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just-the-dia · 8 months

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I knew Anna Karenina was a masterpiece but didn't expect to be so impressed after reading it.

Leo Tolstoy antisipated future changes in the country as well as in the social life and created a very progressive story about life, about people and their thoughts, their attempts to find place in life, it's meaning and personal happiness. He showed how society influences people and their destiny, how rules and what is believed to be right may be in contradiction with what is actually right. The author makes readers think about a wide spectrum of things: from love and family issues, the state situation, moral and social obligations, to the existential problems and crises of faith. Love and hatred, happiness and devastation, family and lonliness, social and personal, right and wrong, life and death. As he said, Anna Karenina was about the present.

Anna Karenina, as I see her, was a controversial character- she may have behaved without a proper thinking, but did she have any option? It was her honor and dignity she gave up trying to become happy, her son whom she had to leave to be with her loved one, her whole life in exchange for love. It was an impossible decision. All her sacrifices led to the great fear- fear of being alone (remembering the reality of the 19th century, it would have been a horrible ending) , of becoming unloved by Vronsky. It was a tragedy, the final end, which set her free from social pressure and fear.

I find myself impressed by her bravery and strength but at the same time I'm not sure her way of leaving husband and son was completely morally right (in the beginning of the book it seems, she loved them and couldn't wait till coming back to them). But again, was there a choice? Were there other ways? - I doubt that.

She said to her brother : "You cannot understand. I feel I'm lying head downwards in a sort of pit, but I ought not to save myself. And I cannot do it." (in the original version, she was "flying in some sort of gulf" which I find a better metaphor).

We can only hope she found her peace after the end.

P. S. It's only my impression of the book and I may be wrong or could have understood it differently from you, so if you'd like to discuss the book or share your thoughts, please feel free to do it❤️

#just some thoughts #anna karenina #leo tolstoy #books and reading #Books #studyblr #Did she have another option??#Dia's reading diary #Karenina #Reading #reading recommendations #book worm #alexei vronsky #Ruslit #russian literature #literature #19th century

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gachagachaart · 9 months

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#Karenina #punishing gray raven

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selenevermillion · 2 years

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#anime girl #punishing gray raven #karenina

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kiryma · 1 year

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Padoru for @mutationz

#my art #punishing: gray raven #karenina

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thesweatycollectiontyrant · 2 years

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Anna Karenina

The show that I’ve always wanted to listen to because of its amount of legit repertoire, but have never had the time to. Now is the time.

It's been two and a half years since I went through a show this way. I graduated from college a week ago tomorrow, and I am finding time to do my favorite things again. It's been such a fun time reflecting on my time at university. I'm grateful.

Background Info

Anna Karenina ran at Circle in the Square in the early 1990s. It wasn’t largely successful from what I understand. It is based on the Tolstoy novel of the same name. There was no cast recording for the musical until 2007, when an absolutely crazytown (my favorite term for TALENTED) group of people recorded it for posterity! Wait until you hear these names.

Writers

Music for Anna Karenina was written by Daniel Levine, who received a Tony nomination for Best Original Score for his work on the show. Peter Kellogg wrote the book and the lyrics.

I’ve been through hell and high waters trying to get a legible and complete score for this show, so we shall see how this goes.

Character List

COUNT ALEXIS VRONSKY (Baritone) - Anna's lover, a cavalry officer.

ANNA KARENINA (Soprano) - Oblonsky's sister, Karenin's wife, and Vronsky's lover. A woman who is unhappy in her marriage and searching for fulfillment in her own way.

CONSTANTIN LEVIN (Tenor) - Kitty's suitor, Stiva's old friend, certified nervous wreck.

PRINCE STEVEN OBLONSKY (Baritone) - Civil servant, Anna's brother, and man about town.

PRINCESS KITTY SCHERBATSKY (Mezzo-Soprano) - Sister-in-law to Oblonsky, pursued by Levin. Bubbly and fun.

NICOLAI KARENIN (Bass) - Senior statesman and Anna's husband, twenty years her senior.

Who’s Singing?

As I mentioned above, there was a studio cast recording that happened in 2007. It has an all-star cast, including Brian d’Arcy James as Vronsky, Melissa Errico as Anna, Gregg Edelman as Levin, Marc Kudisch as Oblonsky, Kerry Butler as Kitty, and Jeff McCarthy as Karenin. This is such a group of amazing singers and actors, especially the four men. I’m very excited to dig into this show.

Let’s Do This

In the cast album, we begin with “Journey to Moscow.” The interweaving eighth notes remind me of Anastasia. The 3+3+2 accent pattern begins as the ensemble and principals begin to sing about being on the train and all of their personal problems that will be fixed by being on the train…? I love that each of the principals get a little moment of solo line throughout. Not the most dramatically exciting opening number, but the rhythmic pulse in the music does a good job compensating for it. I do love the end, especially the piano swell.

Anna and Oblonsky sing a duet called “There’s More to Life Than Love,” filled with witty conversation. Anna is trying to tell Oblonsky that there is more to life than love (as if you didn’t get that from the title) and she is telling him this by bringing up other topics, hobbies, and humanities, however for everything she brings up, he counteracts with its connection to love. It’s written as a waltz. Marc Kudisch does such a fun job of coloring all of his comebacks. I love how Melissa Errico so casually throws her soprano up into the stratosphere out of nowhere. I especially love the very end where you think it’s going to be a big finish, but Oblonsky so quickly and quietly spits out the last lines, saying “But who cares?”

Kerry Butler enters the picture as Kitty with her solo “How Awful.” As she always is, she is earnest and hilarious. This is a fun range-y song for a mixer looking for something that is funny, but not well known. The beats are fun to play, the melody is challenging and fun to sing as well. Kerry Butler sings the role with a lot of charm.

“Would You” introduces us to Levin, who when asked how long he’d be in Moscow replies with a marriage proposal. I am beyond utterly obsessed with this song. The energy is so exciting, and the odd time signature makes it all feel a little disjunct and scared and anxious and excited. Lovely singing from Gregg Edelman!

There’s a conversation piece (Wonderful Town, anyone?) number for Kitty, Anna, Levin and Vronsky called “In a Room.” They sing individually, voicing their thoughts while the others chatter (perhaps?) I was more focused on following along in the music because the copy I have has the song, but it may as well be a completely different piece by a completely different composer for a completely different musical. It’s cute. Not very memorable.

Anna has her first solo with “Nothing Has Changed.” She lists the things she finds similar compared to the last time she was here. Levine’s harmony in this song is really remarkable. There is a constant churning with both the mode used for this piece, and also the extra notes in the chords. The suspensions added to the root position chords are impossible to miss. This song is really stunning musically. Dramatically, it’s one of those songs that tries to make something bigger out of ending exactly where the character began. Oops.

In “I Shall Work,” Levin sings about how he will become a learned man in order to ignore the romantic feelings he has for Kitty. The song reminds me a bit of Henrik from A Little Night Music. It’s got a solid high note at the end too.

“How Many Men” is where Kitty wonders how many romantic trysts she’ll have to go on before she can meet “the one.” Kerry Butler takes every opportunity to make this fun, and she succeeds. In a waltz, she allows the melody and music to accompany the dramatics of the song. This is a great audition song that no one does!

In his first solo “We Were Dancing,” Vronsky sings, presumably to Anna, as they dance. Another solo that I don’t have music for, but it’s beautiful. It reminds me of Anastasia yet again. Brian d’Arcy James keeps the material interesting.

Jeff McCarthy, everyone’s favorite officer (Lockstock) comes in as Karenin. His solo “Karenin’s List” begins with a fiery recitative. He jumps into the song proper and plots what he will say to his wife. The melody twists and turns around the scale as he maneuvers his brain through the possibilities of what to do here. McCarthy has always had a sort of operatic sound to his voice. It never ceases to amaze me. His sound has always been so remarkable for every show he’s been in. So many of these songs would work so well in an audition setting. It reminds me of She Loves Me because of the amount of solos!

Anna has another solo called “I’m Lost.” She realizes where she is in her relationship with her husband and where she is in her relationship with Vronsky. A woman discontented, she sings to herself “on the way home” according to Wikipedia. Not a big fan of the lyric “So lost, and I don’t even want to be found!” It’s giving the reaction that 8-year-olds have when they hear “you’re grounded give me your phone and go to your room” instead of “Isn’t it rich? Are we a pair?”

In the Act I Finale, “Waiting for You,” Anna and Vronsky finally have a love duet. This music is soul-stirring, and beautifully lush. Perhaps the music didn’t work its charm until the two lovers were able to embrace their love for each other. Oops. Again. Stunning vocal performances from both Errico and d’Arcy James.

Act II starts with “This Can’t Go On.” It is an operatic trio between Anna, Vronsky, and Karenin where the three individually lament their situations. Anna asks Karenin for a divorce and reveals that she is pregnant. The harmony swells and surges. It reminds me of the “Storm” from The Secret Garden. The stakes are HIGH at the top of Act II, people! At least no one’s singing about a train anymore.

It seems that Levin’s heart has been broken in “That Will Serve Her Right.” Rather than feeling bad, he feels rage - makes for a much more interesting song. Edelman does a good job as he reprises his role from Broadway fifteen years prior. The resolution is so apparent in his voice!

Anna and Vronsky sing a duet called “Everything’s Fine.” I’m thinking about the structure of the story and I don’t see how many of these songs function in the narrative. I hunted for a script, but I couldn’t find one. Both Errico and d’Arcy James sound incredible on this music.

Anna and Kitty have their duet with “I Never Dreamed” where they both look forward to marriage, Kitty with Levin and Anna with Vronsky.

Karenin gets the eleven o’clock slot with “Only at Night.” He sings that he misses Anna, but only at night. There’s an incredible bridge here that could work so well in a cut. McCarthy is simply masterful. In this role, it reminds me of when he was in Side Show as Terry Connor.

As she denies her son, realizing that he is better off without her, Anna goes to railroad tracks and stands in front of a train in “Seryozha.” It is a hauntingly beautiful finale into a lovely “Epilogue.”

Audition Songs

There are so many solos in this show!

“How Awful” - Princess Kitty Scherbatsky, C4-F5

There is a fun, tantrum-like energy to this song. It would work for younger roles really well.

“Would You?” - Constantin Levin, C3-B4

This song is perfect for a role like Laurie from Little Women. There’s such an excited and nervous energy here. It bubbles through the accompaniment and the irregular time, and it is a fun challenge in musicianship and acting.

“Nothing Has Changed” - Anna Karenina, G3-D5

This song has a lot of beauty musically. The only problem is that, just like the title, nothing changes. It is up to the actor to choose a good and interesting cut because the music is really incredible.

“I Shall Work” - Constantin Levin, D3-B4

This time, the B is not sustained, but it is full voice. The A right beneath it is sustained right before it! This one seems like a lot of fun to act and sing. Complete devotion to someone. There are a few roles that this would be really good for. I said earlier that this reminds me of Henrik in A Little Night Music. Certainly, use it for that.

“How Many Men” - Princess Kitty Scherbatsky, A3-G5

This song has Kristin Chenoweth’s style written all over it, especially the early roles of her career. Glinda, Sally, Precious, all of them! Put it in your books!

“Karenin’s List” - Nicolai Karenin, A#2-F4

Great for a bass-baritone. There are moments of patter, but it isn’t frenzied - it is metered, it is precise, and it is premeditated. The F isn’t sustained, just tapped a couple of times.

“That Will Serve Her Right” - Constantin Levin, G2-E4

The music I have has the range listed above. The version that Gregg Edelman sings on the studio cast recording is very different. The pitches, rhythms, and many lyrics are changed.

“Only At Night” - Nicolai Karenin, Bb2-Eb4

This song is hauntingly beautiful. It lingers. The key that Jeff McCarthy sings it in is lower than the music I have.

To Wrap It Up

I didn’t see this show as one that would astound me. It didn’t flop, but it didn’t remain particularly noteworthy after its closing. Another sign is that there is no way to license the show. The good thing is that there is a lot of really good material for singers who want to explore more of a legit sound in their singing. I really like the role of Levin!

Thanks for reading!

#anna karenina #broadway musical #broadway #musical #musical theatre #marc kudisch #melissa errico #kerry butler #gregg edelman #jeff mccarthy #brian d'arcy james #anna #karenina #tolstoy #rose #flop #broadway flop

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aryshacore · 8 months

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#karenina #karenina scire #karenina: scire #pgr #punishing gray raven #punishing: gray raven #kuro game #idol #moecore #weebcore #otakucore #neetcore #idolcore #cutecore #these are all for exposure dont come at me #my gifs

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odakuram · 12 days

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カレーニナ/Karenina (English Translation)

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Music/Lyrics: Hiiragi Kirai Video: redegg37564, Sashi Miyama Vocals: vflower

"I'm Hiiragi Kirai. This is a song about an empty life."

なあなあなあなるなよあんな彼にな[1] 逃げ出したい淡々な日々に苦手含ませランラーラ楽なのは嫌な彼にな教えてやれ滔々と問う

Hey, hey, hey, don’t be like him, that kind of man Include weakness into the normal days where I want to run away Ranrara, that detestable man has it so much easier Tell me about it! I eloquently ask you

問う

I ask you

あなたなあなあなあなるなよあんな彼になわかることだけお願いしますねローリンな暮らしに病んだ彼にな課された使命があるはずと

Hey you, hey, hey, don’t be like him, that kind of man Just stick to what I know, please A man sick with the life he’s rolling through was supposed to have a mission imposed on him, they say

げにウケますウケますウケますそれはウケますあなちゃんちゃらおかしい今もウケますウケますウケますそれはウケますいとインタレスティング

I say, that’s funny, so, so funny Ah, how laughable! Even now, that’s funny, so, so funny So incredibly interesting!

淫らな商い露悪な証それでもそれでも君は虜さ

An indecent deal, a show of why you’re in the wrong And even so, even so, you are my captive!

なあなあなあなるなよあんな彼にな不貞を問えどエゴの浮気性ほらなあなあなあなるなよあんな彼にな逃げ出したい淡々な日々に苦手含ませ

Hey, hey, hey, don’t be like him, that kind of man I asked about his infidelity, but his ego makes him unfaithful Come, hey, hey, hey, don’t be like him, that kind of man Include weakness into the normal days where I want to run away

問う

I ask you

だから問う

So I ask you

だからなあなあなあなるなよあんな彼にな

So hey, hey, hey, don’t be like him, that kind of man

問う

I ask you

わからないことで病んでいるね憂いの波が凪いだはずの世界なのにくだらないことで怒らせないでくれ

What I don’t know has been making me sick This is a world where the waves of melancholy should’ve eased, but I ask you not to anger me with such trivial things

ほころぶ儚い夢見た脳裏その景色が褪せていく崩れていく

Having seen an empty dream, my mind comes apart at the seams That scenery fades and crumbles

問う

I ask you

なあなあなあなるなよあんな彼にな逃げ出したい淡々な日々に苦手含ませ問う

Hey, hey, hey, don’t be like him, that kind of man Include weakness into the normal days where I want to run away I ask you

げにウケますウケますウケますそれはウケますあなちゃんちゃらおかしいあなたウケますウケますウケますウケますそれはウケますいとインタレスティング

I say, that’s funny, so, so funny Ah, how laughable! You are funny, so, so funny So incredibly interesting!

ほらなあなあなあなるなよあんな彼にななあなあなあなるなよあんな彼にななあなあなあなるなよあんな彼にな想いの数共有出来ると考え間違うなあなあなあなあなあなあなるもんかあんたになんかにはなるもんか

Come, hey, hey, hey, don’t be like him, that kind of man Hey, hey, hey, don’t be like him, that kind of man Hey, hey, hey, don’t be like him, that kind of man Whenever we manage to share a number of our thoughts, I think wrongly Hey, hey, hey, hey, hey, hey Like I’d be like that Like I’d be anything like you

なあなあなあなるなよあんな彼にな不貞を問えどエゴの浮気性ほらなあなあなあなるなよあんな彼にな逃げ出したい淡々な日々に苦手含ませ Hey, hey, hey, don’t be like him, that kind of man I asked about infidelity, but his ego makes him unfaithful Come, hey, hey, hey, don’t be like him, that kind of man Include weakness into the normal days where I want to run away

問う

I ask you

だから

問う

I ask you

だからなあなあなあなるなよあんな彼にな駄々をこねがち嫌な彼には教えてやれ滔々と問う

So hey, hey, hey, don’t be like him, that kind of man That detestable man who tends to be petulant Tell me about it! I eloquently ask you

ランラーラあんなカレーニナ

Ranrara, like that Karenina

問う

I ask you

なあなあなあなるなよあんな彼にな逃げ出したい淡々な日々に苦手含ませ問う問う問う問う問う問う

Hey, hey, hey, don’t be like him, that kind of man Include weakness into the normal days where I want to run awayI ask you

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Notes:

[1] - Homonym to "Anna Karenina", the protagonist of the eponymous Russian novel. Part of the story goes into Karenina's paranoia that her husband may be cheating on her, which is what this song is about.

#vflower #vocaloid #hiiragi kirai #karenina #カレーニナ #柊キライ #fun fact: the people who worked on the video for this are the same ones who worked on aishite aishite aishite #translation #Youtube

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