December 25th, 2014

shepard

Рыдачка

Вэй меня просто убивает своим артом, убивает. Где мои платочки, уа-а-а-а-аы-ы-ы-ы!

Collapse )

Очень, очень слёзно и трогательно.

Вдогонку: никогда не встречала в игре этого диалога, и, по-моему, его обычным путём услышать и нельзя, только хитрым сэйвлоадом, как и показано в видео. Но диалог того стоит:



Гаррус хочет познакомить Шепард со своей семьёй, а-а-а! :inlove:
shepard

Будден со мной согласен насчёт финала "Турандот"

И Айрис Арнесен с ним согласна тоже. Не удержусь, процитирую Буддена:

"[Puccini] had originally described Turandot as the most 'human' of Gozzi's fiabe. Yet in his hands it became progressively more inhuman. <...>
In Act III, it is the Prince who appears inhuman. True, he protests angrily at the torture of Liù, as does Ponchielli's Enzo (another unsympathetic jeune premier) at the crowd's hounding of La Cieca; but words cost little. Nothing in the text of the final duet suggests that Calaf's love for Turandot amounts to anything more than a physical obsession: nor can the ingenuities of Simoni and Adami's text for 'Del primo pianto' convince us that the Princess's submission is any less hormonal, a case of nature re-asserting itself after years of repression. How very different is the selfless devotion of Liù, who commands our sympathy throughout, while Puccini's decision to have her die under torture, leaving the Princess totally unmoved, made sure that it remains with her. Only a miracle of musical transcendence could redeem the two principals; and that is something that lay outside Puccini's range. As a self-confessed master of 'great sorrows in little souls', his heart - to adapt the words of Shakespeare's Mark Anthony - was in the coffin there with Liù. Which is why the opera that represents the summit of Puccini's achievement both as musician and music-dramatist was never brought to a satisfactory conclusion".

Collapse )

'Nuff said. Арнесен говорит то же самое, только в более поэтичной и мягкой форме.

И всё равно мы любим труды Пуччини и его самого - этого яркого, открытого, широкого душой, капризного, жестокого, сентиментального, жизнерадостного маэстро. Со всеми его недостатками. Viva Puccini!