L DTAT Alexandra Theatre, Hull Programmes and Playbills 26 Dec 1902-1937
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Programmes, Visiting Artists and Companies Ephemera PR8492/1950-1959 to View Items in the Ephemera Collection, Contact the State Library of Western Australia
Programmes, visiting artists and companies Ephemera PR8492/1950-1959 To view items in the Ephemera collection, contact the State Library of Western Australia Date Venue Title Author Director Producer Agent Principals D 1950 January Marquee Puss in Boots Bruce Carroll Bruce Carroll Eric Maxon 0 Theatre Edgar Rogers Noreen Rogers ____________________________________________________________________________________________________________________ April 10 His Majesty's "Annie Get Leo Packer Carl Randall J.C.Williamson Victor Carell 1 Theatre Your Gun" Theatres Ltd Wendy Selover Irving Berlin Wilfred Stevens ____________________________________________________________________________________________________________________ May 25 His Majesty's The Mikado Leo Packer Anna Bethell J.C.Williamson Jon Dean 1 Theatre Gilbert & Theatres Ltd Richard Walker Sullivan Leslie Rands Ivan Menzies Bernard Manning Muriel Howard Marjorie Eyre Nancy Rasmussen Evelyn Gardiner Richard Bengar ____________________________________________________________________________________________________________________ June 3 His Majesty's Pirates of Leo Packer Anna Bethell J.C.Williamson John Dean 2 Theatre Penzance & Theatres Ltd Helen Roberts Trial by Jury Evelyn Gardiner PR8492/1950-1959 Page 1 of 40 Copyright SLWA ©2011 Programmes, visiting artists and companies Ephemera PR8492/1950-1959 To view items in the Ephemera collection, contact the State Library of Western Australia Date Venue Title Author Director Producer Agent Principals D Gilbert & Sullivan Leslie Rands Richard -
Precious Nonsense
Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY June 2001 -- Issue 63 Of course, you will understand that, as Chancellor of the Exchequer, I am bound to see that due economy is observed. There's nothing like a bargain. W ith the postal rate on letters weighing more than an ounce going up on July 1, it seemed like a good idea to try to get a "fat" newsletter out before the change. So here we are. Although we're lacking any play synopses this time around, we do have the answers to last year's Big Quiz, plenty of news of G&S productions, and some interesting insights from Arthur Robinson. So let's see how it goes. Oh, Members, How Say You, What is it You've Light Opera at (330) 263-2345 / www.wooster.edu/OHIOLIGHTOPERA/ . Or e-mail Done? [email protected]. And their address is The We were saddened and pleased to learn that MGS College of Wooster, Wooster, OH 44691. member and frequent G&S lead performer David Michaels is leaving the Chicago area for Seattle. Sad because he’s Although Light Opera Works isn't presenting any G&S going, and glad because he’ll be seeing more of his family this season, they do have an interesting program for youth, (and able to report on G&S activity in Washington State)! featuring, among other things, an opportunity to work on a Best wishes for his move and his future! production of The Pirates of Penzance. Their Musical Theater Summer Workshops (“for kids 8 to 18") this year By the way, someone asked what our membership include Annie (July 9-14, 2001), Pirates of Penzance (July statistics are, after the renewals were returned. -
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. -
Decca Discography
DECCA DISCOGRAPHY >>2 GREAT BRITAIN: ffrr, 1944-57 In a business where exclusive contracts were the norm, it was very difficult for a newcomer to become established and Decca’s initial roster of classical artists was unable to compete with established rivals. In March 1932 an agreement with Polydor provided access to a substantial catalogue of German artists and a year later the company virtually abandoned classical recording to concentrate on dance bands. The move to Thames Street Studios provided more scope for orchestral sessions and a bold policy of recording contemporary British music enhanced the label’s reputation. The newly formed Boyd Neel Orchestra was signed up in 1934, followed by the Griller String Quartet in 1935, Clifford Curzon in 1937, Peter Pears in 1944, Kathleen Ferrier in 1946 and Julius Katchen in 1947. War broke the link with Polydor, leaving Decca with a respectable catalogue of chamber music, but little symphonic repertoire. Armed with ffrr technology, the company began to remedy this in 1944, engaging Sidney Beer’s National Symphony Orchestra until 1947 and the misleadingly named New Symphony Orchestra (it had made its first recordings in 1909) from 1948. Neither developed into a house band to rival EMI’s Philharmonia and, with the Royal Philharmonic also exclusive to EMI, Decca had to resort to the LSO and the LPO, both in rather run-down condition in the post-war years. Meanwhile every opportunity was taken to impress visiting continental orchestras with ffrr sessions and it was evident that the company intended to transfer much of its symphonic work to Paris, Amsterdam, Geneva and Vienna as soon as practicable. -
GILBERT and SULLIVAN PAMPHLETS† Number Two
1 GILBERT AND SULLIVAN PAMPHLETS † Number Two CURTAIN RAISERS A Compilation by Michael Walters and George Low First published October 1990 Slightly revised edition May 1996 Reprinted May 1998. Reformatted and repaginated, but not otherwise altered. INTRODUCTION Very little information is available on the non Gilbert and Sullivan curtain raisers and other companion pieces used at the Savoy and by the D’Oyly Carte Opera Company on tour in their early years. Rollins and Witts give a brief list at the back of their compilation, and there are passing references to some of the pieces by Adair-Fitz- gerald and others. This pamphlet is intended to give some more data which may be of use and interest to the G&S fraternity. It is not intended to be the last word on the subject, but rather the first, and it is hoped that it will provoke further investigation. Perhaps it may inspire others to make exhaustive searches in libraries for the missing scores and libretti. Sources: Cyril Rollins & R. John Witts: 1962. The D’Oyly Carte Opera Company in Gilbert and Sullivan Operas. Cyril Rollins & R. John Witts: 1971. The D’Oyly Carte Opera Company in Gilbert and Sullivan Operas. Second Supplement. Privately printed. p. 19. J.P. Wearing: 1976. The London Stage, 1890-1899. 2 vols. J.P. Wearing: 1981. The London Stage, 1900-1909. 2 vols. Allardyce Nicoll: A History of English Drama 1660-1900, vol. 5. (1959) Late Nineteenth Century Drama 1850-1900. Kurt Ganzl: 1986. The British Musical Theatre. 2 vols. S.J. Adair-Fitzgerald: 1924. -
029I-HMVSX1925X05-0000A0.Pdf
PRICES OF " His Master's Voice Double-Sided Records THE ROYAL RECORD (R.E. 284) THEIR MAJESTIES THE KING & QUEEN. 10 in. Double-sided, 5/6. THE ROYAL RECORD (R.D. 887) H.R.H. THE PRINCE OF WALES. 12 in. Double-sided 5/6. NURSERY Records-ORANGE Label (Serial Letters AS), 7-inch 1/6. (Each series of 6 records in album, 12/6. Decorated Album-with linen pockets -separate, 3/6.) PHYSICAL CULTURE Records.-Set complete in album, 12/-. Album and chart separate, 3/-. SerialLetter SerialLetterCDDBDKDMDODQ Colour of Label. 10-inch PLUM... 3/- B 4/66/68/6 ... BLACK 4/6 E ... REDBUFFPALE 6/- DA 7/- DJ 10/-11/613/616/- GREEN PALE BLUE... WHITE ... I ý Unless otherwise stated 'His Master's Voice" Records should be blayed at a seed of 78. His Mas ter's Voice" Instantaneous Sbeed Tester, shows instantly whether your motor is running correctly. "His Master's Voice" Records ............................................................................................................................... PADEREWSKIMAY. 1925. IGNACE JAN PADEREWSKI (Pianoforte) 12-inch douLiesided Red I,abel. ( Impromptu in B Flat Major, Op. 142, No.3 Schubert DB..Parts833 1 and 2 world has grown old, and age has brought disillusionment. Music is the youngest of the arts and she has managed to THF,,preserve her freshness long after her elder sisters have passed their prime, but even with her the Golden Age is over. The great, simple things have all been said, and there is nothing left to satisfy the jaded appetites of our sad and care-ridden generation but unnecessary elaborations and unwanted distor- tions of ideas that are already familiar and outworn. -
If You Love Music
of the singers. Apart from Alfred Deller's, Patience herself, even Sargent's lovelybard? it doesn't sound like Leslie Rands). no such attempts come to mind. Yet one of Elsie Morison can't match the indomitable K.F. the best things about the performance is its Margaret Mitchell in the D'Oyly Carte's pacing. Particularly in this style of fluid postwar mono set,formerly on Rich- recitative, with its witty exchanges and rap- HAYDN: Symphonies (11)-See page mond. 58. id shifts in tone, the ever changing move- The Gondoliers excerpts, not to be ment of the music requires the utmost con- confused with the differently cast 1927 trol in order to seem natural. To Jacobs' complete recording conducted by HarryLEONCAVALLO: La Bohente. credit, Orontea seems as brisk and as much Norris (Arabesque 8058-2L), comprise CAST: fun as a Hollywood comedy. something under half the score, concentrat- Mimi Lucia Popp (s) The recording qualityisexcellent, ing on the gondoliers themselves and their Musette Alexandrina Milcheva (ms) with sound-intimate rather than spectacu- wives. I prefer the excerpts to the complete Eufemia Sofia Lis (ms) lar-that befits the scale of the work. It is a recording. They're performed with agree- Marcello Franco Bonisolli (t) Gaudenzio Friedrich Lenz (t) pleasure that the clearly produced but unob- able spirit, if again without much vocal dis- Durand Norbert Orth (t) trusive digital sound and the excellent tinction, one exception being the fine "Ris- II Signore del primo pianoAlbert Gassner (t) pressing allow Cesti's Orontea to shine for ing early in the morning" !Leonard Hub- Rodolfo Bernd Weikl (b) itself. -
GILBERT and SULLIVAN Ruddigore
110295 rr RuddigoreEU 20/09/2004 12:04pm Page 1 CMYK N 8.110295 ADD AXOS Historical Playing h THIS COMPACTAND COPYING OF BROADCASTING DISC PROHIBITED. UNAUTHORISED PUBLIC PERFORMANCE, RESERVED. TRANSLATIONS ALLAND TEXTS ARTWORK, THIS SOUND RECORDING, RIGHTS IN GILBERT and SULLIVAN 2004 & Time 8.110295 Ruddigore 74:19 © 2004 Naxos Rights International Ltd. Sir Ruthven Murgatroyd . Martyn Green Having already mocked the Richard Dauntless . Leonard Osborn time-honoured institutions, Sir Despard Murgatroyd of Ruddigore . Richard Watson the Navy (HMS Pinafore), Old Adam Goodheart . Radley Flynn the judicature (Trial by Jury) Sir Roderick Murgatroyd . Darrell Fancourt and the archetypal English GILBERT & SULLIVAN: ‘flower power’ group known Rose Maybud . Margaret Mitchell as the Aesthetic Movement Ruddigore Dame Hannah . Ella Halman (Patience), in Ruddigore Zorah . Deirdre Thurlow W. S. Gilbert ridiculed Mad Margaret . Ann Drummond-Grant contemporary obsessions Chorus of Officers, Ancestors, Professional Bridesmaids with etiquette and the and Villagers supernatural. Without being Recorded 21 July and 24 August 1950 London a top G&S favourite, Ruddigore is a highly Decca LK 4027/8, London LLP 243/4; mx ARL 429/32 accomplished score with The D’Oyly Carte Opera Chorus and Orchestra several finely-integrated conducted by Isidore Godfrey dramatic moments, including Ruddigore the memorable ‘gallery of GILBERT & SULLIVAN: ghosts’ sequence. 1 Overture 6:49 MADE IN 2-* Act I 44:19 THE E.U. (-• Act II 23:11 www.naxos.com Archivist & Restoration Producer: David Lennick 8.110295 Digital Noise Reduction: K&A Productions Ltd. Special thanks to Robert D. Pinsker A complete track list can be found in the booklet Cover Image: Mad Margaret from Ruddigore AXOS Historical (Mary Evans Picture Library) N. -
Gilbert & Sullivan Princess Ida Mp3, Flac
Gilbert & Sullivan Princess Ida mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Non Music / Classical / Stage & Screen Album: Princess Ida Country: UK Released: 1933 Style: Operetta MP3 version RAR size: 1367 mb FLAC version RAR size: 1162 mb WMA version RAR size: 1464 mb Rating: 4.1 Votes: 791 Other Formats: APE MP1 AC3 AA MP4 WMA WAV Tracklist Hide Credits A Overture B Search Throughout Today We Meet, My Baby Bride And I C Tenor Vocals – Derek Oldham From The Distant Panorama D1 Vocals – Darrell Fancourt, Edward Halland, Stuart Robertson We Are Warriors Three D2 Vocals – Darrell Fancourt, Edward Halland, Stuart Robertson E If You Give Me F Come, Cyril G Towards The Empyrean Heights H Mighty Maiden I Gently, Gently J I Am A Maiden K The World Is But A Broken Toy L A Lady Fair M Now, Wouldn't You Like N Would You Know O Madam, Without The Castle Walls P Be Reassured Q Death To The Invader R Whene'er I Spoke S When Anger T This Is Our Duty Barcode and Other Identifiers Matrix / Runout (Stamped runout, side C): 2B4220Ⅰ☐ R 32-3327 1 Matrix / Runout (Stamped runout, side D): 2B 4229Ⅰ☐ G 32-3328 Related Music albums to Princess Ida by Gilbert & Sullivan Gilbert And Sullivan / D'Oyly Carte Opera Company - H.M.S. Pinafore, Trial By Jury Gilbert & Sullivan, D'Oyly Carte Opera Company, Royal Philharmonic Orchestra, Sir Malcolm Sargent - Princess Ida Gilbert & Sullivan, The Chorus Of The D'Oyly Carte Opera Company - Gilbert & Sullivan Choruses Gilbert & Sullivan, The D'Oyly Carte Opera Company - Patience (With Complete Dialogue) G & S - The D'Oyly -
ARSC Journal
HISTORICAL REISSUES ROYAL OPERA HOUSE COVENT GARDEN, HISTORICAL RECORDINGS OF ACTUAL PERFORMANCES: PUCCINI: Boheme (4 June 1926)--Gioventu mia (Finale, Act 2); Dorme? ripose? (Finale, Act 4). Margaret Sheridan, soprano (Mimi); Aurora Rettore, soprano (Musetta); Angelo Minghetti, tenor (Rodolfo); Giuseppe Noto, baritone (Marcello); Eduard Cottreuil, basso (Colline); Ernesto Badini, baritone (Schaunard); Pompilio Malatesta, basso (Alcindoro); Vincenzo Bellezza, conductor. MELBA'S FAREWELL (8 June 1926): VERDI: Otello--Piangea cantando; Ave Maria. Dame Nellie Melba, soprano (Desdemona); Jane Bourguignon, mezzo-soprano (Emilia); Vincenzo Bellezza, conductor. PUCCINI: Boh~me--Entrate ••• C'e Rodol fo?; D'onde lieta usci; Addio, dolce svegliare. Dame Nellie Melba, soprano (Mimi); Aurora Rettore, soprano (Musetta); Browning Mummery, tenor (Rodolfo); John Brownlee, baritone (Marcello); Vincenzo Bellezza, conductor. Melba's farewell speech. BOITO: Mefistofele (31 Ma.J. 1926)--Ave, Signore; So lo spirito che nega; Sabha, Sabha, Saboe! Feodor Chaliapin, basso (Mefistofele); Vincenzo Bellezza, conductor. GOUNOD: Faust (22 June 1928)--Act 1 complete; Allens, amis, point de vaines alarmes! ••• Le veau d'or; Nous nous retrouverons, mes amis ••• Ainsi que la brise; Salut, demeure chaste et pure; Il etait temps; Qu'attendez-vous encore •.• Vous qui faites l'endormie. Joseph Hislop, tenor (Faust); Feodor Chaliapin, basso (Mephistopheles); Franklyn Kelsey, baritone (Wagner); Jane Laugier, mezzo-soprano (Siebel); Sir Eugene Goossens, conductor. VERDI: Otello (17 June 1926)--Inaffia l'ugola; Mio signore ••• Che brami?; A~ ••• Ora e per sempre addio; Ah! mille vite ••• Si, pel ciel marmoreo giuro; Dio! mi potevi scag liar; Tutto e spento ••• Quest'~ una ragna; Niun mi tema. Giovanni Zenatello, tenor (Otello); Giuseppe Noto, baritone (Iago); Luigi Cilla, tenor (Cassio); Octave Dua, tenor (Roderigo); Eduard Cottreuil, basso (Ludovico); Michele Sampieri, basso (Montano); Vincenzo Bellezza, con ductor. -
570034Bk Hasse 20/4/07 4:41 PM Page 1
111311-12bk Best G&S/A:570034bk Hasse 20/4/07 4:41 PM Page 1 Hyphe p6/co p8/co Add B 2 CDs 111311-12bk Best G&S:570034bk Hasse 20/4/07 9:27 PM Page 2 William Schwenk Gilbert (1836–1911) and Arthur Sullivan (1842–1900) However, the Lord Chancellor suggests the fairies avoid a pilot, not a pirate, has just completed his pirate their fate by inserting the word ‘don’t’ into the fairy law, apprenticeship (a misunderstanding on the part of his nanny, The Best of Gilbert and Sullivan thus commuting the death sentence and forcing the Queen Ruth, who is now also a member of the crew). Being a man CD 1 of the Fairies to marry a mortal herself! The fairies are then of his word he has waited for his release from the able to marry the peers and it is revealed that the Lord apprenticeship to break the news that he intends to use this H.M.S. Pinafore From Naxos 8.110175 24:48 Chancellor is in fact Iolanthe’s husband; they are reunited new freedom to destroy his comrades in arms. The pirates 1 Overture 4:14 and Phyllis is free to marry Strephon. The mortals are are most understanding, being genial and accommodating 2 Act 1: We sail the ocean blue (Chorus) 2:22 transformed into fairies and all fly away leaving the House chaps with a great empathy for orphans, having no parents 3 Hail, Men-O Wars men / I’m called Little Buttercup (Buttercup) 1:51 of Lords to be filled not by birth, but by intelligence. -
Gilbert & Sullivan Austin
The GILBERT & SULLIVAN OCIETY OF USTIN NOVEMBER-DECEMBER 2015 NEWSLETTER S A PRESIDENT’S MESSAGE by Libby Weed Dear GSSA Members and Friends, Just a few years ago, I wrote the following paragraph in my President’s Message for this newsletter: “At a recent meeting of the board of directors, Reba Gillman told the rest of us about a book entitled A Most Ingenious Paradox by Gayden Wren. Hearing her words as we closed our meeting, we all felt a surge of renewed purpose as she encouraged us to remember that we are promoting something well worth preserving and sharing with the world when we spread While the Duke is abroad entertaining ambassadors and handling the good word about the works of William S. Gilbert and Arthur Parliamentary matters, the Duchess of Dunstable, Lady Jane, Sullivan to our community and when we produce our musicales and has decided to throw a Salon Concert in the very large parlor of grand productions.” Dunstable House (a.k.a. the Worley Barton Th eater at Brentwood —see map on back page). You remember Lady Jane, don’t you? She Soon after I learned about the book from Reba, who was a beloved married Th e Duke of Dunstable at the end of the opera, Patience. and stalwart leader of GSSA until her passing last spring, I ordered She has invited several of her favorite musician friends to perform, a copy of the book she recommended and began reading it. In and she also invites you to attend and sing as you wish from the the course of my reading, my regard for Mr.