Auditions for the Gondoliers by Gilbert and Sullivan

Total Page:16

File Type:pdf, Size:1020Kb

Auditions for the Gondoliers by Gilbert and Sullivan Auditions for The Gondoliers by Gilbert and Sullivan The performances of this fully staged production will take place in The Wilde Theatre, South Hill Park Arts Centre, Bracknell, RG12 4PA, on 19 and 20 June 2015, at 7.30pm, and a Matinee on 20 June at 2.30pm with full dress rehearsals on 17 and 18 June. Rehearsals will take place on Tuesday and/or Thursday evenings, and some Sunday afternoons. Auditions will take place on Saturday 14 February 2015 from 11am to 3.00pm in the Recital Room at South Hill Park. As well as the musical audition, you will be asked to read a piece of libretto. The full libretto may be downloaded from our website www.parkopera.org.uk If you have any queries please contact: Musical Director Francis Griffin T: 07801 387340 E: [email protected] Producer John Aldis T: 07980 609406 E: [email protected] Secretary Sue Mainwaring T: 07968 197154 E: [email protected] Music references are from the Chappell score: Character Voice Act, No Music Duke Baritone I,3 60-62, 1st verse Luiz Tenor/Baritone I,5 68-69 Don Alhambra Bass Baritone II,6 166-170, two verses, end on Their various opinions Marco Tenor II,3 143-145, one verse Giuseppe Baritone II,2 138-142, one verse Antonio Baritone I,1 19-22, one verse Francesco Tenor I,1 16-19 as per part Giorgio Bass I,1 16-19 as per part Duchess Contralto II,9 187-190, one verse Casilda Soprano I,5 70-71 Gianetta Soprano I,10 96-97 Tessa Mezzo I,9 89-92, end on nothing's wrong Fiametta Soprano I,1 12-14, start at Two there are end at p14 only two Vittoria Mezzo I,1 16-19 as per part Giulia Mezzo I,1 16-19 as per part Inez Alto II,12 214-215 Pieces of libretto: Character Libretto Duke pp 38-39 Ah! Their Majesties……... You are a King - I am a subject. Luiz p10 Nay, Luiz, it may not be……... Must it be so, Casilda? Don Alhambra pp14-16 Good morning……... After all, what is a few months? pp28-29 Good evening……... I'll give you an instance in which the experiment was tried. Marco and pp14-16 And now our lives……... separate us from our wives? Giuseppe pp23-24 Gentlemen, we are much obliged……... make ourselves useful about the Palace. Annibale pp23-24 Ah, I don't think we can go into that...…... Suppose we reserve it for argument before the full Court? Duchess pp34 Be good enough to inform…….... but I did - desperately! Casilda pp7-8 A secret? …….... Such a thing was never heard of!" p10 Nay, Luiz, …….....Luiz, it must be so! Tessa and p28 Tessa Yes, we thought you'd like it............ Oh, it's too much happiness! Gianetta p32 Well, here's a pleasant state of things! Finding South Hill Park Arts Centre, Bracknell, RG12 7PA South Hill Park Arts Centre is about 7 minutes drive from Bracknell Town Centre in the Birch Hill area, and is easily accessible from the M3 (Jct 3) as well as the M4 (Jct 10). It is very well signposted – look for the brown road signs saying ‘Arts Centre’ or showing a comedy mask. Also see Contact Page of www.parkopera.org.uk for link to www.streetmap.co.uk The Gondoliers DRESS REHEARSALS ......................... 17-18 JUNE 2015 PERFORMANCES ................................ 19-20 JUNE 2015 ───────────────────────────── Name: .......................................................................... Part/Parts you are auditioning for: Duke Baritone Duchess Contralto Luiz Tenor /Baritone Casilda Soprano Don Alhambra Bass Baritone Gianetta Soprano Marco Tenor Tessa Mezzo Giuseppe Baritone Fiametta Sop rano Antonio Baritone Vittoria Mezzo Francesco Tenor Giulia Mezzo Giorgio Bass Inez Alto Are you available for all the dress rehearsals and performances? Yes/No ───────────────────────────── Please provide your contact details: Telephone number: .………………………. Mobile number: .…………………….…….. e-mail address: .…………………….……… Address: ..…………………….…….………….. ..…………………….…….………….. ..…………………….…….………….. ..…………………….…….………….. ..…………………….…….………….. ..…………………….…….………….. .
Recommended publications
  • The Mikado Program
    GENEVA CONCERTS presents TheThe MikadoMikado Albert Bergeret, Artistic Director Saturday, September 24, 2011 • 7:30 p.m. Smith Opera House 1 GENEVA CONCERTS, INC. 2011-2012 SEASON Saturday, 24 September 2011, 7:30 p.m. New York Gilbert & Sullivan Players The Mikado Sunday, 11 December 2011, 3:00 p.m. Imani Winds A Christmas Concert This tour engagement of Imani Winds is funded through the Mid Atlantic Tours program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts. Friday, 2 March 2012, 7:30 p.m. Rochester Philharmonic Orchestra Christoph Campestrini, conductor Juliana Athayde, violin Music of Barber and Brahms Friday, 30 March 2012, 7:30 p.m. Brian Sanders’ JUNK Patio Plastico Plus Saturday, 28 April 2012, 7:30 p.m. Cantus On the Shoulders of Giants Performed at the Smith Opera House, 82 Seneca Street, Geneva, New York These concerts are made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and a continuing subscription from Hobart and William Smith Colleges. 2 GENEVA CONCERTS, INC. Saturday, September 24, 2011 at 7:30 p.m. The Mikado or, The Town of Titipu Libretto by Sir William S. Gilbert Music by Sir Arthur Sullivan First Performed at the Savoy Theatre, London, England, March 14, 1885 Stage Direction: Albert Bergeret & David Auxier Music Director: Albert Bergeret; Asst. Music Director: Andrea Stryker-Rodda Conductor: Albert Bergeret Scenic Design: Albère Costume Design: Gail J. Wofford & Kayko Nakamura Lighting Design: Brian Presti Production Stage Manager: David Sigafoose* Assistant Stage Manager: Annette Dieli DRAMATIS PERSONAE The Mikado of Japan .....................................................................Quinto Ott* Nanki-Poo (His son, disguised as a wandering minstrel) .
    [Show full text]
  • The Gondoliers Program 2017
    Light Opera of Portland presents THE GONDOLIERS OR The King of Barataria with music by Arthur Sullivan and libretto by W.S. Gilbert Dennis Britten, Director Linda Smith, Musical Director David Smith, Producer THANK YOU SPECIAL THANKS TO: The King’s Navy for the loan of the drum Home Depot for discounts on supplies for building the set Sarah Ominski for photography Kevin Lay for orchestration MKTX for marketing and promotion support Gallery Theater for lending costumes TVFR for use of Firestation 65 community room for rehearsals Set Design and Construction Joe Rosenthal, David Ridley, Ron Swingen, David Smith, Linda Smith, Jacob Mott, Dennis Freeze, Justin Rueff, Dennis Britten and Rob Patrick Costumes Lucy Tait, Marquerite Kendall, Phyllis Fort, Phyllis Brinkerhoff and Anne Kolibaba Larkin DONORS Dennis Britten Cathrine Huard Jillane and David Onasch David and Linda Smith Anonymous YOUR DONATION The Light Opera of Portland is a 501c3 organization. Please donate to help us continue providing excellent light opera. LOoP depends on the generous donations of our friends and patrons to support our ongoing efforts of providing high-quality, entertaining light opera productions. Whether you made the suggested donation upon entering or choose to add to your donation upon exiting, be assured your contribution is helping this young theatre company bring you more of the fun of treasured theatre works in the future. Please let us know particularly if you are able to help by donating space to store our sets, rehearsal space or performance space. Thank you for your help. THE GONDOLIERS OR The King of Barataria with music by Arthur Sullivan and libretto by W.S.
    [Show full text]
  • I Have a Song to Sing O! Program.Pdf
    Musical Numbers With Cat-like Tread, Upon Our Prey We Steal (The Pirates of Penzance) ...........................Ensemble I Have a Song to Sing, O! (The Yeomen of the Guard) ..................... James Mills and Sarah Caldwell Smith Am I Alone and Unobserved? (Patience)............................................... James Mills A British Tar (H.M.S. Pinafore) ................................Alex Corson, Albert Bergeret, Artistic Director Matthew Wages, David Wannen I’m Called Little Buttercup Wand’ring Minstrels (H.M.S. Pinafore) .............. Angela Christine Smith in We’re Called Gondolieri (The Gondoliers) ...................................Alex Corson and Matthew Wages Take a Pair of Sparkling Eyes (The Gondoliers) ...................................Alex Corson Oh, Better Far to Live and Die (The Pirates of Penzance) ................. Matthew Wages and Men Director: James Mills When All Night Long a Chap Remains (Iolanthe) ..........................................David Wannen Music Director & Conductor: Albert Bergeret Executive Producer: David Wannen Three Little Maids From School are We (The Mikado) .............................Rebecca Hargrove, Editor: Danny Bristoll Angela Christine Smith, Sarah Caldwell Smith Sarah Caldwell Smith, Soprano The Sun, Whose Rays are All Ablaze Rebecca Hargrove, Soprano (The Mikado) ..............................Rebecca Hargrove Angela Christine Smith, Contralto Here’s a How-de-do! Alex Corson, Tenor (The Mikado) ......................................Alex Corson, James Mills, Comic Baritone James
    [Show full text]
  • Krantz [email protected] Phi Mu Alpha Sinfonia + Delta Omicron = Sinfonicron G&S Works, with Date and Length of Original London Run • Thespis 1871 (63)
    Sinfonicron Light Opera presents Ruddigore, or The Witch’s Curse January 23-26, 2020 Kimball Theatre Osher Lifelong Learning Institute November 15, 2019 Ken Krantz [email protected] Phi Mu Alpha Sinfonia + Delta Omicron = Sinfonicron G&S Works, with date and length of original London run • Thespis 1871 (63) • Trial by Jury 1875 (131) • The Sorcerer 1877 (178) • HMS Pinafore 1878 (571) • The Pirates of Penzance 1879 (363) • Patience 1881 (578) • Iolanthe 1882 (398) G&S Works, Continued • Princess Ida 1884 (246) • The Mikado 1885 (672) • Ruddigore 1887 (288) • The Yeomen of the Guard 1888 (423) • The Gondoliers 1889 (554) • Utopia, Limited 1893 (245) • The Grand Duke 1896 (123) Elements of Gilbert’s stagecraft • Topsy-Turvydom (a/k/a Gilbertian logic) • Firm directorial control • The typical issue: Who will marry the soprano? • The typical competition: tenor vs. patter baritone • The Lozenge Plot • Literal lozenge: Used in The Sorcerer and never again • Virtual Lozenge: Used almost constantly Ruddigore: A “problem” opera • The horror show plot • The original spelling of the title: “Ruddygore” • Whatever opera followed The Mikado was likely to suffer by comparison Ruddigore Time: Early 19th Century Place: Cornwall, England Act 1: The village of Rederring Act 2: The picture gallery of Ruddigore Castle, one week later Ruddigore Dramatis Personae Mortals: •Sir Ruthven Murgatroyd, Baronet, disguised as Robin Oakapple (Patter Baritone) •Richard Dauntless, his foster brother, a sailor (Tenor) •Sir Despard Murgatroyd, Sir Ruthven’s younger brother
    [Show full text]
  • Social Discourse in the Savoy Theatre's
    SOCIAL DISCOURSE IN THE SAVOY THEATRE’S PRODUCTIONS OF THE NAUTCH GIRL (1891) AND UTOPIA LIMITED (1893): EXOTICISM AND VICTORIAN SELF-REFLECTION William L. Hicks, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: John Michael Cooper, Major Professor Margaret Notley, Committee Member Mark McKnight, Committee Member James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Hicks, William L, Social Discourse in the Savoy Theatre’s Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection. Master of Music (Musicology), August 2003, 107 pp., 4 illustrations, 12 musical examples, references, 91 titles. As a consequence to Gilbert and Sullivan’s famed Carpet Quarrel, two operettas with decidedly “exotic” themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society. Copyright, 2003 by William L. Hicks ii ACKNOWLEDGEMENTS Because of the obscurity of The Nautch Girl and Utopia Limited, I am greatly indebted to the booksellers Christopher Browne and Wilfred M.
    [Show full text]
  • Prologue May10
    Prologue May 2010 Journal of the Queanbeyan Players Fame – the Musical! The Gondoliers Fame – the Musical opens Friday 21 May! But there will be life after Fame , and QP’s next There is a fabulous buzz around this show and we show will be Gilbert and Sullivan’s The think audiences are going to be absolutely wowed. Gondoliers , to be co-directed by Janetta McRae The hugely talented cast have been singing and and Greg Wallace with musical direction by dancing through rehearsals for months, and the Jennifer Groom . Auditions will be on 19 and 20 show is looking and sounding amazing. June, with audition bookings to open on 4 June – QP’s publicity machine has hit top gear, with keep an eye out for audition notices. lots of media attention. We’re expecting a feature Synopsis on WIN News on Friday 21 May, so record it if Set in Venice in the mid eighteenth century, you can! There have also been several items in the The Gondoliers tells the story of two young men, Queanbeyan Age, as well as the Canberra Times Marco and Giuseppe Palmieri, who ply the trade and the Chronicle. Cast members Jordan Kelly , of gondoliers. However, whilst one may be a Bill Bourchier , Beth Deer and Pete Ricardo were gondolier, the other is actually the rightful heir to interviewed on 666 ABC Canberra – you can the throne of the kingdom of Barataria. As a listen to the interview at baby, he was spirited away by The Grand http://blogs.abc.net.au/canberra/2010/05/i- Inquisitor of Spain after his royal father had want-to-live-forever- founded a peculiar religion of his own, to be fame.html?site=canberra&program=canberra_dr brought up by a “highly respectable gondolier”.
    [Show full text]
  • “The Gondoliers” – Character Descriptions Marco
    HASLEMERE PLAYERS – “THE GONDOLIERS” – CHARACTER DESCRIPTIONS MARCO: Tenor. Heavily involved musically in duets, quartets, with the chorus and has a solo song. One of the two leading gondoliers. Ideal age – 20s to 30s. Popular with the ladies. Athletic and comic style. Brother and similar age to Giuseppe. Paired romantically with Gianetta. GIUSEPPE: Baritone. As Marco above. Brother to Marco. Paired romantically with Tessa. TESSA: Mezzo. Heavily involved musically in duets, quartets, with the chorus and has a solo song. Ideal age – early 20s to 30s. Lively and full of fun. Paired romantically with Giuseppe. GIANETTA: Soprano. As Tessa above. Paired romantically with Marco. CASILDA: Soprano. Heavily involved musically – trios, duets, quintets…, Daughter of the Duke and Duchess of Plaza Toro. Ideal age – similar to Gianetta and Tessa. Outwardly a bit stuffy, but secretly in love with Luiz. LUIZ: Tenor/baritone. Sings a couple of romantic duets with Casilda. Down-trodden attendant to the Duke. Similar age to Marco and Giuseppe. Required to produce a few drum rolls! Madly in love with Casilda. Turns out to be the heir to the throne of Barataria. DUKE OF PLAZA TORO: Baritone. The archetypal G&S ‘patter man’. Comic solo and duet with the Duchess plus more. A likeable fool very much bossed by the Duchess. As father of Casilda he is 50/60ish years of age. DUCHESS OF PLAZA TORO: Contralto. Solo and duet with the Duke plus more. Comically overbearing wife of the Duke. Overly full of airs and graces, but nonetheless endears herself to audiences. Mother of Casilda and of similar age, or younger, than the Duke.
    [Show full text]
  • Princess Ida Or, Castle Adamant
    Since 1976, we have been spreading the joys of G&S through Annual Grand Productions • Musicales Educational/Community Outreach Musical Scholarships • Newsletters Gilbert & Sullivan Austin holds nonprofit status under 501(c)(3) of the IRS code. GSA Office: 310 West 43rd Street, Austin, TX 78751 Mailing Address: P. O. Box 684542, Austin, TX 78768-4542 Phone: (512) 472-4772 Our web site: www.gilbertsullivan.org E-mail: [email protected] Artistic Director Ralph MacPhail, Jr. Music Director Jeffrey Jones-Ragona Board of Directors Libby Weed President Diane Radin Vice President Dave Wieckowski Treasurer and CFO Michael Meigs Secretary and Bursar Sue Ricket Caldwell Scholarships Coordinator Leann Fryer Musicale Coordinator David Little Publicist Robert L. Schneider Wand’ring Minstrels Coordinator Sarah Slaughter Volunteer Coordinator Charles Smaistrla Legal Counsel David Treadwell Donor Outreach Michelle Vanecek Historian, Office Manager This project is funded and supported in part by a grant from the Texas Commission on the Arts and in part by the Cultural Arts Division of the City of Austin Economic Development Department. Visit Austin at NowPlayingAustin.com 2 Gilbert & Sullivan Austin presents Princess Ida or, Castle Adamant IN CONCERT Worley Barton Theater at Brentwood Christian Church September 14, 2019, 7:30 pm and September 15, 2019, 2 pm Written by Composed by W. S. Gilbert Arthur Sullivan Stage Director Music Director Michelle Haché Jeffrey Jones-Ragona Producer Libby Weed Production Manager Bill Hatcher Assistant Production
    [Show full text]
  • GILBERT and SULLIVAN: Part 1
    GILBERT AND SULLIVAN: Part 1 GILBERT AND SULLIVAN Part 1: The Correspondence, Diaries, Literary Manuscripts and Prompt Copies of W. S. Gilbert (1836-1911) from the British Library, London Contents listing PUBLISHER'S NOTE CONTENTS OF REELS CHRONOLOGY 1836-1911 DETAILED LISTING GILBERT AND SULLIVAN: Part 1 Publisher's Note "The world will be a long while forgetting Gilbert and Sullivan. Every Spring their great works will be revived. … They made enormous contributions to the pleasure of the race. They left the world merrier than they found it. They were men whose lives were rich with honest striving and high achievement and useful service." H L Mencken Baltimore Evening Sun, 30 May 1911 If you want to understand Victorian culture and society, then the Gilbert and Sullivan operas are an obvious starting point. They simultaneously epitomised and lampooned the spirit of the age. Their productions were massively successful in their own day, filling theatres all over Britain. They were also a major Victorian cultural export. A new show in New York raised a frenzy at the box office and Harper's New Monthly Magazine (Feb 1886) stated that the "two men have the power of attracting thousands and thousands of people daily for months to be entertained”. H L Mencken's comments of 1911 have proved true. Gilbert & Sullivan societies thrive all over the world and new productions continue to spring up in the West End and on Broadway, in Buxton and Harrogate, in Cape Town and Sydney, in Tokyo and Hong Kong, in Ottawa and Philadelphia. Some of the topical references may now be lost, but the basis of the stories in universal myths and the attack of broad targets such as class, bureaucracy, the legal system, horror and the abuse of power are as relevant today as they ever were.
    [Show full text]
  • The King of Barataria
    I Gondolieriproudly present [The Gondoliers] or The King of Barataria Libretto di Musica di Guglielmo S. Gilberto Don Arturo Sullivani Producer Music Director Stephanie C. Wang ’02 Todd Neal Stage Director Vocal Director Erik Lars Myers Katherine Bryant 12–20 Aprile 2002 La Sala de Puerto Rico L’Istituto di Tecnologia di Massachusetts Note del Direttore A Director’s Confession Dear audience member, Thank you for coming to see this, the fourth show I’ve directed for MIT’s Gilbert and Sullivan Players. As the shows that I’ve directed have spanned over the past four years, the people that I knew as freshmen are now graduating and entering a new phase of their lives. I will miss them dearly, and if you see them around (they have ’02 listed after their names in the program), please wish them well for their journey ahead. In this time of change, I thought it might be somewhat appropriate to make a few small confessions in addition to my normal Director’s Note. First, I believe it’s important to confess that before my shows with MITG&SP, I didn’t know anything about Gilbert and Sullivan or their shows, aside from a brief stint with The Mikado in college. In past Gilbert and Sullivans that I’ve directed, I’ve experimented with G&S’s unique style in order to grow my understanding (much to some people’s chagrin, at times, I’m sure), and I’m pleased to say that this show more closely follows what may be seen as traditional Gilbert and Sullivan.
    [Show full text]
  • Krantz, W&M J.D
    Precious Nonsense: The Operas of Gilbert and Sullivan Osher Lifelong Learning Institute College of William and Mary May 2021 Ken Krantz, W&M J.D. 1977 [email protected] Patience: Well, it seems to me to be nonsense. Lady Angela: Nonsense? Yes, perhaps. But oh, what precious nonsense. Patience, Act I Sir Arthur Sullivan •Born 1842 •Knighted 1883 •Died 1900 •He wrote the music Sir William S. Gilbert •Born 1836 •Knighted 1907 •Died 1911 •He wrote the words Richard D’Oyly Carte •Born 1844 •Died 1901 •He ran the business The G & S Canon: 1 + (11 + 2) = 14 The music to their first collaboration, Thespis, was never published and has been lost. The last two, Utopia, Limited and The Grand Duke are seldom produced. The standard repertory consists of the 11 works from Trial by Jury to The Gondoliers. The next slides give the dates and length of the original London run for each opera. Lecture 1 May 6 •Thespis 1871 (63) •Trial by Jury 1875 (131) •The Sorcerer 1877 (178) •HMS Pinafore 1878 (571) •The Pirates of Penzance 1879 (363) Lecture 2 May 13 •Patience 1881 (578) •Iolanthe 1882 (398) •Princess Ida 1884 (246) •The Mikado 1885 (672) Lecture 3 May 20 •Ruddigore 1887 (288) •The Yeomen of the Guard 1888 (423) •The Gondoliers 1889 (554) •Utopia, Limited 1893 (245) •The Grand Duke 1896 (123) The G&S Cast: Women •The Soprano: Josephine, Mabel, Yum-yum •The Mezzo-soprano (Jesse Bond): Hebe, Edith, Pitti-sing •The Contralto (Rosina Brandram): Little Buttercup, Ruth, Katisha The G&S Cast: Men •The Tenor: Ralph Rackstraw, Frederic, Nanki-poo •The Patter Baritone (George Grossmith): Sir Joseph Porter, Major-General Stanley, Ko-ko •The Heavy Baritone (Rutland Barrington): Captain Corcoran, Police Sergeant, Pooh-bah •The Bass (Richard Temple): Dick Deadeye, Pirate King, Mikado It is absolutely essential to the success of this piece that it should be played with the most perfect earnestness and gravity throughout.
    [Show full text]
  • Sinfonicron Light Opera's Upcoming Production
    Sinfonicron Light Opera’s Upcoming Production • Osher Lifelong Learning Institute • November 9, 2020 • Ken Krantz, W&M J.D. 1977 • [email protected] Artwork: TNCC Performing Arts Dept. Sinfonicron Light Opera presents SinfoniFest January 29, 30, 31 7:00 P.M. via Zoom Links will be on Sinfonicron social media accounts and at Sinfonicron.org Lecture outline • 1. General background • 2. Patter songs • 3. The Lozenge Plot • 4. Thespis, the Lost Opera • 5. Break, Musical Interlude • 6. Unexpected Gilbert and Sullivan • 7. The Ruddigore Patter Trio through the ages Sir Arthur Sullivan •Born 1842 •Knighted 1883 •Died 1900 •He wrote the music Sir William S. Gilbert •Born 1836 •Knighted 1907 •Died 1911 •He wrote the words Richard D’Oyly Carte •Born 1844 •Died 1901 •He ran the business G&S Works, with date and length of original London run • Thespis 1871 (63) • Trial by Jury 1875 (131) • The Sorcerer 1877 (178) • HMS Pinafore 1878 (571) • The Pirates of Penzance 1879 (363) • Patience 1881 (578) • Iolanthe 1882 (398) G&S Works, Continued • Princess Ida 1884 (246) • The Mikado 1885 (672) • Ruddigore 1887 (288) • The Yeomen of the Guard 1888 (423) • The Gondoliers 1889 (554) • Utopia, Limited 1893 (245) • The Grand Duke 1896 (123) The Patter Song • Fast, tongue twisting song, usually a solo • Origin: From Latin Pater Noster • A mainstay of musical theater, From Mozart and Rossini to Meredith Wilson and Steven Sondheim • Most strongly associated with Gilbert and Sullivan • In G&S, often used to introduce a character • Most often sung by the Leading Comedian, a/k/a Patter Baritone George Grossmith •Born 1847 •Died 1912 •He created most of the patter baritone roles Martyn Green (1899-1975) advice on patter singing: Sing the last part faster than the rest, so the audience will remember the whole song as having been that fast.
    [Show full text]