Video with 17 notes
"Draußen ist Freiheit (Reprise)” with Sergey Denisov as Alfred and Elena Romanova as Sarah
…because Sergey’s vampire transformation is always relevant
I Kind Of Want To Change My URL but I Am Attached To The One I Have: An Autobiography
if you like musicals and like belting show tunes at random times we’re all set for a relationship congratulations
there’s never a wrong time to watch 1992 elisabeth
Phantom chandeliers, ALW version (and of course the original!)
1. The Palais Garnier chandelier, which actually never fell. One of the counterweights holding it in place, however - that fell, making the chandelier shake, and also ruining quite a bit of the exterior on its way. This happened in 1896, and a worker was killed. This is what inspired Leroux. This photo doesn’t really do the chandelier justice, as the top is partly clipped off. On the other hand, you can see the view Maria Bjørnson based the stage chandelier on in 1986, on the thee lower tiers.
2. The original West End chandelier. It was made oval to ease the weight and to (I think) be easier to control when falling. From many seats it still looks round. The bulbs are simplified compared to the Garnier one, but the lyres and bead drapes are very recognizable. As mentioned it’s based on the three lower tiers of the Garnier one, excluding the top tier, but otherwise keeping the famous features. This has been the basis for all replica productions, except the Vegas one.
3. The Viennese production of Phantom is the only one as of yet to use Maria Bjørnson’s design, but on a round chandelier. Granted, Bjørnson’s original chandelier design WAS round, but in the technical drafts it became oval. However, the Viennese audience got to enjoy the circular version. I’m still curious on where this chandelier is today! it has not appeared in any other productions.
4. The Hungarian production was the first non-replica stage version of ALW’s musical. They worked around the whole chandelier drop in a rather clever way - they had it fall from the stage ceiling, towards the back of the stage, where the backdrop illuded the auditorium of the Palais Garnier. Their chandelier was a rather faithful copy of the Garnier one, except a lot smaller and more crashable.
5. The Polish production was the second non-replica stage version of ALW’s musical. They also made a faithful copy of the Garnier chandelier. Though I think they made it too narrow and round, I still dig the look of it. In the auditorium it looked a lot like the real deal.
6. The Vegas chandelier was the first and so far only replica production to use a different chandelier. It consisted of four “plates” not connected to eachother, which enabled them to have an Overture with the chandelier pieces moving around the auditorium, until it came together and formed a chandelier. The pieces were still loose at this point, but held in place with the multiple wires connected in various spots in the ceiling. It also enabled them to shake the chandelier well, and to have a super fast drop. It’s not really fair to have a side view of this chandelier, cause it was usually seen in action and/or from underneath, where it had elaborate lyre decorations. Whereas the original Phantom chandelier was based on the three lower tiers of the Garnier one, the Vegas one appeared to be based on the three TOP tiers. Hence it was more pointed and with less base than the replica one.
7. The movie chandelier was the first to start moving away from the Garnier one, but still keeping the main look. It had four tiers, but the overall shape was more Regency in style, with a tear shape and with less viewable metal bases and more vertical crystal strings. The crown was also higher, adding to the tear shape. Still, it had the iconic lyres and the bulbs, just less prominent.
8. The Royal Albert Hall chandelier was similar to the movie one. For a while I thought it was the same, until I saw them side by side. The RAH one further emphasized the tear shape, and though the bulbs were kept they removed the iconic lyres. The main decorations were the thee tiers with bulbs, and strings of crystals. The foot had “Maria” engraved, to honour original Phantom designer Maria Bjørnson.
9. The UK tour further simplified the look. It has the same tear shape and the emphasis on strings of beads as the movie and RAH one, but it has placed two of the tiers a lot closer. These tiers has scrolls with bulbs, but fewer per row than the others. There’s also no crown on top, and no lyres. This one has, in my opinion, moved far away from the Garnier original. Which is strange, seeing how they’ve copied Garnier quite faithful in some of the set designs.
If you were to apply a sort of typology on the Phantom chandeliers, you have at one hand those sticking close to the Garnier original, and others being more tear shaped and moving away from the Garnier look. The 2004 movie chandelier is what kinda connects them, as that one was a hybrid version. But the ones to follow it has been simplified so they’re almost unrecognizable, creating a look of their own.
And that was today’s chandelier appreciation post.
ginabeck asked: Alfred or Herbert
to which I say: how you dare you??
To say it’s love would be too simple
It’s more like a calling, a vocation
Something I was
Put on this earth to do
Now I’m shooting with the stars
And I’m flying with the angels
And my heartbeat is a symphony the
Closer I get to you
I Vampiri (Riccardo Freda - Mario Bava / 1956)
La scena più celebre del film, l’eccezionale trasformazione «a vista» di Gianna Maria Canale, dalla giovane Giselle alla vecchia Marguerite, in un’unica ripresa, senza stacchi di montaggio, fu opera dell’inventivo direttore della fotografia Mario Bava e dal truccatore Francesco Freda, che riuscirono a realizzare il repentino processo di invecchiamento utilizzando luci colorate, invisibili in bianco e nero, che evidenziassero via via i diversi strati di trucco applicati al viso dell’attrice. L’ingegnosa invenzione tecnica è svelata da un semplice dettaglio: durante la trasformazione, mentre il viso appare sempre più vecchio, il vestito cambia colore diventando sempre più scuro. Successivamente viene usato lo stesso procedimento, ma in ordine inverso, per la scena in cui Gianna Maria Canale torna giovane; anche qui è possibile notare il trucco osservando che l’abito diventa sempre più chiaro.
Jamie Campbell Bower as Anthony Hope in Sweeney Todd
Candideor Tanz Der Vampire
Page 1 of 1232