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Quote by Ayu Welirang

“Mungkin hidup membosankan itu malah yang kayak kita lakukan sekarang. Bersenang-senang terus, nggak mikirin masa depan. Mungkin kalo kita mikirin masa depan malah jadi ada tantangannya.”

Quote by Ayu Welirang

Book:Halo, Tifa
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Halo, Tifa

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Ayu Welirang

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“Yet, they don’t know anything about who I am really… like I’m not sure if I know who I am…! They just see what they see. I’m not sure if Ray understands me completely or not, so how are they going to, just looking at my profile photos on their computers clicking away. They just want to feel the inside of me, not get inside of me. (Yah- know.) So anyway, at lunch today. Jenny is somewhat okay, that I want to be with Ray… so she said, at the table smelling through her teeth. The stipulation she gave was only if we keep on nodding terms, like with all the other guys or even girls I am with. So that means that I can have a full-blown relationship, whether I find them attractive if they're popular, hot, or not. That I can only hook up with a girl or boy, yet not stay with them. It made no sense to me. At the time I didn’t get it. Just like I didn’t get it when I saw Maddie was wearing bunny slippers, and a holy bathrobe to school today. Looking like, she was ridden hard and put away wet. I giggled so hard in math class today when she walked into the room; I think I snorted loudly.”

Humor InspirationalTeenager Problems
Book:Nevaeh Falling too You
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“The Comte de Chagny was right; no gala performance ever equalled this one. All the great composers of the day had conducted their own works in turns. Faure and Krauss had sung; and on that evening, Christine Daaé had revealed her true self, for the first time, to the astonished and and enthusiastic audience. Gounod had conducted the Funeral March of a Marionette; Reyer, his beautiful overture to Siguar; Saint Saëns, the Danse Macabre and a Rêverie Orientale, Massenet, an unpublished Hungarian march; Guiraud, his Carnaval; Delibes, the Valse lente from Sylvia and the Pizzicati from Coppelia. Mlle. Krauss had sung the bolero in the Vespri Siciliani; and Mlle. Denise Bloch the drinking song in Lucrezia Borgia. But the real triumph was reserved for Christine Daaé, who had begun by singing a few passages from Romeo and Juliet. It was the first time that the young artist sang in this work of Gounod, which had not been transferred to the Opera and which was revived at the the old Theatre Lyrique by Mme. Carvalho. Those who heard her say that her voice, in these passages, was seraphic; but this was nothing to the superhuman notes that she gave forth in the prison scene and the final trio in Faust, which she sang in the place of La Carlotta, who was ill. No one had ever heard or seen anything like it. Daaé revealed a new Margarita that night, a Margarita of a splendor, a radiance hitherto unsuspected. The whole house went mad, rising to it its feet, shouting, cheering, clapping, while Christine sobbed and fainted in the arms of her fellow-singers and had to be carried to her dressing-room. A few subscribers, however, protested. Why had so great a treasure been kept from them all that time? Till then, Christine Daaé had played a good Siebel to Carlotta's rather too splendidly material Margarita. And it had needed Carlotta's incomprehensible and inexcusable absence from this gala night for the little Daaé, at a moment's warning, to show all that she could do in a part of the programme reserved for the Spanish diva! Well, what the subscribers wanted to know was, why had Debienne and Poligny applied to Daaé, when Carlotta was taken ill? Did they know of her hidden genius? And, if they knew of it, why had they kept it hidden? And why had she kept it hidden? Oddly enough, she was not known to have a professor of singing at that moment. She had often said she meant to practice alone for the future. The whole thing was a mystery.”

Christine DaaeComposersOpera SingerCarlottaOpera Music
Book:The Phantom of the Opera
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