Author’s Note

I am so sorry for making you think this is the next chapter for O in G. It is with the greatest regret, however, that I inform you that O in G is already finished—L'extrémité spells “the end” in French. Refer to the “complete” at the bottom of the entry. Numerous people have begged for an update, and frankly, there are no more updates. If you enjoyed this story and want to see more of witty French nobility, European nobility in general, and opera house culture, then I recommend you read the other stories in my progressing Opera in Colore series: Opera in Red which is currently being rewritten or Opera in Argent. There will be more short stories and a full length novel soon.

Allow me, also, to explain O in G’s rationale for ending as it does. Opera in Gold is a retelling of King Midas and the Golden Touch, only in the nineteenth century in France as opposed to ancient Crete. Raoul d’Argentile is King Midas. Instead of wishing for everything turning to gold, he wants every woman of the Paris Opéra to fall in love with him. Gilda, Chrysanthile, Orienne, and Flavie represent gold; that is why each of their names have something to do with gold and why they are so submissive to him. Use your imagination, and I think you will understand. Also, in the Midas myth, the king of Crete starts regretting his wish when he discovers he can no longer eat, when he will starve for his greed. Raoul, likewise, regrets his wish when he realizes his charms are immune to women outside the world of the opera, a point when he will starve sexually for his amative greed as well. I hope this makes sense. The Greek myth ends when Midas is cured of his wish by washing his hands in a certain river. Raoul’s ending is more ambiguous since he can only feel sorry for what has happened; it is not as if he can go and cleanse himself in the Seigne as that would look weird. Hahaha.

Again, I am sorry for denying all of you an update, but I strongly urge you to read my other works in the Opera in Colore series.