DOCSLIB.ORG

An Evening of Song: ​From Schubert to Verdi

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Evening of Song: ​From Schubert to Verdi An Evening of Song: ​From Schubert to Verdi Logan Campbell, bass-baritone Deb Watts Elliott, piano UIS Faculty Series Illinois Symphony Orchestra Guild Event February 20, 2021 7:00 pm University of Illinois - Springfield Performing Arts Center Program Order “La Vendetta” from ​Le Nozze di Figaro M​ ozart ​(1756-1791) “Bois épais” from ​Amadis L​ ully ​(1632-1687) “Quia fecit mihi magna” from ​Magnificat Bach ​(1785-1750) “Der Doppelgänger” from ​Schwanengesang S​ chubert ​(1797-1828) “Romans” from ​3 Songs for Bass Voice Sjögren ​(1853-1918) INTERMISSION “Some Enchanted Evening” from ​South Pacific R​ odgers and Hammerstein ​(1902-1979) (1895-1960) “Il lacerato spirito” from ​Simon Boccanegra V​ erdi ​(1813-1901) Old American Song Set #1 C​ opland The Dodger ​(1900-1990) Long Time Ago Simple Gifts I Bought Me A Cat Performer Biographies Logan Campbell​, ​ ​bass-baritone, ​ ​is a recent addition to the faculty at The University of Illinois - Springfield as Music Director and Conductor of the UIS Orchestra. Campbell enjoys a budding career as a conductor, equally at home with Symphonic repertoire, Pops, Opera, and Musical Theatre. He is presently in his first season as Assistant Conductor of the Illinois Symphony Orchestra and Conductor of the Illinois Symphony Youth Orchestras.Logan has worked as a guest conductor, rehearsal conductor, or cover conductor with area orchestras like the Knoxville Symphony Orchestra, Scruffy City Orchestra, Morristown Community Orchestra, and Brevard Philharmonic. As a student at UT, he worked with the UT Symphony Orchestra, UT Opera Orchestra, UT Chamber Orchestra, VolOpera, and UT Opera Theatre. Logan performed with the UT Opera Theatre from 2018-2020 in productions of La Finta Giardiniera​ and ​Carmen​, with the Knoxville Opera in ​Lucia di Lammermoor​, the Furman Lyric Opera in ​Die Zauberflöte​, and the Franco-American Vocal Academy in ​Le Nozze di Figaro​ and ​Bastien und Bastienne ​in. He was the Bass soloist with the UT Chamber Singers in Beethoven’s​ Ninth Symphony​, performed at the Tennessee Theatre in February 2020, and Handel’s ​Messiah​, performed in December 2019. Logan has also performed internationally, mostly in Germany. Selected as an ambassador for the State Department funded program, The Congress-Bundestag Youth Exchange for Young Professionals, he lived in Leipzig, Germany for a year and studied German language, politics, and music. He holds a Bachelor of Music degree in Music Education from Furman University, and holds a double Masters of Music degree in Voice Performance and Orchestral Conducting from the University of Tennessee. Logan is the recipient of the Thomas Fulton Career Development Award for his outstanding work as a conducting and voice student at UT. His primary conducting teachers were James Fellenbaum, Dr. Leslie Hicken, Dr. Hugh Floyd, and Maestro Edvard Tchivzhel with the Greenville Symphony. Deb Watts Elliott​, piano,​ ​is pianist, organist, and music coordinator at Laurel United Methodist Church and leads the Westminster Presbyterian Church Jazz Trio for the Saturday evening service there. She has participated as a vocal director and pit musician for many area musical theatre productions, and also works as a legal assistant at Sorling, Northrup, Hanna, Cullen & Cochran, Ltd. Deb enjoys spending time with her husband, John, and her children and grandchildren, as well as travel. Program Notes & Translations “La Vendetta” from ​Le Nozze di Figaro M​ ozart ​(1756-1791) Composed in 1786, ​Le Nozze di Figaro​ has remained a classic in the operatic repertoire. The libretto by Lorenzo da Ponte, librettist for 28 operas including ​Don Giovanni​ and ​Così fan tutte​, tells the story of two servants, Susanna and Figaro, who through love wish to marry. This is a problem for Count Almaviva who aims to foil these plans through seduction despite his marriage with the Countess. Nevertheless, through scheming and careful planning, the Count is exposed and taught the lesson of fidelity. This day of madness serves as the setting for numerous dramatic circumstances to unfold. One of the first is the entrance scene of Dr. Bartolo and Marcellina, Bartolo’s old housekeeper. Through this unique introduction, we are revealed to Bartolo’s vengeance for Figaro, hence the title “La Vendetta.” Figaro had previously borrowed money from Marcellina and agreed to marry her should he be unable to repay her at the appointed time. Having failed to fulfill his side of the bargain, she plans on enforcing the promise by suing him. This conveniently aligns with Bartolo’s frustration with Figaro for thwarting his attempt at marrying Countess Rosina who is now married to Count Almaviva. Bartolo agrees to represent Marcellina in her legal action for free so he can also get his revenge, too. Bene, io tutto farò, Good, I’ll take care of everything, senza riserve, tutto a me palesate. without reservation, everything will be revealed to me. (Avrei pur gusto di dar in moglie, (I would like to give my old servant, la mia serva antica a chi mi fece, to the man that made me un dì rapir l’amica.) lose my Rosina.) La vendetta, oh, la vendetta, Vengeance, oh vengeance È un piacer serbato ai saggi. is a pleasure for the wise. L'obliar l'onte, gli oltraggi, Forgetting shames and insults è bassezza, è ognor viltà. is a sign of lowness and cowardice, Coll'astuzia... coll'arguzia, With cunning, with wit, col giudizio, col criterio with wisdom, with common sense, si potrebbe… It could be done... il fatto è serio, The case is serious ma credete si farà. But believe me, it will be done. Se tutto il codice dovessi volgere, Even if I had to turn all the law-code, se tutto l'indice dovessi leggere, Even if I had to read all the index con un equivoco, con un sinonimo, By using a misunderstanding, by using a synonym qualche garbuglio si troverà. We will find a tangle. Tutta Siviglia conosce Bartolo, All Seville knows Bartolo; il birbo Figaro vinto sarà! Figaro, the rascal, will be defeated! “Bois épais” from ​Amadis L​ ully ​(1632-1687) A century earlier than the work you previously heard, ​Amadis ​was first performed in 1684. Jean-Baptiste Lully collaborated with Phillippe Quinault to produce this five act ​tragédie en musique​ based on the original text, ​Amadís de Gaula​. This complex plot depicts love and chivalry through the faithful love of Amadis and Oriane. It is opposed by the sorcerer family of Arcabonne and Arcalaus, and still other subplot circumstances add to the action. This particular aria is found in the second act where the main character, Amadis, is alone. It is a prime example of an ​air de cour​, or “court air.” This forest pastoral scene is where he sings of his suffering. Bois épais, redouble ton ombre; Deep woods, increase your shade; Tu ne saurais être assez sombre, You could not be dark enough, Tu ne peux pas trop cacher You could not conceal too well Mon malheureux amour. My unhappy love. Je sens un désespoir I feel a despair Dont l'horreur est extrême, Whose horror is extreme, Je ne dois pas plus voir ce que j'aime, I am to see no longer what I love, Je ne veux plus souffrir le jour. I no longer want to bear the light of day. “Quia fecit mihi magna” from ​Magnificat Bach ​(1785-1750) A Magnificat is a presentation depicting the story of Mary, mother of Jesus, as she responds to Elizabeth. In this passage of Luke 1:46-55 we hear the words of Mary to her cousin, who is pregnant with John the Baptist. Mary is rejoicing with the privilege of giving birth to the promised Messiah and glorifying God for His power, holiness and mercy. In this particular verse, Luke 1:49, she exclaims His power and His compassion for her. The entire Magnificat is unique in the way Bach divides the verses into each movement. He makes movements 3 and 4 out of only one verse, Luke 1:48, and separates the doxology into two sections of the 12th movement. Quia fecit mihi magna For the mighty one has done Qui potens est, great things for me, Et sanctum nomen eius. And holy is his name. “Der Doppelgänger” from ​Schwanengesang S​ chubert ​(1797-1828) Schubert’s ​Schwanengesang​, or Swan Song, is a collection of 14 songs composed at the end of his life and published posthumously. It was intended to serve as Schubert’s final testament, as it was titled by its first publisher, Tobis Haslinger. Unlike previous song cycles, three poets are used for ​Schwanengesang, ​which may or may not have been Schubert’s desire. Nevertheless, all 14 songs were composed in 1828 during the final year of Schubert’s life. Der Doppelgänger​ is the tenth song in the cycle and the text was written by Heinrich Heine. In Heine’s ​Buch der Lieder​, or Book of Poems, we find this text. Divided into five sections, Schubert selects only poems found in the third; a section entitled ​Die Heimkehr​ (The Homecoming). The order of Heine texts is rearranged for Schubert’s cycle and many argue it should remain in the same order for dramatic intent. Through-composed, each stanza is unique to the text, with an overarching passacaglia established by the piano accompaniment in the first four bars. Schubert paints the text with chords and growing anguish as the narrator reveals his awareness of his own form in the moonlight. Still ist die Nacht, es ruhen die Gassen, The night is quiet, the streets are calm, In diesem Hause wohnte mein Schatz; In this house my beloved once lived: Sie hat schon längst die Stadt verlassen, She has long since left the town, Doch steht noch das Haus auf demselben Platz.
Load more

Recommended publications
  • ARSC Journal
    TOSCANINI LIVE BEETHOVEN: Missa Solemnis in D, Op. 123. Zinka Milanov, soprano; Bruna Castagna, mezzo-soprano; Jussi Bjoerling, tenor; Alexander Kipnis, bass; Westminster Choir; VERDI: Missa da Requiem. Zinka Milanov, soprano; Bruna Castagna, mezzo-soprano; Jussi Bjoerling, tenor; Nicola Moscona, bass; Westminster Choir, NBC Symphony Orchestra, Arturo Toscanini, cond. Melodram MEL 006 (3). (Three Discs). (Mono). BEETHOVEN: Symphony No. 9 in D Minor, Op. 125. Vina Bovy, soprano; Kerstin Thorborg, contralto; Jan Peerce, tenor; Ezio Pinza, bass; Schola Cantorum; Arturo Toscanini Recordings Association ATRA 3007. (Mono). (Distributed by Discocorp). BRAHMS: Symphonies: No. 1 in C Minor, Op. 68; No. 2 in D, Op. 73; No. 3 in F, Op. 90; No. 4 in E Minor, Op. 98; Tragic Overture, Op. 81; Variations on a Theme by Haydn, Op. 56A. Philharmonia Orchestra. Cetra Documents. Documents DOC 52. (Four Discs). (Mono). BRAHMS: Symphony No. 1 in C Minor, Op. 68; Concerto for Piano and Orchestra, No. 2 in B Flat, Op. 83. Serenade No. 1 in D, Op. 11: First movement only; Vladimir Horowitz, piano (in the Concerto); Melodram MEL 229 (Two Discs). BRAHMS: Symphony No. 1 in C Minor, Op. 68. MOZART: Symphony No. 40 in G Minor, K. 550. TCHAIKOVSKY: Romeo and Juliet (Overture-Fantasy). WAGNER: Lohengrin Prelude to Act I. WEBER: Euryanthe Overture. Giuseppe Di Stefano Presenta GDS 5001 (Two Discs). (Mono). MOZART: Symphony No. 35 in D, K. 385 ("Haffner") Rehearsal. Relief 831 (Mono). TOSCANINI IN CONCERT: Dell 'Arte DA 9016 (Mono). Bizet: Carmen Suite. Catalani: La Wally: Prelude; Lorelei: Dance of the Water ~· H~rold: Zampa Overture.
    [Show full text]
  • THE BALLET Corps De Ballet of Metropolitan, Chicago and San Francisco Draw up Schedules of Minimum Pay and Conditions of Employment
    A~MA Official Organ of the AMERICAN GUILD OF MUSICAL ARTISTS, INC. 576 Fifth Avenue, New York, N. Y. Telephone: LOngacre 3-6223 Branch of the ASSOCIATED ACTORS AND ARTISTES OF AMERICA FEBRUARY~APRIL, 1939 VOLUME IV, Nos. 2, 3, 4 Representatives HolJywood Office: San Francisco: Chicago; ERNEST CHARLBS, Asst. Exec. Seq. VIC CONNORS-THBODOlUl HALE LEO CURLEY 6331 HollyWood Boulevard 220 Bush Street 162 East Ohio Street Officers: Board of Governors: ',LAWltBNCl!• TIBBETT • • ZLATKO BALOKOVIC ERNST LERT ': President WALTER DAMlt9sCH RUTH BRETON LAURITZ MELCHIOR RUDOLPH .GANZ JASCHA HEI~~ FlIANK CHAPMAN JAMES MELTON '1st Vice.PresMent RICHARD CROOKS EzlO PINZA HOWARD HANSON RICHARD BO'Nl'lLU MISCHA ELMAN ERNEST HUTCHESON 2nd Vi&e.~Jitlenl EVA GAUTHIER SERGE KOUSSllVIT?..KY' MARG CHARLES HACKETT Jrd esitli:nJ LEHMANN EDWARD HARRIs FlIAN" .SHERIDAN, ELISABtrR H()llPF'm ;;JOHN MCCORMACK 4th' Tliie"President JULIUS 'HUEHN DANIBL HARRIS EDWIN HUGHES Jth Vice·President JOS!; ITUIlDI Q MARro Fl!.EDERICK JAGBL MAlUIK WINDHBD( r ding Secretary EFlUIM ZrMBALIST PlIAnt( LA FoRGE TrealNl'er • LEO PtsCHBR Edited by L. T. CARR ExecNtitle Secretary Editorial Advisory Committee: .Hll'NlI!t JAl'l'E EDWARD HAl!.l!.IS, Chairman ~, CfIfI1Htil RICHARD BONELLI LEO PlSCHlIR GUILD • • • N THIS issue is reported the signing of agreements be­ I tween AGMA and NBC Artists Service and Columbia authority of an Artists' union in regula Concerts Corporation, the two largest managers of musical and the policies pursued in the concert a~ts in this country. The contracts are the full and final has implications of the grave~t importance, 'not ft)1~fthe symbol of the new order which began in American musical artists directly m~naged by the .~;chains, but £ot~al1milsicaf Hfe with the formation of AGMA and the beginning of its artists.
    [Show full text]
  • Mousical Trivia
    Level I: Name the classic Broadway musicals represented in these illustrations from THE GREAT AMERICAN MOUSICAL. Level II: Identify the song and the character(s) performing each one. Level III: Name the show's creators, the year the show originally opened, the theatre it opened in, and the original stars. a.) b.) e.) d.) c.) BONUS QUESTION: Can you name the choreographer Pippin the intern is paying tribute to on the cover of the book? ANSWERS Level I: Name the classic Broadway musicals represented in these illustrations from THE GREAT AMERICAN MOUSICAL. Level II: Identify the song and the character(s) performing each one. Level III: Name the show's creators, the year the show originally opened, the theatre it opened in, and the original stars. a.) d.) Level I: The King and I Level I: Fiddler on the Roof Level II: "Getting to Know You", Anna Leonowens, Royal Wives Level II: “If I Were a Rich Man”, Tevye and Royal Children Level III: Book by Joseph Stein; Based on stories by Sholom Aleichem; Level III: Music by Richard Rodgers; Lyrics by Oscar Hammerstein Music by Jerry Bock; Lyrics by Sheldon Harnick. 1964, Imperial Theatre. II; Book by Oscar Hammerstein II; Based on the novel "Anna and Zero Mostel & Beatrice Arthur the King of Siam" by Margaret Landon. 1951, St. James Theatre. Yul Brynner & Gertrude Lawrence b.) e.) Level I: My Fair Lady Level I: Hello, Dolly! Level II: “Wouldn't It Be Loverly?”, Eliza Doolittle and the Cockneys Level II: “Hello, Dolly!”, Mrs. Dolly Gallagher Levi, Rudolph, Waiters and Level III: Book by Alan Jay Lerner; Lyrics by Alan Jay Lerner; Music by Cooks Frederick Loewe; Adapted from "Pygmalion" by George Bernard Shaw.
    [Show full text]
  • South-Pacific-Script.Pdf
    RODGERS AND HAMMERSTEIN'S SOUTH PACIFIC First Perfol'mance at the 1vlajestic Theatre, New York, A pril 7th, 1949 First Performance in London, Theatre Royal, Drury Lane, November 1st, 1951 THE CHARACTERS (in order of appearance) NGANA JEROME HENRY ENSIGN NELLIE FORBUSH EMILE de BECQUE BLOODY MARY BLOODY MARY'S ASSISTANT ABNER STEWPOT LUTHER BILLIS PROFESSOR LT. JOSEPH CABLE, U.S.M.C. CAPT. GEORGE BRACKETT, U.S.N. COMMDR. WILLIAM HARBISON, U.S.N. YEOMAN HERBERT QUALE SGT. KENNETH JOHNSON SEABEE RICHARD WEST SEABEE MORTON WISE SEAMAN TOM O'BRIEN RADIO OPERATOR, BOB McCAFFREY MARINE CPL. HAMILTON STEEVES STAFF-SGT. THOMAS HASSINGER PTE. VICTOR JEROME PTE. SVEN LARSEN SGT. JACK WATERS LT. GENEVIEVE MARSHALL ENSIGN LISA MANELLI ENSIGN CONNIE WALEWSKA ENSIGN JANET McGREGOR ENSIGN BESSIE NOONAN ENSIGN PAMELA WHITMORE ENSIGN RITA ADAMS ENSIGN SUE YAEGER ENSIGN BETTY PITT ENSIGN CORA MacRAE ENSIGN DINAH MURPHY LIAT MARCEL (Henry's Assistant) LT. BUZZ ADAMS Islanders, Sailors, Marines, Officers The action of the play takes place on two islands in the South Pacific durin~ the recent war. There is a week's lapse of time between the two Acts. " SCENE I SOUTH PACIFIC ACT I To op~n.o House Tabs down. No.1 Tabs closed. Blackout Cloth down. Ring 1st Bar Bell, and ring orchestra in five minutes before rise. B~ll Ring 2nd Bar three minutes before rise. HENRY. A Ring 3rd Bar Bell and MUSICAL DIRECTOR to go down om minute before rise. NGANA. N Cue (A) Verbal: At start of overt14re, Music No.1: House Lights check to half.
    [Show full text]
  • Lavender Hill "Serious Competition for 'GUYS AND
    On Wifely Constancy The Passing Show Miss Cornell Poetic Speaks Playwrights Of Those She Go on Plays Right Writing Star of Maugham Revival Sees Lesson in Classic Hits Way Is Hard and Rewards Fewer, By Mark Barron But, Like Anouilh, They Work On NEW YORK. [sake, just because it was a great A veteran from in the * By Jay Carmody trouper coast play past. to coast, Miss Katharine Cornell “It is just as Maugham writes The is that so sensitive surprise many humans go on writing in ‘The Constant Wife’ when I for the theater. was still traveling the other eve- am fighting to hold my husband The insensitive ones, no. are ning after her They gamblers, betting that their Broadway premiere from a beautiful blond who is al- literal reports on life or their broad jokes about will catch the it, in W. Somerset Maugham’s artful most stealing him from me.’’ she public fancy and make them rich. They know the odds and the comedy, "The Constant Wife.” said. consequences involved in failure and nature armed them with the This “As the wife in Maugham’s toughness to both. These are time, however, Miss Cor- play, accept the addicts and there is I am faced with nell took only a hop-skip-and- the realization little need to give them a second thought. that Jump from National every marriage needs a great It is different with the other, smaller group. They are crea- Broadway’s Theater to her deal more thought than most tive, artistic and idealistic. They write plays because they want long-established home on Manhattan’s East wives devote to it.
    [Show full text]
  • South Pacific
    THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods.
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • Wedding Ceremony Jazz and Blues
    Wedding Ceremony The Prayer Ave Maria Erik Satie -Gymnopedie Canon in D- Pachabel Jesu Joy of Mans Desire- Bach Bridal Chorus from Lohengrin= (Here Mendelssohn Wedding March Comes the Bride) Bach- Prelude in C “Spring”-Vivaldi Four Seasons Chopin- Prelude in e minor Debussy- Reverie The Look of Love Can’t Help Falling in Love-Elvis At Last-Etta James Unforgettable Sunrise Sunset How Sweet It Is to Be Loved by You Longer Than-Dan Fogelberg The First Time Ever I Saw Your Face Wonderful World When You Say Nothing at All-Allison Krauss You Raise Me Up- Josh Groban Kiss From a Rose- Seal Secret Garden- Springsteen With or Without You- U2 Jazz and Blues Alice in Wonderland Waltz for Debbie God Bless the Child After Midnight Ain’t Misbehaving Beginning to See the Light Ellington Black and Blue Blue Monk Blue Skies I. Berlin Birth of the Blues Blue and Sentimental Body and Soul But beautiful Breezin Brubeck Medley Blue Rondo- Take Five-The Duke- Strange Meadowlark- Raggy Waltz Cherokee Deed I do Deep Purple Don't Get Around Much Anymore Emily Everything Happens to Me Fly Me to the Moon Georgia Getting Sentimental Over You Green Dolphin Street Green in Blue Greenhouse Blues Harlem Nocturne Here Comes That Rainy Day Honeysuckle Rose I Can't Get Started I Got it Bad I Remember You I Thought About You In My Solitude Jersey Bounce Lullaby of Bird land Lush Life Mercy Mercy Mood Indigo Moonlight Serenade Glen Miller Midnight Sun My Funny Valentine My Foolish Heart My Romance Nature Boy Nearness of You Our Love is Here to Stay On a Clear Day Poinciana Prelude to a Kiss Satin Doll Serenade in Blue Since I Fell for You Skylark So Rare Sophisticated Lady Stardust St.
    [Show full text]
  • Rodney Earl Clarke Christopher Gould
    HITS FROM THE GOLDEN AGE OF BROADWAY MUSICALS Rodney Earl Clarke Christopher Gould HITS FROM THE GOLDEN AGE OF BROADWAY MUSICALS Rodney Earl Clarke Christopher Gould 1 Oh, What a Beautiful Mornin’ 3’05 from Oklahoma! music by Richard Rodgers, words by Oscar Hammerstein II 2 If I loved you 2’25 from Carousel music by Richard Rodgers, words by Oscar Hammerstein II 3 Soliloquy 7’25 from Carousel music by Richard Rodgers, words by Oscar Hammerstein II 4 You’ll never walk alone 2’00 from Carousel music by Richard Rodgers, words by Oscar Hammerstein II 5 Love Walked In 3’18 from The Goldwyn Follies music by George Gershwin, words by Ira Gershwin 6 Just Another Rhumba 3’16 from The Goldwyn Follies music by George Gershwin, words by Ira Gershwin 7 Younger Than Springtime 3’17 from South Pacific music by Richard Rodgers, words by Oscar Hammerstein II 8 Some Enchanted Evening 3’27 from South Pacific music by Richard Rodgers, words by Oscar Hammerstein II 9 This Nearly Was Mine 3’28 from South Pacific music by Richard Rodgers, words by Oscar Hammerstein II 10 Joey, Joey, Joey 3’38 from The Most Happy Fella music and words by Frank Loesser 11 Come Home 2’49 from Allegro music by Richard Rodgers, words by Oscar Hammerstein II 12 Ol’ Man River 2’51 from Showboat music by Jerome Kern, words by Oscar Hammerstein II 13 Lonely Town 3’59 from On the Town music by Leonard Bernstein, words by Betty Comden and Adolph Green 14 The Impossible Dream (The Quest) 2’44 from Man of La Mancha music by Mitch Leigh, words by Joe Darion 47’42 Rodney Earl Clarke baritone Christopher Gould piano Rodney Earl Clarke takes us to the golden age of the American musical theatre song focussing on the composers that solidified the modern, story-driven, integrated art genre that we now enjoy.
    [Show full text]
  • WASTE PAPER Colleaion
    [it , V'i ' f'. > . T . *■'■■■ ' ■ t CHENEY oimAirr SATURDAY, APRIL 8, IMS' Ati PAGE TWELVE iSmtrtiPBtrr lEornitiQ l|rraUt cannot beast ot 0 , 4 9 9 DRIVING SCHOOL long as attttadso of that sort Hollister Street Teacher BaU Tickets exist. EINAR MMAMtONRON About I'own Heard Along Main Street "Many paopla wtfl not ramam- an DoalAWntrsi U rn ber. and more cannot know, of tha Writes Stories for Radio Are limited Cnse Ihken at U ty Cak Vo. 'Mtmekeeter A CUy o f VtUoge Charm Mn. M in ri P. **cY«jr tf ** meeting of Josephine HUla and And on Some of Manchester's Side Streets^ Too thU writer, la tha coluaiaa of The nowar Mtxott, wbo hM b#«i Ur lit TELEPHONE 5141 htr lu T i tor tho p«»t thr«« w#«k*, Maachastar Herald, away back In The kldi want Chsatscl YOL. LXVXL, N a IM m Pkae ig) MANCHESTER, CONN,. MONDAY, APRIL 5.1948 IM I. We said 'mat,' wa mean Capacity Nearly Reached (FOURTEBN PAGER) nu d ARmcBimij la Aowlnc tmprovamant chiita a larre number of Man-aaldewalk. She ptckad It up and •’Cheater, the Curieos OaoMr le Quite a 1^ Florida found that it contnined aomc collided, but vlolenUy, and a word For Soddl Event Next --------------- -- A r a . battle ensued In which no holda the ercatten of Mlm Sytvta Claflla, n o Tootli FWlowrfilp of the teacher In gradee U and H I at tha ■ouUi Katbodlat church uill meet were barred. And whan tha smoke Friday N ight ROTCmLLBR OR I^aaon X t oV ttem uaually waa a name and an addreea.
    [Show full text]
  • A Villainous Voice
    Illinois Wesleyan University Magazine, 2002-2017 Volume 21 Issue 2 Summer 2012 Article 7 Summer 2012 A Villainous Voice Tim Obermiller Illinois Wesleyan University, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/iwumag Recommended Citation Obermiller, Tim (2012) "A Villainous Voice," Illinois Wesleyan University Magazine, 2002-2017: Vol. 21 : Iss. 2 , Article 7. Available at: https://digitalcommons.iwu.edu/iwumag/vol21/iss2/7 This is a PDF version of an article that originally appeared in the printed Illinois Wesleyan University Magazine, a quarterly periodical published by Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the University and/or the author of this document. A Villainous Voice Powers ’64 will bring his wicked talents back to the Illinois Wesleyan stage. Whether it’s Faust’s “Mephistopheles” or Otello’s “Iago,” William Powers ‘64 does not shy away from playing the convoluted roles of villains. Instead, the IWU School of Music graduate embraces this evil side brought to life by what has been described as “the stentorian, dark, penetrating color of his voice.” A world-famous bass-baritone, the Metropolitan Opera star has performed more than 100 operatic roles throughout the United States, Europe and South America. This autumn, he will return “to where it all began,” giving a concert at 8 p.m. Thursday, Oct. 4, at the University. Also at 4 p.m on Thursday, Powers will speak at the School of Music’s annual convocation. At 10 a.m. Friday, he will offer a master class. All three events will be held in Presser Hall’s Westbrook Auditorium and are open Powers as "Dr.
    [Show full text]
  • Many Stars Have Graced Our Stage Over the Years!
    MANY STARS HAVE GRACED OUR STAGE OVER THE YEARS! Joseph Abaldo Maureen Brennan Boyd Crawford Felicia Finley Cedric Hardwicke Maude Adams Eileen Brennan Hume Cronyn Pat Finley Dean Harens Edie Adams Lisa Brescia Zamah Cunningham Fannie Flagg Valerie Harper Clay Aiken Lloyd Bridges John Dall Bramwell Fletcher Helen Harrelson Katherine Alexander Florence Britton Doris Dalton Mary Fogarty Noel Harrison Jennifer Allen Barbara Britton James Daly Jennifer Fogarty Jack Hartley Steve Allen Millicent Brower Alexandria Danilova Joan Fontaine Lillian Harvey Sara Allgood Joe E. Brown Helmut Dantine Paul Ford Lilian Harvey Donald Ameche Susan Browning Lili Darvas Robert Forster Signe Hasso Rosemary Ames Carol Bruce Claude Dauphin John Forsythe Hurd Hatfield Maureen Anderman Dorathe Burgess Ann B. Davis Lillian Foster Jeffrey Hayden Glenn Anders Billie Burke Bette Davis Hunter Foster Helen Hayes Nancy Anderson Mike Burstyn Mark Dawson Kay Francis George Hearn Dana Andrews Robert Burton June Dayton Arlene Francis Eileen Heckart Christine Andrews Charles Busch Rachel de Benedet Frederic Franklin David Hedison Margaret Anglin Spring Byington Sandra Deel Bonnie Franklin Tom Helmore Raul Aranas Gaylea Byrne Dolores Del Rio Pauline Frederick Violet Heming Eve Arden Carter Calvert Gabriel Dell Augusta French A.J. Herbert Else Argal Elaine Cancilla Jeffry Denman Betty Furness Eileen Herlie Richard Arlen Alexandra Carlisle Sandy Dennis Helen Gallagher Jerry Herman Matthew Ashford Kitty Carlisle Bob Denver Rita Gam Irene Hervey Elizabeth Ashley Tullio Carminati Colleen Dewhurst James Ganon Michael Higgins John Astin Art Carney Mia Dillon Reginald Gardiner Chelsie Hightower Mary Astor Leslie Caron Anton Dolin Peggy Ann Garner John Hillner Daisy Atherton Carleton Carpenter Donal Donnelly Kathy Garver Judd Hirsch William Atherton David Carroll Tim Donoghue Larry Gates Christian Hoff Conrad Bain Leo G.
    [Show full text]