The Figaro Project: Scènes De La Beaumarchais Conceived And

The Figaro Project: Scènes de la Beaumarchais Conceived and Directed by A. Scott Parry Ryan Behan, musical director Michael Carrozza, Roxy Knepp, and A. Scott Parry, narration development Shane Cinal, set designer Kristine Kearney, costume designer Judy Barto, lighting designer Ryan Grant, production stage manager Narrated by Michael Carrozza as Pierre-Augustin Caron de Beaumarchais Part One: The Barber of Seville from Il barbiere di Siviglia (Paisiello/Petrosellini) – 1782 Act I, Introduction Il Conte Almaviva Mark Thress Figaro Joshua Cook Rosina Lucy Stearns Dottore Bartolo Tommy Petrushka from Il barbiere di Siviglia (Rossini/Sterbini) – 1816 Act II, Aria Rosina Adrienne Sereta from Il barbiere di Siviglia (Rossini/Sterbini) – 1816 Act III, Trio Il Conte Almaviva Mark Thress Rosina Lena Haleem Figaro Joshua Cook Part Two: The Marriage of Figaro from Le nozze di Figaro (Mozart/Da Ponte) – 1786 Act II, Nos. 10-14 La Contessa Sarah Dudley Susanna Cindy Lopez Cherubino Emmy Stowell Il Conte Almaviva Jason Fuh from Le nozze di Figaro (Mozart/Da Ponte) – 1786 Act III, Sextet Figaro Andy Hall Susanna Kaely Clapper Dottore Bartolo Tommy Petrushka Marcellina Skye Johnson Don Curzio Benjamin Fox Il Conte Almaviva Richard Celestina Part Three: The Guilty Mother from The Guilty Mother (Rush/Parry) – world première Act I, Nos. 1-3 Susanna Kate Merryman Figaro Joshua Cook The Count Samuel White Major Bainbridge Benjamin Bunsold from The Guilty Mother (Rush/Parry) – world première Act II, Nos. 16-18 The Countess Emily Brand The Count Samuel White Léon Lauren Doucet Susanna Kate Merryman Figaro Joshua Cook Flora Elizabeth Blanquera from La mère coupable (Milhaud/Milhaud) – 1966 Act III, Finale Figaro Joshua Cook Suzanne Kate Merryman Begearss Benjamin Bunsold Le Comte Samuel White Rosine Emily Brand Florestine Elizabeth Blanquera Léon Lauren Doucet Maître Fal Tommy Petrushka Moon Over Alabama – a Kurt Weill cabaret Conceived and Directed by A. Scott Parry Ed Bak, musical director “Alabama Song” from Mahagonny Songspiel Skye Johnson, Kaely Clapper & Company “Youkali” Donnalynn Laver “The Saga of Jenny” from Lady in the Dark Lauren Doucet “What Good Would the Moon Be?” from Street Scene Lucy Stearns “Lonely House” from Street Scene Benjamin Bunsold “I’m a Stranger Here” from One Touch oF Venus Kate Merryman “September Song” from Knickerbocker Holiday Benjamin Fox “Jealousy Duet” from Threepenny Opera Lena Haleem & Makenzie Moore “My Ship” from Lady in the Dark Adrienne Sereta “It Never Was You” from Knickerbocker Holiday Elizabeth Blanquera & Joshua Cook “Je ne t’aime pas” Emily Brand “Lost in the Stars” from Lost in the Stars Tommy Petrushka & Company “Mack the Knife” from Threepenny Opera Company .

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Music 3003 – Music of the Classic Era, Spring 2020 Prof
Music 3003 – Music of the Classic Era, Spring 2020 Prof. David Smey Class 11 – Tuesday, March 3 In this session we dove into Mozart’s first “all-time great” opera, Le Nozze di Figaro (The Marriage of Figaro, 1786). First, we did a little background: Mozart and Opera In the 18th Century opera is the most glamorous and potentially lucrative area of music- making. Mozart and his father are sophisticated members of the industry, so from childhood onwards Mozart frequently tries his hand at making operas. It is difficult to get a good count of how many opera projects Mozart tries, because some are left incomplete and others are one-act miniatures that don’t seem to “count,” but it looks like you could say that he writes about 22 of them. Wikipedia list Collaboration with Lorenzo da Ponte Mozart’s first big success in the opera house comes early in his Vienna years, with Die Entführung aus dem Serail in 1783. (This is the “Turkish” opera we were looking at last week.) For his next big project he teams up with a new librettist in town, an Italian named Lorenzo da Ponte. Da Ponte is a fascinating figure. He was born in the Jewish ghetto of Ceneda, Italy, and when he was a young boy his father decided that the whole family should convert to Christianity. (At this time there were many rules that limited the way Jews could participate in society, so converting was a common strategy. Later in history Felix Mendelssohn’s family will do the same thing.) The Catholic priests recognized Lorenzo’s talent, and he eventually became a priest himself and a poet who had a deep love for the Italian language.
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TAG SCRIPT LIBRARY Nov 2013.Xlsx
TITLE Author Genre Men WOMEN NOTES pages 10 Classic Mystery and Suspense Plays of the Modern T 1776‐And All That Wibberley, Leonard drama 98 70 24 Favorite 1 Act Plays Cerf, Bennet ‐ Editor Collection 27 Wagons Full of Cotton Williams, Tennessee 1 act 54 3 Plays by Noel Coward Coward, Noel Collection 3 Plays by Tina Howe Howe, Tina Collection 42nd St. screenplay 6 RMS RIV VU Randall, Bob comedy 4 4 hardbound 157 84 Charring Cross Road Hanff, Helene A 1000 Clowns, Thieves, The Goodbye People Gardner, Herb Collection A Breeze from the Gulf Crowley, Mart drama 2 1 hardbound 184 A Chorus Line Hamlisch, M.and Kleban, E, . conductor score 220 A Clearing in the Woods Laurents, Arthur drama 5 5 hardbound 170 A Connecticut Yankee in King Arthur's Court Fuller, John G. comedy 6 6 147 A Few Good Men Sorkin, Aaron drama 14 1 A Flea in Her Ear Feydeau, George A Florentine Tragedy Wilde, Oscar 1 act 20 A Kind of Alaska Pinter, Harold one act 1 2 A Life in the Theare Mamet, David A Life in the Theatre Mamet, David comedy 2 0 84 A Little Night Music Wheeler, & Sondheim musical 7 11 182 A Marriage Proposal Chekhov, Anton 1 act 12 A Memory of two Mondays Miller, Arthur drama‐1 act 12 2 1 act A Memory of two Mondays Miller, Arthur drama‐1 act 12 2 1 act A Moon For the Misbegotten O'Neill, Eugene drama 3 1 83 A Thousand Clowns Gardner, Herb comedy 4 1 1 boy approx 12 104 A Touch of the Poet O'Neill, Eugene drama 7 3 takes place in 180 A View from the Bridge Miller, Arthur drama 10 3 78 A View From The Bridge Miller, Arthur drama 10 3 hardbound 78 A Walk
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Assisted by Katie Rowan, Accompanist
THE BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC Dr. Stephen W. Sachs, Chair presents Morgan Robertson & Ellie Wise Junior Voice Recital assisted by Katie Rowan, Accompanist Tuesday, April 9, 2013 • 7:30 p.m. Belhaven University Center for the Arts • Concert Hall There will be a reception after the program. Please come and greet the performers. Please refrain from the use of all flash and still photography during the concert. Please turn off all pagers and cell phones. PROGRAM I Wish It So from Juno Marc Blitzstein • 1905 - 1964 My Ship from Lady in the Dark Kurt Weill • 1900 - 1950 Ira Gershwin • 1896 - 1983 Morgan Robertson, Soprano; Katie Rowan, Accompanist Out There from Hunchback of Notre Dame Stephen Schwarts • b. 1948 Alan Menken • b. 1949 There Won’t Be Trumpets from Anyone Can Whistle Stephen Sondhiem • b. 1930 Ellie Wise, Soprano; Katie Rowan, Accompanist Take Me to the World from Evening Primrose Stephen Sondheim The Girls of Summer from Marry Me a Little Morgan Robertson, Soprano; Katie Rowan, Accompanist Glamorous Life from A Little Night Music Stephen Sondheim My New Philosophy from You’re a Good Man, Charlie Brown Clark Gesner • 1938 - 2002 Ellie Wise, Soprano; Katie Rowan, Accompanist Mr. Snow from Carousel Richard Rodgers • 1902 - 1979 Oscar Hammerstein II • 1895 - 1960 Morgan Robertson, Soprano; Katie Rowan, Accompanist My Party Dress from Henry and Mudge Kait Kerrigan • b. 1981 Brian Loudermilk • b. 1983 Ellie Wise, Soprano; Katie Rowan, Accompanist INTERMISSION Always a Bridesmaid from I Love You, You’re Perfect, Now Change Jimmy Roberts Morgan Robertson, Soprano; Katie Rowan, Accompanist Music and the Mirror from A Chorus Line Joe DiPietro • b.
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Kennedy Center Education Department. Funding Also Provided by the Kennedy Center Corporate Fund
DOCUMENT RESUME ED 381 839 CS 508 906 AUTHOR Carr, John C. TITLE "Crazy for You." Spotlight on Theater Notes. INSTITUTION John F. Kennedy Center for the Performing Arts, Washington, D.C. SPONS AGENCY Department of Education, Washington, DC. PUB DATE [95] NOTE 17p.; Produced by the Performance Plus Program, Kennedy Center Education Department. Funding also provided by the Kennedy Center Corporate Fund. For other guides in this series, see CS 508 902-905. PUB TYPE Guides General (050) EDRS PRTCE MF01/PC01 Plus Postage. DESCRIPTORS Acting; *Cultural Enrichment; *Drama; Higher Education; Playwriting; Popular Culture; Production Techniques; Secondary Education IDENTIFIERS *Crazy for You; Historical Background; Musicals ABSTRACT This booklet presents a variety of materials concerning the musical play "Crazy for You," a recasting of the 1930 hit. "Girl Crazy." After a brief historical introduction to the musical play. the booklet presents biographical information on composers George and Ira Gershwin, the book writer, the director, the star choreographer, various actors in the production, the designers, and the musical director. The booklet also offers a quiz about plays. and a 7-item list of additional readings. (RS) ....... ; Reproductions supplied by EDRS ore the best that can he made from the original document, U S DEPARTMENT OF EDUCATION Ofi.co ofEaucabonni Research aria improvement EDUCATIONAL RESOURCES INFORMATION CENTER IERIC1 Et This document has been reproduced as received from the person or organization onqinallnq d 0 Minor charms have been made to improve reproduction quality. Points or view or opinions stated in this document do not necessarily represent official OERI position or policy -1411.1tn, *.,3^ ..*.
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Weill, Kurt (Julian)
Weill, Kurt (Julian) (b Dessau, 2 March 1900; d New York, 3 April 1950). German composer, American citizen from 1943. He was one of the outstanding composers in the generation that came to maturity after World War I, and a key figure in the development of modern forms of musical theatre. His successful and innovatory work for Broadway during the 1940s was a development in more popular terms of the exploratory stage works that had made him the foremost avant- garde theatre composer of the Weimar Republic. 1. Life. Weill‟s father Albert was chief cantor at the synagogue in Dessau from 1899 to 1919 and was himself a composer, mostly of liturgical music and sacred motets. Kurt was the third of his four children, all of whom were from an early age taught music and taken regularly to the opera. Despite its strong Wagnerian emphasis, the Hoftheater‟s repertory was broad enough to provide the young Weill with a wide range of music-theatrical experiences which were supplemented by the orchestra‟s subscription concerts and by much domestic music-making. Weill began to show an interest in composition as he entered his teens. By 1915 the evidence of a creative bent was such that his father sought the advice of Albert Bing, the assistant conductor at the Hoftheater. Bing was so impressed by Weill‟s gifts that he undertook to teach him himself. For three years Bing and his wife, a sister of the Expressionist playwright Carl Sternheim, provided Weill with what almost amounted to a second home and introduced him a world of metropolitan sophistication.
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MUSIC PROGRAM Voxso: LUTHERAN SUMMER MUSIC ACADEMY & FESTIVAL Lutheran Summer Music & Sounds of Summer Institute Concert & Recital Series
LUTHERAN MUSIC PROGRAM voxso: LUTHERAN SUMMER MUSIC ACADEMY & FESTIVAL Lutheran Summer Music & Sounds of Summer Institute Concert & Recital Series Faculty Artist Recital Sine Nomine Vocal Ensemble Catherine McCord Larsen, soprano Penny Hogan, soprano KrisAnne Weiss, mezzo-soprano Brad Bradshaw, tenor Michael Scarbrough, baritone George Hogan, bass Cheryl Lemmons, piano Noble Recital Hall Luther College Tuesday, July 12, 2016 7:30 p.m. Program !. American Traditions Hard Times Come Again No More Stephen Foster (1826-1864) arr. Mark Keller Wayfarin’ Stranger Traditional arr. Gilbert M. Martin (b. 1941) My Lord, What a Mornin’ Traditional arr. Harry T. Burleigh (1866-1949) Ride On, King Jesus Traditional arr. Moses Hogan (1957-2003) I. Kurt Weill in America from Lost in the Stars Kurt Weill Lost in the Stars (1900-1950) lyrics by Maxwell Anderson arr. Paris Rutherford from Street Scene lyrics by Langston Hughes Lonely House Brad Bradshaw, tenor What Good Would the Moon Be? Penny Hogan, soprano We’ll Go Away Together Brad Bradshaw, tenor Catherine McCord Larsen, soprano from One Touch of Venus lyrics by Ogden Nash I’m a Stranger Here Myself KrisAnne Weiss, mezzo-soprano from Love Life lyrics by Alan Jay Lerner This is the Life Michael Scarbrough, baritone from Knickerbocker Holiday lyrics by Maxwell Anderson September Song George Hogan, bass from Lady in the Dark lyrics by Ira Gershwin The Saga of Jenny Ill. George Gershwin from Porgy and Bess George Gershwin Summertime (1898-1937) lyrics by DuBose Heyward and Ira Gershwin from Lady Be Good lyrics by Ira Gershwin Fascinatin’ Rhythm from Porgy and Bess Oh Lawd, I’m On My Way Program Notes Our program tonight includes examples of many of American music’s strongest traditions: parlor songs intended to be played in the homes of amateur musicians, folk tunes and African-American spirituals shared and changed through oral tradition, and jazz-influenced musical theater and opera.
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Note Al Programma
NOTE AL PROGRAMMA Berlino, al centro del continente europeo e della sua storia, è sempre stata in grado di rivelare, in ogni epoca, da che parte spirasse il vento, rappresentando il fulcro della modernità occidentale quanto ad arte, musica, cultura e pensiero politico. Agli inizi degli Anni Trenta del secolo scorso l’aria che tirava era fortemente condizionata dal Nazismo. La crisi economica derivante dal crollo di Wall Street nel ’29 e la disoccupazione dilagante nella Repubblica di Weimar avevano posto le basi a un cambiamento politico che, per una città così vitale e aperta alla diversità e ai dibattiti d’ogni tendenza, rappresentava una grossa stonatura. Dal disagio sociale i nazisti avevano tratto beneficio e potere, e inculcarono nel pensiero comune che le colpe di quel dissesto fossero da imputare alla popolazione di discendenza ebraica. E l’incolpare gli ebrei di ogni fatto qualunque, perfino meteorologico, divenne per tutti un luogo comune. La devastazione, nel novembre del ’38, delle vetrine dei negozi appartenenti a commercianti ebrei fu la prova di una strada ormai segnata e senza ritorno. Mentre una legge stabiliva che quei danni dovessero «essere immediatamente riparati [dagli stessi] titolari e dai dirigenti ebrei [e a loro spese]», in città v’era uno spazio in cui tutto questo, oltre al quotidiano, diventava materia di un discorso comune, capace di cogliere l’ironia da ogni fatto rovesciando l’umore di ciascun cittadino: era il cabaret. Esisteva da tempo, il cabaret, come palcoscenico irriverente e beffardo sull’attualità. Ma nel periodo nazista questo divenne inevitabilmente il nucleo di grandi contraddizioni e di conflitti ideologici.
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Der Kuhhandel
Volume 22 Kurt Weill Number 2 Newsletter Fall 2004 Der Kuhhandel In this Issue: Bregenz Festival Reviewed Feature Article about Weill and An Operetta Resurfaces Operetta Volume 22 In this issue Kurt Weill Number 2 Newsletter Fall 2004 Note from the Editor 3 Letters 3 ISSN 0899-6407 Bregenz Festival © 2004 Kurt Weill Foundation for Music Der Protagonist / Royal Palace 4 7 East 20th Street Horst Koegler New York, NY 10003-1106 Der Kuhhandel 6 tel. (212) 505-5240 Larry L. Lash fax (212) 353-9663 Zaubernacht 8 Horst Koegler Published twice a year, the Kurt Weill Newsletter features articles and reviews (books, performances, recordings) that center on Kurt Weill but take a broader look at issues of twentieth-century music Feature and theater. With a print run of 5,000 copies, the Newsletter is dis- Weill, the Operettenkrise, and the tributed worldwide. Subscriptions are free. The editor welcomes Offenbach Renaissance 9 the submission of articles, reviews, and news items for inclusion in Joel Galand future issues. A variety of opinions are expressed in the Newsletter; they do not Books necessarily represent the publisher's official viewpoint. Letters to the editor are welcome. Dialog der Künste: Die Zusammenarbeit von Kurt Weill und Yvan Goll 16 by Ricarda Wackers Esbjörn Nyström Staff Elmar Juchem, Editor Carolyn Weber, Associate Editor Performances Dave Stein, Associate Editor Teva Kukan, Production Here Lies Jenny in New York 18 William V. Madison Kurt Weill Foundation Trustees Kim Kowalke, President Paul Epstein Der Zar lässt sich photographieren
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An Analysis of Personal Transformation and Musical Adaptation in Vocal Compositions of Kurt Weill
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2011 An Analysis of Personal Transformation and Musical Adaptation in Vocal Compositions of Kurt Weill Elizabeth Rose Williamson Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Recommended Citation Williamson, Elizabeth Rose, "An Analysis of Personal Transformation and Musical Adaptation in Vocal Compositions of Kurt Weill" (2011). Honors Theses. 2157. https://egrove.olemiss.edu/hon_thesis/2157 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. AN ANALYSIS OF PERSONAL TRANSFORMATION AND MUSICAL ADAPTATION IN VOCAL COMPOSITIONS OF KURT WEILL by Elizabeth Rose Williamson A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2011 Approved by Reader: Professor Corina Petrescu Reader: Professor Charles Gates I T46S 2^1 © 2007 Elizabeth Rose Williamson ALL RIGHTS RESERVED II ACKNOWLEDGEMENTS I would like to thank the people of the Kurt Weill Zentrum in Dessau Gennany who graciously worked with me despite the reconstruction in the facility. They opened their resources to me and were willing to answer any and all questions. Thanks to Clay Terry, I was able to have an uproariously hilarious ending number to my recital with “Song of the Rhineland.” I thank Dr. Charles Gates for his attention and interest in my work.
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The Marriage of Figaro
Taylor University Pillars at Taylor University Taylor Theatre Playbills Campus Events 11-13-2015 The aM rriage of Figaro Follow this and additional works at: https://pillars.taylor.edu/playbills Part of the Acting Commons, Dance Commons, Higher Education Commons, Playwriting Commons, and the Theatre History Commons Recommended Citation "The aM rriage of Figaro" (2015). Taylor Theatre Playbills. 31. https://pillars.taylor.edu/playbills/31 This Book is brought to you for free and open access by the Campus Events at Pillars at Taylor University. It has been accepted for inclusion in Taylor Theatre Playbills by an authorized administrator of Pillars at Taylor University. For more information, please contact [email protected]. ARTISTIC DIRECTOR Sometime in the last two years I was asked by Dr. Patricia Roberson to direct an opera. I asked emphatically, “does it bother you at all that I’ve never directed an opera?” She simply replied, “No.” I’m not sure whose idea it was to tackle the icon that is Mozart’s The Marriage of Figaro. Perhaps it was mine. If I’m walking all the way to the edge of the cliff anyway, why not just jump? Halfway through casting, I realized there was no safety net. I was casting before I was ready, May 2015, and was asking for all involved to take monumental risks on my choices. Dr. Conor Angell would work as Music Director, Dr. Robertson, who’s done Figaro multiple times, would travel the journey with us, teaching and mentoring along the way. I asked designer Kevin Gawley to join me on the adventure, trusting in his collaborative nature and aesthetic sensibilities.
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