00:00 - 00:04
hello I shaved my face on accident but
00:01 - 00:06
we're going to Renita so who cares it's
00:04 - 00:09
time to go back to Italy all right let's
00:06 - 00:09
break down this character
00:11 - 00:16
trailer it's such an impressive shot
00:14 - 00:19
even just to have the aesthetic of
00:16 - 00:21
having the rain uh over the top of this
00:19 - 00:23
I'm sure some cinematographer will do
00:21 - 00:26
some deep dive uh analysis on this but
00:23 - 00:28
it's uh it's very cool um you know I
00:26 - 00:30
think it really sets the stage sets the
00:28 - 00:31
scene perfectly but you're here for
00:30 - 00:34
music talk so let's keep going what is
00:31 - 00:34
going on with my camera
00:39 - 00:43
today I find it interesting that she's
00:41 - 00:48
the only person that has some sort of
00:43 - 00:48
color I think it really highlights
00:56 - 01:01
monelli I'm not crazy about the Italian
00:59 - 01:02
translation the Italian pronunciation I
01:02 - 01:07
say would have been really nice but you
01:05 - 01:11
know we we we get what we get I'm not
01:07 - 01:13
unhappy with this performance at all um
01:11 - 01:15
you know but in my brain I hear mon you
01:13 - 01:17
know that's what I hear but uh for non
01:17 - 01:22
whatever in the name of our family I
01:23 - 01:27
swear fasp what I find really
01:25 - 01:29
interesting Jo FAS what I find really
01:27 - 01:30
interesting here is that we don't have
01:29 - 01:32
any music what we actually get a sound
01:30 - 01:35
design and the sound design is really
01:32 - 01:36
effective rain is a is a palpable
01:35 - 01:37
feeling and rain can mean so many
01:36 - 01:40
different things you know the French and
01:37 - 01:43
the French when they wrote about plur
01:40 - 01:45
usually it would be it it's almost um
01:43 - 01:47
there's a sensuality in rain now we we
01:45 - 01:49
sometimes attribute rain with with
01:47 - 01:51
Melancholy or with sadness and that
01:49 - 01:52
that's appropriate but I also you know
01:51 - 01:54
it's certainly appropriate for this
01:52 - 01:57
particular funeral sequence but I do
01:54 - 01:59
think that uh having the sound of just
01:57 - 02:01
rain with no music underneath is
01:59 - 02:05
actually more effective than if we had
02:01 - 02:08
included rain in it bow before you in
02:05 - 02:10
regret may his repentance bring peace to
02:10 - 02:18
soul this is this feels like classic uh
02:14 - 02:20
classic Tel Nolla um well T the more
02:18 - 02:22
like Mafia movie sort of sequence it
02:20 - 02:25
reminds me a lot of Yakuza actually
02:22 - 02:27
dojima you know whatever but uh all that
02:25 - 02:31
to say like this this sequence feels
02:27 - 02:32
very in line with your m mobster style
02:31 - 02:35
thing and and and let it be known of
02:32 - 02:36
course that the the mobster IDE I mean
02:35 - 02:39
yes there there's Mafia of course in
02:36 - 02:42
Italy but but uh this is very much an
02:39 - 02:44
American Trope I'd say of featuring you
02:42 - 02:46
know the Godfather Casino you know
02:44 - 02:48
there's a whole Italian American
02:46 - 02:50
community that that I don't personally
02:48 - 02:53
feel associated with because you know I
02:50 - 02:55
I I feel more like an Italian who was uh
02:53 - 02:58
born in the United States uh my family
02:55 - 03:01
were not big Italian americ there's like
02:58 - 03:05
a whole Italian-American um Community
03:01 - 03:07
aspect to uh Italian culture that's been
03:05 - 03:09
Americanized that um that I was never I
03:07 - 03:11
didn't grow up with that I really grew
03:09 - 03:14
up with a true Italian cultural
03:11 - 03:16
upbringing uh but just the difference
03:14 - 03:18
being that it was uh in the United
03:16 - 03:20
States uh we did I mean I did live in
03:18 - 03:23
Italy when I was a child so I do have an
03:20 - 03:25
affinity and a connection to Italian
03:23 - 03:27
things and and certainly when I became
03:25 - 03:29
an opera singer when I was studying it
03:27 - 03:31
especially in my undergrad years I
03:29 - 03:34
really started to um really want to
03:31 - 03:36
connect with the identity of being an
03:34 - 03:37
Italian and I think one of the beautiful
03:36 - 03:40
things about Opera that we'll actually
03:37 - 03:43
talk about later on as well is the idea
03:40 - 03:44
that music uh music and Opera really is
03:43 - 03:47
you know it's an Italian it's a European
03:44 - 03:50
art form and and Beyond but uh but it
03:47 - 03:53
really you know Opera was was born in
03:50 - 03:56
Italy it was born uh you know from the
03:53 - 03:59
uh from the Florentine camarada it was
03:56 - 04:00
it was born from the you know from well
03:59 - 04:03
really it was born from the Greeks with
04:00 - 04:06
with mono it's a whole complicated thing
04:03 - 04:08
but essentially Greek tragedy uh you
04:06 - 04:10
know it was sort of that was really the
04:08 - 04:12
the Opera's been dying since it was born
04:10 - 04:15
it was it was created it was it was
04:12 - 04:17
reflected on uh it was reflected on that
04:15 - 04:18
idea of Greek tragedy and then
04:17 - 04:20
Florentine camarada say well why don't
04:18 - 04:23
we do why don't we go ahead and uh you
04:20 - 04:24
know do our own thing and mon showed up
04:23 - 04:25
and all these guys kind of came out and
04:24 - 04:27
said you know let's do it this way this
04:25 - 04:29
way this way so we used to have a bunch
04:27 - 04:31
of different forms back in the day and
04:29 - 04:32
then that that evolved through history
04:31 - 04:34
of course and through time but all that
04:32 - 04:37
to say like uh you know I really do
04:34 - 04:40
connect less so with the sort of Italian
04:37 - 04:41
American Vision of what Italians are and
04:40 - 04:43
more so with the Italian vision of what
04:41 - 04:45
Italians are if they even have a vision
04:43 - 04:47
that's another whole complicated
04:45 - 04:48
cultural conversation about the idea
04:47 - 04:51
that you know
04:48 - 04:52
do you know who are you when you're not
04:51 - 04:54
in the place you know if I was in Italy
04:52 - 04:56
I'd be Italian American if I was in
04:54 - 04:57
America I feel I'd consider myself an
04:56 - 05:00
Italian so it's it's an interesting
04:57 - 05:00
conversation
05:05 - 05:12
good morning Mr fusina fasina it seems
05:10 - 05:14
you had quite a restful night what I
05:12 - 05:16
like about this again is that the only
05:14 - 05:19
sound that we have is the sound of the
05:16 - 05:21
ticking clock sound design here is
05:19 - 05:23
really impeccable I also really
05:21 - 05:25
appreciate that there's a echo in here
05:23 - 05:27
and there's a Stillness as she you know
05:25 - 05:29
what does this symbolize obviously the
05:27 - 05:31
pose is like very strong feminine power
05:29 - 05:33
but then on top of that we also have the
05:31 - 05:35
you know what does it symbolize to have
05:33 - 05:37
a a bit of tea you know a tea while
05:35 - 05:40
throwing a knife at somebody that's
05:37 - 05:42
that's very casual isn't it so I think
05:40 - 05:44
even there there's a there's a
05:42 - 05:46
real sense of of power and control
05:44 - 05:48
that's being exerted through body
05:46 - 05:53
language and through uh physicality
05:48 - 05:55
there do forgive us for being so forward
05:53 - 05:56
the Montell family is known for their
05:56 - 06:02
greetings what a shame you were unable
05:58 - 06:04
to attend tor's
06:02 - 06:05
funeral this is such a nice touch so
06:04 - 06:08
this is a gramophone this is it's
06:05 - 06:10
interesting you know the production of
06:08 - 06:12
this particular I don't know all the
06:10 - 06:14
details but one of the really cool
06:12 - 06:16
things about when when we were really
06:14 - 06:18
leaning into the idea of record record
06:16 - 06:22
records with records and things and the
06:18 - 06:24
production of of of of the the sound for
06:22 - 06:26
the records for the LPS is really
06:24 - 06:28
interesting because now we have
06:26 - 06:29
obviously we have modern microphones
06:28 - 06:31
that take care of all this stuff but
06:29 - 06:33
back in the day Cally you'd have a big
06:31 - 06:36
big you would actually sing into this
06:33 - 06:38
part and then that would scratch onto
06:36 - 06:40
the the record and that's how they would
06:38 - 06:41
I don't know how they mass-produced it
06:40 - 06:43
at the time but in the in the turn of
06:41 - 06:46
the century around the 1900s especially
06:43 - 06:48
when you think enrio Caruso or um you
06:46 - 06:49
know uh some of the others I can't
06:48 - 06:50
remember a lot of The Sopranos that were
06:49 - 06:53
around back then but IO kuso was
06:50 - 06:56
probably like the the most the most
06:53 - 06:58
famous of Italian singers uh in the
06:56 - 07:00
modern era and in the the turn of the
07:00 - 07:04
and what Caruso and all these guys would
07:02 - 07:07
do later on as well they would sing into
07:04 - 07:09
this and then it you if you wanted to
07:07 - 07:10
sing quietly you have to lean in close
07:09 - 07:12
and if you wanted to sing loudly you'd
07:10 - 07:14
have to back up but you're essentially
07:12 - 07:16
sticking your head not necessarily into
07:14 - 07:19
this particular apparatus this
07:16 - 07:21
gramophone but this is a very uh normal
07:19 - 07:22
I don't realize or wonder how many of
07:21 - 07:24
you actually know what this is but
07:22 - 07:26
essentially it's a record player but but
07:24 - 07:28
the sound obviously travels out of this
07:26 - 07:30
part here it's it's pretty pretty cool
07:28 - 07:33
so now we're going to get into the music
07:30 - 07:34
and and this this piece oh my God I
07:33 - 07:36
watched it last night I'm sorry it's not
07:34 - 07:39
a reaction but I watched it last night
07:36 - 07:43
and I was just like what so I'm really
07:39 - 07:45
excited you might find some time to and
07:43 - 07:46
this is an accurate sound representation
07:45 - 07:49
too it's it's very muffled it's
07:46 - 07:51
interesting because you know pieces from
07:49 - 07:53
this time period enri Caruso Lily pones
07:51 - 07:55
all these recordings that we have are
07:53 - 07:57
all like they just sound bad not the
07:55 - 07:59
singing itself but the singing does
07:57 - 08:01
sound a little pitchy actually because
07:59 - 08:03
of the way that it's recorded but um but
08:01 - 08:05
but the actual sound was extremely
08:03 - 08:08
muffled and this is pretty accurate to
08:05 - 08:12
that pay your respects while the
08:08 - 08:13
prospect for men Still Remains well and
08:12 - 08:16
then it's interesting cuz this chord
08:13 - 08:21
here it literally sounds like
08:41 - 08:47
listen listen how it starts while the
08:43 - 08:50
prospect for a men Still Remains well
08:47 - 08:53
morning hours are precious therefore I
08:50 - 08:56
Shan impose any further enjoy the it
08:53 - 09:00
does into something else here in a
08:56 - 09:01
secondina I'll see you at the auction
09:00 - 09:04
but what we get is actually this
09:01 - 09:07
operatic uh obviously but we get this uh
09:04 - 09:07
uh this this harp
09:11 - 09:15
arpeggiation what excites me about this
09:13 - 09:17
particular trailer and and I I don't
09:15 - 09:18
plan to cover every trailer it's not
09:17 - 09:20
really my intention here but my
09:18 - 09:23
intention is to focus on music that's
09:20 - 09:24
very very very very very good and what's
09:23 - 09:27
amazing to me about this and what Kuro
09:24 - 09:29
has done here is really taken something
09:27 - 09:31
and this is one of the reasons why I I
09:29 - 09:33
really fell in love with uh you know so
09:31 - 09:35
many video game soundtracks is where
09:33 - 09:37
they we really but lasora comes to mind
09:35 - 09:39
from genin Impact where we really are
09:37 - 09:40
taking and actually this is actually
09:39 - 09:43
different than that because that has
09:40 - 09:46
some Modern twists to it which evolve
09:43 - 09:47
and move the uh sound quality of what we
09:46 - 09:49
would consider traditional classical
09:47 - 09:51
music forward but actually what we're
09:49 - 09:53
doing in this particular resonator
09:51 - 09:56
Showcase of kot is we're actually
09:53 - 09:58
deviating from advancing the thing and
09:56 - 10:00
to me what's really exciting is that we
09:58 - 10:01
are actually
10:00 - 10:04
recreating we are
10:01 - 10:07
essentially taking something that is is
10:04 - 10:11
very old and leaving it in the
10:07 - 10:12
functional style that that that is we're
10:11 - 10:13
leaving it in the I didn't realize I was
10:12 - 10:16
leaning back that entire time I'm very
10:13 - 10:19
excited we we are essentially taking the
10:16 - 10:21
style retaining it and then move
10:19 - 10:23
composing it in a modern time period and
10:21 - 10:26
this to me is very exciting as a person
10:23 - 10:29
who grew up you know studying Opera for
10:26 - 10:31
from um from 18 to to Really to to 30
10:29 - 10:34
and then performing for a bit a few
10:31 - 10:37
years before Desiring to retire I was
10:34 - 10:40
always desperately searching for
10:37 - 10:42
compositions that were comfortable to
10:40 - 10:43
sing in that were also contemporary and
10:42 - 10:45
one of the things in the classical music
10:43 - 10:47
industry is that we have a lot of
10:45 - 10:49
academics we have a lot of academics
10:47 - 10:51
that often times it feels like the
10:49 - 10:54
pieces that they're trying to compose
10:51 - 10:56
are are rooted in a compositional style
10:54 - 10:59
that is taught in school and we're
10:56 - 11:04
moving away from a romantic time period
10:59 - 11:08
of say Pini or or a belcanto style of of
11:04 - 11:10
say rosini donetti and Verity these are
11:08 - 11:11
famous Italian composers and what we're
11:10 - 11:15
getting here is we're
11:11 - 11:17
getting this is more like guno really
11:15 - 11:18
this is has a bit of a French sound to
11:17 - 11:22
it and and why does it have a French
11:18 - 11:24
sound to it well it's it's very uh
11:22 - 11:27
languid it's it's got a ton of a br a
11:24 - 11:29
lot of belcanto time period stuff which
11:27 - 11:31
is really what this feels rooted in and
11:29 - 11:32
I'm sorry if I'm losing you just rewind
11:31 - 11:34
and try to come follow along I'm trying
11:32 - 11:37
to I'm trying to make it digestible for
11:34 - 11:40
you but one of the interesting things is
11:37 - 11:42
that the Legato gives way to uh a couple
11:40 - 11:45
different time periods because Legato
11:42 - 11:47
writing like this could be the Verismo
11:45 - 11:51
style the romantic and Verismo style of
11:47 - 11:53
say Petro mascan or rero Leon cavalo or
11:51 - 11:54
jaku Pini and these guys were
11:53 - 11:56
contemporaries and these guys were also
11:54 - 11:57
affected by the music of rard Vagner
11:56 - 11:59
over in Germany because all these things
11:57 - 12:03
are kind of happening at the same time
11:59 - 12:06
Pini was the natural uh evolution of a
12:03 - 12:08
guy like ji and ji was part of the banto
12:06 - 12:11
time period which also featured uh joako
12:08 - 12:13
rosini and Gano donetti but these guys
12:11 - 12:15
they the style is different a lot of
12:13 - 12:18
times with this kind of with the music
12:15 - 12:18
of the banto period you
12:22 - 12:28
have the orchestration not only is more
12:25 - 12:30
simple than this but it's also uh a
12:28 - 12:32
little bit it just doesn't feel as
12:30 - 12:36
Legato it doesn't have as much flow to
12:32 - 12:38
it and whereas this is very like flowy a
12:36 - 12:40
lot of harp arpeggiation in there like I
12:38 - 12:41
mentioned earlier so we're getting a
12:40 - 12:44
sound quality here that's probably more
12:41 - 12:45
synonymous with some of the French grand
12:44 - 12:48
opera composers that were also around
12:45 - 12:51
around the same time Shard guno uh you
12:48 - 12:52
know George Biz that kind of style uh
12:51 - 12:54
not to say that it's not Italian because
12:52 - 12:56
it it is and we'll we'll get some
12:54 - 12:59
inklings of of this later on also you
12:56 - 13:02
have to consider that jip Veri was the
12:59 - 13:05
sort of if Beethoven was the natural
13:02 - 13:07
through line from classical to uh the
13:05 - 13:10
Romantic time period uh where where you
13:07 - 13:12
know we're we're writing an emotion the
13:10 - 13:15
the the sort of structure of music is
13:12 - 13:18
changing then at the same time ver is
13:15 - 13:20
also threading that needle later on in
13:18 - 13:22
his life especially after this period of
13:20 - 13:24
time called the gal years um that's
13:22 - 13:26
where we're threading the needle and
13:24 - 13:28
moving into Pini which is much more the
13:26 - 13:30
still the Romantic time period but we're
13:28 - 13:33
moving into that sort of Verismo very
13:30 - 13:35
real high drama of uh that style of
13:33 - 13:38
writing which is also in line with the
13:35 - 13:41
art and holy [Â __Â ] I just ranted for 10 I
13:38 - 13:41
hope you're still here let's keep
13:50 - 13:54
going I like the sense of wonderment in
13:53 - 13:56
this I love the sense of wonderment and
13:56 - 14:00
twinkling still with that gramophone
13:59 - 14:03
sound but it really feels like as Kota
14:00 - 14:05
gets out of the car she's like um okay
14:03 - 14:07
we're going in you know there's a sense
14:05 - 14:09
of possibility in that twinkling sound
14:07 - 14:11
and again a constant sense of
14:11 - 14:18
confidence next we have the banquet
14:14 - 14:20
starting bid 50,000 man B number four
14:18 - 14:24
now now this musical style feels much
14:20 - 14:25
more sort of 1920s jazz is now again
14:24 - 14:27
that's not my forte but what I would say
14:25 - 14:29
is now we have a bit of uh sorry
14:27 - 14:32
unfortunately my face was blocking that
14:29 - 14:34
that little section there but now in
14:32 - 14:36
this jazz style we have a a sound that
14:36 - 14:40
very uh there's a bit of harpsicord but
14:39 - 14:43
but it almost feels like a
14:40 - 14:48
reinterpretation a mixture of Baro and
14:43 - 14:52
1920s Jazz kind of um I'd like to keep
14:48 - 14:55
listening 60,000 and I know I say that
14:52 - 14:56
because of the drum set it's very 15,000
14:56 - 15:03
part this feels this feels much more
14:59 - 15:07
like your Mario PUO The Godfather sound
15:03 - 15:10
it feels very very Mafia movie type
15:07 - 15:15
style you know number three 200,000
15:10 - 15:20
monai going once going twice sold for
15:15 - 15:20
200000 now this feels much more in line
15:22 - 15:27
with that feels much more in line with
15:25 - 15:29
that BTO style that I referenced earlier
15:27 - 15:31
if you're still with me I find that
15:29 - 15:35
that's that's
15:31 - 15:35
similar that's very in line with that
15:36 - 15:41
style to our friends the Montell are
15:41 - 15:44
generous as for our tra you know what's
15:43 - 15:46
interesting this almost looks like I
15:44 - 15:51
mean it's it's not but it almost looks
15:46 - 15:54
like the uh the final supper of of Jesus
15:51 - 15:56
Christ um not really but just the way
15:54 - 15:58
that they're sitting at the the table it
15:56 - 16:01
does remind me of the the Last Supper
15:58 - 16:04
that famous painting um I have one back
16:01 - 16:06
there of sacriligious but of uh of Star
16:04 - 16:10
Wars characters anyway always
16:06 - 16:10
generous as for our
16:25 - 16:30
traitors I mean it's incredible stuff
16:38 - 16:41
it's a very lyrical phrase and again
16:40 - 16:43
this is actually borrowing with that
16:41 - 16:46
we're just taking what we heard earlier
16:43 - 16:47
and just adding the soprano on top and
16:46 - 16:49
what we're really getting there is that
16:47 - 16:51
sense of Legato and and and what's
16:49 - 16:53
amazing about operatic style of of
16:51 - 16:55
composition is that the voice is
16:53 - 16:56
actually the principal part of that
16:55 - 16:58
experience while we have the
16:56 - 17:00
accompaniment and it's a very integral
16:58 - 17:02
part of the thing obviously you need
17:00 - 17:04
accompaniment to guide uh the melodic
17:02 - 17:07
singing the singing is the hero the
17:04 - 17:08
singing is the main part of this also we
17:07 - 17:10
have to understand that the singer here
17:08 - 17:12
it's called the dance section but this
17:10 - 17:15
is absolutely representing carota this
17:12 - 17:19
is carota's theme this is carlota's
17:15 - 17:21
Elegance her her ability to you know
17:19 - 17:24
kind of move things along the way that
17:21 - 17:26
she wants them her ability to transcend
17:24 - 17:28
any sort of of uh challenge there's
17:26 - 17:29
there's a sensuality a femininity that
17:28 - 17:31
those are all things that are
17:29 - 17:32
highlighted and put on display but also
17:31 - 17:35
we have to understand is that the act of
17:32 - 17:37
opera singing requires a great deal of
17:35 - 17:39
athleticism it's not just a park and
17:37 - 17:42
bark or a stand and sing I mean the the
17:39 - 17:45
physical man the physical ability to
17:42 - 17:48
produce an operatic tone is
17:45 - 17:51
one that is incredibly athletic it's
17:48 - 17:53
essentially an Olympic sport in a lot of
17:51 - 17:55
ways and what I love about this
17:53 - 17:58
transition is just the the visual design
17:55 - 18:00
here as she Springs into action check
18:02 - 18:07
for our traitors watch this we
18:04 - 18:10
shoot shoots the clips the mask and then
18:07 - 18:13
watch she turns around ready for
18:10 - 18:28
action smile on her face
18:48 - 18:50
so interesting I'm pretty sure this is
18:49 - 18:52
in Italian because it sounds like it
18:57 - 19:00
or and again we're talking about
18:58 - 19:02
Elegance we're talking about the fact
19:00 - 19:04
that here are all these guys coming at
19:02 - 19:06
her and what are we getting incredible
19:04 - 19:08
lyric singing on top of that this is
19:06 - 19:10
also first of all I'd like to say this
19:08 - 19:12
is incredibly good operatic singing it's
19:10 - 19:15
incredibly high quality operatic singing
19:12 - 19:17
which I'm very sensitive to uh and I
19:15 - 19:19
would tell you if it wasn't good um this
19:17 - 19:22
is incredibly incredibly well done I
19:19 - 19:24
think that it could the thing is I I'm
19:22 - 19:27
always partial to a a much more melodic
19:24 - 19:30
experience and while obviously the the
19:27 - 19:32
act of this is a very leg Auto connected
19:30 - 19:35
piece of music I would have liked a
19:32 - 19:38
little bit more of of a melodic
19:35 - 19:40
Direction but it's setting the the scene
19:38 - 19:42
so perfectly that it's like that's like
19:40 - 19:45
a little tiny quibble um but I also like
19:42 - 19:47
how as we climb up it sounded like we're
19:45 - 19:50
actually sustaining the notes which is
19:59 - 20:03
as she climbs up it actually kind of
20:00 - 20:04
goes up again the the the melody
20:03 - 20:06
meanders a little bit which is not
20:04 - 20:09
inherently a problem it's this is such a
20:06 - 20:12
huge upgrade from anything I heard in
20:09 - 20:15
the first the 1.0 patches all of it
20:12 - 20:16
frankly um this is uh there were other
20:15 - 20:19
nice things of course with the black
20:16 - 20:21
Shores and the firmament but but this is
20:19 - 20:23
uh this is such a memorable experience
20:21 - 20:25
and in my excitement for this really
20:23 - 20:28
also stems from the fact that here we
20:25 - 20:31
are representing Opera in a non- cliche
20:28 - 20:33
stereotypical or superficial way what
20:31 - 20:36
we're getting is a proper proper proper
20:33 - 20:39
exploration of the classical sound and
20:36 - 20:42
the fact that this is reaching 257,000
20:39 - 20:45
people at the time of this upload uh on
20:42 - 20:48
that main video is really exciting to me
20:45 - 20:50
because this is you know this is like
20:48 - 20:52
this is Opera this is Opera this isn't
20:50 - 20:55
the funny commercial that you see where
20:52 - 20:57
they're singing the torador or or you
20:55 - 20:58
know the the habanera from Carmen or
20:57 - 21:01
whatever this is this isn't pasti this
20:58 - 21:03
is the real deal and I love that uh
21:01 - 21:03
let's keep
21:06 - 21:12
going see and that's cool too cuz it's
21:08 - 21:14
in unison with the U this is all in
21:12 - 21:16
unison is this and then there's the
21:14 - 21:17
tension so first of all we get some
21:16 - 21:19
Unison performance here but then here's
21:23 - 21:28
tension is this your invitation to dance
21:26 - 21:29
gentlemen we move the music 300
21:29 - 21:34
the ball has only just
21:32 - 21:37
begun and that's genius I mean this is
21:38 - 21:44
stuff right that's how we end CU I
21:41 - 21:49
thought that we would end here dance
21:49 - 21:53
gentlemen but instead we end
21:54 - 21:59
there and what a incredible mixture here
21:56 - 22:01
and this is why Visual and music can go
21:59 - 22:03
so well together and uh and why Opera is
22:01 - 22:05
also a visual medium in a lot of ways
22:03 - 22:07
now we land in the car and suddenly we
22:05 - 22:08
have the conclusion and this the
22:07 - 22:10
connection here between audio and
22:12 - 22:15
divine and this is
22:16 - 22:20
excitement and what is this this is the
22:17 - 22:22
forming of that glass right the power
22:20 - 22:24
that she has and and now we get that
22:22 - 22:26
sort of the culmination of her power we
22:24 - 22:30
get this building up in the piano as she
22:26 - 22:30
collects all these pieces of glass
22:31 - 22:36
what a shot and then listen to the
22:37 - 22:40
piano little bit of harp Secord movement
22:43 - 22:47
underneath and this is really the climax
22:57 - 23:00
here there a
23:09 - 23:13
right actually know there's a
23:14 - 23:21
slight Crescendo into the ending
23:17 - 23:24
there why don't we cut a deal you can
23:21 - 23:26
have the F spea estate on bra street and
23:24 - 23:28
10 chests of
23:26 - 23:30
manai no wait wait wait wait wait are
23:28 - 23:32
you really willing to be a gun in
23:30 - 23:34
someone else's
23:32 - 23:38
hands also the fact that she kills him
23:34 - 23:38
outright which is I find
23:41 - 23:46
surprising obviously it's off screen but
23:44 - 23:48
the fact that we do have that full-on
23:46 - 23:50
violence there uh is uh is very
23:48 - 23:51
interesting to me well hopefully this
23:50 - 23:54
has helped you I mean the ending there
23:51 - 23:58
that culmination of of
23:54 - 24:01
the I'm I'm I'm just enamored enthralled
23:58 - 24:03
excited beyond belief I'm not gonna I'm
24:01 - 24:06
not gonna hide it I'm not gonna hide the
24:03 - 24:09
enthusiasm and joy I feel for weing
24:06 - 24:12
waves I really really really am excited
24:09 - 24:15
to report back in the next couple weeks
24:12 - 24:17
as we see where we land with 2.0 but if
24:15 - 24:19
anything is to be said from this
24:17 - 24:21
marketing material and these
24:19 - 24:23
showcases this is a big shift for weaing
24:21 - 24:25
waves and uh I'm incredibly excited for
24:23 - 24:28
what's to come it was one of my favorite
24:25 - 24:30
games of the year of 2024 and it will
24:28 - 24:32
continue to be up into 2025 unless
24:30 - 24:34
something absolutely terrible happens uh
24:32 - 24:35
this is definitely my patch so if you're
24:34 - 24:37
new to the channel or if you haven't
24:35 - 24:38
seen this before we're going to be
24:37 - 24:40
talking about withering waves music a
24:38 - 24:42
lot so I do hope that you'll stick
24:40 - 24:45
around thanks a ton and I'll see you
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