ABC's Once Upon a Time Season II: A Review

It seems a long time ago since Emma came to the town of Storybrooke and befriended the sweet school teacher, Mary Margaret, and came head to head with Mayor Regina a.k.a. the Evil Queen.  A lot has changed since then!

First of all, there's a new villain in town: Captain Hook. Or is he a villain? He certainly seemed to fool us in the "Jack and the Beanstalk" episode where he and Emma forged an interesting relationship in their pursuit of the magic compass to help them find a portal back to Storybrooke. Captain Hook was definitely a charmer in true pirate fashion. I found it amusing that he was chained to face a giant "beast" and abandoned by a dame by the name of Swann -- sound familiar, Pirates of the Caribbean fans?  But I missed the fabulous red coat and the captain's hat, and I was disappointed that they toyed with the very heart of Hook's essence: his rivalry with Peter Pan! In the original story, Pan cut off Hook's hand and fed it to the crocodile, whereupon Hook swore vengeance upon Pan. The writers supplanted Pan with Rumplestiltskin. I would have preferred if the writers could have incorporated Hook without distorting J. M. Barrie's plot line so much. :-(

We definitely got to see a different side of Regina for the first half of this season.  While I do miss the fabulous evil Regina, I'm also enjoying seeing her attempt to redeem herself for Henry.  We also got to see a more vulnerable side of her in the fairy tale world, as well as her fall from grace through her tutelage under Rumplestiltskin. I'm curious if this path towards redemption is going to be a permanent one or if Regina is going to relapse to her evil self?  Either way, I do appreciate the complexity of her character. (Side note: why can't Regina use her magic for good instead of a total magic abstinence? Food for thought.)

Josh Dallas as David/Prince Charming
and Jared Gilmore as Henry

Perhaps Cora is going to play the new fabulous evil queen.  She certainly plays the evil part awfully well, but I still think Regina does a better job at making evil look great. Speaking of Cora, I'm sure I wasn't the only one that that called her being the Queen of Hearts. I thought that was fun.  It was interesting to see the history between her and Hook, as well as the history between Hook and Regina.

A particular character that really grew on me this season was David a.k.a. Prince Charming. I detested his character in the real world in Season #1, this weakling who couldn't be faithful to either Catherine or Mary Margaret/Snow White.  At the beginning of Season #2, he was still rather annoying -- especially with his threat to destroy Regina. Of course she deserves it, but a noble prince possesses mercy as well as justice. But we saw him become the leader he was in the fairy tale world, a leader worthy of respect! He knows his weaknesses and uses them to help him become a better person ("We Are Both"). It was great seeing him be a dad to Henry as well!

I'm hoping that the characters of Mulan and Aurora will be fleshed out a bit more in the second half of the season. I was not impressed with them for the majority of the first season. Mulan was a royal stick in the mud, even if she's a good fighter, and Aurora was just rather plain in character. She finally showed some spunk in the last episode. However, the two girls make an interesting duo if they follow through this plan to attempt to save Prince Philip. I have hopes that both characters will become more likeable as the season progresses.

Ginnifer Goodwin and Meghan Ory
as Snow White and Rose Red

It was amusing to hear Mary Margaret ask for some quality time with Emma in the first episode of the second season, and *boom* wish granted -- they both were landed back in fairyland. Plenty of time for mother-daughter bonding while trying to get back to their loved ones. It was definitely a teary moment for me when Snow White and company returned to the room where Emma was born: the queen's curse destroyed so many lives and dreams. On the other end, it was refreshing to see the charming school teacher return to the capable fighter. Also, I found it amusing that Snow and Emma almost reversed roles for a while. Emma is the one usually protecting the sweet and naive Mary Margaret, but in the fairy tale world Emma is the inexperienced one whom Snow has to protect.

Speaking of Snow, that brings me to the sisterhood forged between Snow and Red. I find it funny that the skanky Ruby is a bit more conservative in her dress this season.  Perhaps they are trying to make the show a bit more family friendly? :-/ Not that I'm complaining! I wish Gus hadn't died, he was precious. I liked the inclusion of Lancelot, even for one episode.  I wish I could have seen more of him -- he quoted Tennyson's "Lady of Shalott"!

Learning more about Emma's past was insightful, and even seeing August for a few minutes was fantastic.  It was nice to know that Emma's boyfriend wasn't a terrible person, even if he appeared to be one.  That will certainly be an interesting reunion, if I may predict the reunion of Emma and ex-boyfriend.  I miss August's character though and I hope he receives more screen time for the second half of the season.

I was pleased to see more of Belle this season. She's such a plucky dame, and she doesn't put up with nonsense. I appreciated the reference to the traditional Disney Beauty and the Beast when Mr. Gold gave her the library.

I'm not sure what I think about how many literary worlds the writers are incorporating into the tv series.  It's one thing to mix Alice and Wonderland and Grimm Fairy Tales: they're both magic. It's another thing to add in science fiction worlds, namely Frankenstein through Dr. Whale.  The writers have expressed the desire to branch into even more worlds with reference to shoes that serve as a portal (Oz!).  While a fun idea, I'm not sure if it'll work. There's so much to cover and I think it would be very easy for things to get out of hand.

To conclude, I'd say that I was definitely happier with the first half of the second season, mainly b/c there's no more strange "affairs" between Charming and Snow White. I still think that Rumplestiltskin and Regina are the best actors in the series. I hope to see more August in the second season, and I'm really looking forward to seeing the confrontation between Hook and Mr. Gold. Will Mr. Gold finally show some courage? Will he ever have the chance to find his son? Will Prince Charming and Snow White finally be able to spend some time together?  Will Regina continue on the path to redemption? We'll find out soon enough!

Stefano Maderno, St. Cecilia, and St. Therese

On November 22nd, the feast day of St. Cecilia, I bring you the combination of two of the Catholic Church's beautiful saints: St. Therese of Lisieux, the Little Flower, and St. Cecilia, the patroness of musicians, artists, and poets.

Detail of Stefano Maderno's sculpture of St. Cecilia

"Cecilia, lend to me thy melody most sweet: How many souls would I convert to Jesus now. I fain would die, like thee, to win them to His feet; For him give all my tears, my blood. Oh, help me thou! Pray for me that I gain, on this our pilgrim way perfect abandonment that sweetest fruit of love. Saint of my heart! Oh, soon, bring me to endless day; obtain that I may fly, with thee, to heaven above!”

 -- St. Therese of Lisieux

St. Therese of Lisieux, the Little Flower

The young Therese Martin was inspired by Stefano Maderno's sculpture of St. Cecilia to write this prayer when she visited St. Cecilia's basilica with her father while on pilgrimage to Rome in 1887. 

Pope Clement VIII had St. Cecilia's body disinterred in 1599. When she was found to be incorrupt, Maderno was enlisted to carve a sculpture of the saint as she was discovered in her tomb. Maderno inscribed on the statue's base, "Behold the body of the most holy virgin Cecilia whom I myself saw lying incorrupt in her tomb. I have in this marble expressed for thee the same saint in the very same posture of body." 

Happy Feast day to my fellow artists, poets, and musicians! 

Why Singing Sacred Music is Like A Magical Wardrobe

The transition from studying sacred music at a solid Catholic university to studying music at a secular conservatory has certainly been an interesting one. One of the keenest differences is obviously the change from a predominantly Christian atmosphere to one where there is seldom any outward expression of religious belief of any kind. Although my fellow organ students and I are certainly exposed to many religious compositions through our internships at various Christian denominations -- presbyterian, episcopalian, catholic, etc. -- I would say the vibes of the studio overall are also largely secular.

By now you're probably thinking, "Well, of course, it's going to be secular! It's a school full of liberal musicians!" 

Haha, yes, I was aware of that even before Day #1. So why am I bringing this up? 

St. Mark's Basilica, Venice, Italy

I was recently placed in an interesting scenario that struck me as particularly disjunct from my previous musical experiences in undergrad. This semester I have been working with an ensemble of early music singers who are performing a great deal of music by Italian composer Giovanni Gabrieli. Gabrieli was the principal organist at Saint Mark's Basilica in Venice and wrote a great deal of sacred choral works as well as secular instrumental works. Many of the pieces which this ensemble is singing are sacred works, such as his setting of "Miserere Mei Deus," which is also known as Psalm 51.

What is Psalm 51? It is a prayer, a cry to God which King David wrote when he was at one of the lowest moments of his life. He committed adultery with Bethsheba, he murdered her husband, and he had lost a son because of his sins. In this particular psalm he is asking God to forgive him.

"Have mercy on me, O God, according to your great mercy. ... For I know my iniquity, and my sin is always before me. Against you, you alone, have I sinned, and have done evil in your sight ... You shall sprinkle me with hyssop, and I shall be cleansed: you shall wash me, and I shall be made whiter than snow. ... Create in me a clean heart, O God: and renew a right spirit within me. Cast me not away from your face; and take not your Holy Spirit from me." 

Sitting in on the rehearsals behind my little continuo organ watching these students and fellow musicians sing this piece, it struck me as odd that for a significant number of these singers, it was quite possible that the words made little difference to them. Yes, they cared about the inflection and the strong-weak syllables, the pronunciation, the musical notation, etc. in short *how* the text was set.  But I wonder how much consideration they put into the meaning of the words: that what they are singing is also a timeless prayer, a cry of love, remorse. It's not just music, singing, it can be an expression of something so much deeper! 

Lucy and Mr. Tumnus from
The Lion, The Witch, and the Wardrobe
By C.S. Lewis

This scenario seemed ironic to me.  When one is singing sacred music, there is certainly a level of beauty that is readily apparent, in this case the music which Gabrieli composed to adorn the text. This music, this type of beauty, could be said to be a universal language -- most human beings, even atheists, will admit that they are moved by such beautiful music. It speaks to them in a way that is more easily understood.

But there is another type of beauty that was already there, that of an honest plea to God, which the Holy Spirit inspired King David to utter in his hour of darkness. It is a sacred text, timeless, inspired by God. And even though the musical setting is indeed wonderful, the words are what inspired the composer. The text and its Author are what make the music sacred in the first place. They transcend the musical adornment. This kind of beauty is not readily apparent to the casual listener/singer.  There is a level of religious devotion -- shall I call it love? -- a disposition of the heart which the singer needs in order to appreciate this level of beauty. 

It so happens that while I was mulling this all over in my head, I was in the middle of a Chronicles of Narnia kick (I go through these from time to time, now I'm on Harry Potter)-- listening to the music, reading quotes, posting C.S. Lewis and the like all over my tumblr, etc. And somehow, these two came together in what I though was a fascinating analogy. 

Lucy Pevensie, played by Georgie Henley in
Disney's The Lion, The Witch, and the Wardrobe

Do you remember the scene in The Lion, The Witch, and the Wardrobe in which Lucy Pevensie encounters the wardrobe and she first walks through to the land of Narnia, full of magical landscapes, fauns, and tea parties?  Later in the story, she tries to show this world to her older siblings, but all they see is the back of a wardrobe.  I would pose that singing sacred music is like encountering this magical wardrobe. Some musicians sing Psalm 51, Mass texts, chant, Palestrina, etc. and find themselves in Narnia -- not literally, of course, but because their hearts and minds are disposed through love to prayer, they experience the musical settings of these sacred texts on a far more intimate level. Other musicians sing these pieces and, while they admire the manner in which the piece has been composed, all they see is the wooden back of a wardrobe.

So is it better to be a Christian and sing sacred choral music? I would venture that, while it may not always be the case, it most definitely can be!

Classical Music: The Ultimate Rebel

Some words from concert violinist Hilary Hahn on classical music 

and its ability to transcend time and culture.

I have realized something recently about classical music, something that both surprises and delights me. As a player, I have a constant backdrop of classical music in my thoughts and in my inner soundtrack, and there is unlimited potential for discovery within this music’s history and ongoing offerings. Like most people who are reading these words, I fell for the works, the emotions, the directness, and the nebulousness within classical music long ago.

"Afternoon Memories' by darkmello from Deviantart

But this thing that I realized about classical music has little to do with any of that. It is rather that classical music is the ultimate rebel. This overarching body of work kicks butt so much, and has such seniority over us, that it does not care whether any one person likes it or not. It will be what it will be. Its composers will write what they will write. It does not need to cater to us any more. By now, it is greater than the sum of our human contributions, and that is terrific! Despite this, it humors us. It lets us practice and theorize; it enriches our commutes and our evenings in and our evenings out; it runs through our heads taunting us; it brings infamy to its creators and challenges to its interpreters; it teases us, amuses us, makes statements, and generally does its own thing while allowing listeners and performers to see themselves in it. All the while, classical music — this messy, brilliant, ever-evolving giant of a genre — encompasses a uniqueness that we hope to retain. It is beautiful, and it is unpredictable."

-- Hilary Hahn, “Celebrate Classical Music: I Love Classical Music.” September 6, 2012 at 3:51 pm.

My New Tumblr!

Greetings, readers! I recently started my graduate studies, so between moving, orientation, and adjusting to city-life, posting on my blog has been temporarily put on hold, though I hope to post again very soon. In the meantime, I wanted to let you know that I recently started a Tumblr titled "The Gleaner," which you can access here: http://cecilia37.tumblr.com. Please tune in for your daily dose of beauty varying from art, music, and architecture to landscapes and literature! The name of my Tumblr comes from the famous Realist painting "The Gleaners" by Jean-Francois Millet, pictured at the top, and is meant to reflect my desire to be a gleaner of truth and beauty in all of its forms, via the written word, the chisel, the paint brush, or God's creation. Happy tumblr-ing!

Da Vinci's Madonna & Child with St. Anne, and Bach's St. Anne Prelude & Fugue

Today is the feast day of St. Anne, and what better way to celebrate than through art!  To commemorate the day, I am posting the masterpieces of two of the most prominent names in both the art world and at large: Leonardo da Vinci and Johann Sebastian Bach!

Renaissance artist Leonardo da Vinci presents portrays in the sketch below the Blessed Mother and the Infant Christ Child alongside St. Anne, the mother of the Blessed Virgin. This detail is part of a larger sketch which also portrays the infant St. John the Baptist. For this reason, I find it rather odd that the other woman is designated as St. Anne rather than St. Elizabeth, the mother of St. John. But perhaps there is a significant detail I am missing that reveals her to be St. Anne, or perhaps da Vinci himself designated her as St. Anne to avoid the confusion of future generations.

Detail of Madonna and Child with St. Anne and the Young St. John by Leonardo da Vinci

This second piece of art is Bach's Prelude and Fugue in E-flat Major, also known as the St. Anne Prelude and Fugue. The title of St. Anne comes from the melody of the same name, which appears as the fugue subject -- the principal melody upon which the piece is built -- in the second movement of this baroque masterpiece. The first movement consists of three parts and is meant to reflect the three persons of the Holy Trinity. Of course, in my opinion, listening to "Our Holy Father Bach" (in the words of French Romantic organist Charles-Marie Widor) is a perfect way to celebrate any occasion, but today especially he seems appropriate!

Quotes from Brideshead Revisited

I just finished Evelyn Waugh's Brideshead Revisited and thought I would celebrate by sharing a few quotes. Each quote describes something about one of the characters in the story. If you haven't read it, I highly recommend it! I've put the quotes in italics. Below each quote are some reflections I've had while reading, which you can skip if you don't like spoilers.

Sebastian Flyte:

“...its a rather pleasant change when all your life you've had people looking after you, to have someone to look after yourself. Only of course it has to be someone pretty hopeless to need looking after by me.” 

I found it rather intriguing to find these words coming from Sebastian: Sebastian, the Oxford student who drinks too much and used to carry around a teddy-bear; Sebastian who despises his mother and his family. Yet, it may be an instance of the masculine tendency towards providing. Men like to have the answers. They want able to provide for their wives, girlfriends, and/or families. Sebastian didn't have the opportunity to really experience this until he'd fled his family and met Kurt.

Another interesting point I found was where Sebastian finally settles down: living half-in, half-out of an abbey. When I first read the title of Book II, "A Twitch Upon the Thread," I had a difficult time wrapping my head around it. However, as the story progressed, I realized that it was just as fitting as the first title. The title comes from one of G.K. Chesterton's Father Brown stories. Cordelia speaks of it at the end of Book I. Fr. Brown says that he has his subject on a hook so that the man might go to the farthest corner of the earth, yet Fr. Brown can bring him back with "a twitch upon the thread." The same can be said of the fallen away members of the Flyte family, such as Sebastian. Sebastian remarked in Book I about how difficult it was to be Catholic. Charles dismisses it as nonsense, to which Sebastian responds, "Is it? I wish it it were." After Sebastian has disappeared, Cordelia confides to Charles,"I used to think Sebastian had [a vocation] and hated it--but I don't know now." He may have been running away from a vocation, and has finally stopped. This is all speculation on my part. But whether or not he actually had a vocation, he couldn't run away from his faith, either. He had his wild days, but eventually he came back.

Diana Quick as Julia Flyte
and Charles Keating as Rex Mottram in BBC's adaption

Julia about Rex Mottram:

“He wasn't a complete human being at all. He was a tiny bit of one, unnaturally developed; something in a bottle, an organ kept alive in a laboratory. I thought he was a sort of primitive savage, but he was something absolutely modern and up-to-date that only this ghastly age could produce. A tiny bit of a man pretending to be whole.”

Rex Mottram is quite a character, albeit an unattractive one. Julia met and married Rex in the hopes of finding happiness and prestige with him. At first, Rex intended to become Catholic in order that their marriage might be recognized by the Church. However, once the Flyte family discovers that he was previously divorced and his ex-wife is still living, marriage within the Catholic Church becomes impossible. Once he realizes that becoming Catholic isn't going to bring him a life with Julia, he drops it completely. Against the wishes of her Catholic family, Julia decides to reject her faith for life with Rex.  However, life with him doesn't turn out the way she thought it would. Soon after their marriage, Julia finds out that Rex has been continuing an affair with another woman, whom he had been seeing during their courtship. (This sent up warning flags for me, but apparently it didn't for Julia). When Julia confronts him about it, he is unable to see why she is so upset. I'm not sure how on earth a man could become practically devoid of feeling, but it certainly seems to have happened in the case of Rex Mottram. I believe he has a very small soul locked away in an iron safe located in his big toe.

Julia Flyte:

“I've always been bad. Probably I shall be bad again, punished again. But the worse I am, the more I need God. I can't shut myself out from His mercy. ... Or it may be a private bargain between me and God, that if I give up this one thing I want so much, however bad I am, He won't quite despair of me in the end.”

Jeremy Irons as Charles Ryder

Julia is rather similar to Sebastian in that she, also has had her wild days. Both she and Sebastian know that they are living in sin. Julia rejected her faith in pursuit of happiness when she married Rex in spite of his previous divorce. When life with Rex doesn't turn out the way she had hoped, she runs away to America. When she takes up with Charles, both have been disillusioned by their first love and by their ambition. Julia wants to marry Charles, but something is holding her back.  In her lifestyle she denies her faith, but in her heart she can't. At one point she undergoes a bout of hysterics over her sinful lifestyle. As I read her monologue, she seems to have an excessive focus on sin. It appears that she doesn't believe that God will forgive her, so there is no use asking for His mercy. There seems to be no turning back. However, both her faith and Charles' faith are tested when Lord Marchmain comes home to Brideshead to die. It is at the moment of death that the real drama is acted. It all comes down to what one believes.  Life. Death. The fall from grace. The possibility of redemption. Julia realizes through the example of her father, another fallen away Catholic, that redemption is possible. If so, Julia realizes that there may be hope even for her. A twitch upon the thread... The final quote is from my favorite scene in the book. I won't say any more, lest I spoil the ending for you.

Charles Ryder:
“Then I knew that the sign I had asked for was not a little thing, not a passing nod of recognition, and a phrase came back to me from my childhood of the veil of the temple being rent from top to bottom.”