Library List
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Haddon Hall's Poems
HADDON HALL’S POEMS NINETEENTH CENTURY SENTIMENTS DAVID TRUTT Copyright © David Trutt 2007 All rights reserved. Haddon Hall’s Dorothy Vernon - The Story Of The Legend was published in 2006. The following people were very helpful during the formation of this book: Sandra Trutt provided much needed help and support. Kendra Spear digitized various engravings. Alastair Scrivener pointed out the use of the Haddon Hall illustration for the poem In The Olden Time. His Buxton bookshop has been the source of many hard-to-find books on Derbyshire and its environs. Revised October 2010: Pages 4, 6, 124 to reflect that the author of “A Legend of Haddon Hall” was John James Robert Manners 7th Duke of Rutland, and not as indicated, John Henry Manners 5th Duke of Rutland, his father. Both were alive in 1850 when English Ballads and Other Poems was published. Published by David Trutt Los Angeles, California USA [email protected] CONTENTS 3 Contents 3 Introduction 7 The Seven Foresters Of Chatsworth (1822) Allan Cunningham 11 The King Of The Peak, A Derbyshire Tale (1822) Allan Cunningham 21 The King Of The Peak, A Romance (1823) William Bennet 25 Haddon Hall, A Poetical Sketch (1823) John Holland 27 Haddon Hall, Bijou (1828) H. B. (Mary Hudson Balmanno) 37 Haddon Hall At The Present Day (1841) Benjamin Fenton 40 Haddon Hall Before 1840 Henry Alford (1836) 49 Henry Glassford Bell (1832) 50 Delta (David Moir) (1834) 52 George Bayldon (1838) 54 F. R. C. (1831) 55 Haddon, Reliquary (1863) Llewellynn Jewitt 56 The Elopement Door (1869) William Kingston Sawyer 57 Visiting Chatsworth and Haddon Hall (1860) E. -
SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com SirArthurSullivan ArthurLawrence,BenjaminWilliamFindon,WilfredBendall \ SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences. From the Portrait Pruntfd w 1888 hv Sir John Millais. !\i;tn;;;i*(.vnce$. i-\ !i. W. i ind- i a. 1 V/:!f ;d B'-:.!.i;:. SIR ARTHUR SULLIVAN : Life-Story, Letters, and Reminiscences. By Arthur Lawrence. With Critique by B. W. Findon, and Bibliography by Wilfrid Bendall. London James Bowden 10 Henrietta Street, Covent Garden, W.C. 1899 /^HARVARD^ UNIVERSITY LIBRARY NOV 5 1956 PREFACE It is of importance to Sir Arthur Sullivan and myself that I should explain how this book came to be written. Averse as Sir Arthur is to the " interview " in journalism, I could not resist the temptation to ask him to let me do something of the sort when I first had the pleasure of meeting ^ him — not in regard to journalistic matters — some years ago. That permission was most genially , granted, and the little chat which I had with J him then, in regard to the opera which he was writing, appeared in The World. Subsequent conversations which I was privileged to have with Sir Arthur, and the fact that there was nothing procurable in book form concerning our greatest and most popular composer — save an interesting little monograph which formed part of a small volume published some years ago on English viii PREFACE Musicians by Mr. -
Vol. 17, No. 4 April 2012
Journal April 2012 Vol.17, No. 4 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] April 2012 Vol. 17, No. 4 President Editorial 3 Julian Lloyd Webber FRCM ‘... unconnected with the schools’ – Edward Elgar and Arthur Sullivan 4 Meinhard Saremba Vice-Presidents The Empire Bites Back: Reflections on Elgar’s Imperial Masque of 1912 24 Ian Parrott Andrew Neill Sir David Willcocks, CBE, MC Diana McVeagh ‘... you are on the Golden Stair’: Elgar and Elizabeth Lynn Linton 42 Michael Kennedy, CBE Martin Bird Michael Pope Book reviews 48 Sir Colin Davis, CH, CBE Lewis Foreman, Carl Newton, Richard Wiley Dame Janet Baker, CH, DBE Leonard Slatkin Music reviews 52 Sir Andrew Davis, CBE Julian Rushton Donald Hunt, OBE DVD reviews 54 Christopher Robinson, CVO, CBE Richard Wiley Andrew Neill Sir Mark Elder, CBE CD reviews 55 Barry Collett, Martin Bird, Richard Wiley Letters 62 Chairman Steven Halls 100 Years Ago 65 Vice-Chairman Stuart Freed Treasurer Peter Hesham Secretary The Editor does not necessarily agree with the views expressed by contributors, Helen Petchey nor does the Elgar Society accept responsibility for such views. Front Cover: Arthur Sullivan: specially engraved for Frederick Spark’s and Joseph Bennett’s ‘History of the Leeds Musical Festivals’, (Leeds: Fred. R. Spark & Son, 1892). Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. A longer version is available in case you are prepared to do the formatting, but for the present the editor is content to do this. -
The Mikado the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival The Mikado The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Erin Annarella (top), Carol Johnson, and Sarah Dammann in The Mikado, 1996 Contents Information on the Play Synopsis 4 CharactersThe Mikado 5 About the Playwright 6 Scholarly Articles on the Play Mere Pish-Posh 8 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: The Mikado Nanki-Poo, the son of the royal mikado, arrives in Titipu disguised as a peasant and looking for Yum- Yum. Without telling the truth about who he is, Nanki-Poo explains that several months earlier he had fallen in love with Yum-Yum; however she was already betrothed to Ko-Ko, a cheap tailor, and he saw that his suit was hopeless. -
Gilbert & Sullivan
ST DAVIDS PLAYERS 14th - 18th OCTOBER 2014 PLEASE ST DAVIDS PLAYERS NOTE: www.stdavidsplayers.co.uk St David’s Players take no responsibility for any oers or advert content contained in this le. Special oers shown in adverts may no longer be valid. eat well with Riverford get your 3rd vegbox free free * vegbox Libretto by W S Gilbert Music by Arthur Sullivan in the edition by David Russell Hulme © Oxford University Press 2000. Performed by arrangement with Oxford University Press. All rights reserved. Director Jane May Musical Director Mark Perry 14th - 18th OCTOBER 2014 Nightly at 7.30pm Matinée on Saturday 18th at 2.30pm enjoy better veg vegboxes from £10.35 ST LOYE’S FOUNDATION healthy, seasonal, all organic Supporting free delivery ST LOYE’S FOUNDATION in 2014 e Exeter Barneld eatre is tted Members of the audience are asked to Members of the audience are reminded try a seasonal organic vegbox today with free delivery with an Inductive Loop system. SWITCH OFF any mobile phones and the unauthorised use of photographic, T Members of the audience with hearing other mobile devices (including SMS text recording or video equipment is not aids should set them to the ‘T’ position messaging and Internet browsing) permitted in the auditorium call 01803 762059 or visit www.riverford.co.uk/FTBF14 ank you *Free vegbox on your 3rd delivery when you place a regular vegbox order. New customers only. Programme © 2014 | Published by St David’s Players | www.stdavidsplayers.co.uk Programme design and typesetting by D Saint | [email protected] Print services arranged by Backstage Supplies Ltd. -
Trial by Jury [Operetta, in One Act; Text by Gilbert. First Produced at The
Trial by Jury [Operetta, in one act; text by Gilbert. First produced at the Royalty Theatre, London, March 25, 1875.] PERSONAGES. Learned Judge. Plaintiff. Defendant. Counsel for the Plaintiff. Usher. Foreman of the Jury. Associate. First Bridesmaid. [Barristers, attorneys, journeymen, and bridesmaids.] The scene is laid in a London Court of Justice; time, the nineteenth century. The little operetta, "Trial by Jury," was the first result of the successful collaboration of Gilbert and Sullivan, though it gave little hint of the extraordinary excellence as well as popularity of the long list which followed it. "The words and music were written and all the rehearsals completed within three weeks, and all London went to see it," says Sullivan's biographer. It was produced March 25, 1875, and had quite a run, Frederick Sullivan, Sir Arthur's brother, appearing in the rôle of the judge and contributing much to its success. The story is a satire upon the English courts, the incident being a breach of promise case. Edwin is sued by Angelina. The usher impresses upon the jury its duty to divest itself of prejudice in one breath, and in the next seeks to prejudice it against the defendant by most violent denunciations of him. When Edwin enters he is at once requested by the jury to "dread our damages." He tells them how he became "the lovesick boy" first of one and then of another. The jurymen in chorus, while admitting that they were fickle when young, declare that they are now respectable and have no sympathy with him. The judge enters, and after informing the audience how he came to the bench, announces he is ready to try the breach of promise case. -
Or, the Witch's Curse!
Ruddygore or, The Witch's Curse! An Entirely Original Supernatural Opera in Two Acts Written by W. S. Gilbert Composed by Arthur Sullivan First produced at the Savoy Theatre, London, Saturday 22nd January 1887 under the management of Mr. Richard D'Oyly Carte This edition privately published by Ian C. Bond at 2 Kentisview, Kentisbeare, CULLOMPTON. EX15 2BS. © 1995 RUDDYGORE Of all the Gilbert and Sullivan joint works, RUDDYGORE has been the most unfairly treated. The initial, rather hostile reception, led the partners to make a number of cuts and changes which, under rather more favourable circumstances, would probably not have been so severe. This gradual dissection continued in the 1920’s at the hands of Geoffrey Toye, Harry Norris, Malcolm Sargent and J M Gordon until, by the post-war revival of 1949, RUDDIGORE was, to all intents and purposes, a new work. It is to be hoped that such a thing could not happen today as I would like to think that we have far too much respect for the works of these two men to allow anyone to take such drastic rewrites upon themselves. That the original version of the opera works is evidenced by the considerable number of amateur revivals over the past few years that have attempted to return as closely as possible (given the lack of performing material) to a ‘first night version’ - a trend fuelled by the New Sadler’s Wells revival of 1987. That Gilbert was guilty of one miscalculation is fairly obvious in his placing of “The battle’s roar is over” in Act One. -
W. S. Gilbert & a Classic in Humour
W. S. GILBERT A MID-VICTORIAN ARISTOPHANES BY EDITH HAMILTON & THE ENGLISH ARISTOPHANES BY WALTER SICHEL & A CLASSIC IN HUMOUR BY MAX BEERBOHM Edited 2011 by David Trutt Los Angeles, California, USA email: [email protected] Web Site: www.haddon-hall.com 2 INTRODUCTION Included herein are two lengthy essays which seek to relate the Victorian comic playwright W. S. Gilbert to the Greek comic poet Aristophanes. Aristophanes lived from about 450 BC to 385 BC, mostly under the shadow of the Peloponnesian War between Greece and Sparta, which eventually led to the downfall of Greece. He was the most celebrated writer of what is known as Old Comedy and the only one whose plays have survived in more than fragmentary form. Aristophanes is credited with writing at least forty plays, of which eleven have survived to the present. One critic states that “Savoy opera captures some of Aristophanes’ mingling of topsy- turvy fantasy and tripping rhythm. But in sheer poetic invention Aristophanes’ lacks a real successor.” This critic considers Aristophanes a master satirist, but the two authors, Edith Hamilton and Walter Sichel make a distinction between satire and irony. They claim that the plays of Aristophanes and Gilbert were displays of masterful irony; further they claim that in this genre Gilbert is on the same high level as Aristophanes. As Sichel writes, “Both Aristophanes and Gilbert were pure ironists. Direct satire maps out the country which it invades, but irony is always on the confines of ambiguous territory. As we survey its inhabitants they seem to be in perpetual somersaults — and yet they are always standing on their feet.” AND “That is Gilbert’s irony. -
Unequal Pleasures: Electric Theatres (1908) Ltd. and the Early Film Exhibition Business in London
Unequal Pleasures ©Luke McKernan 2006 Unequal Pleasures: Electric Theatres (1908) Ltd. and the early film exhibition business in London Luke McKernan Paper given at the Emergence of the Film Industry in Britain conference, University of Reading Business School, 29/30 June 2006 Time and money are unequal pleasures. Industrialism is biased toward producing goods rather than leisure. Gary Cross, Time and Money (1993) 1 This talk was first conceived of in a Starbucks just off Oxford Street, while taking a break from a busy day and contemplating the nature of public and private time. For the record, I had a venti cappuccino with carrot cake on the side. But let me take you back to the London of a hundred years ago. In 1903 the writer Walter Besant surveyed the state of theatrical entertainment for London’s working class districts. In this era just before the rise of the cinema, ‘the working man’s theatre’ as it came to be known, Besant saw a cultural desert: huge and populous areas of the city with little or no local theatrical entertainment to sustain them: As regards the working man’s theatrical tastes, they lean, so far as they go, to the melodrama; but as a matter of fact there are great masses of working people who never go to the theatre at all. If you think of it, there are so few theatres accessible that they cannot go often. For instance, there are for the accommodation of the West-end and the visitors to London some thirty theatres, and these are nearly always kept running; but for the densely populous districts of Islington, Somers Town, Pentonville, and Clerkenwell, combined, there are only two; for Hoxton and Haggerston, there is only one; for the vast region of Marylebone and Paddington, only one; for Whitechapel, ‘and her daughters,’ two; for Shoreditch and Bethnal Green, one, for Southwark and Blackfriars, one; for the towns of Hampstead, Highgate, Camden Town, Kentish Town, Stratford, Bow, Bromley, Bermondsey, Camberwell, Kensington, or Deptford, not one. -
Class, Respectability and the D'oyly Carte Opera Company 1877-1909
THE UNIVERSITY OF WINCHESTER Faculty of Arts ‘Respectable Capers’ – Class, Respectability and the D’Oyly Carte Opera Company 1877-1909 Michael Stephen Goron Doctor of Philosophy June 2014 The Thesis has been completed as a requirement for a postgraduate research Degree of the University of Winchester The word count is: 98,856 (including abstract and declarations.) THE UNIVERSITY OF WINCHESTER ABSTRACT FOR THESIS ‘Respectable Capers’: Class, Respectability and the D’Oyly Carte Opera Company 1877-1909 Michael Stephen Goron This thesis will demonstrate ways in which late Victorian social and cultural attitudes influenced the development and work of the D’Oyly Carte Opera Company, and the early professional production and performance of the Gilbert and Sullivan operas. The underlying enquiry concerns the extent to which the D’Oyly Carte Opera organisation and its work relate to an ideology, or collective mentalité, maintained and advocated by the Victorian middle- classes. The thesis will argue that a need to reflect bourgeois notions of respectability, status and gender influenced the practices of a theatrical organisation whose success depended on making large-scale musical theatre palatable to ‘respectable’ Victorians. It will examine ways in which managerial regulation of employees was imposed to contribute to both a brand image and a commercial product which matched the ethical values and tastes of the target audience. The establishment of a company performance style will be shown to have evolved from behavioural practices derived from the absorption and representation of shared cultural outlooks. The working lives and professional preoccupations of authors, managers and performers will be investigated to demonstrate how the attitudes and working lives of Savoy personnel exemplified concerns typical to many West End theatre practitioners of the period, such as the drive towards social acceptability and the recognition of theatre work as a valid professional pursuit, particularly for women. -
Early Encounters with Mount Royal: Part One
R IOTS :G AVAZZIANDTHEONETHATWASN ’ T $5 Quebec VOL 5, NO. 8 MAR-APR 2010 HeritageNews Montreal Mosaic Online snapshots of today’s urban anglos Tall Tales Surveys of historic Mount Royal and the Monteregian Hotspots The Gavazzi Riot Sectarian violence on the Haymarket, 1853 QUEBEC HERITAGE NEWS Quebec CONTENTS eritageNews H DITOR E Editor’s Desk 3 ROD MACLEOD The Reasonable Revolution Rod MacLeod PRODUCTION DAN PINESE Timelines 5 PUBLISHER Montreal Mosaic : Snapshots of urban anglos Rita Legault THE QUEBEC ANGLOPHONE The Mosaic revisited Rod MacLeod HERITAGE NETWORK How to be a tile Tyler Wood 400-257 QUEEN STREET SHERBROOKE (LENNOXVILLE) Reviews QUEBEC Uncle Louis et al 8 J1M 1K7 Jewish Painters of Montreal Rod MacLeod PHONE The Truth about Tracey 10 1-877-964-0409 The Riot That Never Was Nick Fonda (819) 564-9595 FAX (819) 564-6872 Sectarian violence on the Haymarket 13 CORRESPONDENCE The Gavazzi riot of 1853 Robert N Wilkins [email protected] “A very conspicuous object” 18 WEBSITE The early history of Mount Royal, Part I Rod MacLeod WWW.QAHN.ORG Monteregian Hotspots 22 The other mountains, Part I Sandra Stock Quebec Family History Society 26 PRESIDENT KEVIN O’DONNELL Part IV: Online databases Robert Dunn EXECUTIVE DIRECTOR If you want to know who we are... 27 DWANE WILKIN MWOS’s Multicultural Mikado Rod MacLeod HERITAGE PORTAL COORDINATOR MATTHEW FARFAN OFFICE MANAGER Hindsight 29 KATHY TEASDALE A childhood in the Montreal West Operatic Society Janet Allingham Community Listings 31 Quebec Heritage Magazine is produced six times yearly by the Quebec Anglophone Heritage Network (QAHN) with the support of The Department of Canadian Heritage and Quebec’s Ministere de la Culture et Cover image: “Gavazzi Riot, Haymarket Square, Montreal, 1853” (Anonymous). -
ARSC Journal
THE GILBERT AND SULLIVAN OPERETTAS ON 78s: COMPLETE SETS AND ABRIDGEMENTS, 1906. 1950 John W. N. Francis In 1877 Richard D'Oyly Carte commissioned Gilbert and Sullivan to write The Sorcerer, and organized an ensemble of singer-actors to perform the new piece under the author's artistic direction. Also in 1877, of course, Charles Cros and Thomas Edison invented sound recording. More than a century later both the music and the medium continue to flourish, and indeed they have come together often and success fully--notably in the many complete versions by the D'Oyly Carte Opera Company, which have set standards of style and ensemble for generations of devotees and amateur performers. This discography documents the complete recordings of the Gilbert and Sullivan operettas made at 78 rpm, not only by the D'Oyly Carte company or under its aegis, but also by others with lesser claims to authenticity. Also included are substantial abridgements and sets of excerpts--groups of five or more sides made at essentially the same time and place and with the same performers, whether or not they were ever issued collectively or with consecutive numbering. The following comments set the recordings in the context of the D'Oyly Carte Opera Company's history. THE ACOUSTIC RECORDINGS When Richard D'Oyly Carte died in 1901, his widow Helen assumed manage ment of the businesses he had built, including the Savoy Theatre in London and the opera company, which was then on tour. In 1906 she brought the troupe back to the Savoy for a repertory season of Gilbert and Sullivan, its very first.