Masks, we all wear them, and some possess immense power.
Even as the moon falls from the sky, a young man named Kafei vows to fulfill a promise to wed his beloved Anju. A most treasured possession, his wedding mask, has been stolen, and he intends to take it back no matter what.
Another mask is the source of the cataclysm to come. Allied to the grudge of a creature whose twisted innocence resents the world, it has turned petty pranks into omnipotent cruelty, wreaking havoc and spreading misery to the four corners of the world.
Time is short, and there are only three days to Carnival...
Majora is an opera based on The Legend of Zelda: Majora's Mask.
This is a game full of depth. The strangeness of the setting, the urgency of the plot and the troubles of the characters are very fitting for stage. Its brilliant musical themes can be developed throughout an entire narrative, making Majora a celebration of the game's world, along with a tribute to the music of Koji Kondo and Toru Minegishi.
This is not made only for Zelda fans. Majora's Mask's story is self-contained, and the opera is written in a way that everyone, Zelda fan or not, gamer or not, can enjoy. As both a musician and a Zelda fan, I found that a professional adaptation of the characters' drama can become a rich and engaging stage work.
The story focuses on Kafei and the retrieval of his wedding mask, which takes on a different approach due to Link's absence from Termina in this version.
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