Chapter 486: The Godfather of Music - Quentin
As he spoke, a thin, elderly man in a sharp suit and a monocle, appearing to be in his fifties or sixties but with remarkably sharp eyes, slowly rose from beside David-Berg.
“So he’s the famous composer, Master Quentin Lysenter? The Nightingale Opera Troupe actually managed to invite him.”
Quentin Lysenter is the current chief musician of the Dordogne Tulip Opera House and a top-tier composer known as the “Godfather of Music.”
Jia Na couldn't fathom why such an esteemed figure would condescend to compose opera pieces for the Nightingale Opera Troupe.
“I didn't expect Commander Roman to actually know Master Quentin.”
Watching Quentin Lysenter walk towards the rehearsal room's piano, Liji-Xiaosi, who had also long admired him, couldn't help but let out a soft exclamation.
“Are you saying Master Quentin was actually invited through Commander Roman’s connections?”
Hearing Liji-Xiaosi's gasp, Jia Na, who shared the same doubt, also quietly asked her.
“That’s right — but I always thought Director David was just bragging. I never imagined it was true.”
Just as Jia Na and Liji-Xiaosi were whispering, Quentin Lysenter settled steadily onto the chair in front of the piano.
“Which section should we start from?”
Quentin Lysenter, already seated at the piano, turned to David-Berg, who was not far away, as he opened the sheet music.
“Master Quentin, let’s start with isabelle’s solo piece for now — Oh, Jia Na, didn’t you also compose a few solo pieces about isabelle? After Master Quentin finishes playing, you can play them for us too.”
Miss Jia Na composes music too?
Hearing David-Berg's words, everyone, whether familiar or unfamiliar with Jia Na, except for Liji-Xiaosi and Xiuka-Boge who already knew, simultaneously turned their gaze to Jia Na.
“I didn’t expect to meet a colleague here, and such a young and beautiful lady at that — well, we’ll have to have a good exchange later.”
Upon learning that besides himself, another “colleague” would also be playing new pieces, Quentin Lysenter first turned his head slightly to quickly size up Jia Na, then gently remarked with a mild attitude.
“I wouldn’t dare to ‘exchange’; I just hope Master can give me some pointers later.”
“No problem.”
Hearing Jia Na’s request, Quentin Lysenter still smiled and nodded, then focused his gaze on the sheet music on the piano.
“Master Quentin’s temper doesn’t seem as volatile as the rumors describe.”
Watching Quentin Lysenter appear so amenable, Liji-Xiaosi, sitting nearby, couldn't help but whisper to Jia Na.
“After all, they are just rumors, not necessarily true.”
According to rumors, Quentin Lysenter himself had a notoriously explosive temper; if anything went slightly amiss, he would start smashing pianos.
It was said that he had already broken more than a dozen pianos.
However, judging by Quentin Lysenter's behavior today, he was not at all as volatile as the rumors described; on the contrary, he was quite gentle.
Of course, gentleness might only be a facade. Jia Na, being naturally extremely sensitive to changes in emotions, could clearly sense the subtle, elusive indifference beneath Quentin Lysenter's gentle exterior when he spoke to her earlier.
This indifference was particularly evident when Quentin Lysenter looked at Jia Na.
In fact, it wasn't just Quentin Lysenter; upon hearing that Jia Na had also prepared original compositions, even Liji-Xiaosi, who was quite familiar with Jia Na, and her “recommender” David-Berg, all showed a degree of disbelief.
It wasn't because they had any issues with Jia Na personally, but rather because Jia Na had never previously shown any aptitude for composing music.
Not to mention the other members of the troupe, who simply didn't believe Jia Na could genuinely create musical works.
Even if Jia Na did create something, compared to a renowned master composer like Quentin Lysenter, there would undoubtedly be a chasm-like difference.
Of course, given Jia Na's current status, second only to the commander and director, and the fact that everyone in the troupe held some degree of affection for her, despite their inner skepticism, they all tacitly showed no hint of it. “Zheng zheng —”
Accompanied by a stirring piano prelude, Quentin Lysenter’s performance began.
As isabelle, the main character with the most scenes in “withering rose,” her singing parts are numerous, but there are only three true solo segments.
These are isabelle’s initial appearance as a wingless angel in Heaven, her desperate confession after being imprisoned in Purgatory and corrupted into a dark angel, and finally, her last words before preparing for “suicide” after personally slaying Lord of Heaven Augustine.
These three solos by isabelle span the entire story, serving as both climaxes and focal points.
Therefore, apart from the actor's own performance, an excellent melody that resonates with the character's inner self is also an extremely important component.
“Zheng zheng —”
The first piece Quentin Lysenter played was isabelle’s solo upon her initial appearance. The style of the entire piece, though quite stirring, did not lack solemnity and grandeur.
Just hearing the melody would involuntarily evoke a sense of solemnity, as if the distant and unreachable Heaven had truly appeared before everyone.
“As expected of Master Quentin; just the protagonist's opening piece can immediately capture the ears of all listeners. It makes me feel like I want to prostrate myself in reverence… It’s just that the style is a bit similar to some church hymns.”
Hearing this, Jia Na did not speak, but she felt a similar sensation internally.
However, as one of the most powerful angels in Heaven, and with her first appearance taking place in Heaven—a sacred place in the hearts of many believers—the musical style needed to lean towards solemnity and grandeur, inevitably clashing with the melodies of many church hymns.
“Zheng zheng —”
As isabelle’s first solo piece concluded, Quentin Lysenter immediately began playing the second solo piece—Fallen Angel.
Compared to the solemnity of the first piece, the melody of the second piece, though still stirring, contained many more low, urgent, and oppressive notes.
