Writing on the opera will resume tomorrow, as I will try to finish Kafei's Dream in order to proceed. What will it resume from, you might ask? Well, I'm also part of a choir who's in a stage production of Purcell's opera on the story of Dido and Aeneas, and it has been eating up rehearsal/recording time from Majora. This Friday (the official recording day of the week) will once again be occupied by another performance, instead of Majora's delightful screeching.

Speaking of which, Majora's Aria is nearly recorded, and I am still in need of a dancer to be Skull Kid. The latter isn't a problem yet, because without a recording to dance to, it doesn't matter whether I have one now.

Majora's Aria will probably come first, so the promised trio might in fact become Demo #6 for the same reasons explained in the first paragraph. Also, it will soon be exam season. The good news is that we found a fitting tenor for the trio, to replace the one who had to leave, so things might speed up quite a lot in the recording department after these first weeks.

Some of you might remember the first demo was supposed to be the Clock Town Choir, intended to be released last January (oh, the naiveté). That has also been slowly in motion since April.

Long story short, the behemoth is moving!


Now, Q&A!

Josef Stylin: Does Kafei wear the Keaton's mask throughout the opera?

Only in Clock Town, where he's afraid of being recognized.


malionx: I’m surprised nobody has asked about Tatl and Tael yet. I assume they are with the Skull Kid, yes? Though I suppose having two little lights like Tinkerbell in the stage version of Peter Pan might not be the best source of character development.

Your last sentence basically says it all. If there is a way to have realistic balls of light following him around without it looking ridiculous, it might be an interesting visual addition, but there will be nothing further than that. They are not speaking characters in the opera, especially since Link did not split them apart, and Skull Kid is completely entrapped in Majora's mind control. He is a dancer, remember, nothing in him speaks. Majora does, as a separate singer invisible to every other character. Remember it's a stage work.


black-leg: The Song of Healing better be in this. I imagine you could do really good things with it. Also is the Happy Mask Salesman in this?

The instrumental snippets do have remnants of the Song of Healing, and yes, of course, it will be included. It is also a majorly important motif that appears TONS of times, symbolizing the fulfillment of promise (or the will to do so).

The Happy Mask Salesman is in this, yes, for the millionth time, I see you people are lazy readers. :P


Kevin: This may seem weird, because you’ve answered the question about Viscen being female before (for contrast), but, did you just do it for the Demo, or are you actually planning on casting a woman as Viscen in the actual play?

If it is the latter, would you be willing to consider a male if the timbre of their voice (and their range) significantly differed from the person portraying Mutoh?

I am actually planning to cast a woman. Firstly because in the eventuality of the available singers being fewer than the characters, the role change will fit actual female mezzo-soprano characters

I will not consider a male because the issue isn't Mutoh, it's the Mayor. Mutoh is a bass, and the Mayor is a tenor. If Viscen were a man, he would definitely be a tenor. The thing is, in order for the fugato to work well, I really needed three independent voices that all had their own ranges and comfortable zones. A tenor is a tenor, they all have tenor ranges. If I used two tenors, the separation of the timbres wouldn't be as clear, their voices would have to remain very close to each other to avoid straining or rendering one of them hard to hear just for the sake of harmony, which would simply make the diverging opinions even harder to understand.

If the character actually fits the operatic definition of a young man fit to be played by a female singer, why complicate what's already hard to hear in an actual opera?


Gregory Smith: Do you have any plans for Kafei to interact with the Salesman prior to each traveling the world?

Nope. Kafei and the Salesman will only meet in Ikana, and the Salesman will only leave Clock Town to go to Ikana.


LegendKillerII: So I guess that if you're wearing the Keaton's mask, the dekus guarding the entrance can't tell that you actually aren't one of them? I love all of your demos, but I just thought I should mention that tiny plot hole (unless in your version, the guards aren't at the deku palace's entrance).

If I had to make every single location in Majora's Mask, there wouldn't be enough sets, room, or any sort of practicality in the matter. I say this because in the opera, the Deku will come onto stage, as if making a public execution in the swamp. This doesn't happen for any specific reason, it's just that it's already hard to cram two complex sets into one act. There's a swamp set, which can suffer transformations, but building a specific set for the interior of the palace would imply building specific sets for every single interior in the story. That simply cannot happen. Only vital interiors must exist, and this is not one of them.

That said, imagine Kafei running off-stage to find the source of the Deku drums he hears in the distance, the Deku coming from the other side, gradually, a mob who cheers for the execution, two stronger Deku dragging the monkey, and the King being led or perhaps carried into a comfortable place to watch the show. Kafei would come in from the same side as the Deku, as if having covered a certain distance after them, and the cauldron would be dragged in later, as in the demo.

Some details of the game must be set apart, or else we end up being too literal. It's precisely what I avoid in this opera. See it as a story being told from mouth to mouth. Everyone has their own version, and no one sees the world exactly the same way. As long as the events are there, in a simplistic way, it's the same story.