaka, Freda Foh Shen, Mark Hsu Syers, Ricardo Tobia, Gedde Watanabe, Conrad Yama and Fusako Yoshida, was assembled.


    Pacific Overtures is best described as a concept musical that explores perspective as it relates to history. Sondheim and Weidman wrote a story that asked audiences to forget history as we had been taught it and to look at it through the fresh eyes of a different culture, those who experienced history as it happened to them, ushered-in by Americans against their will. But the show wasn’t just that. Pacific Overtures also looked at history from the perspectives of seeing it verses hearing it, experiencing it as a child and remembering it as an adult. This is gloriously studied in Sondheim’s brilliant set-piece “Someone in a Tree” which offers all of these viewpoints on one little piece of history. History is subjective. History is an agreed upon collection and recollection of events. Seldom is it ever entirely accurate.



    Pacific Overtures opened at Broadway’s Winter Garden Theatre on January 11, 1976 where it ran for 193 performances. Audiences and critics were starkly divided over the show. Some felt it a tedious evening, a cerebral history lesson and a musical theatre experiment gone wrong at the expense of the ticket buyer. Yet, there was a faction of ticket buyers who thought it an innovative, breathtaking. musical theatre experience, reveling in how Prince, Sondheim and company incorporated conventions of Asian music, theatre and culture into the show. Many were in awe of Boris Aronson’s set and Florence Klotz’ costumes, the only two Tony wins the production would receive (it was the season of A Chorus Line, after all). The patient and reflective theatergoer, however, understood that this experiment in musical theatre was special, even groundbreaking, and they walked away from Pacific Overtures with their hearts and minds bursting as they considered musical theatre’s potential and its possibilities.
    Apuntadete
    Branagh/Doyle ha agradecido esto.
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  12. #87
    Senior Member Avatar de Synch
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    Predeterminado Re: El hilo de los musicales

    Vamos, casi un año después (ritmo Avatar, eh) con otro musical de Stephen Sondheim recomendado por el compañero Branagh/Doyle: Pacific Overtures, filmación/audio de 1976.

    Este me ha pillado desprevenido. Lo que Sunday era emoción sutil y casi que adorable (porque ella, lo es), Passion era justo lo que reza el título y a saco, en Pacific tenemos un periodo de adaptación no sólo a lo que nos están contando (que por suerte me lo sé o, cuanto menos, no lo ignoro: hola nipones, venimos del mundo moderno a coloni...digo, a obligaros a poneros modernitos eh, venga) sino a la propia formulación narrativa que afecta a personajes, tono y sobre todo a la música. Sin tener ni pajolera si he advertido un uso no clásico (no sé si es el palabro adecuado), de escalas o lo que sea, en la composición, uso de instrumentos y ejecución. Pero creo hay bastante flauta y oboe, y cuando hay eso pues yo ya compro.

    The Advantages of Floating in the Middle of the Sea, cantada por el narrador y el resto, alude al inmovilismo histórico nipón comprándose los avances del mundo con las tradiciones locales. La parte del arroz tiene su miga:

    The farmer plants the rice.
    The priest exalts the rice.
    The lord collects the rice.
    The merchant buys the rice.
    The craftsman makes the sword
    And sells it to the lord
    And buys it at twice the former price


    There is no other way marca el inicio de aceptación de la tarea encomendada a uno de nuestros protagonistas: recibir, y aplicar la inevitable invitación a que se larguen los cuatro navíos estadounidense. Destaco el uso del imaginario clásico instrumental nipón: la flauta y la percusión casi danzante, de las que suenan en un restaurante o, indistintamente, en una meditación pre karatil en un film de lucha.

    Four Black Dragons nos presenta al pescador que atisba los cuatro barcos. Ojo al vozarrón y a la letra:

    And there came,
    Breaking through the mist,
    Roaring through the sea,
    Four black dragons,
    Spitting fire
    .

    Entra en escena el ladrón, divisando la misma escena, la cual es filtrada por ambos en por su mente medieval:

    FISHERMAN
    Four black dragons ?

    THIEF
    Four volcanoes ?

    FISHERMAN
    Spitting fire ?

    THIEF
    Spitting fire!
    And I ran ?

    FISHERMAN
    And I ran ?


    Llegan los estadounidenses. El pobre designado por la policía intenta echarlos de un modo que no se lo cree ni el, el pobre. Hasta se ríen de él. Sondheim no tiene problema alguno en pintar a los yankees como un atajo de creídos. Sólo quieren hablar con algún mandatario importante. Lo bueno es cuando los dos capos japoneses, que no quieren ir a hablar con los estadounidenses, mandan a un ladrón que simule ser alguien importante: divertida escena en la que el ladrón cada vez se encuentra más cómodo you shout louder

    Chrysanthemum Tea.*Nos movemos a terrenos reales con la madre en acción en un tema que inicialmente puede tener su dosis cómica (el soporte vocal con una suerte de falseto) pero que, como suele ocurrir con Sondheim, encierra a) un registro vocal de fuera adentro y b) una letra con chicha:

    Have some tea, my Lord,
    Some chrysthanthemum tea.
    It's an herb that's superb
    For disturbances at sea.


    El advino se casca un vozarrón de ultra tumba acojonante y revierte lo anterior: parece serio pero diría que está, como buen adivino, intentando acertar

    La madre insiste: esos barcos llevan días ahí, no se mueven y todo indica que planean quedarse. A los sacerdotes se les va: que es todo una ilusión, como va un barco a quebrantar sus leyes, hombre. La madre insiste, aún más, casi al borde del hastío que esos barcos siguen ahí. En el cuarto día añade incluso info metereolófgica

    It's the Day of the Rabbit, my Lord.
    There's but one day remaining,
    And beside the fact it's raining,
    There are ships in the bay


    Avanzamos con el pobre delegado y su propuesta de un argucia por la cual los yankees pueden desembarcar sin pisar técnicamente suelo japonés. La promesa para él y su compañero preso es un cargo importante y, para el otro, ser su ayudante. Entonces se lanzan a un dúo, Poems, con su dosis cómica:

    KAYAMA
    Rain glistening
    On the silver birch,
    Like my lady's tears.
    Your turn.

    Ojo a esto y el tono, completamente serio ahora, que me recuerda a West Side:

    KAYAMA
    Moon,
    I love her like the moon,
    Making jewels of the grass
    Where my lady walks,
    My lady wife.


    Pese a la estructura en, eso, poemas, es sorprendente como ambos actores establecen un diálogo basado en potentes voces que dejan al lado el tono jocoso que, sin embargo, no desaparece en lo instrumental. En este punto ya veo que Pacific Overtures cuenta con una instrumentción no intrusiva, juguetona y que sin voces tal vez no funcionaría.

    En Welcome to Kanagawa empezamos son sorna

    MADAM
    I own a small commercial venture
    With a modest clientele
    In Kanagawa.

    La cosa sube de tono

    MADAM
    That you'll need a friend for ?
    Still, you might try.

    SECOND GIRL
    Yo-ho!

    MADAM
    That you do through the kimono ?
    Not very much.

    THIRD GIRL
    Yo-ho!


    El intercambio de obsequios entre nipones y estadounidenses es un cachondeo: con la de chorradas, sobre todo los libros, que entregan los segundos

    Tras otro divertido momento con el guerrero contándonos como ha diseñado la defensa con caballos y todo, llega la carta estadounidense invitando a los nipones a entrar en el mundo moderno de un modo.. Poco amigable.

    El plan de Kayama funciona, la carta se entrega con éxito, el suelo nipón permanece sagrado y los visitantes se largan. Fin del primer acto.

    El segundo acto empieza con el Emperador otorgando lo prometido a Kayama y a su amigo.

    En Please Hello el Admiral yankee amenaza con regresar a Japón pero más a lo grande. Se trata de una pieza ágil y rápida, de las que me van, utilizando rimas obvias y sutiles a partes iguales:

    Good! At last agreement is made,
    Letter will let us come again.
    First result of mutual trade:
    Commodore getting letter letting,
    Councillor getting fancy pen!


    Y por fin llegan los ingleses

    BRITISH ADMIRAL
    Please
    Hello, I come with letters from Her Majesty Victoria
    Who, learning how you're trading now, sang "Hallelujah, Gloria!"
    And sent me to convey to you her positive euphoria
    As well as little gifts from Britain's various emporia.


    El holandés directamente cae con rima fácil pero divertida:

    DUTCH ADMIRAL
    (appearing suddenly)
    Wait! Please hello!
    Don't forget the Dutch!
    Like to keep in touch!
    Thank you very much!


    Y uno diría que igual que con el sonido de las bombas Sondheim puede estar lanzando una pullita a las bombas de agosto de 1945, aquí el ruso parece adelantar los años de Guerra Fría en los que se escribió este musical:

    RUSSIAN ADMIRAL
    Please hello,
    Is bringing Czar's request,
    Braving snow
    With letter to protest:
    Since we know
    You trading with the West,
    You might at least
    (Don't touch the coat!)
    Start looking East ?


    Y el francés ya es del todo juguetón

    FRENCH ADMIRAL
    (appearing suddenly)
    'Allo! ?
    Please 'allo!
    Please 'allo!
    'Allo! 'Allo! 'Allo!
    (blows them all a kiss)
    I bring word, I bring word
    From Napoleon ze Third.
    'E 'ad 'eard what 'ave occured 'ere
    From ze little bird!


    Es el número más divertido del musical, sin duda, sobre todo con los “Don’t touch” del ruso y su coña a permitir votar

    Regresamos a Kayama y su ayudante con la realidad de los foráneos llegando cada vez más al país. El tono juguetón de los ¿oboes? da pie a mi interpretación favorita del musical, Bowler Hat

    KAYAMA
    (picking up a derby)
    It's called a bowler hat.
    I have no wife.
    The swallow flying through the sky
    Is not as swift as I
    Am, flying through my life.


    Ese tono juguetón, cálido y reposado, contrasta con el tono severo del narrador y del propio Kayama. Parece que ya se notan los cambios:

    They call them spectacles.
    I drink much wine.
    I take imported pills
    I have a house up in the hills
    I've hired British architects to redesign.
    One must accomodate the times
    As one lives them.
    One must remember that.


    El momento del carro y los que lo llevan muriéndose va, claro, con su mala leche.

    Pretty Lady, con tres marineros persiguiendo a lo que creen una Geisha cantan:

    SAILOR III
    Pretty lady in the pretty garden, can't you stay?
    Pretty lady, we got leave and we got paid today.
    Pretty lady with a flower,
    Give a lonely sailor 'alf an hour.
    Pretty lady, can you understand a word I say?
    Don't go away.


    Ojo a lo gentil que suenan los tres pese a que a hasta ese punto imperaba cierta vulgaridad en su acoso. Las melodías y coros creo que buscan ese efecto retardo, o eco, que debe ser -intuyo- muy difícil de ejecución. Me da, seguro, es el tema más difícil de cantar de todos en Pacific. La escena termina trágicamente cuando el samurai, las viejas convicciones, asesina a uno de los marineros, la modernidad forzosa.

    En Next avanzamos a tiempos modernos (algo que repetirá Sondheim en los 80) para enlazar con la que ahora es la visita nipona a tierras yankess:

    COMPANY
    Streams are roaring,
    Overspilling
    Next!
    Old is boring,
    New is thrilling,
    Keep exploring
    Next!
    First the thunder
    Just a murmur
    A little blunder
    Next!

    Genial:

    THIRD VOICE
    57% of the Bicentennial souvenirs sold in Washington, D.C. in 1975 were made in Japan.



    Creo que es un musical difícil (ole por mí), que requiere comprender que lenguaje pretende utilizar Sondheim, pero emana en él una nota constante de intersección: no es drama, ni comedia, ni tiene voluntad aleccionadora, no es emotivo ni del todo frío, es japonés pero escrito por y para occidentales. Y como siempre Sondheim logra que pase en un suspiro.

    Si tuviera que elegir me quedo, todavía, con Sunday in the Park With George porque soy idiota, soy de enamorarme, y con Dot pues, eso, que no tengo remedio. Eso sí: el espacio sideral de diferencia en el tonal emotivo entre Passion y Pacific es de nota. Me refiero a la capacidad y versatilidad de Sondheim.

    Gracias Branagh/Doyle!
    Branagh/Doyle ha agradecido esto.
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  13. #88
    Vigilante Avatar de Branagh/Doyle
    Fecha de ingreso
    22 jun, 14
    Ubicación
    Agincourt
    Mensajes
    17,360
    Agradecido
    41593 veces

    Predeterminado Re: El hilo de los musicales

    Wow, ¡muchas gracias a ti, Synch!.


    Diría que te ha gustado mucho, lo que no esperaba.


    Si, es un musical... distinto, diferente.

    Please Hello es la perfecta muestra del talento de Sondheim. Divertida, inteligente, irónica, compleja... ¡y el running gag con el abrigo del ruso!.




    Pero Chrysantemum Tea es mi preferida de esta obra. ¡Cuanta mala leche sutil!. Veo que no has querido hacer spoilers del final de la canción, e intuyo que no has comentado Someone in a Tree por esto mismo.
    Synch ha agradecido esto.
    My dearest, Angelica

    “Tomorrow and tomorrow and tomorrow
    Creeps in this petty pace from day to day”

    I trust you’ll understand the reference to
    Another Scottish tragedy without my having to name the play

    They think me Macbeth, and ambition is my folly
    I’m a polymath, a pain in the ass, a massive pain

    Madison is Banquo, Jefferson’s Macduff

    And Birnam Wood is Congress on its way to Dunsinane


    Lin- Manuel Miranda, Hamilton.

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