Revisions and Q&A #9

Spent hours today in the company of awesome friends revising the score so far. Some parts of the beginning of act II were bothering me in many aspects: Lyrics, vocal technique, harmony…

It looks way better now, and my mental block towards Darmani’s aria can finally be lifted after I implement the changes into the actual score. An hour and a half of opera written so far…

Also, Friday will be a massive day for recordings! Parts of Demo #4, plus parts for the Clock Town and Deku Palace choir demos.

And now it’s time for…

Gregory Smith: If Nintendo refuses to allow this project to be performed, would you release the sheet music/any recordings you have for other people to use (and possibly perform outside of Nintendo funding)?

Honestly, I have never given that a thought, yet. But it could happen.


The J-Bomb: Are there any aspects of the opera you wish to include, but fear you might not be able to?

The general plot and the division of the entire opera into numbers has been made since I started composing it. It has suffered minor tweaks, but none involved removing something so far. What I wish I could include I am already sure I can’t (like Milk Road and those AWESOME ALIENS). I don’t see any problems concerning what is planned to be included into the written work.

If you’re talking in terms of staging, that is a whole different thing. There are sketches of the sets, ideas, things planned to work in a certain way for optimal performance, and those things will always inevitably depend on what stages this can be on. There are designs of the ideal stages and sets, and alternatives for what may come as well.

I think that you should always plan and sketch out the ideal circumstances for a work, but never be surprised or frustrated if that ideal cannot be met 100% at first. That’s when you should use the planned alternatives. The ideal ones remain there as the original concept to be used when full quality is possible.


Lee AngellaI can’t help but wonder how you recorded your last three, silhouette demos.  Are your actors behind the veil with a light source while the camera records in front of the veil, or are the actors and the light source behind the camera while the veil catches the shadows? I imagine the first case would involve the camera catching the light, but the camera’s shadow could be caught in the second case (unless the camera is above ground).  How “Sakon’s Arietta” was recorded intrigues me the most.  It looks like the video has a small light source, but how were the shadows cast?

It is definitely the first case. As you imagined well, the camera’s shadow would be caught in the second case. The light is not always perpendicular to the veil, unless it has something to block its bright source. For example, if my big fluffy head (and body, when I get up) weren’t stationary in the middle of the frame during Demo #1, you would have seen a big ball of light there.

As for Sakon’s Arietta, the light was at an angle, since there was nothing stationary to block the source. It wasn’t a smaller source at all, actually. The video just has a heavy colour filter.


whmurray11: [regarding Demo #3 and Pamela’s father] This video makes me curious, are you going to use the Song of Healing with the Happy Mask Salesman instead of Link to heal him? Or are you just going to leave all the people healed by the song left out?

The Happy Mask Salesman taught Link the Song of Healing to ease the sorrows of the troubled souls he met on his quest. The Salesman’s needs are not those of Link. Although he asked Link to fetch Majora’s Mask for him, Link’s experience is one of growth and maturing through helping others. I personally think the Salesman himself isn’t really concerned with specifics when it comes to people’s private lives. He is rather agitated about the mask being in the wrong hands, but he seems to me as a character who would pass almost undetected through this world, or any world, in fact, unless he would wish to make himself seen.

I think he operates in the grander scheme of things, in his own mysterious and incomplete way. So what would be fitting for a redeemer’s role, the contact with the actual denizens of the world, their healing through mysterious powers, the link between them and a higher order of things, is not present in the opera, simply because we do not have that Link present in this timeline.


VikzeLink: I wonder how many [demos] he is going to release… I hope not to many, then it wouldn’t be as fun to see the real deal if it ever comes out.

The exact number of planned demos and their names can be seen on the opera’s website.

I would have to release dozens of demos to cover the actual work, as it is estimated to be around 3:30 hours long. What you are seeing as demos is but the tip of the iceberg. I made it this way to give a feel of what it can become without exposing the developments too much (sometimes not at all, like in the last two demos), and without going too far into the more demanding parts of the work.

4 Responses to “Revisions and Q&A #9”

  1. OK, so this are the demos, but when you finish them all, when will you start to write the real Opera project?

    • Gregory Smith Says:

      He’s writing the real opera now. The demos are all from the first movement, which is already completed. He’s now about a quarter of the way through the second movement (you can check his progress on the side of the blog)

      • Miguel Jesus Says:

        Actually, demo #3 is a sketch for pamela’s arietta which will appear in the 3rd act. The other ones are, as you pointed out, from act I.

  2. Since this question has already been answered correctly here, I’ll just confirm that it is as Gregory Smith and Miguel Jesus have said.

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