Traviata Tribute Postponed

Unfortunately my schedule got very full this week, and I don't expect I'll have the time to do much with my Traviata Tribute. i'll still be posting - I just don't have the time to do the particular articles I had planned. So I wish to declare the tribute postponed- I'll have another go at it next month maybe. So sorry!

Identify the Quote!

All right, I am a shameless plagarist, since I stole this idea for a post from one of my forum friends, Lady Rose (please do visit her blog - it's very interesting and entertaining!). However, she says in her post that she took the idea from Elenatintil (another forum friend). Gosh, the blogosphere is like homeschool family with the flu - if one person catches something, everyone's sure to get it eventually.

But, to topic. The idea is that I am posting ten quotes from some of my favourite films below. If you can identify which film one or more of the quotes come from, say so in a comment! I will put the quotes that have been guessed in bold and identify them. So... here they are!

The Traviata post will be later this evening, for those who are waiting.

1. "Barsad and Cly. Cly and Barsad. Barsad and Cly. A case like that could be tried on sound alone. The very syllables of their names give them away."

"What do you mean?"

"Well, Cly and Barsad - obviously villains."

2. "Yourrr majhesty shall mock at me. I cannot speak yourrr England."

"Oh. Fair Katherine, if you will love me soundly with your French heart, I shall be glad to ehar you confess it brokenly with your English tongue. Do you like me, Kate?"

"Pardonez moi, I can't tell what is 'like me'."

"An angel is like you, Kate, and you are like an angel."

3. (Putting out a hand, and waiting) "Oh, you shake it."

"Um... Why?"

"I - I don't know! People do it when they meet each other." - The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe

4. "As the Good Book says, if a poor man eats a chicken, one of them is sick!"

"Where does the book say that?"

"All right, so it doesn't exactly say that, but somewhere there is something about a chicken!" - Fiddler on the Roof

5. (Passing a wall covered with artwork fo great heroes) "How would you like your face carved on a wall?"

"Someday, yes."

"How about now?" (BANG!!!) - The Prince of Egypt

6. "The first time he spoke to me shall always be clear in my mind. I remember it like it was yesterday. He leaned across the table, looked straight at me, and said, '____, could I trouble you for the salt?'"

7. "What care I for colds when i know that there is such a man?"

"You will care very much when your nose swells up."

"You're right. Help me, ____" - Sense and Sensibility (1995, starring Emma Thompson)

8. "They throw you out just for breaking a little statue!?!?!?"

"But it wasn't small, Mama, it was big! It was taller than you, and over two hundred years old!"

"Two hun- An old piece of junk!"

9. "That's a very tall table."

"It's for a rich man."

"Does he like to eat standing up?"

"He likes to eat like so." (sitting)

"This will never catch on." - The Passion of the Christ

And one that's a bit of a cheat, since the latter part didn't get into the film, but it did show up in the middle of an interview on the special features. To make it harder, I'm rephrasing the first part, since it is in the film.

10. "The wives and daughters of the soliders always accompany them part of the way to wish them well."

"They carry swords?"

"Sometimes!"

Good luck! - The Return of the King, extended edition

Traviata Tribute: La Traviata at a Glance

It’s considered by many to be Guiseppe Verdi’s finest opera, and even to be the greatest piece of the opera canon. A disaster on its opening night, LT has since become one of the most popular dramas ever written. Yet in these days of electric guitars and synthesizers, many are not familiar with this gem of the mid-nineteenth century. The entertainment world of the 1850’s would have told you that ignorance of ‘La Traviata’ (In English, ‘The Woman Led Astray’) was as bad as ignorance of the alphabet. I echo them in slightly more modern terms – if you haven’t seen LT, you haven’t lived. As an introduction for those who haven’t seen it, and a refresher for those who have, I will begin with a brief summary of the plot. Please bear in mind that no summary ever gives much of a feel for the actual piece – I remember reading summaries of LT before seeing the opera being rather unimpressed. Please pardon my poor efforts, which have been partly adapted from Wikipedia’s synopsis.

ACT I begins in the drawing room of Violetta Valery, the most famed courtesan in Paris. We find her in the midst of throwing a lavish party for her wealthy friends. She sings happily that she looks to pleasures such as these to gladden her life. Gastone, a count, has brought with him his friend, the young nobleman Alfredo Germont, who has long adored Violetta from afar. While walking to the salon, Gastone tells Violetta that Alfredo thinks of her constantly and that, while she was ill, he came to her house every day. This immediately excites Violetta’s interest, but she maintains an attitude of mere civility toward Alfredo. Baron Duophol looks on jealously. He is asked to give a toast, but refuses. The crowd turns to Alfredo instead. (Alfredo, Violetta, chorus: Libiamo ne' liete calici – " Let’s drink from this chalice of joy").

From the next room, the orchestra begins to play and the guests move there to dance. Violetta feels ill and asks the guests to go ahead and to leave her to recover. Alfredo enters, expresses his concern for her fragile health and later declares his love for her (Alfredo, Violetta: Un di, felice, eterea– "The day I met you"). At first Violetta rejects him, proclaiming herself to love nothing but pleasure, and that the two will soon forget each other. He begins to leave when she gives him a flower, telling him to return it when it has wilted.

After the guests leave, Violetta wonders if Alfredo could actually be the love of her life. She wonders when she stopped dreaming about marriage and turned to thoughts of worldly pleasure (Violetta: Ah, fors'è lui – "Perhaps he is the one"). A moment later, she rebukes herself, singing that constant love if folly, and that she must always be free to ride the whirlwind of pleasure. (Violetta: Sempre libera – "Always free"). As she tries to convince herself, Alfredo’s voice is heard- "Love is the heartbeat of the entire universe."

ACT TWO - Three months later, Alfredo and Violetta are living together in a peaceful country house outside Paris. Violetta has fallen in love with Alfredo and she has completely abandoned her former life. Alfredo sings of their life together. Annina, the maid, arrives from Paris, and, when questioned by Alfredo, she tells him that she went there to sell the horses, carriages, and everything owned by Violetta to support their country lifestyle. Alfredo is shocked to learn that it has been nessecary for Violetta to sell her belongings to support him. He leaves for Paris immediately to settle matters himself.

Violetta returns home and receives an invitation from her friend, Flora, inviting her to a party in Paris. Alfredo’s father, Germont, is announced and demands that, for the sake of his family, she break off her sinful relationship with his son. He is reluctantly impressed by Violetta’s nobility, which is not what he expected from a courtesan. Germont reveals that Violetta’s relationship with Alfredo has threatened his daughter’s engagement (Germont: Pura siccome un angelo – "God gave me a daughter as pure as an angel") because of Violetta's reputation as a courtesan . While she says that she cannot break off her relationship with Alfredo because she loves him so much, Germont pleads with her for the sake of his family. With growing remorse in her heart, she finally agrees. Germont thanks her for her kindness and sacrifice, before leaving her alone, weeping.

Violetta gives a note to Annina to send to Flora as acceptance of the party invitation. As she is writing a farewell letter to Alfredo, he enters. She can barely control her tears; she tells him repeatedly of her unconditional love before rushing out and handing the farewell letter to her servant to give to Alfredo, which he does. As soon as Alfredo finishes reading it, Germont enters and attempts to comfort his son, reminding him of his family in Provence (Germont: Di Provenza il mar – "The Sea of Provence"). Alfredo suspects the Baron is behind this separation with Violetta. The party invitation, which he finds on the desk, strengthens his suspicions. He determines to confront Violetta at the party. Germont tries to stop his son, but he rushes out, determined to gain revenge.

At the party, the Marquis tells Flora that Violetta and Alfredo have separated. She calls for the entertainers to perform for the guests. Alfredo arrives, trying to contain his anger toward Violetta, who arrives with Baron Douphol shortly afterwards. They see Alfredo at the gambling table, and upon seeing them, Alfredo creates a scene about his winning. Irritated, the Baron goes to the gambling table and challenges him. Alfredo wins some large sums of money from the Baron until Floria announces that the supper is ready. Alfredo leaves with handfuls of money.
Everyone goes in to supper, but Violetta asks Alfredo to meet her along. Fearing that the Baron's anger will lead him to challenge Alfredo to a duel, she gently asks Alfredo to leave. Alfredo misunderstands her apprehension and demands that she admit that she loves the Baron. In grief, she does so. Her confession makes Alfredo furious and he calls the guests to witness what he has to say. Alfredo humiliates and denounces Violetta in front of the guests, and then throws his winnings at her for her "services" while they lived together. She falls fainting onto the floor. In search of his son, Germont enters the hall. Knowing the real significance of the scene, he denounces his son's behaviour. Violetta turns to Alfredo and sings, Alfredo, Alfredo, di questo core non puoi comprendere tutto l’amore – "Alfredo, Alfredo, you can never understand how much I love you!"

ACT THREE - After the party, Violetta’s health completely breaks down, and it is discovered that she has consumption. Unable to leave her bed, she dreams of Alfredo. Her only visitors are Doctor Grenvil and a priest, to whom she makes a confession. Dr. Grenvil tells Annina that Violetta will not live long. Alone in her room, Violetta reads a letter sent by Alfredo’s father saying the Baron was only wounded in his duel with Alfredo. The letter also states that he has informed Alfredo of the sacrifice Violetta made for him and his sister; and that he is sending his son to see her as quickly as possible to ask for her forgiveness. But Violetta senses it is too late (Violetta: Addio del passato – "So closes my sad story").

Annina rushes in the room to tell Violetta of the arrival of Alfredo. The lovers are reunited. Alfredo suggests that they leave Paris (Alfredo, Violetta: Parigi, o cara , noi lasceremo – "Dearest, we’ll leave Paris" The old Germont enters with the doctor. Those in the room are the only friends she has left – the other have all deserted her. All at once, a change comes over Violetta. "It’s strange – the pain has stopped. I feel my strength returning. I am coming back to life!" And with these words, she falls into Alfredo’s arms, and dies. The blossom has fallen, and La Traviata is no more.

The Traviata Tribute Begins

Those who know me are aware that I am an incurable operatic. Yes, I am looney for largos, crazy for cadenzas, daft for Donizetti, and batty for bel canto. Why else would a young person in today's modern world propose five-day tribute to Verdi's prima della prima, 'La Traviata'?

Of course, i cannot be sure that something won't interfere with my proposed schedule, but I am pleased to announce that in addition to my regular, random posts, you can expect to see an article dealing with 'La Traviata', henceforth LT, for the next five days. My proposed schedule is thuswise:

June 20th: La Traviata at a Glance
June 21st: Violetta, Ever Free
June 22nd: Alfredo (He Didn't Invent Fettucini)
June 23rd: Sopranos and Silver Screens
June 24th: Delizia al Cor: The Perfect Traviata

Take your seats, please. The orchestra is cuing up. Enjoy the show.

MUSIC REVIEW: "Nessun Dorma" from 'Turandot'

The Velvet Embrace of Night

"Nessun dorma, nessun dorma…" With these words, the highlight of Puccini’s stirring opera, ‘Turandot’, begins, and the senses are borne away into a stunning, midnight world of melody in which "None shall sleep." This captivating tenor aria is considered one of the composer’s most sparkling aural gems, and deservedly so. The song is performed by the character Calaf, who has been promised the hand of a princess in marriage, provided that his name is not discovered before dawn. The cruel princess decrees that so long as the lover’s name remains unknown, no man in her vast kingdom may sleep. As Calaf awaits the morning, he expresses his passion and driving hope in this unmatched solo.

The first sweet notes to waft from the orchestra are soft and subdued. Gentle as an evening breeze, they remind one of twilight gradually stealing over the face of the Earth at the close of day. These notes are calm and reassuring. They whisper that we must not fear the approaching night. It does not come to plunge us into a nightmare, like some fell sorcerer, but to caress us in the arms of silence.

"Nessun dorma," (None shall sleep) sings the tenor, his voice a cascade of princely gold. His notes deftly rise and fall. They vary like shadows at dusk, lengthening slowly as the last rays of daylight sink into slumber. Violins hush the world like zephyrs, harmonizing with soothing woodwinds. Brilliant cadenzas and displays of vocal fireworks are alien to this song. These verses have the spirit of a lullaby. There is a touch of mystery to this lullaby, nonetheless. What a mystery, though! It is a mystery of tenderness and trust mingling with the darkening heavens. Peace abounds – peace in the dimming sky, peace in the sighing breeze, peace in the heart of Calaf.

Ah, but there is more in his heart than simple serenity. As the singer’s voice rises to a new level in the line, "Ma il mio mistero è chiuso in me," his tremendous hope is revealed. "But my secret lies hidden within me – no one shall discover my name!" The harp-like chord that opens this verse calls to mind the appearance of the first gleaming star in the jet firmament. The tenor’s voice trembles slightly as it ascends above the tyranny that governs the kingdom. The tremor is not of fear, but of desire. The strength of his love for the hard-hearted maiden is exemplified in the moving, climbing notes. "Sulla tua bocca lo dirò…". "Oh no, I will reveal it only on your lips when the daylight shines!" At the thought of a kiss, Calaf becomes practically ecstatic, and melody surges to the highest note it will reach before the final bars. The burning passion the young lover feels is evident. Excitement and peace beat in one heart. This seeming contradiction-in-terms is beautifully realized in the peasant’s love. This is the excitement of peace. This is the strength of silence.

As the accompaniment builds, the moon rises in the listener’s mind. It silvers the streets. Its beams fall shimmering in the ears of the listener. In the rising of the regal crescent, the music foreshadows the rising of the sun that will bind Calaf and the princess together in the "luce splenderà" (splendour of light). Then it descends into the tranquil calm of the latest and earliest of hours.

Distant, angelic voices echo the tenor’s song with unspeakable sweetness. If silence could sing, it would find voice in this mellifluous chorus. A thousand glistening stars gaze down upon the city. Calaf hears no lament in their words – he hears only the night’s serenade. Sorrow cannot touch his soul. He is surrounded by black and silver beauty. Expectation hangs on every line. His confidence is such that he cannot refrain from another burst of consonant joy!

"Dilegua, o notte! Tramontate, stelle!" (Depart, O night! Set, you stars!) Singer and instrument combine as though one voice as the song approaches its climax. Calaf’s words soar to the vault of heaven, resonating with ardour. Victory is at hand! His notes are high, assured of triumph. He proclaims to the vast universe , "I will win!" "Vincerò! Vincerò! Vincerò!"

The orchestra swells to breathtaking intensity, and the skies above rejoice! The constellations dance before their sovereign moon, and the Earth beneath is bathed in their white, lustrous beauty. The sleepless mortals beneath are nearly blinded by the brightness of the celestial lords. Calaf is no longer aware of the place where he stands. He knows only a revery of midnight and music. This is a revery in which, through Puccini’s masterpiece, the listener has lived for a few brief minutes.
With one final, thrilling chord from the entire orchestra, the aria closes, and the all is silent once more. It is a powerful silence, a silence of longing, a silence of love.

In such a silence as this, it as certain as day follows night that ‘none shall sleep.’

Not Quite a Papal Visit, But...

Of course, I was extremely jealous of all you fortunate Americans out there who went to see our beloved Holy Father, Pope Benedict XVI, made his Papal visit to the United States. I would have given a great deal to see him, but distance prevented this. However, I have the consolatio nof knowing that Pope has declared himself 'spiritually present' for the International Eucharistic Conference currently being held in Quebec. Yes, it's not quite the same thing, but the Pope is praying for Canadians and is with us in spirit. Well, I suppose I'll just let you see the actual article, which is quite brief, but beautiful. Viva il Papa!

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Pope Greets Eucharistic Congress Participants, Prays for Revival of Belief

Vatican City, Jun 18, 2008 (CNA).- After delivering his reflections on St. Isidore of Seville at his Wednesday general audience, Pope Benedict addressed some remarks to participants in the International Eucharistic Congress being held in Quebec, Canada, from June 15—22 on the theme: "The Eucharist: gift of God for the life of the world."

"I am spiritually present at this most solemn ecclesial meeting", he said, "and I trust it will be a time rich in prayer, reflection and contemplation of the mystery of the Blessed Eucharist, for the Christian communities of Canada and for the Universal Church. May it also be a favorable moment in which to reaffirm the Church's faith in the real presence of Christ in the Blessed Sacrament."

Benedict XVI concluded his remarks by praying that the congress "may revive in believers - not just in Canada but in many other nations in the world - an awareness of the evangelical and spiritual values that have forged their identity along the course of history."

While Pope Benedict is not attending the Eucharistic congress, he will give the homily for the closing Mass on June 22 via a live satellite link from Rome. The faithful will be able to view the Holy Father’s homily on large screens stationed throughout the area.

Major Technological Breakthrough!

Introducing the new Bio-Optic Organized Knowledge device, trade named: BOOK.

BOOK is a revolutionary breakthrough in technology: no wires, no electric circuits, no batteries, nothing to be connected or switched on. It's so easy to use, even a child can operate it.Compact and portable, it can be used anywhere -- even sitting in an armchair by the fire -- yet it is powerful enough to hold as much information as a CD-ROM disc.

Here's how it works:BOOK is constructed of sequentially numbered sheets of paper (recyclable), each capable of holding thousands of bits ofinformation. The pages are locked together with a custom-fit device called a binder, which keeps the sheets in their correct sequence. Opaque Paper Technology (OPT) allows manufacturers to use both sides of the sheet, doubling the information density and cutting costs. Experts are divided on the prospects forfurther increases in information density; for now, BOOKs with more information simply use more pages.

Each sheet is scanned optically, registering information directly into your brain. A flick of the finger takes you to the next sheet. BOOK may be taken up at any time and usedmerely by opening it.Unlike other display devices, BOOK never crashes or requires rebooting, and it can even be dropped on the floor or stepped on without damage. However, it can become unusable if immersed in water for a significant period of time. The "browse" feature allows you to move instantly to any sheet and move forward or backward as you wish. Many come with an "index" feature, which pinpoints the exact location of selected information for instant retrieval.

An optional "BOOKmark" accessory allows you to open BOOK to the exact place you left it in a previous session -- even if the BOOK has been closed. BOOKmarks fit universal design standards; thus, a single BOOKmark can be used in BOOKs by various manufacturers. Conversely, numerous BOOKmarkers canbe used in a single BOOK if the user wants to store numerous views at once. The number is limited only by the number ofpages in the BOOK.You can also make personal notes next to BOOK text entries with an optional programming tool, the Portable Erasable Nib Cryptic Intercommunication Language Stylus (PENCILS).

Portable, durable, and affordable, BOOK is being hailed as a precursor of a new entertainment wave. Also, BOOK's appeal seems so certain that thousands of content creators have committed to the platform and investors are reportedly flocking. Look for a flood of new titles soon.

- Anonymous

Mihi Adhaerare Deo Bonum Est

A beautiful Celtic prayer.

Mihi Adhaerare Deo Bonum Est
God be in my hede
And in my understandyng
God be in myne eyes
And in my lokyng
God be in my mouth
And in my speakyng
God be in my harte
And in my thynking
God be at mine ende
And at my departyng.
- Unknown

A Few Avatars

Discernment and Footwear: 5 Reasons to Test Your Call

I found this wonderful article by Brother Andrew Dalton on vocation.com, a fantastic website for any young person to explore. It is addressed to young men considering the priesthood, but I think that it can apply just as well to any religious vocation.

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An old fraternity brother of mine who was an avid runner and die-hard wrestler had the strange habit of purchasing dozens of pairs of running shoes online. Nike, Adidas, New Balance - you name it, he had it. Most of us just looked at him and shook our heads because we all know the basic wisdom behind, "Try before you buy". Well, the same goes for discerning the priesthood or consecrated life.

Are you trying to say that the priesthood is like stinky footwear? Well, maybe not the stinky part, but yeah. I know, the metaphor might not impress the Shakespeares out there, but give me a chance to explain why the comparison fits. Here are five reasons why you should test your call if you've got a vocational itch.


1. Why not?

That may sound simplistic. Rather than defending the logic of this invincible tort, I will just challenge you to take it with you to the forest and chew on it. Or better yet, take it to the tabernacle and pray on it. If there is even the slightest chance that God has called you from all eternity to this whatever it be, why not at least give it a shot?

2. Books don't cut it.

If you want to know what a dodo bird looks like, just pick up an encyclopedia, but if you're craving knowledge of your call to follow Christ in the priesthood or consecrated life, chances are that reading about it won't completely slake your thirst. By all means, read. Read a lot. But you owe it to yourself to keep the search from ending when the book does.

I was a sophomore in college when I first asked a priest I trusted, "How do you know if youre called to be a priest?" Father Scott was wise not to spook me with an onslaught of questions at the time. He just gave me a book and said that we could talk about it next time. The book was called Peter on the Shore, the first vocation book by Fr. Anthony Bannon of www.vocation.com. (He has since followed up with two more, Vocation Questions and Answers and Launch into the Deep.) I know now what I didn't know then that this book is a diamond in the rough and so I read a few chapters but soon got distracted with another book I found about another kind of discernment, namely Boy Meets Girl by Joshua Harris. It's funny how fickle we can be. Months later, I felt that itch again about the priesthood and went back to Peter, and this time I read cover to cover. When I told Fr. Scott that all my questions were answered but that I still just wasn't sure, he said, "If you want to buy a pair of shoes, you've got to try them on. Why don't you visit the seminary and test your call?" Without that pearl of wisdom, I wonder where I would be today. Probably not wearing black or writing this article.


3. Undo your doubts: Nature abhors a vacuum.

Or so they say anyway. The reason youve got to get up and go is because there's a little Cartesian chip planted deep in all of our brains that makes us perpetually doubt. What if I'm wrong? What if it's not like I imagined? What if others find out? What if. If you've got lingering doubts (and who doesn't at the start?), the best way to clarify them is to step out of the vacuum and into the world where God can speak and you can hear. It's hard to love what you don't know.

Here's a little taste of the kind of frank insight you will find in Fr. Bannon's book: Discernment is the perception of God's action and his call. Discernment is in itself, I believe, a grace. It is definitely more than a fruit of mere intellectual examination and reflection. Discernment is therefore, more subject to the pattern of grace than to the laws of pure reason.

Okay, Father, so what should we conclude from that? That discernment must take place in a climate of faith.

In other words, TRY ON THE SHOES!


4. We need contact.

Get ready because this is probably the deepest reason yet. I wish I could take credit for it but I must confess that I am stealing it from Pope Benedict XVI. I was reading his book, On the Way to Jesus Christ, and came upon these words: I have often said that I am convinced that the true apologetics for the Christian message, the most persuasive proof of its truth, offsetting everything that may appear negative, are the saints, on the one hand, and the beauty that the faith has generated, on the other. For faith to grow today, we must lead ourselves and the persons we meet to encounter the saints and to come in contact with the beautiful.

When we think about following Christ more radically by consecrating our whole lives to him, we usually start from an apostolic urge. We want to share the truth of our beloved faith with others, to lead souls to heaven, to spread Christ. But despite our intense yearnings, we soon find that we really can't go about doing this with very much successby ourselves anyway.

Before we can feed, we must be fed. Before we can draw others to the Light of the World, we must be drawn ourselves. Before we can emanate light, we must absorb it. We need Son exposure.

And the Holy Father points to the two most powerful Light sources, that is, the two ingredients needed to give Christ to today's world (which is the purpose of every vocation): Nothing can bring us into contact with the beauty of Christ himself more than the world of beauty created by faith and the light that shines upon the faces of the saints, through which his own light becomes visible.

In order to discover our vocation to holiness, then, we need to bump into sanctity, living and breathing sanctity, in our brothers and sisters who have already put on Christ (Gal 3:27). I can assure you that the best proof that the vocation is something beautiful and real comes in seeing it personified in Br. Stephen, Br. John, Br. Benjamin.

And the next Light source, says the Pope, is an encounter with redeeming beauty, which is truth in all its greatness. This is the beauty that really attracts. We need reasons, yes, but we need motives too. We need to satisfy our minds, but much more our hearts. I think the spiritual beauty the Holy Father is referring to is that inner tug you feel when a single slice of light penetrates the chapel window and falls upon the altar. Or maybe it is as simple as the serene expression on a brother's face as he receives Holy Communion or simpler still as he holds the door for you. God takes advantage of these trifles to speak to us. The trick is being docile enough to the Holy Spirit to perceive and relish them.

In short, TRY ON THE SHOES and bump into both beauty and holiness!

5. Christ is a safe bet.

Try as we might, God will never be outdone in generosity. In other words, you have nothing to lose, and that is certainly an encouraging thought. But it is also something like a dare. Perhaps it sounds imprudent for us to go around daring young men and women to consecrate their lives to Christ. We prefer softer words like invite or suggest. But when I sat in St. Peter's Square listening to the homily of the Holy Father at his inaugural Mass, I perceived a kind of verbal prodding that was refreshingly intrusive: Are we not perhaps all afraid in some way­? If we let Christ enter fully into our lives, if we open ourselves totally to him, are we not afraid that He might take something away from us? Are we not perhaps afraid to give up something significant, something unique, something that makes life so beautiful? Do we not then risk ending up diminished and deprived of our freedom? And once again the Pope [John Paul II] said: No! If we let Christ into our lives, we lose nothing, absolutely nothing of what makes life free, beautiful and great. No! Only in this friendship are the doors of life opened wide. Do not be afraid of Christ! He takes nothing away, and he gives you everything.

Amen, Holy Father, you said it all! And so I'll leave you with the words of the all-time best vocation director, the Nazarene who, when asked by the vocationally itching disciples-to-be where he lived, replied with this simple slogan: Come and see! In other words, Do you want to follow me? Well then, to keep trotting with our leitmotif...just do it!


Brother Andrew Dalton, of the Legionaries of Christ, studies for the priesthood in Rome.

My Late Senatorial Secretaryship

Mark Twain's short, humourous sketches are not nearly so well known as his novels, such as "Tom Sawyer" "Huckleberry Finn", or "A Conneticut Yankee in King Arthur's Court." However, many of them are positive gems, witty and enjoyable. I thought I might as well post up this short piece by the classic author, My Late Senatorial Secretaryship. Please note that the sketch is slightly abridged in consideration of space.

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I am not a private secretary to a senator any more, now. I held the berth two months in security and in great cheerfulness of spirit, but my bread began to return from over the waters, then -- that is to say, my works came back and revealed themselves. I judged it best to resign. The way of it was this. My employer sent for me one morning tolerably early, and, as soon as I had finished inserting some conundrums clandestinely into his last great speech upon finance, I entered the presence. There was something portentous in his appearance. His cravat was untied, his hair was in a state of disorder, and his countenance bore about it the signs of a suppressed storm. He held a package of letters in his tense grasp, and I knew that the dreaded Pacific mail was in. He said:

"I thought you were worthy of confidence."

I said: "Yes, sir."

He said: "I gave you a letter from certain of my constituents in the State of Nevada, asking the establishment of a post office at Baldwin's Ranch, and told you to answer it, as ingeniously as you could, with arguments which should persuade them that there was no real necessity for an office at that place."

I felt easier. "Oh, if that is all, sir, I did do that."

"Yes, you did. I will read your answer, for your own humiliation:

WASHINGTON, NOV. 24, 1867.

Messrs. Smith, Jones, and others,

GENTLEMEN: What the mischief do you suppose you want with a post office at Baldwin's Ranch? It would not do you any good. If any letters came there, you couldn't read them, you know; and, besides, such letters as ought to pass through, with money in them, for other localities, would not be likely to get through, you must perceive at once; and that would make trouble for us all. No, don't bother about a post office in your camp. I have your best interests at heart, and feel that it would only be an ornamental folly. What you want is a nice jail, you know -- a nice, substantial jail and a free school. These will be a lasting benefit to you. These will make you really contented and happy. I will move in the matter at once.

Very truly, etc.,

MARK TWAIN, For James W. Nye, U. S. Senator.

"That is the way you answered that letter. Those people say they will hang me, if I ever enter that district again; and I am perfectly satisfied they will, too."

"Well, sir, I did not know I was doing any harm. I only wanted to convince them."

"Ah. Well, you did convince them, I make no manner of doubt. That luminous epistle finished me with them. But that my political murder might be made sure, some evil instinct prompted me to hand you this memorial from the grave company of elders composing the Board of Aldermen of the city of San Francisco, to try your hand upon -- a memorial praying that the city's right to the water-lots upon the city front might be established by law of Congress. I told you this was a dangerous matter to move in. I told you to write a non-committal letter to the Alder men -- an ambiguous letter -- a letter that should avoid, as far as possible, all real consideration and discussion of the water lot question. If there is any feeling left in you -- any shame -- surely this letter you wrote, in obedience to that order, ought to evoke it, when its words fall upon your ears:

WASHINGTON, Nov. 27, 1867.

The Hon. Board of Aldermen, etc.

GENTLEMEN: George Washington, the revered Father of his Country, is dead. His long and brilliant career is closed, alas! forever. He was greatly respected in this section of the country, and his untimely decease cast a gloom over the whole community. He died on the 14th day of December, 1799. He passed peacefully away from the scene of his honors and his great achievements, the most lamented hero and the best beloved that ever earth hath yielded unto Death. At such a time as this, you speak of water-lots! -- what a lot was his!

What is fame? Fame is an accident. Sir Isaac Newton discovered an apple falling to the ground -- a trivial discovery, truly, and one which a million men had made before him -- but his parents were influential, and so they tortured that little circumstance into some thing wonderful, and, lo! the simple world took up the shout, and, in almost the twinkling of an eye; that man was famous. Treasure these thoughts.

Poesy, sweet poesy, who shall estimate what the world owes to thee! "Mary had a little lamb, its fleece was white as snow --And everywhere that Mary went, the lamb was sure to go."Jack and Gill went up the hillTo draw a pail of water;Jack fell down and broke his crownAnd Gill came tumbling after. For simplicity, elegance of diction, and freedom from immoral tendencies, I regard those two poems in the light of gems. They are suited to all grades of intelligence, to every sphere of life -- to the field, to the nursery, to the guild. Especially should no Board of Aldermen be without them.

Venerable fossils! write again. Nothing improves one so much as friendly correspondence. Write again -- and if there is anything in this memorial of yours that refers to anything in particular, do not be backward about explaining it. We shall always be happy to hear you chirp.

Very truly, etc.,

MARK TWAIN, For James W. Nye, U. S. Senator.

"That is an atrocious, a ruinous epistle! Distraction!"

"Well, sir, I am really sorry if there is anything wrong about it -- but -- but -- it appears to me to dodge the water lot question."

"Dodge the mischief! Oh! -- but never mind. As long as destruction must come now, let it be complete. Let it be complete -- let this last of your performances, which I am about to read, make a finality of it. I am a ruined man. I had my misgivings when I gave you the letter from Humboldt, asking that the post route from Indian Gulch to Shakespeare Gap and intermediate points, be changed partly to the old Mormon trail. But I told you it was a delicate question, and warned you to deal with it deftly -- to answer it dubiously, and leave them a little in the dark. And your fatal imbecility impelled you to make this disastrous reply. I should think you would stop your ears, if you are not dead to all shame:

WASHINGTON, Nov. 30, 1867.

Messrs. Perkins, Wagner, et al.,

GENTLEMEN: It is a delicate question about this Indian trail, but handled with proper deftness and dubiousness, I doubt not we shall succeed in some measure or otherwise, because the place where the route leaves the Lassen Meadows, over beyond where those two Shawnee chiefs, Dilapidated-Vengeance and Biter-of-the-Clouds were scalped last winter, this being the favorite direction to some, but others preferring something else in consequence of things, the Mormon trail leaving Mosby's at three in the morning, and passing through Jawbone Flat to Blucher, and then down by Jug-Handle, the road passing to the right of it, and naturally leaving it on the right, too, and Dawson's on the left of the trail where it passes to the left of said Dawson's, and onward thence to Tomahawk, thus making the route cheaper, easier of access to all who can get at it, and compassing all the desirable objects so considered by others, and, therefore, conferring the most good upon the greatest number, and, consequently, I am encouraged to hope we shall. However, I shall be ready, and happy, to afford you still further information upon the subject, from time to time, as you may desire it and the Post Office Department be enabled to furnish it to me.

Very truly, etc.,

MARK TWAIN, For James W. Nye, U. S. Senator.

"There -- now, what do you think of that?"

"Well, I don't know, sir. It -- well, it appears to me -- to be dubious enough."

"Du -- leave the house! I am a ruined man. Those Humboldt savages never will forgive me for tangling their brains up with this inhuman letter. And I have lost the respect of the Board of Aldermen -"

"Well, I haven't anything to say about that, because I may have missed it a little in their cases, but I was too many for the Baldwin's Ranch people, General!"

"Leave the house! Leave it forever and forever, too!"

I regarded that as a sort of covert intimation that my services could be dispensed with, and so I resigned. I never will be a private secretary to a senator again. You can't please that kind of people. They don't know anything. They can't appreciate a party's efforts.

A Few Signatures

For some time I have been in the habit of making signatures and avatars (graphics to be used in online forums), a skill I picked up through imitating the wonderful efforts of my friends on The Fairy Tale Novel Forum. However, up to this point, I haven't been able to post them to that forum as the particular program the forum uses only allows one to post images from elsewhere on the web. Now, at last, I can post them online! Here are few I've made. I don't have any fancy graphic-editing software, these are simply made with the programs that come with the computer (Paint, ArcSoft PhotoStudio) and Nero. They're certainly not professional level, but I think I'm getting better at it with every sig/avvie I make. Unfortunately, I can't post those whcih i consider my best for certain copyright difficulties. However, the pictures used below are, as far as I know, in the public/promotional domain.

MUSIC REVIEW: Rossini's "La Gazza Ladra"

Ileana Cotrubas stars in a scene from "La Gazza Ladra"

Tragicomedy, or drama that seems to move toward a tragic ending but finishes happily through a twist in the plot, is not unusual in the world of theatre. We find them in abundance in our stageplays and musicals. Operas that follow the tragicomic scheme, however, are few and far between. Most of the operatic storylines in the permanent repertoire are either classed as seria (darker storylines with unhappy endings), or buffa (humourous storylines with happy endings). It is far less common to find a true semi-seria. This is the musicologist’s name for tragicomedy. One of the few grand operas that fit into this category is Gioachinno Rossini’s immortal work, ‘La Gazza Ladra’, or ‘’The Thieving Magpie’. This time-honoured classic tells the story of a young woman condemned for the theft of her master’s silverware, only to be saved through the discovery of the plunder in a magpie’s nest. It seems an uncomplicated tale when worded so simply, but within this theme are to be found betrayals, true love, deception, self-sacrifice, and inspiration.

Before we plunge headlong into the plot appeal of the piece, let us explore the music. The famous overture is both exhilarating and appropriate to the storyline. From time to time one runs across a misleading overture, in which the mood of the melody does not reflect the plot that is to follow. This is certainly not the case in ‘La Gazza Ladra’ – the expectant drum roll at the onset and frequent fluctuation of the instruments between major and minor keys masterfully foreshadow a drama brimming with interest and meaning. It is worth noting that this prelude is unique in that it juxtaposes orchestration from a duet found in the second act with tunes heard only in the overture. This superbly ties the piece to the rest of the opera, still allowing it individuality through its unshared movements. Rossini was certainly ahead of his time, as this practice did not become well known until Wagner’s generation, some thirty-five years later.

Practically every song, from the mellifluous aria, ‘Di Piacer’, to the heart-rending ‘Forse un di Conoscerete’, to the joyous ‘Giorgio! Giorgio!’, provides a generous helping of vocal acrobatics. Each is crafted in classic bel canto style. ‘Bel canto’, directly translated, means ‘beautiful singing’, and it definitely lives up to its name. Rossini despised singers who introduced their own embellishments to his score, so he liberally scattered ready-made cadenzas through his work. Some would declare that these ‘flowers and fireworks’ have no artistic value, and that they detract from the actual melody. These critics misjudge; Rossini displayed a perfect comprehension of the human voice as instrument. His cadenzas and prolonged notes are not thrills inserted merely to impress listeners, but play much the same role as woodwind trills or bassoon gurgles – they are very much a part of the orchestration. The voice is a glorified instrument with a deservedly exulted position. One has only to here a single stanza to know that Rossini’s grasp of bel canto is complete.

The librettists’ understanding of the use of recitatives is also highly refined. A great deal of judgement and knowledge of the storyline is required in the choice of whether a full-fledged song or a simple recitative would best express the thought. The writer, Giovanni Gherardini, was evidently aware of the fine line between the deep expression of feeling possible in a song and the clarity of a recitative.

The story itself that Gherardini and Rossini told is intriguing and thought-provoking. At a single hearing, the characters may appear one-sided; Ninetta virtuous, Gianetto loyal, the Mayor evil, and so on. However there is more to these characters than one would suppose. If one examines them closely, depth of personality, and even seeming inconsistencies arise. Take, for instance, Gianetto’s fear, or the Mayor’s feelings of pity in the trial scene. These ‘inconsistencies’ do not present lack of contemplation on the part of the librettist, but rather the opposite. The villagers are realistic human beings with faults and moments when they are not themselves. Many scriptwriters feel that if their pieces are to contain morals, the characters must perpetually exemplify either good or bad. This is not so in this opera. The moral of triumphant virtue is made through people like us, who are neither unbelievable buffoons as are found in buffa, nor such ethereal personalities as are found frequently in seria. Through the medium of semi-seria, one is given a picture of ordinary people against extraordinary-yet-fathomable odds. One can sympathize with Ninetta, Pippo, and Lucia because one can picture oneself in such circumstances. Join such characters with meaningful lyrics and marvelous music, and the result is the evening of a lifetime.

Amidst these numerous, glowing aspects of "La Gazza Ladra", there are few weaknesses. One of the most obvious is Fernando’s overlong duet with Ninetta in the first scene. This portion of the production, a sequence of three songs and an orchestrated recitative, is both extremely lengthy, and, for the most part, unmemorable. The first song, ‘Lieri, sul Tramontar del Sole’, has little or no musical charm, as the tune changes with each line, containing no running line of melody. It continues into a slow lament for Ninetta, all of five minutes in duration. This is a rather prolonged sentiment for presentation to an audience who has only just become acquainted with Fernando and cannot as yet have many feelings for him. Rossini’s probable reasons for introducing this number against the sparkling, harmonious whole are understandable, however. The altered style of music, combined with the length of the duet, aids in establishing that this turn in the path of the plot is significant. It also causes one to pay especial attention to the lyrics. While this explanation appears to make sense, one cannot help but wish that the composer could have found a more engaging manner of making the librettist’s point. On a more praiseworthy note, the song is redeemed by a quickening ending which calls to mind the segment of music following ‘Buona Sera’ in "Il Barbier di Siviglia", and heightens to almost patter-ish speed in ‘Io Tremo Pavento’. The tedium is also relieved by the brilliant solo for the Mayor that follows.

Another facet of the opera that may leave attendees unsatisfied is found not in the orchestrations or vocal parts, but in the plot itself. By the final curtain, patrons may be surprised to discover that the villainous Mayor goes unpunished! He, one of the most corrupt men in Rossini’s generally comical canon, the scoundrel who caused so much suffering and sorrow, the vengeful, scheming coward who momentarily appears to the audience the most abhorrent character that ever stemmed from a librettist’s fancy – he to go unpunished! The observer’s heart yearns for complete justice. It is not enough that for the rest of the cast ‘…all is fear and happiness instead of fear and dread’ – one wishes the Mayor to receive the bullet that was meant for Ninetta’s heart. At the very least, it would be gratifying if Gianetto gave him a good shove!

This ‘getting away with it’ is yet another portrayal of realism. The evildoers of the world are not always punished, at least in this life, and not all harms can be healed. Yet the Mayor, through his reaction to the situation’s outcome, has both his punishment and hope of redemption on a small level – his guilt over his actions towards the other characters. This is yet another evidence of Gherardini’s realization that it is not one-sided, equally rewarded and punished characters that teach us – it is those that bring us to the truth.

It would be impossible to touch on every ingredient that makes this opera such a delight for the senses and the intellect. This masterpiece can be enjoyed on various levels. For those who wish a worthwhile diverting story, those who take interest from unusual acting and singing challenges, those who revel in remarkable music, or, for that matter, anyone who will take the time to hear it, one rarely runs across better theatrical fare than this. "La Gazza Ladra" is a performance for everyone.

Post scriptem - For those hoping to find a DVD performance of the opera, I highly reccomend Michael Hampe's Cologne Opera production, filmed 1987, starring Ileana Cotrubas and Alberto Rinaldi.

The Lighting of the Lantern

Non nobis, Domine, sed Nomine Tuo da gloriam!

These are the words of a beautiful, Latin hymn that has been sung for centuries. It means, "Not for us, Lord, but for the glory of your name." With these words, I wish to dedicate the opening of my blog to the Sacred Heart of Our Lord, Jesus Christ, the Light of the Salvation and King of eternity. I pray through the beautiful hands of His holy Mother, Our Lady of the Angels, that this blog will be as a lantern in the darkness of world, illuminating beauty and joy.

Welcome to Lantern's Light, my foot in the door to the world of the net. Night has fallen, and the world is dark, but don't fear. The flame has sparked, the light is kindled. Let's embark on a journey through the wilds, crossing swords, encountering saints and sinners, reading dusty manuscripts, eating lembas and and drinking wine, having hearty laughs and tears of sorrow. In short, let us enjoy the gift of life!

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There, now that was properly dignified for the official inauguration of the blog - now the disclaimers. My posts will likely be quite random. I am apt to speak my mind about whatever comes into my head. I am am also, to my own disappointment, not an outlaw of Sherwood, a shieldmaiden of royal blood, or a maiden locked away in a tower in a distant land. I am an ordinary human being in a thoroughly modern world. I Most of my adventures take place in the literature I read or the manuscripts I write. I have no palfrey or unicorn steed - I ride in a van. I do not write in calligraphy upon scrolls of parchment or vellum - I use Microsfot Word. You are thus warned that it won't be quite as grand an adventure as I've made out. But, in the words of one of my favourite authors, G.K. Chesterton, "A man could, if he felt rightly in the matter, run after his hat with the manliest ardour and the most sacred joy." And it is true, that though I at least, am not 1000 page epic material (if you are, get in touch with me!), I am engaged on the divine quest that is greater than any - everyday life. And the purpose of quest? Ah, it's a fabulous and perialous task, but it is so widespread that many do not even realize it has been laid upon them - the task of journeying to the City of God, and making a dwelling there with the Lord. Now that's worth living for. Enjoy the trip.