Archive for arietta

Demo #3 – Pamela’s Arietta (Audio Makeover)

Posted in Media Updates, Updates with tags , , , , , , , , , , , , , , on August 26, 2014 by mbulteau

YES I KNOW SHE’S NOT AN OPERA SINGER

I still have no personal preference for child singers, but I have come to the conclusion that Pamela might have to be the exception to the operatic voice rule, even in the stage version. After some testing, there is no way to make her a convincing child character otherwise. The singer here is not a child, but played the part perfectly for the demo.

Assuming a staging, in the event that no children fit the part, Pamela might end up becoming a strange childish young woman (probably played by a soubrette), which is actually not that out of place in the strange land of Ikana.

Rest assured, despite my personal taste, I feel it is important that Pamela remains a child, so a good child singer is definitely going to remain plan A.

Signs of Life and Q&A #24

Posted in Q&A, Text Updates, Updates with tags , , , , , , , , , , , , , , on March 25, 2013 by mbulteau

Hello, internet.

No, we’re not dead. We and other people needed for the project get caught up in other stuff and things sometimes keep being out of sync. I thought I’d pop by to tell you something.

I came across a lovely cover of Pamela’s Arietta by Elizabeth DeLoria who, despite the low quality of the hardware, delivered quite a character! You can hear it here. She, and I quote, “REGRET(s) VERY LITTLE.” Well, I regret nothing! :)

Remember that we are searching for both singing and monetary support! If you don’t know about it yet just visit to the two previous posts.

Also, thank you to all of you who have supported us, your help is invaluable. We urge you to spread the word further so we can reach the adequate number of resources to keep working on this.

Speaking of which, a very pertinent question seems to have been left behind, and I apologize to f(x)=12/x for that.

f(x)=12/xSo many inconveniences, and still active, if not going strong. Sadly it’s not the norm (in so many artistic fields). Imo the delaying of the demos is not a problem as long as the writing goes on. Which leads to the following question(s): considering you’re “quite past” the 67% claimed by the bars on the right, is act 2 completed (on paper)? Has 3rd act/ouverture/prologue been started (on paper)? And is it right to assume that more paperwork means faster digital transcription? I hope the questions (not to mention their quantity) don’t seem too…intrusive.

Due to terrible issues of focus and of other kinds, I tend to have a hard time with just paper, and the best ideas for timbral composition come along when I have a more solid feedback, such as from digital samples, to give a clearer idea of what an orchestral blend can provide. They do not replace or evoke in the slightest the real depth of an orchestra, mind you, but it became my best way to develop things musically.

Because of this, I have been writing on paper all the ideas and sequences that I think must not be forgotten. It’s been a work in bits, spread all over and not joined yet. Some ideas are even conflicting, as they are options to be tested later on.

Therefore, I cannot say that any act is complete (save for the first one, if you don’t count the large amount of corrections and additions that need to be made), as the paper needs the (pre-)final judgement of orchestration to be considered definitive.

There are parts of the third act on paper, indeed. Such as the tribute to renaissance music with Igos du Ikana’s aria, and the arrival of Kafei at Clock Town as the moon draws close.

More paperwork just means less pain for the wall, as my head will hit it less trying to come up with ideas.Whenever the resources are enough, the writing will enter turbo mode, so…

SUPPORT US!

Revisions and Q&A #9

Posted in Q&A, Text Updates, Updates with tags , , , , , , , , , on May 10, 2012 by mbulteau

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.

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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.

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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.

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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.

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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.

DEMO #3 – Pamela’s Arietta

Posted in Media Updates, Updates with tags , , , , , , , , , , on May 8, 2012 by mbulteau

As in the last arietta, the theme isn’t developed on, just sung to. Like with most themes, development comes later on in the scene, which in this case is but sketched yet.

For those expecting more developed, flashy and dynamic stuff, be patient. Not everything is a showstopper.
Demo #4 is expected to be a trio with quite the development, and if everything goes well, it will be flashy, dynamic and on time. :)

EDIT: Old video no longer available. Makeover here.