DOCSLIB.ORG

Cyrano De Bergerac

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cyrano De Bergerac Cyrano de Bergerac Music by Victor Herbert Score Compiled by Dino Anagnost New Libretto by Alyce Mott Based Loosely on Cyrano de Bergerac by Edmond Rostand Lyrics by Harry B. Smith Additional Lyrics by Dino Anagnost Alyce Mott Alyce Mott 302 W. 105th Street, #3C New York, NY 10025 © 1999, Dino Anagnost, Alyce Mott (212) 222-1871 I-2 Cast In Order of Appearance Narrator Cyrano Baritone Roxanne Mezzo Montfleury An Actor (Chorus Member) Comte de Guiche Actor - no singing La Bret Cyrano’s Captain (Chorus Member) Christian Tenor Scene: Paris Time 1640 to 1655 Arras, France List of Music NO. 1 - OVERTURE ......................................................................... 2 NO. 2 - OPENING CHORUS .................................................................. 2 NO. 3 - COME THE GALLANTS .............................................................. 3 NO. 4 - I AM THE COURT COQUETTE ........................................................ 3 NO. 5 - SONG OF THE NOSE................................................................. 6 NO. 6 - I MUST MARRY A HANDSOME MAN .................................................. 9 NO. 7 - CHRISTIAN’S ENTRANCE........................................................... 10 NO. 8 - RAGUENEAU’S CAFÉ .............................................................. 11 NO. 9 - COMBAT CHORUS ................................................................. 11 NO. 10 - I WONDER ....................................................................... 13 NO. 11 - LET THE SUN OF THINE EYES ...................................................... 19 NO. 12 - THE CALL TO ARMS .............................................................. 21 NO. 12 - UNDERSCORING .................................................................. 23 NO. 13 - UNDERSCORING .................................................................. 23 NO. 14 - IN BIVOUAC REPOSING ........................................................... 24 NO. 15 - SINCE I AM NOT FOR THEE ........................................................ 28 NO.16 - CONVENT MUSIC - LATIN CHORUS .................................................. 30 NO. 17 - THOSE WERE THE GOOD OLD DAYS ............................................... 31 NO. 18 - FINALE .......................................................................... 35 March 12, 1999 I-1 Cyrano de Bergerac NARRATOR The 1899-1900 season was Victor Herbert’s most prolific as a creator of American operetta. The composer opened four shows on Broadway, “The Singing Girl”, “The Ameer”, “The Viceroy” and “Cyrano de Bergerac”. Can you imagine Misters Sondheim or Webber doing that today? While tonight’s offering was thought lost for many decades, a full score was found in the Library of Congress two years ago. The hunt proved well worth the effort. Now, for the first time in New York City since September 19, 1899, we give you Victor Herbert’s “Cyrano de Bergerac”. Maestro, the overture, please! NO. 1 - OVERTURE NARRATOR The year, 1640. The place, Paris. Welcome to the Théâtre de Bourgogne where an audience is gathering for an evening of dramatic entertainment. The towering hall shines dimly in the glow of torches illuminating the nobility preening in the velvet draped boxes while the working classes mingle on the floor below. Vendors of fruit and wine are hawking their wares as busy pickpockets ply their trade, profitably jostling with the crowd. A minuet, the favorite dance of the day, signals the beginning of the evening’s play. NO. 2 - OPENING CHORUS LORDS AND LADIES, SILENCE PRAY, MONTFLEURY FOR THE ACTORS, IS ENTREATED; WE ARE READY TO BEGIN THE PLAY, AS SOON AS YOU ARE SEATED. AY! AY! THE PLAY, AY, AY, THE PLAY, CHORUS AY! AY! THE PLAY, AY, AY, BEGIN A GREAT SENSATION WE EXPECT A WONDER MOST DRAMATIC AND IF WE FIND IT QUITE CORRECT, APPLAUSE WILL BE EMPHATIC. BRAVO! BRAVO! BRAVO! BRAVO! IF WE FIND IT QUITE CORRECT WE’LL BRAVO. YES, IF THE PLAY IN FAVOR STANDS, WE’LL WELCOME IT WITH HEARTS AND HANDS. BRAVO! BRAVO! BRAVO! BRAVO! BRAVO! BRAVO! WE’LL WELCOME IT WITH HEARTS AND HANDS, WITH HEARTS AND HANDS! NARRATOR (UNDERSCORING) Suddenly, fashionably late noblemen from the Court of Louis XIII, burst on the scene, interrupting the proceedings. March 12, 1999 I-2 NO. 3 - COME THE GALLANTS COME THE GALLANTS OF THE COURT, MEN THE VALIANT CARPET KNIGHTS; PLAY AND SPORT OF EV’RY SORT, EACH CAVALIER INVITES. WHEN THE BUGLE DOES NOT CALL SUMMONING THEM TO ARMS, LOVE AND GALLANTRY ENTHRALL, WITH THEIR VARIED CHARMS. ALL ARE SLAVES AT CUPID’S COURT, AND EVER THEIR HAPPY CHANCE, IS TO PAY THEIR HOMAGE TO ALL LADIES WHO ENTRANCE. AND THE FAIR FOR WHICH WE SIGN WITH AN ARDENT AIR IS OF LOVELIEST ROXANNE, FAIREST OF THE FAIR IS OF LOVELIEST ROXANNE, ROXANNE, FAIREST OF THE FAIR! NARRATOR Rudely ignoring both audience and actors, the Marquises flock to that notable box where reigns the lovely darling of Paris, Roxanne. They cajole a song from the beguiling young lady. NO. 4 - I AM THE COURT COQUETTE I AM A COURT COQUETTE THEY SAY, ROXANNE EH BIEN! IT IS ADMITTED, YOU’VE TRIED TO WIN ME EV’RY WAY, AND ALL HAVE BEEN OUTWITTED. YOU’VE BROUGHT BOUQUETS AND SERENADES, AND POEMS FOR PERUSAL, I’VE SENT YOU OFF TO OTHER MAIDS, WITH A POLITE REFUSAL. AND IF YOU CALL ME A COQUETTE, IT IS BECAUSE I’VE NEVER MET THE KINDRED SOUL THAT I COULD CLAIM; AND SO I TREAT YOU ALL THE SAME. AH! ME, HEIGH HO! AH! ME HEIGH HO! MEN TIS SADLY SO WE KNOW. WITH A GLANCE TO RIGHT, AND A GLANCE TO LEFT, WITH A CURTSEY DEEP AND LOW, WITH A MURMUR HERE, AND A WHISPER THERE, AND A FLUTTER OF FAN, JUST SO. WITH A DOWNCAST EYE, AND AN ARTFUL SIGH, WITH A SMILE I PAY EACH DEBT. FROM CUPID’S FETTERS FREE, I’M HAPPY AS MAY BE; WHO WOULDN’T BE A COURT COQUETTE. WITH A GLANCE TO RIGHT, AND A GLANCE TO LEFT MEN WITH A CURTSEY DEEP AND LOW WITH A MURMUR HERE, AND A WHISPER THERE ROXANNE/MEN AND A FLUTTER OF FAN, JUST SO. March 12, 1999 I-3 WITH A DOWNCAST EYE, AND AN ARTFUL SIGH, MEN WITH A SMILE SHE PAYS EACH DEBT. FROM CUPID’S FETTERS FREE, ROXANE/MEN I’M HAPPY AS MAY BE, WHO WOULDN’T BE A COURT COQUETTE. NARRATOR Roxanne’s pronunciations have been watched very eagerly by the Comte de Guiche, nephew of the great Cardinal Richelieu, who now moves to his honored reserved seat with the rest of his personal entourage. Once all are in place and the stage candles lit; a lone corpulent elocutionist enters, strikes a pose and the play begins. MONTFLEURY "Thrice happy he who hides from pomp and power. In sylvan shade or solitary bower; (A VOICE BOOMS FROM THE HOUSE) CYRANO Bouffon! Have I not forbidden you to step one foot upon any Parisian stage? MONTFLEURY “Where balmy zephyrs fan his burning cheeks ----. .” CYRANO Imbécile! Leave the stage this instant! MONTFLEURY Now I must start again. "Thrice happy he who hides from...." CYRANO Hide well indeed, you nefarious jambon, or I shall carve you into bite sized morsels. MONTFLEURY ". hides from pomp and power.” CYRANO Enough jabber. I clap my hands thus (CLAP)--- three times. Upon the third clap, you will relocate to another part of France. Understood? Good. ONE. (CLAP) MONTFLEURY "In sylvan shade or . CYRANO TWO. (CLAP) March 12, 1999 I-4 MONTFLEURY Comte de Guiche. .? CYRANO THREE. (CLAP) NARRATOR The actor disappears in a flash leaving the entire audience howling either in laughter or for their money back. Only Cyrano's strong right arm extended by three feet of glittering steel manages to keep them all at bay. CYRANO Approach if you dare and I will accommodate each willing knave -- no crowding please! What no takers? Will all who are prepared to die, please raise your hands! Not one? DE GUICHE I’ll take that challenge! You dare insult Cardinal Richelieu, patron of the Great Montfleury. When are you leaving Paris, Monsieur Bumpkin? CYRANO I have no plans to leave. DE GUICHE Look at you! No gloves, velvet or lace, no buckles on those shoes. No great lord to lend you his protection. Who are you? CYRANO Cyrano Savinien Hercule de Bergerac, at your service. And in no need of protection, velvet, or lace! I carry my adornments on my soul. I go about bearing only my white plume of freedom, decorated by my good name, clothed in exemplary deeds and quick wits; courage and valor swinging at my side ever ready to prick pomposity and defend those who cannot protect themselves. DE GUICHE Fine words from one who has just embarrassed a poor thespian for sport. CYRANO I meant no sport. What are you staring at, Sir? My nose? DE GUICHE I don’t believe . March 12, 1999 I-5 CYRANO I find your vain attempts to insult rather ineffectual. If you had really wished to skewer me you could have said. "Why, Sir, do you so adore the little birds that you provide such a lovely perch for them?” or “Well, old torchlight! Hang your hat over that chandelier--it hurts my eyes!” or “When it blows, the typhoon howls” or even better “When it bleeds, the red sea!” DE GUICHE Mon Dieu! Do you know who I am? CYRANO Do I care? Had you even a modicum of wit you might have attacked thus, but no, in short, it takes but three letters to assess your verbal skills. A S S. Ass. Know you Sir, that I glory in this nose of mine. For a great nose is the true indicator of a great man. NO. 5 - SONG OF THE NOSE WHAT MAKES A MAN A SOLDIER OR A POET? CYRANO WHAT MAKES A MAN SUCCEED AT ANY GAME? I FANCY EV’RY BODY DOESN’T KNOW IT, BUT I’VE A THEORY ABOUT THE SAME. IT’S LUCK OR BRAINS SOME MAY SUPPOSE, SOME THINK IT IS A SHREWD AND CLEVER WIFE. BUT LISTEN AND THE SECRET I’LL DISCLOSE. THE THING THAT MAKES A MAN SUCCEED IN LIFE. WHAT IS IT? PRAY TELL US. DO NOT SELL US. CHORUS IT’S THE INFLUENCE OF AN AMBITIOUS NOSE. CYRANO IT IS THAT WHICH ALWAYS LEADS ON TO GREAT AND NOBLE DEEDS. IT’S THE FEATURE WHERE-IN CHARACTER E’ER SHOWS. YOU NEED NEVER FURTHER SEEK, THAN THE LARGE AGGRESSIVE BEAK, AND THE BIGGER ‘TIS THE BETTER I SUPPOSE.
Load more

Recommended publications
  • The President's Report
    The 1984-85 school year also marked the end of the de Lausanne International Ballet Competition; Jo two-year process of self-study required by the Yost, high school ballet student, received a contract Southern Association of Colleges and Schools for reaf¬ with American Ballet Theatre II and Tisha Roth, a firmation of accreditation. A Visiting Committee from drama senior, was awarded one of the Princess Grace the Commission on Colleges came to campus on April Foundation Scholarships, a prestigious national com¬ 28, 1985 to conduct its three-day visit to assess the petition. Of the current senior drama students, all but undergraduate programs and the new graduate pro¬ three have secured theatre and television jobs, in¬ gram in Design and Production. The Southern cluding Kevin Jackson who has been hired by the Association, while reaffirming and praising the qual¬ "Acting Company." Two recent graduates of the ity of NCSA arts training programs, made some useful School of Music made their professional debuts: recommendations. clarinetist Daniel McKelway at the Kennedy Center in Washington, D.C. and soprano Anne Wyche at Carnegie Recital Hall in New York City. Since 1972, School of Drama alumni have appeared in more than 40 theatre productions, 15 Hollywood PERFORMANCE films and 25 television series. Patsy Pease has a regular role in "Days of our Lives," John Sanderford in "General Hospital,” and Matthew Ashford in "Search for Tomorrow.'' Bass-baritone John Cheek has Performance plays an essential role in the life of the appeared at the Metropolitan Opera every season school. This year more than 300 performances were since his 1977 debut and soprano Gianni Rolandi is presented to more than 62,000, in addition to the nor¬ a star of the New York City Opera.
    [Show full text]
  • Cyrano De Bergerac, by Edmond Rostand
    Cyrano de Bergerac, by Edmond Rostand In A Nutshell Cyrano de Bergerac is a play about an eloquent, talented, and brave, but physically unappealing, man and his love for a beautiful woman, Roxane. Playwright Edmond Rostand wrote Cyrano de Bergerac as a comedy, and something of a satire of the overly romanticized literature of France in the 1600s (literature such as Alexandre Dumas’s The Three Musketeers, which was published in 1844). As such, you’ll find it chock-full of historical references to writers, royalty, philosophers, dramatists, and scientists of the time. Light-hearted in nature, this work is full of frivolous pomp and overblown dialogue. Adding to its showy, intentionally grandiose quality is the form of the prose: rhyming couplets of twelve syllables per line in the original French. The translated meter you often see in English is iambic pentameter, which, we all know, is a party waiting to happen. Published in French in 1897, Cyrano de Bergerac hit the stages of Paris to instant acclaim. Under the flourishes of renowned stage actor Constant Coquelin (to whom Rostand dedicated his play), Cyrano came to life. Basing his main character on a historical figure of the same name, Rostand accurately recounts much of the real Cyrano’s life – as told by Le Bret and a number of other biographers – in his beloved play. The real Cyrano de Bergerac was a French dramatist who lived from 1619-1655, which means Rostand got his dates correct in writing his play. De Bergerac really did fight at the Siege of Arras in 1640 and died in 1655.
    [Show full text]
  • Vherbert.Com Cyrano De Bergerac
    vherbert.com VHSource, LLC Cyrano de Bergerac $950.00 DO NOT CHOOSE TO ADD THIS ITEM TO YOUR SHOPPING CART: INSTEAD Download fill out and return Information Sheet: VHS Rental Information Sheet - Orig Orch - 2013 Download a VHS Blank License 2013 - sample Contact This e-mail address is being protected from spambots. You need JavaScript enabled to view it for hard copy information This is the original orchestration for Herbert's Cyrano de Bergerac first produced in New York City on October 3, 1899, written for a production starring the vaudville star Francis Wilson. This is arguably one of the top five most beautiful Herbert scores. It was also a huge failure. Herbert wrote for the Rostand Cyrano. Francis Wilson and his librettist Stuart Reed (actually Harry B. Smith) decided the story was too sad and wrote a "happy ending." Twenty-eight performances after it opened it closed to be forgotten for 100 years. Its libretto fortunately lost forever. Fortunately, librettist Alyce Mott started from scratch, returned to the original Rostand play and wrote a new libretto to the existing score. Ask for a perusal of this beautiful PV and libretto and you will want it immediately. As this work is pre-1900, Cyrano is a bass, Christian a tenor and Roxanne a very rare for Herbert mezzo. Greatest selling point -- Cyrano is a classic tragedy and your audience already knows the Copyright ©2021 - VHSource, LLC - http://vherbert.com _PN_PAGE 1 _PN_OF 2 story. Imagine their surprise and wonder when they then hear the score.
    [Show full text]
  • Silent Film Music and the Theatre Organ Thomas J. Mathiesen
    Silent Film Music and the Theatre Organ Thomas J. Mathiesen Introduction Until the 1980s, the community of musical scholars in general regarded film music-and especially music for the silent films-as insignificant and uninteresting. Film music, it seemed, was utili­ tarian, commercial, trite, and manipulative. Moreover, because it was film music rather than film music, it could not claim the musical integrity required of artworks worthy of study. If film music in general was denigrated, the theatre organ was regarded in serious musical circles as a particular aberration, not only because of the type of music it was intended to play but also because it represented the exact opposite of the characteristics espoused by the Orgelbewegung of the twentieth century. To make matters worse, many of the grand old motion picture theatres were torn down in the fifties and sixties, their music libraries and theatre organs sold off piecemeal or destroyed. With a few obvious exceptions (such as the installation at Radio City Music Hall in New (c) 1991 Indiana Theory Review 82 Indiana Theory Review Vol. 11 York Cityl), it became increasingly difficult to hear a theatre organ in anything like its original acoustic setting. The theatre organ might have disappeared altogether under the depredations of time and changing taste had it not been for groups of amateurs that restored and maintained some of the instruments in theatres or purchased and installed them in other locations. The American Association of Theatre Organ Enthusiasts (now American Theatre Organ Society [ATOS]) was established on 8 February 1955,2 and by 1962, there were thirteen chapters spread across the country.
    [Show full text]
  • Cyrano De Bergerac
    Cyrano de Bergerac Summer Reading Guide - English 10 Howdy, sophomores! Cyrano de Bergerac is a delightful French play by Edmond Rostand about a swashbuckling hero with a very large nose. It is one of my favorites! Read this entire guide before starting the play. The beginning can be tough to get through because there are many confusing names and characters, but stick with it and you won’t be disappointed! On the first day of class, there will be a Reading Quiz to test your knowledge of this guide and your comprehension of the play’s main events and characters. If you are in the honors section, you will also write a Timed Writing essay the first week of school. After school starts, we will analyze the play in class through discussions and various writing assignments. We will conclude the unit by watching a French film adaptation and comparing it to the play. By the way, my class is a No Spoiler Zone. This means that you may NOT spoil significant plot events to classmates who have not yet read the book. If you have questions about the reading this summer, please email me at [email protected]. I’ll see you in the fall! - Mrs. Lee 1 Introduction Cyrano de Bergerac is a 5-act play by French dramatist and poet Edmond Rostand (1868-1918). Our class version was translated into English by Gertrude Hall. Since its 1897 Paris debut, the play has enjoyed numerous productions in multiple countries. Cultural & Historical Background By the end of the 1800s, industrialization was taking place in most of Europe, including France, and with it came a more scientific way of looking at things.
    [Show full text]
  • SOME AMERICAN OPERAS/COMPOSERS October 2014
    SOME AMERICAN OPERAS/COMPOSERS October 2014 Mark Adamo-- Little Women, Lysistrata John Adams—Nixon in China, Death of Klinghoffer, Doctor Atomic Dominick Argento—Postcard From Morocco, The Aspern Papers William Balcom—A View From the Bridge, McTeague Samuel Barber—Antony and Cleopatra, Vanessa Leonard Bernstein— A Quiet Place, Trouble in Tahiti Mark Blitzstein—Regina, Sacco and Venzetti, The Cradle Will Rock David Carlson—Anna Karenina Aaron Copland—The Tender Land John Corigliano—The Ghosts of Versailles Walter Damrosch—Cyrano, The Scarlet Letter Carlisle Floyd—Susannah, Of Mice and Men, Willie Stark, Cold Sassy Tree Lukas Foss—Introductions and Goodbyes George Gershwin—Porgy and Bess Philip Glass—Satyagraha, The Voyage, Einstein on the Beach, Akhnaten Ricky Ian Gordon—Grapes of Wrath Louis Gruenberg—The Emperor Jones Howard Hanson—Merry Mount John Harbison—The Great Gatsby, Winter’s Tale Jake Heggie—Moby Dick, Dead Man Walking Bernard Hermann—Wuthering Heights Jennifer Higdon—Cold Mountain (World Premiere, Santa Fe Opera, 2015) Scott Joplin—Treemonisha Gian Carlo Menotti—The Consul, The Telephone, Amahl and the Night Visitors Douglas Moore—Ballad of Baby Doe, The Devil and Daniel Webster, Carrie Nation Stephen Paulus—The Postman Always Rings Twice, The Woodlanders Tobias Picker—An American Tragedy, Emmeline, Therese Racquin Andre Previn—A Streetcar Named Desire Ned Rorem—Our Town Deems Taylor—Peter Ibbetson Terry Teachout—The Letter Virgil Thompson—Four Saints in Three Acts, The Mother of Us All Stewart Wallace—Harvey Milk Kurt Weill—Street Scene, Rise and Fall of the City of Mahagonny .
    [Show full text]
  • Cyrano De Bergerac Cyrano / the Gate of Nesle / No, Thank You Affected Young Ladies / Arrival of Roxane / End Titles
    Cyrano de Bergerac Cyrano / The Gate Of Nesle / No, Thank You Affected Young Ladies / Arrival Of Roxane / End Titles Brass Band Arr.: Michal Worek Adapt.: Bertrand Moren Jean-Claude Petit EMR 32224 st + 1 Full Score 2 1 B Trombone nd + 1 E Cornet 2 2 B Trombone + 5 Solo B Cornet 1 B Bass Trombone 1 Repiano B Cornet 2 B Euphonium nd 3 2 B Cornet 3 E Bass rd 3 3 B Cornet 3 B Bass 1 B Flugelhorn 1 Timpani 2 Solo E Horn 1 1st Percussion (Glockenspiel / Tambourine) 2 1st E Horn 1 2nd Percussion (Cymbals) 2 2nd E Horn 1 Snare Drum 2 1st B Baritone 2 2nd B Baritone Print & Listen Drucken & Anhören Imprimer & Ecouter www.reift.ch Route du Golf 150 CH-3963 Crans-Montana (Switzerland) Tel. +41 (0) 27 483 12 00 Fax +41 (0) 27 483 42 43 E-Mail : [email protected] www.reift.ch DISCOGRAPHY Cinemagic 59 Track Titel / Title Time N° EMR N° EMR N° (Komponist / Composer) Blasorchester Brass Band Concert Band 1 Destiny (Satô) 4’18 EMR 12533 EMR 9885 2 Cyrano de Bergerac (Petit) 5’26 EMR 12556 EMR 32224 3 The Gadfly (Hornisse) (Shostakovich) 9’52 EMR 12423 - 4 The Wizard Of Oz (Arlen) 8’22 EMR 12558 EMR 32225 5 The Robe (Newman) 7’51 EMR 12625 EMR 32226 6 Run Free (Spirit: Stallion of the Cimarron) (Zimmer) 5’42 EMR 12653 EMR 32227 7 Star Trek (First Contact) (Goldsmith) 6’37 EMR 12639 EMR 32228 Zu bestellen bei • A commander chez • To be ordered from: Editions Marc Reift • Route du Golf 150 • CH-3963 Crans-Montana (Switzerland) • Tel.
    [Show full text]
  • Cyrano De Más Acá
    ÁREA DE EDUCACIÓN CUADERNOS PEDAGÓGICOS 2017 CP Nº 5 CYRANO DE MÁS ACÁ NIVEL PRIMARIO – SEGUNDO CICLO 1 ÁREA DE EDUCACIÓN CUADERNOS PEDAGÓGICOS 2017 Material producido por el Área Gestión de Públicos. Colaboración pedagógica: Durán, Ana; Jaroslavsky, Sonia; Mc Loughlin, Verónica; Corcuera, Milagros; Gómez, Juan Pablo y Pansera, Aimé. Gestión de públicos. Educación. Teatro Cervantes – Teatro Nacional Argentino. [email protected] Tel. 4815-8880 int 188 y 117, int 137 (FAX) www.teatrocervantes.gob.ar 2 CP Introducción 5 Misión CYRANO DE Desde nuestro único Teatro Nacional encaramos el desafío de pensar el teatro MÁS ACÁ y lo nacional en toda su complejidad. Entendemos que el teatro nacional es una institución que va mucho más allá del edificio del Teatro Cervantes: abarca todo el país. No como centro irradiador, de la capital al interior; no como lugar de con- vergencia, del interior a la capital, sino como un nodo en una vasta red: la red de las prácticas teatrales del país. Estas prácticas definen y amplían nuestro ámbito de acción. No puede restringir- se el sentido de teatro nacional a las obras de autor argentino. Teatro nacional es el teatro que se hace en el país, o para el país, o que es relevante para el país, y que puede contribuir a agitar o transformar el país. A crearlo, en suma. Pensamos que un teatro nacional debe ser una caja de resonancia de los conflic- tos estéticos y sociales actuales, y que estos deben orientar nuestra mirada sobre el pasado y nuestra tradición. Más que un teatro-museo, queremos un teatro-re- flejo del presente y, con suerte, un teatro-reloj que adelante lo que vendrá.
    [Show full text]
  • Germany Worships the "Almighty Pfennig" Says Damrosch
    November 8, 1913 MUSICAL AMERICA 3 quietly in his study is one of the finest moments in Strauss, too. GERMANY WORSHIPS THE "ALMIGHTY "In my experience in conducting I have always found an intense interest in the preparation of the Strauss ' orchestral PFENNIG" SAYS DAMROSCH works. It is not unlike putting together t!1e parts of a great Chinese puzzle which • lIes before you, as you gaze into his mas­ "I Want to Hear No Longer of American Desire for the Almighty Dollar" Declares Conductor, In terly scores. But when the orchestra has Discussion of Musical Conditions Here and Abroad-An Estimate of Richard Strauss's Music­ been thoroughly rehearsed, when everyone !mows hjs part and the work goes well, the France Working. Along Most Promising Lines in Orchestral Music mterest IS over. When I get it before an audience I do not enjoy the music as I do other works. And you will find that after IF on entering the home of a well-known food and drink in the world to-day. And troduce this season with his orchestra. Not the 'maze of dissonances has passed, when musician some afternoon your ear were so a great many of their idealistic. traits are lasting music this, says he, but of historic.al the effects are over and Strauss becomes entranced by soft secondary harmonies, al­ disappearing. Take the old city of Nurem­ interest, especially when one thinks of the simple (and he does in several of his berg! There, where once one saw nothing obscure drum player working out his musi­ large works) he is generally commonplace.' tered after the approved manner of Gallic but quaint houses, where the atmosphere cal ideas in poverty and anticipating .
    [Show full text]
  • CHAD SHELTON, Tenor
    CHAD SHELTON, tenor Opera News praises tenor Chad Shelton for one of his trademark roles, claiming that his “Don José was the dramatic heart of this production; this was a performance that grew in complexity as he struggled to recon- cile the forces of loyalty, lust and fate. Shelton owned the final scene, as his character descended into despair fueled by psychotic obsession. His bright tone amplified the intensity of the last gripping moments.” In the 2016-17 season, he makes returns to the Grand Théâtre de Genève for his first performances of Sir Edgar Aubry in Der Vampyr and Houston Grand Opera to reprise Chairman Mao in Adams’ Nixon in China and sings Don Jose in Carmen on tour in Japan as a guest artist of the Seiji Ozawa Music Academy Opera Project. He also sings his first perfor- mances of Mahler’s Das Lied von der Erde with the Phoenix Symphony and returns to the roster of the Metropolitan Opera for its production of Cyrano de Bergerac. Last season, he retured to Houston Grand Opera for Cavardossi in Tosca and to create the role of Charles II in the world premiere of Carlisle Floyd’s Prince of Players. He made his Metropolitan Opera debut as Rodrigo in a new production of Otello and also joined the company for Elektra in addition to returning to one of his most fre- quently performed roles, Alfredo in La traviata, with Pensacola Opera. He has joined the Opéra National de Lorraine numerous times, including for the title role of Idomeneo, Giasone in Cherubini’s Medea, Don Jose in Carmen, Jack in Gerald Barry’s The Importance of Being Earnest, Lysander in A Midsummer Night’s Dream, Guido Bardi in Eine floren- tinische Tragödie, Lechmere in Owen Wingrave, Tamino in Die Zauber- flöte, and the title role of Candide.
    [Show full text]
  • David Dichiera
    DAVID DICHIERA 2013 Kresge Eminent Artist THE KRESGE EMINENT ARTIST AWARD HONORS AN EXCEPTIONAL ARTIST IN THE VISUAL, PEFORMING OR LITERARY ARTS FOR LIFELONG PROFESSIONAL ACHIEVEMENTS AND CONTRIBUTIONS TO METROPOLITAN DETROIT’S CULTURAL COMMUNITY. DAVID DICHIERA IS THE 2013 KRESGE EMINENT ARTIST. THIS MONOGRAPH COMMEMORATES HIS LIFE AND WORK. CONTENTS 3 Foreword 59 The Creation of “Margaret Garner” By Rip Rapson By Sue Levytsky President and CEO The Kresge Foundation 63 Other Voices: Tributes and Reflections 4 Artist’s Statement Betty Brooks Joanne Danto Heidi Ewing The Impresario Herman Frankel Denyce Graves 8 The Grand Vision of Bill Harris David DiChiera Kenny Leon By Sue Levytsky Naomi Long Madgett Nora Moroun 16 Timeline of a Lifetime Vivian R. Pickard Marc Scorca 18 History of Michigan Opera Theatre Bernard Uzan James G. Vella Overture to Opera Years: 1961-1971 Music Hall Years: 1972-1983 R. Jamison Williams, Jr. Fisher/Masonic Years: 1985-1995 Mayor Dave Bing Establishing a New Home: 1990-1995 Governor Rick Snyder The Detroit Opera House:1996 Senator Debbie Stabenow “Cyrano”: 2007 Senator Carol Levin Securing the Future By Timothy Paul Lentz, Ph.D. 75 Biography 24 Setting stories to song in MOTown 80 Musical Works 29 Michigan Opera Theatre Premieres Kresge Arts in Detroit 81 Our Congratulations 37 from Michelle Perron A Constellation of Stars Director, Kresge Arts in Detroit 38 The House Comes to Life: 82 A Note from Richard L. Rogers Facts and Figures President, College for Creative Studies 82 Kresge Arts in Detroit Advisory Council The Composer 41 On “Four Sonnets” 83 About the Award 47 Finding My Timing… 83 Past Eminent Artist Award Winners Opera is an extension of something that By David DiChiera is everywhere in the world – that is, 84 About The Kresge Foundation 51 Philadelphia’s “Cyranoˮ: A Review 84 The Kresge Foundation Board the combination of music and story.
    [Show full text]
  • Cyrano De Bergerac
    Cyrano de Bergerac by Edmond Rostand All new material ©2010 Enotes.com Inc. or its Licensors. All Rights Reserved. No portion may be reproduced without permission in writing from the publisher. For complete copyright information please see the online version of this text at http://www.enotes.com/cyrano-de-text Table of Contents Notes.....................................................................................................................................................................1 Reading Pointers for Sharper Insights.............................................................................................................2 Dedication............................................................................................................................................................5 Dramatis Personae..............................................................................................................................................6 Act I......................................................................................................................................................................7 A Performance at the Hotel de Bourgogne..............................................................................................7 Scene I......................................................................................................................................................7 Scene II..................................................................................................................................................11
    [Show full text]