carlotta,carlotta怎么读

本文目录

• 1.carlotta怎么读
• 2.男士香水什么牌子好闻
• 3.最近有一款香水
• 4.剧院魅影歌曲think of me

carlotta怎么读

Carlotta [kɑ:'lɔtə; 意大利语kɑ:r'lɔ:ttɑ:]

n. 奕香（法国著名香水品牌）；卡洛塔（女子名）

有不明白的地方再问哟，祝你学习进步，更上一层楼！ (*^__^*)

男士香水什么牌子好闻

欧丽丝、VERSACE范思哲、Bvlgari宝格丽、春婷、CARLOTTA这五个牌子的男士香水比较好。香味淡雅不刺鼻，留香持久，下面具体来介绍一下。

1、欧丽丝

欧丽丝勇者古龙香水，顾名思义，这是为了自信阳刚、勇敢强大的男士而设的一款香水。欧丽丝勇者古龙香水拥有清新木质香调，香气低调、沉稳、淡雅，却又持久萦绕，令人久久不能忘怀，男士们使用后将更加凸显你的男人味。

2、VERSACE范思哲

VERSACE范思哲蓝色牛仔可乐男士淡香水简直就是为了那些喜欢自由、随性、不羁风格的男士们而生的一款香水，它的外观不仅个性特别，充满摇滚风格，味道也富含特色，充满自然树林香气，香气好闻悠然，与众不同。

3、Bvlgari宝格丽

Bvlgari宝格丽碧蓝男士淡香水的设计灵感来源自蓝色的海洋，所以在外观设计与香调研配上都加入了与海洋相关的元素，香调为海洋清新调，充满海洋的气息，给人如朝露版清新舒适的感觉。

4、春婷

春婷古龙男士香水是一款非常适合中国男人的香水，它的香调富含东方格调，前调由茉莉花与柑橘香气组成，中调包含了薰衣草与迷失香香气，后调则加入了檀香与橡苔香，香气源自大自然，清香怡人。

5、CARLOTTA

CARLOTTA奕香持久淡香清新诱惑魅力香水的外观时尚潮流，富有男人味，皮质包裹住香水，十分有质感与个性。内里的香水清香淡雅，细细一闻，你就能问到佛手柑、西西里柑橘、橙花、香根、西洋杉等植物香气，仿佛置身于大自然中一样。

选购技巧：

1、看香水的包装

香水是给人带来好心情的，赏心悦目当然很重要，另外，很多香水都推出了便携的小包装，更适合随身携带。

2、看浓度

男士香水一般只有两种浓度；EDT（EaudeToilette，淡香水，浓度5－10％）和EDC（EaudeCologne，古龙水，浓度2－5％）两种，一般来说EDT能留香三个小时以上，更适合秋冬季使用，而EDC的留香时间在一到两个小时。

最近有一款香水

POUR HOMME 这是法语

Icon，Carlotta 法国著名香水品牌，卡洛塔香水

CARLOTTA介绍：·弈香弈香香水是卡尔·卓芬（Kare zuofun）法国国际公司名下的一个优秀的香水系列，其原料的研制，生产等一系列工艺均秉承了卓芬香水的高贵品质，并酝酿了其独特的香型，尽显其雍容华贵的品牌特色。1925年，卡尔·卓芬（Kare zuofun）先生创办了一座香水作坊，这位法国宫廷调香师的后裔，在巴黎Montaign大街开设了第一家香水店，专门为宫廷贵族子弟特制香水及其它香氛用品

剧院魅影歌曲think of me

欢迎提问关于剧院魅影的问题。

克里斯汀是在CARLOTTA唱think of me时发生事故后，CARLOTTA罢演了，被推荐唱这首歌曲的，然后就转换到台上演出了。具体你可到下面我上传的原文剧本中具体了解到！

A C T O N E

SCENE 1

REHEARSSALS FOR 'HANNIBAL' BY CHALUMEAU

(We have reached the great choral scene in which HANNIBAL and his army return to save

Carthage from the Roman incasion under Scipio. HANNIBAL is UBALDO PIANGI; ELISSA, Queen

of Carthage (his mistress) is CARLOTTA GIUDICELLI. The two leading SLAVE GIRLS are played

by MEG GIRY and CHRISTINE DAAE. MME GIRY is the ballet mistress. M. REYER, the repetiteur,

is in charge, We join the opera towards the end of ELISSA's (CARLOTTA's) great aria. She

is alone, holding a present from the approaching HANNIBAL, a bleeding severed head)

CARLOTTA (at the climax of an extravagant cadenza)

This trophy from our saviours,

from the enslaving force

of Rome!

(A STAGE HAND carries a ladder across the stage. OTHERS are seen still constructing partsof the scenery)

GIRLS' CHORUS

With feasting and dancing and song,

tonight in celebration,

we greet the victorious throng,

returned to bring salvation!

MEN'S CHORUS

The trumpets of Carthage resound!

Hear, Romans, now and tremble!

Hark to our step on the ground!

ALL

Hear the drums -

Hannibal comes!

(PIANGI enters, as HANNIBAL)

PIANGI (HANNIBAL)

sad to return to find the land we love threatened once more by Roma's far-reaching grasp.

REYER (interrupting him)

Signor ... If you please; 'Rome'. We say 'Rome', not 'Roma'.

PIANGI

Si, si, Rome, not Roma. Is very hard for me. (practicing) Rome... Rome ...)

(Enter LEFEVRE, the retiring manager of the Opera, with M.FIRMIN and M. ANDRE to whom he

has just sold it)

REYER (to PIANGI)

Once again, then if you please, Signor: 'Sad to return ...'

LEFEVRE (to ANFRE and FIRMIN)

This way, gentlemen, this way. Rehearsals, as you see, are under way, for a new production

of Chalumeau's 'Hannibal'.

(Sensing a hiatus in the rehearsal, LEFEVRE attempts to attract attention)

LEFEVRE

Ladies and geltlemen, some of you may already, perhaps, have met M. Andre and M. FIRMIN ...

(The new managers are plitely bowing, when REYER interrupts)

REYER

I'm sorry, M. Lefevre, we are rehearsing. If you wouldn't mind waiting for a moment?

LEFEVRE

My apologies. M. REYER, Proceed, proceed ...

REYER

Thank you, monsieur. (turning back to PIANGI). 'Sad to return ...', Signor ...

LEFEVRE (sotto voce to ANDRE and FIRMIN)

M. Reyer, our chief repetiteur, Rather a ttyrant, I'm afraid.

(The rehearsal continues)

PIANGI (HANNIBAL)

Sad to return to find the land we love threatened once more by Rome's far-reaching grasp.

Tomorrow we shall break the chains of Rome.

Tonight, rejoice - your army has come home.

(The BALLET GIRLS begin their dance. LEFEVRE, ANDRE and FIRMIN stand centre-stage watching

the ballet. The are in the way. The ballet continues under the following dialogue)

LEFEVRE (indicating PIANGI)

Signor Piangi, our pricipal tenor. He does play so well opposite La Carlotta.

GIRY (exasperated by their presence, bangs her cane angrily on the stage)

Gentlemen, please! If you would kindly move to one side?

LEFEVRE

My apologies, Mme. Giry.

(leading ANDRE and FIRMIN aside)

Madame Giry, our ballet mistress. I don't mind confessing, M. FIRMIN, I shan't be sorry to

be rid of the whole blessed business.

FIRMIN

I keep asking you, monsieur, why exactly are you retiring?

LEFEVRE (ignoring this, calls his attention to the continuing ballet)

We take a particular pride here in the excellence of our ballets.

(MEG becomes prominent among the dancers)

ANDRE

Who's that girl, Lefevre?

LEFEVRE

Her? Meg Giry, Madame Giry's daughter. Promising dancer. M. Andre, most promising.

(CHRISTINE becomes prominent. She has absentmindedly fallen out-of-step)

GIRY (spotting her, bangs her cane again)

You! Christine Daae! Concentrate, girl!

MEG (quietly, to CHRISTINE)

Christine ... What's the matter?

FIRMIN (to LEFEVRE)

Daae? Curious name.

LEFEVRE

Swedish.

ANDRE

Any relation to the violinist?

LEFEVRE

His daughter, I believe. Always has her head in the clouds, I'm afraid.

(The ballet continues to its climax and ends. The CHORUS resumes)

CHORUS

Bid welcome to Hannibal's guests -

the elephants of Carthage!

As guides on our conquering quests,

Dido sends

Hannibals friends!

(The ELEPHANT, a life-size mechanical replica, enters. PIANGI is lifted, in

triumph, onto its back)

CARLOTTA (ELISSA)

Once more to my

welcoming arms

my love returns

in splendour!

PIANGI (HANNIBAL)

Once more to those

sweetest of charms

my heart and soul

surrender!

CHORUS

The trumpeting elephants sound -

hear, Romans, now and tremble!

Hark to their step on the ground -

hear the drums!

Hannibal comes!

(At the end of the chorus LEFEVRE claps his hands for silence. The elephant is

led off. Two stage-hands are revealed operating it from within)

LEFEVRE

Ladies and gentlemen - Madame Giry, thank you - may I have your attention please?

As you know, for some weeks there have been rumours of my imminent retirement.

I can now tell you that these were all true, and it is my pleasure to introduce

to you the two gentlemen who now own the Opera Populaire, M. Richard Firmin and

M. Gilles Andre.

(Polite applause. Some bowing. CARLOTTA makes her presence felt)

Gentlemen, Signora Carlitta Guidicelli, our leading soprano for five seasons now.

ANDRE

Of course, of course. I have experienced all your greatest roles, Signora.

LEFEVRE

And Signor Ubaldo Piangi.

FIRMIN

An honour, Signor.

ANDRE

If I remember rightly, Elissa has a rather fine aria in Act Three of 'Hannibal'.

I wonder, Signora, if, as a personal favour, you would oblige us with a private

rendition? (Somewhat acerbic). Unless, of course, M. Reyer objects ...

CARLOTTA

My manager commands ... M. Reyer?

REYER

My diva commands. Will two bars be sufficient introduction?

FIRMIN

Two bars will be quite sufficient.

REYER (ensuring that CARLOTTA is ready)

Signora?

CARLOTTA

Maestro.

(The introduction is played on the piano)

CARLOTTA

Think of me,

think of me fondly,

when we've said

goodbye.

Remember me

once in a while -

please promise me

you'll try.

When you find

that, once

again, you long

to take your heart ...

(As CARLOTTA is singing, a backdrop crashes to the floor, cutting her off from half

the cast)

MEG/BALLET GIRLS/CHORUS

He's here:

the Phantom of the Opera ...

He is with us ...

It's the ghost ...

PIANGI (looking up, furiously)

You idiots!

(He rushes over to CARLOTTA)

Cara! Cara! Are you hurt?

LEFEVRE

Signora! Are you all right? Buquet! Where is Buquet?

PIANGI

Is no one concerned for our prima donna?

LEFEVRE

Get that man down here! (to ANDRE and FIRMIN)

Chief of the flies. He's responsible for this.

(The drop is raised high enough to reveal upstage an old stagehand, JOSEPH BUQUET,

holding a lenth of rope, which looks almost like a noose)

LEFEVRE

Buquet! For God's sake, man, what's going on up there?

BUQUET

Please, monsieur,

don't look at me:

as God's my witness,

I was not at my post.

Please, monsieur,

there's no one there:

and if there is, well

then, it must be a ghost ...

MEG (looking up)

He's there: the Phantom of the

Opera ...

ANDRE

Good heavens!

Will you show a little courtesy?

FIRMIN (to MEG and the OTHERS)

Mademoiselle, please!

ANDRE (to CARLOTTA)

These things do happen.

CARLOTTA

Si! These thing do happen! Well, until you stop these things happening, this

thing does not happen!

Ubaldo! Andiamo!

(PIANGI dutifully fetches her furs from the wings)

PIANGI

Amateurs!

LEFEVRE

I don't think these's much more to assist you, gentlemen. Good luck. If you

need me, I shall be in Frankfurt.

(He leaves. The COMPANY looks anxiously at the NEW MANAGERS)

ANDRE

La Carlotta will be back.

GIRY

You think so, messieurs? I have a message, sir, from the Opera Ghost.

(The GIRLS twitter and twirl in fear)

FIRMIN

God in heaven, you're all obsessed!

GIRY

He merely welcomes you to his opera house and commands you to continue to leave

Box Five empty for his use and reminds you that his salary is due.

FIRMIN

His salary?

GIRY

Monsieur Lefevre paid him twenty thousand francs a month. Perhaps you can afford more,

with the Vicomte de Chagny as your patron.

(Reaction to this from the BALLET GIRLS. CHRISTINE takes hold of MEG nervously)

ANDRE (to GIRY)

Madame, I had hoped to have made that announcement myself.

GIRY (to FIRMIN)

Will the Vicomte be at the performance tonight, monsieur?

FIRMIN

In our box.

ANDRE

Madame, who is the understudy for this role?

REYER

There is no understudy, monsieur - the production is new.

MEG

Christine Daae could sing it, sir.

FIRMIN

The chorus girl?

MEG (to FIRMIN)

She's been taking lessons from a great teacher.

ANDRE

From whom?

CHRISTINE (uneasily)

I don't know, sir ...

FIRMIN

Oh, not you as well!

(turning to ANDRE)

Can you believe it? A full house - and we have to cancel!

GIRY

Let her sing for you, monsieur. She has been well taught.

REYER (after a pause)

From the beginning of the aria then, mamselle.

CHRISTINE

Think of me,

think of me fondly,

when we've said

goodbye.

Remember me

once in a while -

please promise me

you'll try.

FIRMIN

Andre, this is doing nothing gor my nerves.

ANDRE

Don't fret, Firmin.

CHRISTINE

When you find

that, once

again, you long

to take your heart back

and be free -

if you

ever find

a moment

spare a thought

for me ...

(Transformation to the Gala. CHRISTINE is revealed in full costume)

We never said

our love

was evergreen,

or as unchanging

as the sea -

but if

you can still

remember,

stop and think

of me ...

Think of all the things

we've shared and seen -

don't think about the things

which might have been ...

Think of me,

think of me waking,

silent and

resigned.

Imagine me,

trying too hard

to put you

from my mind.

Recall those days,

look back

on all those times,

think of the things

we'll never do -

there will

never be

a day, when

I won't think

of you ...

(Applause, bravos. Prominent among the bravos, those of the young RAOUL in

the MANAGERS' box)

RAOUL

Can it be?

Can it be Christine?

Bravo!

(He raises his opera-glasses)

What a change!

You're really

not a bit

the gawkish girl

that once you were ...

(lowering his opera-glasses)

She may

not remember

me, but

I remember

her ...

CHRISTINE

We never said

our love

was evergreen,

or as unchanging

as the sea -

but please

promise me,

that sometimes,

you will think

of me!

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