Q&A #1

Here is the first Questions and Answers post. I will occasionally answer some questions that are floating around on the internet about this project, if I can, or if I deem it good to reveal at this point.

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Greg Liberko, CrimsonLoftwing and others: Why is Captain Viscen a girl?

It is not uncommon in opera to have women interpret male roles, especially those of young men. I will do it more than once in this opera, for it serves mainly to give the music some timbral variety when there is more than one character singing, and to help understand the text, as it is already difficult to understand an opera’s libretto on its own. Booklets with the libretto (lyrics) for viewers are not an idea to set aside.

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HiperPiece: Did you made the music cover for this as well? And could you please put a link to listen/download it?

Now, now, I’m sure you all know how to acquire sound from YouTube. ^_^

If by music cover you mean the entirety of the track, then yes. The way I work with Mr. Kondo‘s and Mr. Minegishi‘s brilliant themes in the opera usually follows this pattern: I show the theme as close to the original instrumentation as possible; then, if appropriate, lyrics are sung to it; finally, I start playing with it, developing on it in whatever fashion most suits the context in which it appears, from basic ornamentation to stuff you would have to be looking at the score to figure out how they are related to the theme, so there ends up being plenty of new music besides the original themes.

These rules aren’t set in stone, obviously, as it would become too predictable a system if it were so. Some themes get more development than others, others get a different version shown before the original, some are fit into their context so specifically that there is barely any room left for development.

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DrakeWolfKnight, Kate Clarke, and others: I’m a singer/musician/dancing penguin and I would love to be a part in this! Do you need any help?

Help is never refused. Right now, however, I am focusing on the production of the demos, and unless something changes, we would rather have it so that the specific sound of the room and the microphones used to record the voices remained the same, which would not be the case in setting up overseas recordings and attempting to mix the results. We are managing with what we have, and it serves the purpose so far.

In what concerns help in the actual staging of the work, that would have to wait until after there are enough demos (I plan 8 more) and enough fan support to communicate with Nintendo without looking like some mini-schmuck from Portugal waving his arms around at the company’s colossus about what he intends to build. The way this project can become a reality depends on Nintendo’s verdict, and it can go in many ways.

I will, however, do my part in everything I can, and will undoubtedly finish writing the opera regardless of the outcome (I am aiming for finishing the 3rd act in September).

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Shaun Wrx-Sti Dettman: So it’s centered around Kafei and his love and not Link?

As I have said in this post, Link is absent from the opera. It is explained in more detail in the linked post why that is. Kafei provides the perfect character to focus on in an operatic setting. He is the center of the action as he represents the only character left with enough strength to fight for his promise while others, like Darmani, have perished, or others still are just lost in the general decaying sense of trust of Termina.

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SmashQueen: What spurs Kafei to act earlier?

In my little modification, Kafei doesn’t know that Sakon visits the Curiosity Shop. So, after frantically searching through Clock Town, he concludes he must be out of town somewhere. He begins the opera desperately searching for any criminal activity from outside town.

If you remember the juggling brothers in West Clock Town, they talk of the kidnapping in the swamps to the south. That’s Kafei’s first lead in his frantic search for the mask. He’ll follow lead after lead until landing on the right one.

But don’t think I’ll have Kafei do Link’s deeds. He is not a hero, so he will be subject to the hostile environments as a regular Terminan would. As you can see in my YouTube channel, there’s an instrumental called Odolwa and the Deku, so something in Kafei’s meddling in the swamp leads the Deku to actually run into Odolwa.

Some parts of the world will be more explored than others. I can’t do miracles and I don’t want to stretch suspension of disbelief, so some places will simply not appear, or else it will become rather ridiculous to have Kafei become a professional explorer like Link.

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That’s all for now. If you have any more questions, feel free to ask them here or on Facebook.

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One Response to “Q&A #1”

  1. As a young college student that goes to see developing opera students at the AVA perform multiple times every year I must say that i really appreciate how authentic this is. The authenticity of your project to both Opera as a genre and to Majora’s Mask really surprised me.

    Compared to other Zelda themed projects I’ve seen in the past yours is incredibly professional. I’m guessing it will all come down to those 9 demos. I hope that Nintendo will see just how professional it is and choose to work with you -rather than shoot it down.

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