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German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated -
Comparison of the Original Operetta Arizona Lady, by Emmerich Kálmán
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ASU Digital Repository Comparison of the Original Operetta Arizona Lady, by Emmerich Kálmán, with its 2015 Adaptation Performed by Arizona Opera by Elizabeth Lynette Leyva A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2019 by the Graduate Supervisory Committee: Amy K. Holbrook, Chair Dale Dreyfoos Anne Elgar Kopta ARIZONA STATE UNIVERSITY May 2019 ©2019 Elizabeth Lynette Leyva All Rights Reserved ABSTRACT Emmerich Kálmán (1882-1953) was a leading composer during the Silver Age of Viennese operetta. His final work, Arizona Lady (1954), premiered posthumously, on Bavarian Radio, January 1, 1954. The stage premiere followed on February 14, 1954, at the Stadttheater in Bern, Switzerland. It is his only operetta that is set entirely in the United States, in Tucson, Arizona. Arizona Opera commissioned and produced a new adaptation of Arizona Lady, which was performed in October 2015, in both Tucson, Arizona, and Phoenix, Arizona. The libretto was heavily revised, as well as translated, primarily into English with some sections in Spanish and German. Through comparison of the original and adaptation, this study examines the artistic decisions regarding which materials, both musical and dramatic, were kept, removed, or added, as well as the rationale behind those decisions. The changes reflect differences between an Arizonan audience in 2015 and the European audience of the early 1950s. These differences include ideas of geographical identity from a native versus a foreign perspective; tolerance for nationalistic or racial stereotypes; cultural norms for gender and multiculturalism; and cultural or political agendas. -
EDISON CYLINDERS Blue Amberols Are Housed in Fine Quality Reproduction Edison Orange Boxes Or in Original Boxes
EDISON CYLINDERS Blue Amberols are housed in fine quality reproduction Edison orange boxes or in original boxes. Wax cylinders are in padded boxes, either original or appropriately protective. Any mold on wax cylinders is always described. All grading is visual and refers to the cylinders rather than the boxes. 4354. 2-M 17139. CÉCILLE MERGUILLIER [s]. DOMINO NOIR: Un fée (Auber). Just about 1-2. $40.00. 4355. 2-M 15897. FRANZISKA KRUG-ELFGEN [s]. SCHLARAFFENDLAND: Walzerlied (Schleif- fahrt). Just about 1-2. $40.00. 4356. 2-M 18070. PIERRE CORNUBERT [t]. LA DAME BLANCHE: Ah! quel plaisir d’être soldat (Boieldieu). Just about 1-2. $75.00. 4353. 4-M Wax Amberol B-152. LEO SLEZAK [t] STÄNDCHEN (Schubert). Just about 1-2. $75.00. 4351. 4-M Wax Amberol B-165. FLORENCIO CONSTANTINO [t]. TOSCA: Recondita armonia (Puccini). Just about 1-2. $75.00. 4348. 4-M Wax Amberol B-166. BLANCHE ARRAL [s]. MIGNON: Polonaise (Thomas). Just about 1-2. $40.00. 4350. 4-M Wax Amberol B-174. ADELINA AGOSTINELLI [s], ATTILIO PAROLA [t]. LA BOHÈME: O soave fanciulla (Puccini). Just about 1-2. $75.00. 4349. 4-M Wax Amberol 30044. MARIE RAPPOLD [s]. CHANSON PROVENÇALE (Dell’Acqua) Just about 1-2. $40.00. 4352. 4-M Wax Amberol 844. HENRI SCOTT [bs]. O’ER THE FRESH GREEN FIELDS (Chami- nade). Just about 1-2. $20.00. 4363. 4-M Blue Amberol 2388. CLEMENTINE DE VERE SAPIO [s], VERNON ARCHIBALD [b]. ROSE OF THE MOUNTAIN TRAIL (Brennan). Archibald sings the main tune about Rose, who we hear vocalizing in the distance on the Mountain Trail. -
Golf Estonian Spas on Tour ECONOMY
2/2008 ECONOMY on tour Estonian Spas Golf Photo: Kadi Asmer people’s money to Estonians, so that they could improve their standard of living and make the houses look nicer. Just look how many billions Swedbank have pumped in Anders Hedman on the Estonian real estate market, since they took over Chairman the full ownership of Hansabank. It is many times more SCCE than they paid for the bank. The money they have put at risk is not the Estonians’ money but the Swedes’ money. To blame your host for the hang-over is not really honest, but I am sure that if time really goes bad, then many ex- rich entrepreneurs who believe they were World Champion Businessmen, will for sure blame the Swedish banks and so will the politicians. This goes back to the Soviet tradition Dear Reader, of never admitting that I am doing something wrong. Just blame the guy next to you and as laud as possible because Warning Estonia! The Crisis Is Here! Well, then people might believe you. Right or wrong was never an if you read the newspapers, then this is the objective issue but a very subjective issue. conclusion of the economical life in Estonia at the moment. But where is the news? There is however time to give Estonian politicians a serious warning. I see how they now want to use these times to We foreigners have told Ansip & Partners that the 10% GDP start introducing more taxes in general. Increased land growth rate per year is going to be over one day. -
Appendix 1 Productions of Operetta from the German Stage on Broadway and in the West End, 1900–1940
Appendix 1 Productions of Operetta from the German Stage on Broadway and in the West End, 1900–1940 This appendix lists only operettas that appeared on both German-language and English-language stages. Whenever possible the number of perfor- mances of the first production in Vienna, Berlin, London, or New York has been checked from several sources. These include: J. P. Wearing, The London Stage, 8 vols., covering the period 1900–39 (Metuchen, NJ: Scarecrow Press, 2nd edn 2013–14); Burns Mantle, The Best Plays of 1909–19, and annual vols. 1920–25 (Boston: Small, Maynard) and 1926– 40 (New York: Dodd, Mead); Kurt Gänzl and Andrew Lamb, Gänzl’s Book of the Musical Theatre (London: The Bodley Head, 1988); Anton Bauer, 150 Jahre Theater an der Wien (Vienna: Amalthea-Verlag, 1952); Richard C. Norton, A Chronology of American Musical Theater, 3 vols. (New York: Oxford University Press, 2002); Gerald Bordman, American Operetta: From H.M.S. Pinafore to Sweeney Todd (New York: Oxford University Press, 1981), Appendix, 185–94; Stanley Green, Encyclopedia of the Musical Theatre (New York: Dodd, Mead, 1976); Robert Ignatius Letellier, Operetta: A Sourcebook (Newcastle upon Tyne: Cambridge Scholars, 2015); the Internet Broadway Database www.ibdb.com/index.php; The Guide to Light Opera & Operetta www.musicaltheatreguide.com/menu/ introduction.htm; the Operone database www.operone.de/ and the Ovrtur database of musicals www.ovrtur.com/. Note that performance statistics in Table II, 427–35 of Otto Keller, Die Operette in ihrer Geschichtlichen Entwicklung: Musik, Libretto, Darstellung (Leipzig: Stein Verlag, 1926) give the total number of performances on the German stage up to 1921 of operettas dating from 1900 and later. -
Podium Operette 100 Jahre Österreich Emmerich Kálmán Zum 65
Podium Operette 100 Jahre Österreich Emmerich Kálmán zum 65. Todesjahr 2018 Charles Kalman zum 90. Geburtstag 2019 Mit Siglind Buchmayer, Lucia Dziubinski, Steven Fiske, Namil Kim, Christina Maier, Catalina Paz, Marie-Luise Schottleitner, Victoria Sedlacek und Johanna Zachhuber. Regie, Lehrgangsleitung: Wolfgang Dosch Musikalische Leitung, Klavier: László Gyükér Musikalische Einstudierung, Klavier: Christian Koch Choreografie, Lehrgangsassistenz:Gabriel Wanka Korrepetition: György Handl Freitag, 11. Jänner 2019 18.30 Uhr Musik und Kunst Privatuniversität der Stadt Wien MUK.podium Johannesgasse 4a, 1010 Wien PROGRAMM O, DU MEIN ÖSTERREICH – Operette 1918, Spiegelkabinett als Weltenspiegel AUSKOMPONIERTER STOSS-SEUFZER Franz von Suppé (1819, Spalato/Split, Dalmatien – 1895, Wien) aus S’Alraunerl (Text: Anton von Klesheim/Zusätzl. Strophe: Karl Treumann; UA: Theater an der Wien, 1849) O, du mein Österreich László Gyükér, Klavier TANZ’ MEIN LIEBER, EH’S VORÜBER Emmerich Kálmán (1882, Siófok – 1953, Paris) aus Die Csárdásfürstin (Text: Béla Jenbach/Leo Stein; UA: Wien, Johann Strauss-Theater, 1915) Hurra, man lebt ja nur einmal Ensemble Texte aus Die letzten Tage der Menschheit und Weltgericht von Karl Kraus (20.11.1918) Robert Stolz (1880, Graz – 1975, Berlin) aus Soldatenlieder (Text: Kurt Robitschek, 1918) Als sie wiederkamen op. 323 Ensemble Texte von Alfred Polgar und Anton Kuh Robert Stolz Friedenscouplet op. 215 (Text: Arthur Rebner) Ensemble Zitat Sigmund Freud Österreich Ungarn ist nicht mehr Text aus Der Umsturz von Joseph Roth 2 -
Katalog Operetten.Indd
Katalog Einzelnummern Operetten Mietmaterial Musikverlag Josef Weinberger London Frankfurt am Main Wien Vorwort Der Musikverlag Josef Weinberger ist historisch besonders eng mit der Wiener Operette verknüpft und prägte zu Beginn des 20. Jahrhunderts dieses Genre als Verlag entscheidend mit. Das Theater stellte gerade in dieser Zeit des Aufbruchs mit seinen Produktionen einen bedeutsamen kulturellen und stetig wachsenden Faktor dar. Einen wichtigen Grundstein für sein Bühnenrepertoire schuf Weinberger mit den Operetten Johann Strauß’. Als Johann Strauß (Sohn) 1899 verstarb, konnte Josef Weinberger von dessen Witwe Adèle Strauß als Rechtsnachfolgerin sämtliche Bühnenrechte an seinen Kompositionen erwerben. Daneben erschienen neue junge kompositorische Talente bei Weinberger wie Leo Fall, Edmund Eysler, Emmerich Kálmán, der „Erfolgskomponist“ aus Budapest oder der damals noch unbekannte Franz Lehár mit seiner ersten erfolgreichen Operette „Der Rastelbinder“.1 Viele der damals entstandenen Operetten konnten sich international als Klassiker behaupten und sind heute ein wichtiger Bestandteil des Repertoires, der nichts von seiner ursprünglichen musikalischen Frische verloren hat. Für eine bessere Übersicht und Auffi ndbarkeit erscheint nun dieser Katalog, der einen repräsentativen Ausschnitt bekannter und beliebter Nummern wiedergibt. Falls Sie eine Einzelnummer nicht fi nden sollten und das Werk sich in unserem Verlagsprogramm befi ndet, sind wir selbstverständlich darum bemüht, Ihnen diesen Titel zugänglich zu machen. Neben Altbekanntem stellen wir mit diesem Katalog auch musikalische Raritäten aus etwas weniger populären Operetten vor. Hierzu zählen beispielsweise Bruno Granichstaedtens „Der Orlow“, Emmerich Kálmáns „Ein Herbstmanöver“, „Das Hollandweibchen“, oder Franz Lehárs „Schön ist die Welt“. Die Werke Arthur Sullivans sind vor allem für die Entwicklung des amerikanischen Musicals bedeutend. Er gilt als Vertreter der englischsprachigen Operette. -
Mitwirkende Michael Suttner (Konzeption, Tenor Und Violine) Stefanie C
Ein inszeniertes Operettenkonzert mit Highlights von Emmerich und Charles Kalman Mitwirkende Michael Suttner (Konzeption, Tenor und Violine) Stefanie C. Braun (Sopran) Adam Sanchez (Tenor) Andreas Kowalewitz oder Susanna Klovsky (Klavier) Dr. Stefan Frey (Moderation) Kálmán & Kalman das sind: Emmerich Kálmán und Charles Kalman, Kálmán Vater und Kalman Sohn, erster Csár- dásfürst der Operette und letzter Grandsegnieur der Unterhaltungsmusik. „Das Operettenpublikum will unter Tränen lachen“ wußte schon Victor Léon, der Librettist der Lustigen Witwe und die Musik keines anderen Operettenkomponisten entspricht dieser Definition wie die Emmerich Kálmáns. Als schwermütiger Meister der leichten Muse hat er dem Genre eine Fülle mitreißender Melodien beschert. Man denke nur an Zwei Märchen- augen oder Tanzen möcht´ ich. Doch der Name Kálmán steht nicht nur für Operettenschla- ger, sondern auch für eine abenteuerliche Biographie zwischen Plattensee und Hollywood, Wien und New York. Beredter Zeuge dieser Stationen ist sein Sohn Charles, der die kom- positorische Nachfolge seines Vaters angetreten hat, nicht als Operettenungar, sondern als musikalischer Globetrotter. Er bereichert das Familienrepertoire um Chansons und den Broadway. Der Tenor Michael Suttner hat als ausgewiesener Spezialist für das Genre aus dem reichen Fundus von Kálmán Vater und Sohn eine abwechslungsreiche Auswahl von Musiknummern zusammengestellt, die 2011 beim Label OehmsClassics auf einer von der Presse hochge- lobten CD erschien. In Zusammenarbeit mit dem Dirigenten Andreas Kowalewitz und der Sopranistin Stefanie C. Braun ist daraus ein Konzertprogramm entstanden, das im Jahr 2012 beim Bayerischen Rundfunk seine erfolgreiche Premiere als szenisches Operetten- konzert hatte. Zu erleben ist ein Reigen bekannter und unbekannter Operettenhighlights, verbunden durch die Lebensgeschichte von Kálmán und Kalman, garniert mit kurzen Spielszenen und Violin - Einlagen, moderiert von Kálmán - Biograph Stefan Frey und vom Operettenallroun- der Michael Suttner. -
CHAN 3099 BOOK.Qxd 6/4/07 12:43 Pm Page 2 Russell Duncan Russell
Chan 3099 Book Cover.qxd 6/4/07 12:41 pm Page 1 GREAT OPERATIC ARIAS CHAN 3099 CHANDOS O PERA IN ENGLISH PETER MOORES FOUNDATION CHAN 3099 BOOK.qxd 6/4/07 12:43 pm Page 2 Russell Duncan Russell Great Operatic Arias with Yvonne Kenny Session photo: Yvonne Kenny 3 CHAN 3099 BOOK.qxd 6/4/07 12:43 pm Page 4 Time Page Time Page George Frideric Handel (1685–1759) Wolfgang Amadeus Mozart from Rinaldo from Così fan tutte Armida’s Aria (Ah! crudel) Fiordiligi and Ferrando’s Duet (Fra gli amplessi) 1 ‘Ah! Cruel man’ 5:22 [p. 46] 5 ‘By tomorrow we’ll be together’ 6:17 [p. 48] with Eligio Quinteiro theorbo and Catherine Edwards harpsichord with Bruce Ford tenor Wolfgang Amadeus Mozart (1756–1791) Franz Lehár (1870–1948) from The Marriage of Figaro from The Merry Widow Letter Duet (Che soave zefiretto) Vilia Song 2 ‘Well, what did you tell him?’ – 6 ‘A Vilia who liv’d by a cool forest glade’ 5:32 [p. 50] ‘How delightful ’tis to wander’ 3:33 [p. 46] with Geoffrey Mitchell Choir, James A. Ellis arranger/mandolin and with Rebecca Evans soprano Nigel Woodhouse mandolin from Così fan tutte (All Women are like That) Emmerich Kálmán (1882–1953) Fiordiligi’s Recitative and Rondo (Per pietà) from The Gypsy Princess 3 ‘He’s left me…’ – Sylva and Edwin’s Duet (Weiß du es nicht?) ‘Ah, forgive, my love, forgive me’ 8:47 [p. 47] 7 ‘Festive laughter, celebration’ – ‘Where are they now?’ 6:37 [p. 50] Richard Strauss (1864–1949) with Bruce Ford tenor from Arabella Arabella and Zdenka’s Duet (Aber der richtige) Richard Strauss 4 ‘He’s not the one who is right for me’ 6:36 [p. -
A Survey of the Operettas of Emmerich Kálmán Jessie Wright Martin Louisiana State University and Agricultural and Mechanical College, Jessie [email protected]
Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2005 A survey of the operettas of Emmerich Kálmán Jessie Wright Martin Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Martin, Jessie Wright, "A survey of the operettas of Emmerich Kálmán" (2005). LSU Major Papers. 28. https://digitalcommons.lsu.edu/gradschool_majorpapers/28 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. A SURVEY OF THE OPERETTAS OF EMMERICH KÁLMÁN A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music and Dramatic Arts by Jessie Wright Martin B.M., The Florida State University, 1995 M.M., Louisiana State University, 1997 August 2005 Acknowledgments Thanks to Operetta Archives in Los Angeles and Dr. Michael Miller and Nan Miller, who made accessible to me their private collection of resources and without whom the completion of this document would not be possible. Thanks to Yvonne Kálmán for her dedication to her father’s work and for the time she gave sharing her personal memories. Thanks to Dr. Lori Bade, my advisor, teacher, and friend. Thanks to all of my committee members: Dr. -
Spielplan-Präsentation 2017/18
Spielplan-Präsentation 2017/18 1 Spielplanpräsentation Volksoper Wien Saison 2017/18, Stand 19. April 2017 Inhalt Inhalt ........................................................................................................................................................ 2 Übersicht .................................................................................................................................................. 3 Vorwort .................................................................................................................................................... 5 Zusammenfassung der Pressekonferenz ................................................................................................ 7 Die Volksoper in Zahlen ........................................................................................................................ 10 Premieren 2017/18 ................................................................................................................................ 11 Gypsy ................................................................................................................................................. 11 Die Räuber ......................................................................................................................................... 13 Pinocchio ............................................................................................................................................ 15 Roméo et Juliette ..............................................................................................................................