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Download Booklet Paul (A189B2–1R960A) HÁM Ball at the Savoy Operetta in three acts Alison Kelly Gerald Frantzen Ryan Trent Oldham Cynthia Fortune Gruel Rose Guccione Bridget Skaggs Matt Dyson Folks Operetta Anthony Barrese Paul Folks Operetta Anna Carlson, Concertmaster AB(R189A2–1H960Á) M Elisabeth Johnson, Mihaella Misner, Violin I • Louisa Blood, Hersh Glagov, Violin II Desirée Miller, Cello I • Mara Leonard, Cello II • Andrew Harmon, Double Bass Ball at the Savoy Dalia Chin, Flute / Piccolo • Garrett Matlock, Clarinet I • Claire Wilson, Clarinet II Operetta in three acts (1932) Kyle Upton, Trumpet I • Kevin Marchuk, Trumpet II Arranged by Anthony Barrese (b. 1975), Matthias Grimminger (b. 1965) Caleb Lambert, Trombone I • Robert Plageman, Trombone II and Henning Hagedorn for voices and orchestra Rebecca Hook, Percussion I • Josh Hooten, Percussion II Libretto by Fritz Löhner-Beda (1883–1942) and Alfred Grünwald (1884–1951) Aleksandr Kirlov, Piano • Kevin Brown, Banjo English translation by Hersh Glagov (b. 1961) and Gerald Frantzen (b. 1967) Anthony Barrese Madeleine de Faublas . Alison Kelly, Soprano Orchestration from original manuscript: Henning Hagedorn, Matthias Grimminger (b. 1965) Aristide de Faublas . Gerald Frantzen, Tenor Orchestral reduction: Anthony Barrese (b. 1975) Mustafa Bey . Ryan Trent Oldham, Baritone Daisy Parker . Cynthia Fortune Gruel, Soprano First performance: 23 December 1932 at the Grosses Schauspielhaus, Berlin Bébé . Rose Guccione, Soprano Madeleine (Alison Kelly) Aristide (Gerald Frantzen) Daisy (Cynthia Fortune Gruel) Tangolita . Bridget Skaggs, Mezzo-soprano Célestin . Matt Dyson, Baritone Archibald . Kingsley Day, Tenor René . Kurt Bender, Tenor Pomerol . Ron Watkins, Baritone Bessie . Felicia Filip Burkovskiy, Soprano Mizzi . Katelyn Lee, Soprano Paulette / Lucia . Shawn Morgenlander, Mezzo-soprano Hermence / Giulette . Gillian Hollis, Soprano Lily / Ilonka . Gretchen Adams, Mezzo-soprano Trude . Roxann Ferguson, Soprano Monsieur Albert / Bartender . Erich Buchholz, Tenor Ernst / Maurice . John Wesley Hughes, Baritone Radio Announcer . Ernie Cottrell, Baritone Photos: Caroline Dixey 1 Prelude: Waltz: Ball at the Savoy 2:40 ^ Scene 9 2 Act II (cont’d) 45:23 Act III 21:10 Introduction: My dear Venezia bella Venezia! – Mustafa, there’s no time to waste e Will you be true? (Chorus, Madeleine, Aristide) 5:15 (Aristide, Mustafa, Archibald) 2:09 º Scene 4 Entrance Music 2:24 & Scene 10 How did it go? (Mustafa, Aristide, Maurice, Célestin) 2:03 f Scene 1 Act I 46:58 Aristide, I’m so excited to have you all to myself tonight Scene 5 ⁄ Melodrama: Unbelievable! The wife of the Marquis (Madeleine, Aristide, Mustafa, Daisy, Archibald) 4:32 Where have you been, Mr Mustafa? 3 Scene 1 de Faublas would never do a thing like that * Scene 11 (Daisy, Mustafa) 1:55 Where are they? ¤ (Archibald, Bébé) 1:22 I can’t believe he’s leaving me on our first night at home Duet: Out on the Town: I’ve studied it every which way 4 (Lily, Paulette, Hermence, René, Ernst) 0:46 g Scene 2 ( (Madeleine, Daisy) 1:12 (Mustafa, Daisy, Ilonka, Trude, Giulette, Bessie, Sevilla: A toast to madame, a toast to Marquis! Bébé, where’s my wife? An eye for an eye, a kiss for a kiss! – A Woman is (Chorus, Madeleine, Aristide) 2:41 Mizzi) 3:12 Faithful, but Why?: A man doesn’t have to be faithful (Aristide, Bébé, Archibald, Mustafa) 1:43 ‹ Scene 6 5 Scene 2 h Scene 3 (Madeleine) 3:26 Oh, you’ve got it all wrong, Aristide What a pleasure it is to see you all again Reminiscence: I’ll have a ball at the Savoy ) Scene 12 (Aristide, Madeleine, René, Hermence, Paulette, (Tangolita, Aristide, Pomerol) 1:44 ¡ Ah, Miss Daisy, en grande toilette! (Mustafa, Daisy) 1:53 i (Madeleine, Bébé, Aristide, Archibald) 4:16 › Scene 7 6 Lily, Ernst, Archibald) 2:05 Duet: Mr Brown and Lady Claire: Every night at the bar Take a Trip with Me to Alma-ata: One thing I know now fi Room eight? With her? (Madeleine) 0:10 There’s only one lady for me – Duet: Without your love, (Daisy, Mustafa) 3:20 (Madeleine, Mustafa) 1:56 I Kiss As Well As Any Tangolita: It’s in my blood where would I be? (Aristide, Madeleine) 3:29 ™ Scene 13 j Scene 4 (Madeleine) 5:33 7 Scene 3 Finale: I’ll have a ball at the Savoy! What’s all the fuss about? fl Scene 8 What a lovely garden (Lily, Paulette) 0:08 (Aristide, Archibald, Ernst, Mustafa, Radio Announcer, k (Daisy, Archibald, Mustafa) 1:25 There’s no time to lose 8 Scene 4 Bébé, Monsieur Albert, Madeleine, Lily, Why Am I in Love with You? (reprise) (Madeleine, Célestin, Pomerol) 2:00 Who needs gin when I’m here! Paulette, Hermence) 6:30 ‡ (Mustafa, Daisy) 0:33 Reminiscence: Toujours L’amour (Madeleine) 1:08 9 (Mustafa, Lily, Paulette, Hermence, Bébé) 0:28 l Scene 5 Act II 18:29 Scene 9 My father, on the other hand – At home along the £ ° Is everything packed? (Madeleine, Bébé, Daisy) 0:32 Séparée Scene: How charming! Bosporus: Halla, halla, hai! (Mustafa, Lily, Paulette, Entrance Music 1:08 m Scene 6 (Madeleine, Célestin, Pomerol, Aristide, Tangolita) 5:23 Hermence, Bébé) 2:12 · Madame, the attorney has arrived ¢ Scene 1 Scene 5 Ladies dressed at the height of fashion 0 Gentlemen, you won’t believe who’s here! – Entrance (Archibald, Madeleine, Célestin, Daisy) 0:33 ‚ (Chorus, Mustafa, Radio Announcer, Crowd, Daisy) 4:22 Aristide! How was the honeymoon? n Scene 7 of Tangolita: Tangolita! (Maurice, René, Radio Niagara Fox: Here’s the latest new craze (Mustafa, Aristide) 1:57 Announcer, Bartender, Archibald, Tangolita) 2:10 So, you’re Maitre Levy’s representative? ∞ (Daisy, Ilonka, Trude, Giulette, Bessie, Mizzi, ! Scene 6 Bella Tangolita: The fellas call me ‘Bella Tangolita’ (Aristide, Célestin, Madeleine, Daisy, Mustafa) 1:16 Maurice, René, Pomerol, Radio Announcer, Hey, do you know who just pulled up outside? (Tangolita, Archibald, René, Bartender, Maurice, o Scene 8 Archibald, Bébé, Bartender) 2:28 @ (Ernst) 0:06 Radio Announcer) 2:27 Thank you (Célestin, Mustafa, Aristide, Daisy) 3:06 a Scene 10 Hi everybody! I’m here! – Kangaroo: Nobody wants to § Scene 2 p Scene 9 Bravo, Pasodoblé! (Mustafa, Daisy, Chorus) 1:46 do the foxtrot today (Daisy, René, Ernst, Lily, To see all six of you here together … b What a fine young man What ‘do’ I like about you? – Why Am I in Love with You?: Paulette, Hermence, Bébé, Archibald) 3:55 (Mustafa, Pomerol, Trude, Ilonka, Mizzi, Bessie, q (Mustafa, Daisy, Aristide, Madeleine, Archibald) 1:11 When women look at you my dear # Scene 7 ¶ Lucia, Giulette) 1:17 Postlude: Oh, why am in in love with you (Daisy, Mustafa, Chorus) 4:05 Daisy! When did you get here? We Turks are all ‘polygamied’ out – Turkish Kissing: c (Daisy, Madeleine, Mustafa, Aristide, Chorus) 0:54 (Aristide, Daisy, Mustafa, Madeleine) 0:57 Constantinople isn’t a place Madeleine’s Confession: La, la, la … I am a more alluring Señorita (Madeleine, Aristide, Tangolita) 5:17 $ Scene 8 (Mustafa, Lily, Paulette, Hermence, Bébé) 3:01 d Did you really cross the ocean just to see me? • Scene 3 Finale: He Swore that He’d Be Faithful (Madeleine) 4:17 % (Madeleine, Daisy) 1:42 Come out of retirement, Marquis? What’s it like to be newlyweds? – The Wedding Night: (Pomerol, Aristide, Mustafa, Maurice, Duet: The very first thing I recall (Daisy, Madeleine) 3:30 ª Radio Announcer, Bartender, Madeleine) 2:35 How could a man betray a woman of such beauty and charm? – Toujours L’amour: I was in love (Aristide, Madeleine) 5:51 Paul Abrahám (1892–1960) hat, letting loose the hundred thousand devils of her Barely one month after the premiere, Adolf Hitler Ball at the Savoy infectious exuberance. In Oskar Dénes she has no became chancellor of Germany. Abrahám, along with the ordinary dance partner. The élan of his dancing, his wit stars of the show, had to leave the country in haste. In 1930, an operetta called Viktoria und ihr Husar (‘Victoria listening to and influenced by a lot of the same popular and trenchant delivery, especially with the laughing Abrahám could no longer ignore the storm clouds that and her Hussar’), which had enjoyed some success in music. songs, have not seen their equal in many years.’ were gathering around him. The director Geza von Cziffra Budapest, was performed in Berlin. It was a huge success, Ball im Savoy was presented by Berlin’s most The show’s opening triumph would be short-lived. remembered a conversation he had with him at the time. eventually playing in 300 theatres all over Europe. The important theatrical producers, the Rotter Brothers, who Alpár, Barsony and Dénes were Jewish. Thus, Ball im When Paul Abrahám had to leave Berlin in 1933, he cried: German public had never heard anything like it. Its used Max Reinhardt’s 3,300 seat Grosses Schauspielhaus Savoy was written, produced and performed by Jews, a ‘I wanted to die in this city.’ Cziffra said to him, ‘You can composer, Paul Abrahám, classically trained but endlessly in Berlin for the opening performance. The premiere took fact that was not lost on the Nazis. Although the Berlin still do that, Paul. When this horrific episode is over you inventive and adaptable, had invented the jazz operetta. place on 23 December 1932. For some, that evening was papers praised Ball im Savoy , Goebbels’s newspaper, can come back.’ Abrahám replied, sobbing, ‘But why do I Jazz, with its syncopation, distinctive harmonies and the last major cultural event of Weimar Germany. Der Angriff (‘The Attack’), saw the show differently: have to go? Just because I’m circumcised?’ exotic instrumentation, had become all the rage in The opening night was a smashing success. With Abrahám left a number of unpublished song Weimar Germany and especially in Berlin.
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