The Threepenny Opera by Bertolt Brecht and Kurt Weill

Total Page：16

File Type：pdf, Size：1020Kb

The Threepenny Opera by Bertolt Brecht and Kurt Weill

Faculty of Arts Department of English Drama & Theatre Program 853 Sherbrooke Street West Montreal, PQ, H3A 2T6 For Immediate Release Tel.: (514) 398-6559 PRESS RELEASE Fax: (514) 398-8146 The McGill University Department of English Drama & Theatre Program presents The Threepenny Opera by Bertolt Brecht and Kurt Weill Montreal—April 2014 You are cordially invited to celebrate the marriage of Ms. Polly Peachum, the flower of Soho and only daughter of the notorious King of the Beggars, to Captain Macheath, a.k.a. Mack the Knife, the most wanted man in London. Entertainment for the evening shall include a variety of bawdy songs, shameful caterwauling, trilling sopranos, moving ballads, earnest pleas, rousing escapes, unexpected twists, saucy brothels, dirty jokes and at least one public hanging. Bertolt Brecht and Kurt Weill’s comic masterpiece The Threepenny Opera is both a modern classic and a high-spirited mockery of the conventions of musical theatre. In collaboration with the Costuming for Theatre and Stage Scenery and Lighting courses and directed by Professor Sean Carney, It is our pleasure to bring this timeless and hilarious play to the stage of Moyse Hall for your enjoyment. The McGill University Department of English Drama & Theatre Program is dedicated to providing students with practical theatrical experience. Costume Design by the Costuming Class under the tutelage of Catherine Bradley, Technical and Production elements by the Stage Scenery and Lighting class under the supervision of Keith Roche and Corinne Deeley. We look forward to you joining us! The Threepenny Opera April 3rd-5th and 10th-12th Moyse Hall Theatre - McGill University Campus, Arts Building 853 Sherbrooke St. West Thursday-Saturday at 7:30 p.m., Thursday-Saturday at 7:30 p.m. $10.00 general admission, Box Office: 514-398-6070 MEDIA CONTACT: Samuel Neuberg Email: [email protected] General Information: www.mcgill.ca/english/moyse .

Copy Link

Recommended publications

Begging Questions in Wole Soyinkas Opera Wonyosi"
Begging Questions in Wole Soyinkas u Opera Wonyosi" BERNTH LINDFORS IN AN ARTICLE published in The American Scholar in the sum• mer of 1963, Wole Soyinka, a young Nigerian dramatist whose first published plays had appeared in print just a few weeks earl• ier, castigated an older and better-known African author, Cam- ara Laye of Guinea, for pandering to European critical conde• scension by writing his second novel, The Radiance of the King, in a Western creative idiom. Soyinka deplored the fact that this allegedly indigenous piece of fiction was modelled so closely on Franz Kafka's The Castle, for he believed that : .. most intelligent readers like their Kafka straight, not geo• graphically transposed. Even the character structure of Kafka's Castle has been most blatantly retained — Clarence for Mr. K. ; Kafka's Barnabas the Messenger becomes the Beggar Intermedi• ary; Arthur and Jeremiah, the unpredictable assistants, are turned into Nagoa and Noaga. We are not even spared the role of the landlord — or innkeeper—take your choice! It is truly amazing that foreign critics have contented themselves with merely drop• ping an occasional "Kafkaesque" — a feeble sop to integrity — since they cannot altogether ignore the more obvious imitative- ness of Cámara Laye's technique. (I think we can tell when the line of mere "influence" has been crossed.) Even within the primeval pit of collective allegory-consciousness, it is self-destruc• tive to imagine that the Progresses of these black and white pil• grims have sprung from independent creative stresses.1 There are two points worth noting here.
[Show full text]
KURT WEILL NEWSLETTER Vol
KURT WEILL NEWSLETTER Vol. 3, No. I Spring, 1985 Yale Press To Publish Essays Threepenny Opera at R & H Yale University Press has accepted for publica As of 11 December 1984, Rodgers & Ham tion a coUection of essays on Kurt Weill sched merstein Theatre Library has added The uled for completion in 1985. A New Orpheus: Threej>enny Opera to its catalogue of plays for Essays on Kurt Weill evolved primarily from stock and amateur licensing in the United papers presented at the Kurt Weill Conference States. The American version by Marc Blitz in 1983. It includes a contribution from virtually stein ran for seven years at New York's Theatre every active Weill scholar throughout the world. de Lys in the late Fifties and had been previ AU of the papers have been expanded and ously licensed by Tarns-Witmark Music Library, revised and represent the most extensive criti Inc. cal survey of WeiU's music and career to date. The Rodgers & Hammerstein Theatre The coUection, edited by Kim Kowalke, was Library is preparing new scripts and vocal accepted unanimously by the editorial board of scores which will be consistent with the high this most prestigious of scholarly publishers. quality of their other publications. Jn addition to Among the highlights of the anthology are David Threepenny, R & H also administers stock and Drew's definitive study of Der Kuhhandel, a key amateur rights to Knickerbocker Holiday, Lost in work in WeiU's ouevre that has remained unpub the St,ars, and Street Scene. lished and unperformed since 1935. The book ;,We are thrilled and excited to announce the will attract readers from diverse disciplines, addition of Threepenny to our catalog ," said The since the essays tackle many issues central to odore Chapin, Managing Director of R & H.
[Show full text]
Baroque 1590-1750 Classical 1750-1820
Period Year Opera Composer Notes A pastoral drama featuring a Dafne new style of sung dialogue, 1597 Jacopo Peri more expressive than speech but less melodious than song The first opera to survive 1600 Euridice Jacopo Peri in tact The earliest opera still 1607 Orfeo Claudio Monteverdi performed today Il ritorno d’Ulisse in patria Claudio Monteverdi 1639 (The Return of Ulysses) L’incoronazione di Poppea 1643 (The Coronation of Poppea) Claudio Monteverdi 1647 Ofeo Luigi Rossi 1649 Giasone Francesco Cavalli 1651 La Calisto Francesco Cavalli 1674 Alceste Jean-Baptiste Lully 1676 Atys Jean-Baptiste Lully Venus and Adonis John Blow Considered the first English 1683 opera 1686 Armide Jean-Baptiste Lully 1689 Dido and Aeneas Henry Purcell Baroque 1590-1750 1700 L’Eraclea Alessandro Scarlatti 1710 Agrippina George Frederick Handel 1711 Rinaldo George Frederick Handel 1721 Griselda Alesandro Scarlatti 1724 Giulio Cesere George Frederick Handel 1728 The Beggar’s Opera John Gay 1731 Acis and Galatea George Frederick Handel La serva padrona 1733 (The Servant Turned Giovanni Battista Pergolesi Mistress) 1737 Castor and Pollux Jean-Philippe Rameau 1744 Semele George Frederick Handel 1745 Platee Jean-Philippe Rameau La buona figliuola 1760 (The Good-natured Girl) Niccolò Piccinni 1762 Orfeo ed Euridice Christoph Willibald Gluck 1768 Bastien und Bastienne Wolfgang Amadeus Mozart Mozart’s first opera Il mondo della luna 1777 (The World on the Moon) Joseph Haydn 1779 Iphigénie en Tauride Christoph Willibald Gluck 1781 Idomeneo Wolfgang Amadeus Mozart Mozart’s
[Show full text]
Cambridge Opera Handbooks Richard Wagner Tristan Und Isolde
Cambridge University Press 978-0-521-43738-7 — Richard Wagner: Tristan und Isolde Edited by Arthur Groos Frontmatter More Information Cambridge Opera Handbooks Richard Wagner Tristan und Isolde Wagner’s Tristan und Isolde occupies a singular position in the history of Western culture. What Nietzsche called the ‘terrible and sweet infinity’ of its basic nexus of longing and death has fascinated audiences since its first performance in 1865. At the same time, its advanced harmonic language, immediately announced by the opening ‘Tristan chord’, marks a defining moment in the evolution of modern music. This accessible handbook brings together seven leading international writers to discuss the opera’s genesis and the libretto’s relationship to late Romantic literary concerns, to present an analysis of the Prelude, the music of the drama itself, and Wagner’s innova- tive use of instrumental timbre, and to illustrate the production history and reception of the music-drama into the twenty-first century. The book includes the first English translation of Wagner’s prose draft of the libretto, a detailed discussion of Wagner’s orchestration, and rare pictures from important and influential productions. Arthur Groos is Avalon Foundation Professor in the Humanities at Cornell University, where he has taught since 1973. A member of the departments of German Studies, Medieval Studies, and Music, his musical interests focus on issues of music and culture, and opera, especially Wagner, Puccini, and modern opera. His books include Giacomo Puccini: La bohème (with Roger Parker, 1986) and Romancing the Grail: Genre, Science, and Quest in Wolfram’s Parzival (1995), as well as the collections Reading Opera (1988), Madama Butterfly: Fonti e documenti (2005), and seven other edited volumes.
[Show full text]
2011 Next Wave Festival OCT 2011
2011 Next Wave Festival OCT 2011 Donald Baechler, Red + Blue Rose (detail), 2011 BAM 2011 Next Wave Festival sponsor Published by: BAM 2011 Next Wave Festival Brooklyn Academy of Music presents Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board The Adam E. Max, Vice Chairman of the Board Karen Brooks Hopkins, Threepenny President Joseph V. Melillo, Executive Producer Opera BAM Howard Gilman Opera House Oct 4—8, 2011 at 7:30pm Approximate running time: three hours including one intermission A play by Bertolt Brecht Adapted from Elizabeth Hauptmann’s German version of John Gay’s The Beggar’s Opera Lyrics by Bertolt Brecht Music by Kurt Weill Berliner Ensemble BAM 2011 Next Wave Festival sponsor Direction, Stage, Light concept by Robert Wilson Music direction by Hans-Jörn Brandenburg and Stefan Rager Leadership support for the Next Wave Costumes by Jacques Reynaud Festival provided by the Ford Foundation. Co-direction by Ann-Christin Rommen Co-design scenery by Serge von Arx The Threepenny Opera is part of Global Co-design costumes by Yashi Tabassomi Connections at BAM sponsored by MetLife Foundation. Dramaturgy by Jutta Ferbers and Anika Bárdos Leadership support for The Threepenny Lighting by Andreas Fuchs Opera provided by brigitte nyc; Mr. & Mrs. and Ulrich Eh Sid R. Bass; and The Joseph and Sylvia Slifka Foundation, with additional support from the David L. Klein, Jr. Foundation. Performed in German with English titles, translated by Endowment funding for The Threepenny John Willett in 1976 Opera has been provided by The Andrew W. Mellon Foundation Fund for Opera and Used by arrangement with European American Music-Theater.
[Show full text]
Godot-Program-Finalweb.Pdf
NEVER UNDERESTIMATE THE POWER OF A GREAT PERFORMANCE. UPMC is proud to support the PICT Theatre. Affiliated with the University of Pittsburgh School of Medicine, UPMC is ranked among the nation’s best hospitals by U.S. News & World Report. SYS411939_gh_upmc_pict_theatre_ad_color.indd 1 4/16/14 12:41 PM PICT Classic Theatre presents Waiting for Godot by Samuel Beckett Directed by Aoife Spillane-Hinks Ken Bolden* James FitzGerald* Martin Giles* Alan Stanford* Shay Freund Elliot Pullen Scenic/Co-Costume Designer Co-Lighting Designers Production Manager Alan Stanford Cindy Limauro George DeShetler, Jr. Co-Costume Designer Christopher Popowich Stage Manager Lindsay Tejan Props Master Cory F. Goddard* Technical Director Johnmichael Bohach Assistant Stage Manager Jesse Van Swol Master Electrician Connor Bahr Scenic Charge Artist Keith A. Traux Master Carpenter Jennifer Kirkpatrick Assistant Master Electrician Samuel Karas Regina Tvaruzek Dramaturg Tyler Crumrine Waiting for Godot is presented by special arrangement with SAMUEL FRENCH, INC. PICT Classic Theatre has received permission from Edward Beckett to use the version (script) of Waiting for Godot as edited by Samuel Beckett for the Schiller production and used by the Gate Theatre (Dublin) and in the Beckett on Film series. *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. CAST Estragon .............................................................. Martin Giles* Vladimir .............................................................
[Show full text]
The Threepenny Opera
CYNHYRCHIAD CWMNI RICHARD BURTON A RICHARD BURTON COMPANY PRODUCTION THE THREEPENNY OPERA Gan | By Drama gyda cherddoriaeth yn seiliedig ar BERTOLT BRECHT A play with music based on & KURT WEILL JOHN GAY'S THE BEGGAR'S OPERA RWCMD.AC.UK THE THREEPENNY OPERA Drama gyda cherddoriaeth Cyfarwyddwr | Director yn seiliedig ar JOHN WARD A play with music based on JOHN GAY'S Cyfarwyddwr Cerdd THE BEGGAR'S OPERA Musical Director TOM JOHNSON Gan | By BERTOLT BRECHT Coreograffydd | Choreographer & KURT WEILL GRACE WARNER Mewn cydweithrediad â Ffilmiwyd yn | Filmed at In collaboration with THEATR RICHARD BURTON ELISABETH HAUPTMANN RICHARD BURTON THEATRE MAWRTH | MARCH 2021 Addasiad Saesneg gan English adaption by SIMON STEPHENS BAND Cyfarwyddwr Cerdd Trwmped Soddgrwth Musical Director Trumpet Cello Tom Johnson Nina Tyrrell Naomi Sheppard Allweddellau & Cyfarwyddwr Corsen 1 Offerynnau Taro Percussion Cerdd Cynorthwyol Reed 1 Hope Hollowell Keyboard & Assistant Lloyd Cottrell Musical Director Trombôn Bas Zanete Peterstone Corsen 2 Bass Trombone Reed 2 Harri Archer Thomas Conroy Gitâr | Guitar & Banjo Luke Bartlett www.rwcmd.ac.uk CAST Stephanie Aves Emeline Battles Marta Borràs Eroles Chris Curlett Polly Peachum The Balladeer / Vixen Jenny Diver / Mathias Captain Macheath Olivia Hopper Emma Houlahan Gareth Howard Tiaan Jones Polly Peachum Celia Peachum / Jimmy Jonathan Jeremiah Chief Inspector Peachum Tiger Brown Sean Lewis Dora Maud Aled Pennock Dominique Skinner Captain Macheath Celia Peachum Jonathan Jeremiah The Balladeer Peachum Xindi Wang Caitlin
[Show full text]
Trophée Des Arts 2009 Robert Wilson
Trophée des Arts 2009 Robert Wilson The New York Times described Robert Wilson as “a towering figure in the world of experimental theater.” Susan Sontag has said of Wilson’s work “it has the signature of a major artistic creation. I can’t think of any body of work as large or as influential.” Wilson’s works integrate a wide variety of artistic media, combining movement, dance, lighting, furniture design, sculpture, music, and text into a unified whole. His images are aesthetically striking and emotionally charged, and his productions have earned the acclaim of audiences and critics worldwide— especially in France, where Wilson has been named “Commandeur des arts et des lettres” by the Minister of Culture. Born in Waco, Texas, Wilson was educated The Life and Times of Joseph Stalin, a at the University of Texas and Brooklyn’s twelve-hour silent opera performed in 1973 Pratt Institute, where he took an interest in New York, Europe, and South America; in architecture and design. He studied and A Letter for Queen Victoria in Europe painting with George McNeil in Paris and and New York in 1974–1975. In 1976 Wilson later worked with the architect Paolo Solari joined with composer Philip Glass in in Arizona. Moving to New York City in the writing the landmark work Einstein on the mid-1960s, Wilson found himself drawn to Beach, which was presented at the Festival the work of pioneering choreographers d’Avignon and at New York’s Metropolitan George Balanchine, Merce Cunningham, Opera House, and has since been revived and Martha Graham, among others.
[Show full text]
Pittsburgh Opera NEWS RELEASE
3/13/2008 Pittsburgh Opera NEWS RELEASE CONTACT: BETH PARKER (412) 281-0912 X 248 [email protected] PHOTOS: MAGGIE JOHNSON (412) 281-0912 X 262 [email protected] Pittsburgh Opera Announces the Triumphant Return of Aida WHAT: Giuseppe Verdi’s Aida WHERE: The Benedum Center for the Performing Arts WHEN: Saturday, March 29 at 8:00 PM Tuesday, April 1 at 7:00 PM Friday, April 4 at 8:00 PM Sunday, April 6 at 2:00 PM RUN TIME: 3 hours and 15 minutes with two intermissions. E LANGUAGE: Sung in Italian with English texts projected above the stage. TICKETS: Start at $16. Call (412) 456-6666, visit www.pittsburghopera.org or purchase in person at the Theater Square box office at 665 Penn Avenue. Pittsburgh, PA . Pittsburgh Opera announces Giuseppe Verdi’s spectacular grand opera Aida as its third mainstage opera of the season. Returning to the Benedum stage for the first time since 1995, this magnificent production features a powerhouse international cast starring Hungarian diva Eszter Sümegi as Aida, Ukrainian tenor Vladimir Kuzmenko as Radamès, and Mark S. Doss as Amonasro. Superstar mezzo-soprano Stephanie Blythe, making her role debut as Amneris, rounds out the quartet of principals—all new to Pittsburgh audiences. Maestro Antony Walker leads more than 150 singers and instrumentalists in Verdi’s most famous score, while Metropolitan Opera stage director Stephen Pickover marshals an additional 75 supernumeraries and dancers for the opera’s famous processions and ceremonies. THE OPERA Since its first Cairo production in 1871, Giuseppe’s Verdi’s Aida has been a mega-hit, known worldwide for its famous and fiendishly difficult arias, the exotic Egyptian mystique of the score, and the spectacular triumphal scene in the second act.
[Show full text]
2014 Winter/Spring Season JUN 2014
2014 Winter/Spring Season JUN 2014 Bill Beckley, I’m Prancin, 2013, Cibachrome photograph, 72”x48” Published by: BAM 2014 Winter/Spring Sponsor: BAM 2014 Winter/Spring Season #THEOLDWOMAN Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board The Karen Brooks Hopkins, President Joseph V. Melillo, Executive Producer Old Woman BAM Howard Gilman Opera House Jun 22 at 7pm; Jun 24—28 at 7:30pm; Jun 28 at 2pm; Jun 29 at 3pm Running time: one hour & 40 minutes, no intermission Direction, set design, and lighting concept by Robert Wilson With Mikhail Baryshnikov and Willem Dafoe Written by Daniil Kharms Adapted by Darryl Pinckney Music by Hal Willner Costumes by Jacques Reynaud BAM 2014 Winter/Spring Season sponsor: Lighting design by A.J. Weissbard Associate set design by Annick Lavallée-Benny Sound design by Marco Olivieri BAM 2014 Theater Sponsor Major support for BAM’s presentation of The Old A Baryshnikov Productions, Change Performing Arts, and Woman provided by Renova Group of Companies The Watermill Center project. Major support for theater at BAM provided by: Commissioned and co-produced by Manchester International Festival, Spoleto Festival dei 2Mondi, Théâtre de la Ville-Paris/ The Gladys Krieble Delmas Foundation Festival d’Automne à Paris, and deSingel Antwerp. The Fan Fox & Leslie R. Samuels Foundation, Inc. Donald R. Mullen Jr. Executive Producer Change Performing Arts in collaboration The Morris and Alma Schapiro Fund with Baryshnikov Productions and CRT Centro Ricerche The SHS Foundation Teatrali. The Shubert Foundation, Inc.
[Show full text]
The Three Penny Opera
Kurt Weill Born on the 2nd of March, 1900 in Dessau, Germany, the son of a cantor, Weill displayed THE THREE musical talent early on. By the time he was twelve, he was composing and mounting concerts and dramatic works in the hall above his family's quarters in the Gemeindehaus. After studying theory and composition, Weill enrolled PENNY OPERA at the Berlin Hochschule für Musik, but found the conservative training and the infrequent lessons with Engelbert Humperdinck too stifling. After a season as conductor of the newly formed municipal theater in Lüdenscheid, he returned to Berlin and was accepted into Ferruccio Busoni's master class in composition. By 1925, a series of performances in Berlin and at international music festivals established Weill as one of the leading composers of his generation. A commission from the Baden-Baden Music Festival in 1927 led to the creation of Mahagonny (Ein Songspiel) , Weill's first collaboration with Brecht. The succès de scandale of Mahagonny encouraged Weill and Brecht to continue work on a full-length opera. Exploiting their aggressive popular song-style, Weill and Brecht also wrote several works for singing actors in the commercial theater, including Die Dreigroschenoper and Happy End . The music Music is very strongly present in The Threepenny Opera . The play's By Kurt Weill and Bertolt Brecht score is strongly influenced by jazz. “The Ballad of Mackie Messer,” later translated into “Mack the Knife,” became the play's most well known song. It was written at the last minute because the actor playing I was aroused straightaway by the raw intensity of the Macheath threatened to quit if his character did not receive a proper songs ..
[Show full text]
Health & Wellness Lecture Series Presents
SPRING/SUMMER 201 9 NO HOMEWORK • NO TESTS • NO STRESS JUPITER Health & Wellness Lecture Series presents: • “Life Plan for Your Life Span” See page 12 Sponsored by Wilmington Trust • “What’s so Funny?! The Psychology of Humor” See page 28 • And more! Jeremy Richman, Ph.D., presents “The Brain Science of Violence and Compassion: Being Human(e)” Co-sponsored by the FAU Brain Institute See page 17 Dramaworks presents “Spitfire Grill,” “Fences” and “The House of Blue Leaves” See pages 8–9 and 57 Robert Rabil, Ph.D., Professor of Political Science at FAU IMPORTANT: NEW PARKING POLICIES (561) 799-8547 or (561) 799-8667 • www.fau.edu/osherjupiter See page 3 3 N FAU Jupiter Campus O I T Parking Policy A M R IMPORTANT: Vehicle license plate number now required to validate parking. O Update your Osher LLI Jupiter profile online or visit our office for assistance. F N I • AS OF THe FALL 2018 TeRm, FAU dOeS nOT • All students who register for one or more 4-, 6- or 8- G N PROVIde PARkInG HAnGTAGS TO VALIdATe week course(s) are required to pay the University I K PARkInG On ITS CAmPUSeS. All students Fee/Transportation Access Fee (TAF) each R parking on the Jupiter campus must have their semester at the time of registration. Visit A P vehicle(s) validated for parking by providing their www.fau.edu/controller/studentservices/fees- vehicle’s license plate number. The validation process defined.php for more information regarding the W E is conducted by the Police Service Technician (PST) on transportation access fee.
[Show full text]