DOCSLIB.ORG

Program Act Ii -- Opera Now

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Program Act Ii -- Opera Now PROGRAM ACT II -- OPERA NOW ACT I -- OPERA THEN *# “Prayer,” Hansel and Gretal. Engelbert Humperdinck (1893). + “Summertime,” Porgy and Bess. *+ “Sous le dome epaias,” Lakme. Leo Delibes (1883). George Gershwin/DuBose Heyward (1935). * “Non so piu,” Le Nozze di Figaro. Wolfgang Amadeus Mozart (1786). * “What a Movie,” Trouble in Tahiti. Leonard Bernstein. (1952). + “Ebben, ne andro lontana,” La Wally. Alfredo Catalani (1892). # “This Is My Beloved,” Kismet. Robert Wright/George Forrest (1953). #+ “Mira o Norma,” Norma. Vincenzo Bellini (1831). * “Don’t Cry for Me, Argentina,” Evita. Charles Hart/Andrew Lloyd Webber (1987) * “Amour viens aider ma faiblesse,” Samson et Dalila. Camille Saint-Saens (1870). + “Il mio cuore va” (“My Heart Will Go On”), Titanic. James Horner/Will Jennings (1997). # “Quando m’en vo,” La Boheme. Giocomo Puccini (1896). *+# “The Prayer,” Quest for Camelot. Carole Bayer Sager/David Foster (1998). * “Habanera,” Carmen. Georges Bizet (1875). # # # # # # # # + “Io son l’umile ancella,” Adriana Lecouvrer. Francisco Cilea (1903). *+ “Barcarolle.” Les Contes d’Hoffman. Jacques Offenbach (1881). * Sung by Megan Thompson + Sung by Mary Mahoney Sung by Stacey Trenteseaux NOTE: At the conclusion of the concert, please allow the singers to leave the sanctuary INTERMISSION before you do so they may greet you in the narthex. ABOUT THE ARTISTS SUNDAY AFTERNOON ARTS AT COUNTRYSIDE Renee Deuvall, accompanist , graduated from Oberlin College and Conservatory with degrees in both vocal performance and art history. Her master’s degree in Slavic and East European languages, concentrating in Russian, brought her encore appearances in Vermont’s annual Slavic Music Festival. Relocating to Dunnellon presents in 1994, she served as organist for St. John the Baptist Catholic Church, where she continues as cantor., and was accepted into the American Guild of Organists. As a soloist, she has sung frequently with both the Dunnellon Chorale and the Dunnellon Concert Singers and was a member of the Central Florida Master Choir. Currently she serves as Dunnellon Presbyterian Church‘s musician, where in 2010 she presented a one-woman concert, performing music of the Russian masters, both singing and accompanying herself on piano. Her upcoming 2012 concert will focus on Italian and French compositions. THREE SOPRANOS Mary Mahoney, lyric soprano, studied voice at Briar Cliff College in Iowa, where she earned a B.A. in English, and then privately in New York City, where she earned a B.S. in finance, served as staff singer for in Fordham Methodist Church, and sang with the St. Cecelia Society Choir and the Opera San Gabriel Company. She has performed as a concert soloist on both coasts and in the Midwest as well as in musical theatre, most recently in Guys and Dolls at the Art Center Theater in Hernando, where she resides in Citrus Hills. She has been a frequent soloist locally with the Citrus Community Concert Choir, the Central Florida Master Choir, the Dunnellon Chorale, and with Showcase of Stars at Oak Run in Ocala, as well as for numerous churches. In 2006 she formed the Dunnellon Concert Singers, a collaboration of local soloists who raise funds for church “OPERA, THEN AND NOW” music and special projects. Their upcoming 2012 concert will feature a tribute to Sixties Broadway and ballads. Megan Thompson, mezzo-soprano, graduated Magna Cum Laude from Stetson University with a B.M. in Music with an emphasis in vocal performance and psychology, serving as alto section leader, performing in solo recitals and at conventions, and winning several competitions. An avid performer, she sang with the Sunday October 9, 2011 Stetson Opera Theatre in Berenice (Selene), The Bartered Bride (Hata), and Die Zauberflote (“Second Spirit) as well as in a Vero Beach Opera production of Suor Angelica (The Abbess). She has appeared in more than a at 3:00 PM dozen Ocala Civic Theatre productions, including Gilbert and Sullivan’s The Mikado (Pitti-Sing) and most recently in the Insomniac Theatre Company’s production of The Rocky Horror Show. Now living in Ocala, Ms. Thompson is a member of and soloist with the Central Florida Master Choir and is its treasurer. After performing and studying privately, she plans to pursue a Master of Music in Opera Performance. COUNTRYSIDE PRESBYTERIAN CHURCH Stacey Trenteseaux, lyric soprano, received a B.M.in Choral Education from the University of Florida, where she performed in the University Choir, Chamber Singers, and the UF Opera Theater program. 7768 SW Highway 200 Performances included: "The Sandman" in Too Many Sopranos, the opera choruses of Suor Angelica and La Ocala, FL Traviata, and "YumYum" understudy in The Mikado. She also performed with Operafestival di Roma in Rome, Italy in the chorus of Don Giovanni and as "Suor Dolcina" in Suor Angelica. Stacey recently completed a three- year position as Director of Bands at Trenton Middle High School, during which time she was seen with the Suwannee Valley Players of Chiefland, Florida in Phantom of the Op'ry, Name That Murder, and as "The Drowsy Chaperone" in The Drowsy Chaperone, which was also her directing debut. She currently This event is presented at no charge. teaches private voice, piano, and French horn at Alachua Fine Arts, conducts the Beginning and Intermediate bands at A.L. Mebane Middle School, and sings in the choir and praise team at First Baptist Church of Donations will be gratefully accepted. Alachua, Florida. .
Load more

Recommended publications
  • Marjana Program
    Target Margin Theater 232 52nd Street Brooklyn, NY 11220 718-398-3095 www.TargetMargin.org @targetmargin Founding Artistic Director: David Herskovits Associate Artistic Director: Moe Yousuf General Manager: Liz English Space Manager: Kelly Lamanna Arts Management Fellow: Frank Nicholas Poon Box Office Manager: Daniel Nelson MARJANA Financial Consultants: Michael Levinton, Patty Taylor Graphic Designer: Maggie Hoffman Interns: Leigh Honigman, Matt Hunter, Sarah McEneaney Press Rep: Everyman Agency / John Wyszniewski AND THE BOARD OF DIRECTORS Hilary Alger, Matt Boyer, David Herskovits, Dana Kirchman, Kate Levin, Matt McFarlane, Jennifer Nadeau, Adam Weinstein, Amy Wilson. FORTY ABOUT US Target Margin is an OBIE Award-winning theater company that creates innovative productions of classic plays, and new plays THIEVES inspired by history, literature, and other art forms. In our new home in Sunset Park we energetically expand the possibilities of live performance, and engage our community at all levels through partnerships and programs. UP NEXT TMT LAB | NEWS OF THE STRANGE June 6 – June 23, 2019 This year’s edition of the TMT LAB will commission three new works by Moe Yousuf, Leyya Tawil, and The Million Underscores exploring a collection of rarely seen tales from The One Thousand and One Nights, as well as early Medieval Arab fantasy writing. 2019 ARTISTS-IN-RESIDENCE The Artist Residency Program provides established, mid- career and emerging artists up to 100 hours of dedicated rehearsal and developmental space. Each residency is shaped to meet the specific needs of each artist and will include a work-in-progress free to the public. 2019 Artists-in- Residence: Tanisha Christie, Jesse Freedman, Sugar Vendil, and Deepali Gupta, Sarah Hughes, and Chana Porter.
    [Show full text]
  • Daily Record Article for January 10 2004 00050575 .DOC
    attorneys at law . a professional corporation Down Like the Titantic By: Jim Astrachan Late last month the Second Circuit Court of Appeals sunk the copyright infringement claim of an aspiring songwriter who said he had written the Academy Award-winning theme song from the blockbuster movie, Titanic. It kept afloat his claim that Fox Film Music had copied the same song which was released as, Lonely Grill, by the band Lonestar. With summary judgment granted to the Titanic songwriters, but denied to Fox Film, this case points out the need for every company to adopt a policy either rejecting unsolicited submissions of anything even remotely creative, or requiring the submitter to sign an agreement before the submission is even read. John Jorgansen, the songwriter, claimed that the hit song sung by Celine Dion and written by James Horner and Will Jennings, My Heart Will Go On, infringed his song, Long Lost Lover. He also claimed Lonely Grill infringed, Long Lost Lover. Jorgansen had sent mass mailings of his song throughout the industry, and he claimed that his song was substantially similar to those recorded by Ms. Dion and Lonestar. He alleged Defendants had copied his songs. 99001.003/50575 1 To succeed in a copyright case, a plaintiff must prove ownership of the copyright and copying. Registration of the work is prima facie evidence of ownership; copying can be proved by direct evidence or circumstantial evidence. Most cases are made on circumstantial evidence because there are not often witnesses to the occurrence. A showing of access and substantial similarity between the two works will meet a plaintiff's burden of proof in the absence of direct evidence.
    [Show full text]
  • Wedding Processionals & Recessionals Sacred Music Jewish
    “ANTHEM” 1 Song List for Ensembles or Soloists Please note: If you don’t see what you’re looking for, please ask. We have access to far more music than we could ever list here! Wedding Processionals & Recessionals Bach, Jesu, Joy of Man’s Desiring Pachelbel, Canon in D Beethoven, Ode to Joy Purcell, Trumpet Tune Brahms, Theme from 1st Symphony Mussorgsky, Promenade from Pictures at an Exhibition Clarke, Trumpet Voluntary Mendelssohn, Wedding March (traditional recessional) Handel, Hornpipe from Water Music Vivaldi, Spring Handel, La Rejouissance Wagner, Bridal Chorus (traditional processional) Sacred Music Our library contains all standard hymns and spirituals. In addition to these, we recommend the following selections for sacred services and ceremonies. Amazing Grace Beethoven, Ode to Joy Bach, Jesu, Joy of Man’s Desiring Bradbury/Thrupp, Savior, Like a Shepherd Lead Us Bach, Sheep May Safely Graze Franck, Panis Angelicus Bach/Gounod, Ave Maria Jewish Ceremony and Reception Erev Shel Shoshanim K’shoshana Ben Hachochim Dodi Li Hitragut Bruchim Habaim Jerusalem of Gold Mi Adir Wedding March Sheva Brachot Chorshat Ha’ekaliptus K’var Achare Chatsot Eli Eli Y’did Nefesh Hakotel Celtic and Gaelic Ireland National Anthem Maids of Mourne Shore Carolan’s Concerto My Love is Gone to Sea Countess of Sutherland Pretty Girl Milking Her Cow Danny Boy Rakes of Mallow The Flower Of The Quern Road to Lisdoonvarna Garton Mother’s Lullaby Si Beag Si Mor Give Me Your Hand Timour the Tartar Sor Blanca Maria Yell Yell Last Rose of Summer Jigs, Reels, Hornpipes,
    [Show full text]
  • Biography -- Printable Version
    Biography -- Printable Version Peter Wolf's Historical Biography Written & Researched by Bryan Wiser, and Sheila Warren with Mimi Fox. Born in New York City, Peter grew up in the Bronx during the mid-1950's in a small, three-room apartment where he lived with his parents, older sister, two cats, dog and parakeet. For some time, Peter lived with his grandmother, an actress in New York City's Yiddish Theater. She and Peter had a strong bond, and she affectionately named him "Little Wolf" for his energetic and rambunctious ways. His father was a musician, vaudevillian and singer of light opera. Like Peter did years later, his father left home at age fourteen to join the Schubert Theater Touring Company with which he traveled the country performing light operas such as The Student Prince and Merry Widow. He had his own radio show called The Boy Baritone, which featured new songs from Tin Pan Alley, and was a member of the Robert Shaw Chorale. As a result of such artistic pursuits, Peter's father underwent long periods of unemployment that created a struggle to make financial ends meet. Peter's mother was an elegant and attractive woman who taught inner-city children in the South Bronx for 27 years. A political activist, union organizer and staunch civil rights advocate, she supported racial equality by attending many of the southern "freedom rides" and marches. Peter's older sister was also a teacher as well as a photographer who now works as an advocate for persons with disabilities. She continues her mother's tradition, often marching on Washington to support the rights of the disabled.
    [Show full text]
  • Song Artist Ain't No Sunshine Bill Withers All I Ask of You Andrew
    Song Artist Ain't No Sunshine Bill Withers All I Ask Of You Andrew Lloyd Webber Always On My Mind Wayne Thomps Angel Sarah Mclachlan As Long As You Love Me Backstreet Boys Autumn Leaves Johnny Mercer Beautiful Christina Aguilera Because Of You Kelly Clarkson Bed Of Roses Bon Jovi Black Eyed Boy Texas Blowin’ In The Wind Bob Dylan Blue Moon Richard Rodgers Bring Him Home Claude Michel Schonberg Can You Read My Mind? John Williams, Leslie Bricusse Candle In The Wind Elton John Chasing Cars Snow Patrol CHASING PAVEMENTS Adele Climb Every Mountain Richard Rodgers, Oscar Hammerstein II Close To You Carpenters Cockles and muscles Irish Air Come Away With Me Norah Jones Crazy Willie Nelson Cry Me A River Arthur Hamilton Dancing In The Dark Arthur Schwartz Danny Boy Londonderry Air, Traditional Irish Tune, Frederic Weatherly 1910 Don’t Know Why Norah Jones Don’t Speak No Doubt Durham Town Roger Whittaker Eternal Flame Bangles Evergreen Barbra Streisand Everlasting Love Gloria Estefan Fallen Lauren Wood Fallen Sarah McLachlan Fallin’ Alicia Keys Fields Of Gold Sting Fix You Coldplay Fly Me To The Moon Bart Howard Georgia On My Mind Hoagy Carmichael, Stuart Gorrell Girl, You'll Be A Woman Soon Neil Diamond Gymnopodie No.1 Satie Hallelujah Leonard Cohen Have I Told You Lately Van Morrison Hello Again Neil Diamond And Alan Lindgren, Neil Diamond Here Comes The Sun George Harrison Here There And Everywhere Paul McCartney, John Lennon Hero Mariah Carey Home Sweet Home Henry Bishop How Deep Is Your Love Bee Gees How You Remind Me Nickelback I Believe
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title "Do It Again": Comic Repetition, Participatory Reception and Gendered Identity on Musical Comedy's Margins Permalink https://escholarship.org/uc/item/4297q61r Author Baltimore, Samuel Dworkin Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles “Do It Again”: Comic Repetition, Participatory Reception and Gendered Identity on Musical Comedy’s Margins A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Samuel Dworkin Baltimore 2013 ABSTRACT OF THE DISSERTATION “Do It Again”: Comic Repetition, Participatory Reception and Gendered Identity on Musical Comedy’s Margins by Samuel Dworkin Baltimore Doctor of Philosophy in Musicology University of California, Los Angeles, 2013 Professor Raymond Knapp, Chair This dissertation examines the ways that various subcultural audiences define themselves through repeated interaction with musical comedy. By foregrounding the role of the audience in creating meaning and by minimizing the “show” as a coherent work, I reconnect musicals to their roots in comedy by way of Mikhail Bakhtin’s theories of carnival and reduced laughter. The audiences I study are kids, queers, and collectors, an alliterative set of people whose gender identities and expressions all depart from or fall outside of the normative binary. Focusing on these audiences, whose musical comedy fandom is widely acknowledged but little studied, I follow Raymond Knapp and Stacy Wolf to demonstrate that musical comedy provides a forum for identity formation especially for these problematically gendered audiences. ii The dissertation of Samuel Dworkin Baltimore is approved.
    [Show full text]
  • Configuration Recommendations for DOCSIS IP Transport of IP Video
    CONFIGURATION RECOMMENDATIONS FOR DOCSIS TRANSPORT OF MANAGED IP VIDEO SERVICE WILLIAM T. HANKS With special thanks to the following contributors: Jim Allen, Tom Cloonan, Michael Dehm, Amit Eshet, J.R. Flesch, Dwain Frieh, Will Jennings, Tal Laufer, Tushar Mathur, Dan Torbet, John Ulm, Bill Ward, and Ian Wheelock TABLE OF CONTENTS INTRODUCTION ............................................................................................. 4 TARGET AUDIENCE ........................................................................................ 4 VENDOR AND PRODUCT AGNOSTICISM ........................................................ 4 TECHNOLOGY BACKGROUND ........................................................................ 5 Video ServicEs ................................................................................................................ 5 LinEar Broadcast TV vs. On-dEmand Content ............................................................ 5 Television ChannEl ViewErship ................................................................................... 5 TV ChannEl ChangE ExpEctations ............................................................................... 8 InternEt Protocol (IP) ...................................................................................................... 8 ConnEction-OriEnted vs. ConnEctionlEss ................................................................... 8 IP Multicast – One StrEam, MultiplE DEstinations ..................................................... 9 IP Unicast – One StrEam,
    [Show full text]
  • "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
    Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas.
    [Show full text]
  • Copyright Notices, July 2018
    Copyright Lore Top Summer Hits ALISON HALL For many of us, a song can magically transport us back in time. Summer songs seem to be even more powerful. Looking back at sixty years of the Billboard Hot 100 lists, here’s a sampling of number-one summer flashback hits in ten-year increments. All songs mentioned are registered with the Copyright Office as words and music, sound recordings, or both. (For the purpose of this article, “summer” includes all of June, July, and August.) Burt Bacharach and Hal David followed 1958 and held the top spot for much of the summer until instrumental “Grazing In The Billboard started the Hot 100 chart on Grass” recorded by Hugh Masekela and August 4, 1958, so that summer’s top hits written by Philemon Hou took over. “Hello, only include those in the month of August. I Love You” recorded by The Doors and Ricky Nelson’s recording of “Poor Little written by front man Jim Morrison took Fool,” written by Shari Sheeley, kicked off over the top spot for a week, and then the the list at number one. “Nel Blu Dipinto summer finished with “People Got To Be Di Blu (Volaré)” followed at number one, Free” recorded by The Rascals and written performed by Domenico Modugno and by band members Felix Cavaliere and written by Modugno with Franco Migliacci. Eddie Brigati topping the charts. Doo-wop vocal group The Elegants closed Ricky Nelson scored the first number one hit on Billboard’s Hot 100 chart with “Poor Little out the month with their number one hit Fool” from his self-titled album in the summer “Little Star,” written by group members 1978 of 1958.
    [Show full text]
  • MY HEART WILL GO on 1 Song ID CELINE DION Writer/S Eb-G 1 VOICES of UNITY YOUTH CHOIR James Horner/Will Jennings Key Pages INTRO
    Printed: 6/10/2019724 MY HEART WILL GO ON 1 Song ID CELINE DION Writer/s Eb-G 1 VOICES OF UNITY YOUTH CHOIR James Horner/will Jennings Key Pages INTRO 1 VERSE 1 Soloist Every night in my dreams, I see you, I feel you. That is how I know you go on. Far across the distance, And spaces between us. You have come to show you go on. 2 Soloist Near, far, wherever you are, I believe that the heart does go on. 3 Choir- Ladies-U Near, far, wherever you are 4 Choir- ladies-Parts I believe that the heart does go on. 5 Soloist Once more, you open the door, And you're here in my heart. 6 Choir- Parts Once more 7 Soloist And my heart will go on and on. MUSIC / / 8 VERSE 2 9 Soloist Love can touch us one time, And last for a lifetime. 10 Choir- Parts Love can touch us one time And last for a lifetime. 11 Soloist And never let go till we're gone 12 Choir- Ladies-unison We're Gone 13 Soloist Love was when I loved you, One true time I hold to. 14 Choir- Ladies-U Love was when I loved you, (PARTS) One true time I hold to. 15 Soloist In my life we'll always go on, 16 Soloist Near, far, wherever you are, I believe that the heart does go on. 17 Choir- Parts Near, far, Why does the heart go on 18 Soloist Once more you open the door, And you're here in my heart.
    [Show full text]
  • Hightower Expert Reports.Pdf
    Exhibit A: Hightower Expert Reports Case 1:13-cv-00469-PLM Doc #154-1 Filed 10/21/14 Page 1 of 62 Page ID#2229 Exhibit 41 Dr. Frank Baumgartner Expert Report Case 1:13-cv-00469-PLM Doc #154-1 Filed 10/21/14 Page 2 of 62 Page ID#2230 Analysis of Trespass Stops in Grand Rapids Michigan, 2011-2013. Frank R. Baumgartner1 March 5, 2014 Executive Summary A statistical analysis of Grand Rapids Police Department stops of individuals for trespassing on commercial business property with a No Trespass Letter over a three-year period yields the following key findings: • Blacks are considerably more likely to be stopped by the Grand Rapids Police Department than are Whites. While Blacks are approximately 21% of the population, they represent 59% of those stopped. • The disparity between stops of Blacks and Whites is particularly strong when we look at stops initiated by police officers, as opposed to those stemming from citizen complaints. Over 70% of those stopped at an officer’s initiative are Black, as compared to under 30% for Whites. By comparison, the percentage of Blacks and Whites stopped based on citizen complaints is roughly equal. • Stops of Whites are more likely to produce contraband and to be charged along with other offenses than are stops of Blacks. • Blacks are significantly more likely than Whites to be arrested, rather than ticketed, following a trespass stop on commercial business property, with Blacks being arrested 63% of the time and Whites being arrested 50% of the time. • The best estimate of the increased likelihood for Blacks being arrested, controlling for other legally relevant factors, is 2.2 times greater likelihood, compared to Whites.
    [Show full text]
  • Dan Coates, Complete Piano Solos
    ANGEL EYLS .....................................................................................................................................5 ANNE'S TI IEhlE (FI<On/l'INKE OF GREEN C.ARI..ES") .................................................................13 ANn'lrHEKE TI-! E', 1-1FART CiOES (hr r.:c.c.1 17sTHEME) ................................................................. 10 AKTHUK'S THEblK (BI<S'I''1~.~'1' ~01: VAN 110) ............................................................................16 AS 'I'IhltC GOES BY ...........................................................................................................................19 ASiIOKAN l~AKI:WLL, L ...................................................................................................................22 BEAI!TY AN11 TI IE UEA"~............................................................................................................ 25 RE(:AlJSli: YOU LOVED ME ...........................................................................................................30 CAN Y01: REAI3 MY hIJNl)? (I.OW. THEME PROM "SIIPERMAN") ...............................................34 (::WON IN D (P:ZCIIELDEL) ............................................................................................................38 TI1E COLORS OF bfY I, TFT: ...........................................................................................................42 COLORS CIF THE; WIND ...............................................................................................................46
    [Show full text]