Dep y ánimo por la parte que te toca.
La verdad es que haber visto Passion hace sólo 10 días tiene ahora otro significado. Conste, no obstante, que hacía 30 años que sus letras estaban ahí conmigo (aunque sin reparar en él) porque West Side Story fue de lo primero que busqué traducido (era adolescente entonces) para ver que decían.
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)
Lo de Sondheim, palazo y mas cuando a la vuelta de la esquina esta la nueva West Side Story.
Joder, joder, joder, joder.
Última edición por PrimeCallahan; 27/11/2021 a las 20:25
Cierto, pero claro, entre el comentario reciente de Nathan Lane hablando de la lectura premilinar que hizo con Bernadette Peters, y Sondheim hablando del proyecto y su intención de estrenarlo la próxima temporada cuando fue a Colbert hace nada... me hizo tener esperanzas de que quizá lo tuviese ya prácticamente acabado.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
De Pacific Overtures (teneis subtitulos en ingles en la ruedecita):
Spoiler:
De Sunday In The Park with George:
Spoiler:
De Assassins:
Spoiler:
De Sweeney Todd:
Spoiler:
De Passion:
Spoiler:
Última edición por Branagh/Doyle; 27/11/2021 a las 21:38
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Pues yo tengo una historia paralela. West side story fue lo primero suyo que conocí por la película, como mucha otra gente. Por aquellos años ya había empezado a coleccionar bandas sonoras, así que me compre el CD... pero me equivoqué para bien era el de la grabación original de Broadway, no de la peli como pensaba:porque West Side Story fue de lo primero que busqué traducido (era adolescente entonces) para ver que decían
Todavía la tengo aquí en la estantería. No vienen las letras, pero recuerdo buscarlas para seguir las canciones en condiciones, porque mi nivel inglés no daba tanto de si en aquellos años.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Frank Rich interviews Sondheim about the writing of “Someone in a Tree” from Pacific Overtures and cast members Mako, James Dybas, Mark Hsu, and Gedde Watanabe were joined by Sondheim on the piano to perform the song.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Sunday In The Park With George ganó el Pulitzer en 1985.
Color and light.
There's only color and light.
Yellow and white.
Just blue and yellow and white.
Look at the air, miss-
See what I mean?
No, look over there, miss-
That's done with green...
Conjoined with orange...
Para quien quiera verlo, subtitulado al castellano:
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
HOSTIAS...
RIP, Sir Pratchett.
«¿Me permites una crítica constructiva a la mierda esa que has hecho?»
«En la primera reunión con él sobre el futuro de Star Wars, George se sintió traicionado» B. Iger.
«El mal no puede crear nada nuevo, sólo corromper o arruinar lo que las fuerzas del bien han inventado o construido». J.R.R. Tolkien.
«DEI kills ART. It´s ineffective and actually appears to increase prejudice, not reduce it».
«Put a chick in it and make her gay and lame». Cartman as K.K.
A ver, explicame la risa .
Si es porque te parece una puta locura que surja un musical a partir de una pintura, pues si, efectivamente es . Yo mismo me descojoné la primera vez que supe de ello. Pero... bueno, es que no te puedo desvelar nada de la trama porque lo suyo es que lo veas sin saber nada.
Los subtítulos en castellano están muy bien hechos, así que puedes seguir toda la trama sin problema.
Ni siquiera sé si tu eres de musicales o has visto alguno en tu vida (no cinematográfico, quiero decir), pero creo que te puede gustar mucho.
Así que si sacas dos horas y media libres, y te animas, pues te lo recomiendo enormemente.
Última edición por Branagh/Doyle; 29/11/2021 a las 15:05
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Compañero efialtes76.
La pérdida sigue siendo tremenda. Ese es el palazo del que hablaba Prime. Evidentemente, es preferible irse a los 91 estando perfectamente, con tu lucidez intacta, mientras duermes, sin dolor ni agonía como ha sido su caso, que siendo más joven o en otras circunstancias.
Pero doler, duele igualmente, es inevitable. Más si tenemos en cuenta lo que ha supuesto y aportado esta persona a su campo profesional.
En suma, la pérdida de un referente, sea del area que sea, siempre es algo terrible.
Es cómo me ha dicho uno esta mañana: No entiendo por qué has llorado. Es ley de vida, y a los 91 ha vivido una vida larga y plena. Además, ni que fuera familia tuya.
En cierto modo lleva razón. Y aún así, there are no words, que dirían nuestros amigos anglosajones.
Luego están las connotaciones personales, claro. Sondheim es una figura clave en mi vida, tanto personal como profesionalmente.
Y claro, estoy profundamente afectado. Profundamente.
A algunos les resultará difícil de entender y lo respeto. Cada uno es cada uno.
Última edición por Branagh/Doyle; 29/11/2021 a las 16:59
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Tributo completo:
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Nada relevante. Fue por la última vez que referencié ESA obra.
Y respecto a lo demás, EFECTIVAMENTE, amigo, comprendo PERFECTAMENTE esa aflicción y quebranto bordeando el desconsuelo. Nuestros REFERENTES o exponentes han forjado parte de quiénes somos, su influencia nos ha permeado. Y tras su paso, nosotros, los de entonces, ya no somos los mismos.
RIP, Sir Pratchett.
«¿Me permites una crítica constructiva a la mierda esa que has hecho?»
«En la primera reunión con él sobre el futuro de Star Wars, George se sintió traicionado» B. Iger.
«El mal no puede crear nada nuevo, sólo corromper o arruinar lo que las fuerzas del bien han inventado o construido». J.R.R. Tolkien.
«DEI kills ART. It´s ineffective and actually appears to increase prejudice, not reduce it».
«Put a chick in it and make her gay and lame». Cartman as K.K.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
In a never-before-seen interview, Stephen Sondheim sat down with The New York Times in June 2008 to talk about his life, career and accomplishments.
Acaba de publicarse en su canal de youtube (del New York Times). Teneis subtitulos en inglés haciendo click en la ruedecita:
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Donna Murphy:
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Ha fallecido Jonshel Alexander (de 22 años) una de las jóvenes actrices de Bestias del Sur salvajes, al parecer en un tiroteo cuando estaba en su coche. Poco se sabe todavía de lo sucedido, se está investigando. DEP
Última edición por atticus; 02/12/2021 a las 11:07
"Reivindico la melancolía porque somos lo que fuimos" Carlos del Amor
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.
Dejo aquí mi segmento favorito escrito por Sondheim, de A Little Night Music (adaptación al teatro musical de la película de Bergman Sonrisas de una noche de verano).
Un poco de contexto sin hacer ningún tipo de spoiler: Señor de mediana edad casado con una chica mucho más joven. Han pasado meses desde que se casaron y no han consumado aún. El hombre no puede más, y barrunta para si formas de conseguir que acceda a mantener relaciones sexuales con el, perdiendo así el miedo (ella es virgen). En cierto momento de la canción, se pregunta si leerle algo puede ser la vía de acción más recomendable.
Y escribe Sondheim:
Perhaps I could read
In view of her penchant
For something romantic
De Sade is too trenchant
And Dickens too frantic
And Stendhal would ruin
The plan of attack
As there isn't much blue in
"The Red and the Black."
De Maupassant's candour
Would cause her dismay
The Brontes are grander
But not very gay
Her taste is much blander
I'm sorry to say
But is Hans Christian Andersen ever risque?
Última edición por Branagh/Doyle; 02/12/2021 a las 18:36
"There’s this misconception these days that a thematic score means a dated-sounding score. This, of course, is a cop out. There’s no reason to throw the baby out with the bathwater. The art of composing modern scores is the having the skill set to keep motifs alive while being relevant. But too many times, newer composers have no idea what fully developed themes are because they grew up on scores that are nothing more than ostinatos and “buahs.”
John Ottman.