Gilbert & Sullivan Ballads, Songs and Snatches (Volume Two)
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The Pirates of Penzance
HOT Season for Young People 2014-15 Teacher Guidebook NASHVILLE OPERA SEASON SPONSOR From our Season Sponsor For over 130 years Regions has been proud to be a part of the Middle Tennessee community, growing and thriving as our area has. From the opening of our doors on September 1, 1883, we have committed to this community and our customers. One area that we are strongly committed to is the education of our students. We are proud to support TPAC’s Humanities Outreach in Tennessee Program. What an important sponsorship this is – reaching over 25,000 students and teachers – some students would never see a performing arts production without this program. Regions continues to reinforce its commitment to the communities it serves and in addition to supporting programs such as HOT, we have close to 200 associates teaching financial literacy in classrooms this year. , for giving your students this wonderful opportunity. They will certainly enjoy Thankthe experience. you, Youteachers are creating memories of a lifetime, and Regions is proud to be able to help make this opportunity possible. ExecutiveJim Schmitz Vice President, Area Executive Middle Tennessee Area 2014-15 HOT Season for Young People CONTENTS Dear Teachers~ We are so pleased to be able Opera rehearsal information page 2 to partner with Nashville Opera to bring students to Opera 101 page 3 the invited dress rehearsal Short Explorations page 4 of The Pirates of Penzance. Cast list and We thank Nashville Opera Opera Information NOG-1 for the use of their extensive The Story NOG-2,3 study guide for adults. -
Gilbert and Sullivan Highlights from the Mikado and Patience Mp3, Flac, Wma
Gilbert And Sullivan Highlights From The Mikado And Patience mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Highlights From The Mikado And Patience Country: US Style: Opera MP3 version RAR size: 1628 mb FLAC version RAR size: 1118 mb WMA version RAR size: 1159 mb Rating: 4.7 Votes: 379 Other Formats: RA AAC VQF MP2 WMA MP4 APE Tracklist A Highlights From The Mikado B Highlights From Patience Credits Conductor – Isidore Godfrey Liner Notes – Robert Boas Orchestra – The New Promenade Orchestra Vocals – The D'Oyly Carte Opera Company* Vocals [D'oyly Carte Opera Company] – Alan Styler, Ann Drummond-Grant, Darrell Fancourt, Ella Halman, Joan Gillingham, Joyce Wright , Leonard Osborn, Margaret Mitchell , Martyn Green, Muriel Harding, Neville Griffiths, Peter Pratt, Richard Watson , Yvonne Dean Written-By – Gilbert And Sullivan* Notes On Labels: Made in England Sleeve printed in U.S.A. Other versions Category Artist Title (Format) Label Category Country Year Gilbert And Sullivan*, Gilbert And The D'Oyly Carte Opera Sullivan*, The Company* With The D'Oyly Carte Opera New Promenade Company* With The London 5087 Orchestra Conducted By 5087 Canada Unknown New Promenade Records Isidore Godfrey - Orchestra Highlights From The Conducted By Mikado And Patience Isidore Godfrey (LP, Album) Gilbert And Sullivan*, Gilbert And The D'Oyly Carte Opera Sullivan*, The Company* With The D'Oyly Carte Opera London New Promenade 5087, Company* With The Records, 5087, Orchestra Conducted By US Unknown X.5087 New Promenade London X.5087 Isidore Godfrey -
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. -
U DX304 Hull Theatre Programmes 1924-1947
Hull History Centre: Hull Theatre Programmes U DX304 Hull Theatre Programmes 1924-1947 Historical Background: The earliest records of theatres in Hull date from the 1760s, although there was a theatre on Lowgate in the early eighteenth century. In 1768, a New Theatre was built, which became the Theatre Royal, a name which was to be passed on to a whole series of theatres in Hull, until the beginning of the twentieth century. The current New Theatre originates from the Little Theatre, which was run from the Lecture Hall in Kingston Square. The Little Theatre Company bought the Hall in 1930. They then acquired the Assembly Rooms in 1939, which were then converted to the New Theatre. The Theatre was bought by a London company in 1951, and was sold to the Corporation in 1961. A brief history of other Hull Theatres can be found in the History Centre searchroom 'Useful Information' file. Custodial history: Donated by Mr W E Harrop of Park Avenue, Hull via Professor Michael Walton Description: This collection includes runs of programmes for the following theatres Hull Repertory Theatre (1928-1933), The Little Theatre (1933-1939), Hull New Theatre (1939-1947), Hull Palace (1930), Playgoers' Theatre, 1930-1933) and Alexandra Theatre (1932-1934) Arrangement: U DX304/1-66 Hull Repertory Theatre, 1928 - 1933 U DX304/67-132 The Little Theatre, 1933 - 1939 U DX304/133-176 Hull New Theatre, 1939 - 1947 U DX304/177-178 Hull Palace, 1930 U DX304/179-182 Playgoers' Theatre, 1930 - 1933 U DX304/183-186 Alexandra Theatre, 1932 - 1934 Extent: 186 items Related material: U DTP, Theatre Playbills Collection (1760s-1970s). -
Midwestern Gilbert and Sullivan Society
NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY September 1990 -- Issue 27 But the night has been long, Ditto, Ditto my song, And thank goodness they're both of 'em over! It isn't so much that the night was long, but that the Summer was (or wasn't, as the case may be). This was not one of S/A Cole's better seasons: in June, her family moved to Central Illinois; in July, the computer had a head crash that took until August to fix, and in that month, she was tired and sick from all the summer excitement. But, tush, I am puling. Now that Autumn is nearly here, things are getting back to normal (such as that is). Since there was no summer Nonsense, there is all kinds of stuff in this issue, including the answers to the Big Quiz, an extended "Where Can it Be?/The G&S Shopper", reports on the Sullivan Festival and MGS Annual Outing, and an analysis of Thomas Stone's The Savoyards' Patience. Let's see what's new. First of all, we owe the Savoy-Aires an apology. Oh, Members, How Say You, S/A Cole had sincerely believed that an issue of the What is it You've Done? Nonsense would be out in time to promote their summer production of Yeomen. As we know now, Member David Michaels appeared as the "First no Nonsense came out, and the May one didn't even Yeomen" in the Savoy-Aires' recent production of mention their address. Well, we're going to start to The Yeomen of the Guard. -
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. -
The Mikado Guide.Pdf
The Mikado Study Guide This guide contains information to help you introduce your students The Mikado and opera in general. There are several lesson plans, all curriculum-based, which are designed to enhance student appreciation of the opera. Contents The Mikado The Mikado: Synopsis...................................................................................................... 2 Gilbert & Sullivan: Biographies......................................................................................... 3 Suggested Listening......................................................................................................... 5 Additional resources......................................................................................................... 5 Classroom Activities (Easy to Hard) Activity: Creating Hanging Koi.......................................................................................... 6 Writing/Self Assessment: Are you a good manager?...................................................... 7 Writing/Social Studies: Stereotypes.................................................................................. 8 Reading/Writing: Mikado Mad Libs................................................................................ 11 Music: The Gilbert and Sullivan “Golden Formula”......................................................... 12 Language/Theater Arts: Student dramatization of The Mikado...................................... 14 Going to the Opera What to wear to the opera............................................................................................. -
And the Comic Operas of Gilbert & Sullivan
PIRATES, POLICEMEN, AND OTHER PATRIOTS: LATE VICTORIAN 'ENGLISHNESS' AND THE COMIC OPERAS OF GILBERT & SULLIVAN by MELANIE JEAN THOMPSON B.A. (Honours), McGill University, 1999 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of History) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 2001 © Meknie Jean Thompson, 2001 In presenting this thesis in partial folfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written peamission. Department of V^i'S'VoOj The University of British Columbia Vancouver, Canada Date A'Uglsr 31,g.C>6f Abstract Music and theatre have long played a particular - but hitherto rather neglected — role in the construction and articulation of national identity. This thesis takes a closer look at that role through an examination of the fourteen "Savoy operas" produced by librettist William S. Gilbert and composer Arthur S. Sullivan between the years 1871 and 1896. It explores the impact these operas had on the formation of a particular idea of 'Englishness' in the late 19th century. The Savoy operas were produced in the context of a larger cultural trend, a historical moment of collective self-examination in which English national identity was being renegotiated and redefined. -
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. -
Journal January 1992
r The Elgar Society JOURNAL i January 1 1992 Contents Page Editorial 3 Articles Elgar and Programme Music - Part I 4 Where Corals Lie by a Sleepy Lagoon 10 Elgar in America 13 Elgar Choral Festival 13 Leonard Slatkin 14 The Original Musical Wallpaper 15 Birthplace News 15 Elgar’s Worcester Sauce 16 Random Ramblings 17 Concert Diary 22 Music Review 24 Book Review 25 Concert Review 26 Branch Reports 27 Record Reviews 31 Letters 41 Subscriptions Back Cover «**»»*»*»»»•••»*»•••»»»•••••**•••»»»*••••**»»»••»•»»*••••»•*•**••••*****•***••••**•• The Editor does not necessarily agree with the views expressed by contributors nor does the Elgar Society accept responsibility for such views. The cover portrait is reproduced by kind permission of RADIO TIMES ELGAR SOCIETY JOURNAL ISSN 0143-1269 rhe Elgar Society Journal 115 MONKHAMS AVENUE, WOODFORD GREEN, ESSEX IG8 OER 081-506 0912 VoL 7, No.4 EDITORIAL January 1992 Elgarians can always take pride in the fact that Elgar was the first major composer to commit himself to making gramophone records of his music, at a time when many people still regarded the gramophone as little more than a toy, and when the acoustic process gave a very imperfect reproduction of orchestral sound. Nowadays of course recording is not only big business but can be very influential in establishing a composer’s reputation — or re-establishing it, as in the case of Parry for example. The triumphant progress of the Compact Disc over the last few years has had some interesting spin-offs so far as the repertoire is concerned. Whereas in the days of LP an average disc would last 40-50 minutes, the CD can take much more, and the record-buying public feel hard done by if they get less than an hour! So for the Elgar symphonies (average playing time about 50-55 minutes) there now has to be a ‘fill-up’, and several of Elgar’s shorter works have received a number of recordings recently. -
How to Keep Your Stereo Soundin Like
e.:1113Roberta Flack * New Waves Going down the Tube? HIGH MAY 1978 $1.25 F EBEL C D a 08398 How to Keep Your Stereo Soundinlike New Easy Home Upkeep nen Pinpointing Trouble Step S-ep Getting the Most for Your Service Dollar Irving Berlin Qiwinnin) Amps =Ow Xl= .1111temps sr- 41=Pr- am a- sr. C=. fib 011 r011 24;2m. g=p = //0 = 40.O i 5 Lab/Listening Reports A.pt/Holman preamp Kenwood KX-1030 cassette deck 0 Keith Monks M9BA Mk.3 Improved tone arm Marantz 940 speaker system Realistic LAB -400 turntable Tandberg TR-2075 Mk.II receiver /4 008398 to let you get everithirg out of your tuner. Perfectly. Obviously, both the SA9500ll and the Our output stage, for example, features a new D(950011are very sophisticated pieces of parallel push-pull circuit that reduces total harmonic equipment. But all of the engineering skill that distortion to less than 0.1%. Again, well below any- went into making them has also gone into every thing you can possibly hear. other tuner and amplifier in our new series II. To all but el imi iatecross-talk, the SA95001I No matter what the price, no matter what the comes with a separate power transformer for each specifications. channel, instead of the usual single transformer And that's something you don't have to be for both. an expert to appreciate. And where some amps give you two, or three SA950011 SA850011 sA75008 SA65001I SA550011 tone controls, t he SAC50011 gives you four. Two for TX950011 TX850011 TX650011 TX550011 POWER MIN.