DOCSLIB.ORG

Florence Foster Jenkins Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Florence Foster Jenkins Free FREE FLORENCE FOSTER JENKINS PDF Nicholas Martin,Jasper Rees | 336 pages | 10 Oct 2016 | Pan MacMillan | 9781509824687 | English | London, United Kingdom Florence Foster Jenkins by Nicholas Martin Sign In. Edit Florence Foster Jenkins Florence Foster Jenkins Hugh Grant St Florence Foster Jenkins Bayfield Simon Helberg Kathleen Nina Arianda Agnes Stark Stanley Townsend Phineas Stark Florence Foster Jenkins Corduner John Totten Christian McKay Earl Wilson David Haig Carlo Edwards John Sessions Hermann Brid Brennan Kitty John Kavanagh Arturo Toscanini Pat Starr Mrs Vanderbilt Maggie Steed Mrs Oscar Garmunder Liza Ross Baroness Le Feyre Rhoda Lewis Mrs Patsy Snow Aida Garifullina Lily Pons David Mills Augustus Corbin David Menkin Carlton Florence Foster Jenkins Sid Phoenix Corporal Jones Tunji Kasim Private Smith Carl Davis Orlando Adams Lloyd Florence Foster Jenkins Microphone Engineer Richard Kilgour Elevator Operator Jonathan Plowright Ernest Ziegler Josh O'Connor Donaghy Brian Fisher Finkler Stefan Bednarczyk Stephen Foster Nathan Osgood Stagehand Caolan Byrne Stagehand 2 John Guerrasio Newspaper Vendor Ewan Stewart Colonel Florence Foster Jenkins Lockett Chuck Cameron Cuffe Gino Georgina Morton Pearl James Sobol Kelly Edgar Diner Dar Dash Antonio Grant Gillespie Brooklyn Man Nat Luurtsema Tallulah Bankhead Philip Rosch Archie the Doorman Elliot Levey Florence Foster Jenkins Booth Cunningham, Jr. Danny Mahoney Clifford B. Piano Tuner Mark Arnold Cole Porter Adele Smyth-Kennedy Florence's Dresser Hallam Rice-Edwards Corbin's Gang Victory Maburutse Corbin's Gang Rosy Benjamin Corbin's Gang Oliver King Corbin's Gang James Wallace Corbin's Gang Charles Streeter Corbin's Gang Andrew Sloane Corbin's Gang Madeleine Knight Corbin's Gang Florence Foster Jenkins Lane Corbin's Gang Rest of cast listed alphabetically: Adele Armas Opera Audience uncredited Claire Ashton American Lady uncredited Pamela Ashton Woman at news stand uncredited Marc Benanti Boy in Elevator uncredited Paul Bergquist Passerby uncredited Tim Berry Soldier uncredited Richard Bevan Stubbs uncredited Lee Bolton Passerby uncredited Marie Borg Girl Florence Foster Jenkins staircase uncredited Dilyana Bouklieva Opera Audience uncredited Ben Bradley Doorman uncredited Martin Bratanov Passerby uncredited Eveline Chapman Girl in street uncredited Mark S. Man at Concierge Desk uncredited Darren Charman Bohemian Man uncredited Pamela Betsy Cooper Opera Audience uncredited Marc Cowpland Shoe Shine Boy uncredited Clare Crowther Confused Lady uncredited Nick Davison Hotel Guest uncredited Flor Ferraco Carnegie Hall Guest uncredited Christos Floros Marine uncredited Florence Foster Jenkins Self archive footage uncredited Neve Gachev Friend of Florence uncredited Caroline Garnell Verdi Group Lady uncredited Philip Gascoyne New York Journalist uncredited David Goodson Journalist uncredited Richard Gumm New York Businessman uncredited Chris Hembury Businessman uncredited Tony Honickberg Mr Levi uncredited David Howkins Lobby Guest uncredited Alan Hughes Journalist uncredited Joy Isa Waggish Bar Woman uncredited Alex Jaep Soldier uncredited Stella Kay Carnegie Hall Audience uncredited Phelim Kelly Verdi Husband uncredited Graeme Thomas King Soldier - Medic uncredited Stefan Kopiecki Cross Dresser uncredited Jorge Leon Martinez Airborne Sergeant uncredited Wesley Lloyd Corbin Entourage Member uncredited Marian Lorencik US Soldier uncredited Luis Martins Concierge uncredited Martyn Mayger Bayfield's Lawyer uncredited Pete Meads Stage Hand uncredited Shaun Newnham Florence Foster Jenkins () - IMDb Looking for a movie the entire family can enjoy? Check out our picks for family friendly Florence Foster Jenkins movies that transcend all ages. For even more, visit our Family Entertainment Guide. See the full list. Title: Florence Foster Florence Foster Jenkins An injury in her youth deterred that dream, so she sets out to sing her way to Carnegie Hall, knowing the Florence Foster Jenkins way to get there would be, "Practice, practice, practice". Her husband supports her venture, and Florence Foster Jenkins' performance at Carnegie Hall becomes a Florence Foster Jenkins historic event. Written by stephen scialli. This is the most surprising film ever. You know it is about a woman who can't sing for toffee but who hosts huge concerts to not exactly appreciative audiences. Why on earth would this make for a compelling film? The surprising thing is that cast, script and direction are perfectly in tune with this compassionate biographical treatment of a woman driven to be the musician she dreams she is. Knocked by paternal disapproval, marital failure and physical illness, Florence 'thinks positive' and takes action. She knows what it is to suffer and is ready, at the drop of a hat, to do what she can to be of service to others via her self declared life-passion 'music'. It is both a joy and heart breaking to live in this woman's world. Florence Foster Jenkins Streep is absolutely perfect in this role and makes this difficult story heart-rending and laugh out loud all at once. Definite go see! Looking for something to watch? Choose an adventure below and discover your next favorite movie or TV show. Visit our What to Watch Florence Foster Jenkins. Sign In. Keep track of everything you watch; tell your friends. Full Cast and Crew. Release Dates. Official Sites. Company Credits. Technical Specs. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. The story of Florence Foster Jenkins, a New Florence Foster Jenkins heiress who dreamed of becoming an opera singer, despite having a terrible singing voice. Director: Stephen Frears. Writer: Nicholas Martin. Added to Watchlist. From metacritic. Comedy Titles to Discover on Amazon Video. Movies I'm going to watch. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 2 Oscars. Edit Cast Cast overview, first billed only: Meryl Streep Florence Foster Jenkins Hugh Grant St Florence Foster Jenkins Bayfield Simon Helberg Kathleen Florence Foster Jenkins Arianda Agnes Stark Stanley Townsend Phineas Stark Allan Corduner John Totten Christian McKay Earl Wilson David Haig Carlo Edwards John Sessions Hermann Brid Brennan Kitty John Kavanagh Arturo Toscanini Pat Starr Mrs Vanderbilt Maggie Steed Taglines: The inspiring true Florence Foster Jenkins of the world's worst singer. Edit Did You Know? Trivia Meryl Streep does her own singing. Simon Helberg does his own piano playing. Goofs St. In one shot, the back of a piece of sheet music on the piano says "The Associated Board of the Royal Florence Foster Jenkins of Music". In the next shot, the back of Florence Foster Jenkins sheet music is different. What if it kills you? Florence Foster Jenkins : Then I shall die happy. Was this review helpful to you? Yes No Report this. Add the first question. Country: UK France. Language: English German Italian Russian. Runtime: min. Sound Mix: Dolby Digital. Color: Color Black and White some footage. Edit page. October Streaming Picks. Back to School Picks. Clear your history. Florence Foster Jenkins. St Clair Bayfield. Phineas Stark. Carlo Edwards. Arturo Toscanini. Florence Foster Jenkins | American singer | Britannica The story of Florence Foster Jenkins, a New York heiress who dreamed of becoming an opera singer, despite having a terrible singing voice. For an enhanced browsing experience, get the IMDb app on your smartphone or tablet. Get the IMDb app. Meryl Streep does her own singing. Simon Helberg does his Florence Foster Jenkins piano playing. St Clair Bayfield : You are not Florence Foster Jenkins enough, Bunny. Florence Foster Jenkins if it kills you? Florence Foster Jenkins : Then I shall die happy. In one shot, the back of a piece of sheet music on the piano says "The Associated Board of the Royal Schools of Music". In the next shot, the back of the sheet music is different. As IMDb celebrates its 30th birthday, we have six shows to get you ready for those pivotal years of your life Get some streaming picks. Sign In. Added to Watchlist. Florence Florence Foster Jenkins Jenkins. Hugh Grant. Simon Helberg. Rebecca Ferguson. Nina Arianda. Stanley Townsend. Allan Corduner. Christian McKay. David Haig. John Sessions. Brid Brennan. John Kavanagh. Pat Starr. Maggie Steed. Mrs James O'Flaherty. Thelma Barlow. Mrs Oscar Garmunder. Director: Stephen Frears. Writer: Nicholas Martin. Facebook Twitter E-mail. Awards Nominated for 2 Oscars. This is the most surprising film ever. You know Florence Foster Jenkins is about Florence Foster Jenkins woman who can't sing for toffee but who hosts huge concerts to not exactly appreciative audiences. Why on earth would this make for a compelling film? Florence Foster Jenkins surprising thing is that cast, script and direction are perfectly in tune with this compassionate biographical treatment of a woman driven to be the musician she dreams she is. Knocked by paternal disapproval, marital failure and physical illness, Florence 'thinks positive' and takes action. She knows what it is to suffer and is ready, at the drop of a hat, to do what she can to be of service to others via her self declared life-passion 'music'. It is both a joy and heart breaking to live in this woman's world. Meryl Streep is absolutely perfect in this role and makes this difficult story heart-rending and laugh out loud all at once. Definite go see! Did You Know? Trivia Meryl Florence Foster Jenkins does her own singing. Goofs St. See all news. Contribute to this page Edit page. Favorite Soundtrack Composed by Alexandre Desplat. Meryl Streep: Golden Globe Champion. More To Explore Search on Amazon..
Load more

Recommended publications
  • Eastman Theatre Concerts; Dec. 8, 1944; Lily Pons
    EAsr.MANTHEATRE CONCERTS ... Program . .. The Rochester Civic Music Association Presents LILY PONS * Friday Evening, December 8, 1944 * EASTMAN THEATRE of THE UNIVERSITY OF ROCHESTER Rochester, New York FRIDAY EVENING, DECEMBER 8, 1944 LILY PONS Leading Coloratura Soprano, Metropolitan Opera Ass'n FRANK LA FORGE, Composer-Pianist at the piano FRANK VERSACI, Flute obbligato PROGRAM *Lo, Here the Gentle Lark .... ... .. .... ... Bishop (with flut e obbligato) *La Promessa (The Promise) . .. .. .. .. .. .. .... Rossini (with flute obbligato) Think not that I shall ever cease to love thee. *Theme and Variations .... ........ .... .... .. ..... .... .. ... ... .. Proch (with flute obbligato) Whence cometh this longing, 0 fond heart ?-this happiness-this pain? . 'Tis love that now fills my heart ! II **Les Roses d'Ispahan . ........ ....... Faure The roses of Isphan are not so fair as thou, 0 dove-like Leila! Pierro£. .. _ ... Debussy Deep in thought, Pierrot walks along the boulevard. He does not see the young girl who is trying to attract his attention, but the moon sees, and winks slyly. Ronde! chinois ........... .. .. ... .. ... ... .......... .. _ ... _ ... Debussy On the lake a bark glides by, carrying a sleeping maiden . From the shore, a mandarin gazes on its fair burden till the bark passes from sight. Clair de June (Moonlight) .... ......... .... .. .... ... .. Debussy Your soul resembles a cool and fragrant grove, where masked revelers dance gaily in the moonlight. **The Nightingale and the Rose ...... .. .... .. ... ... ... .. Saint-Saem Air without words. La Flute enchantee .. .. .. .. .... ... .. ....... ............ ..... .. .. Ravel I listen to the distant flute which my beloved is playing. Each little note flies to me and caresses my face like an invisible kiss. (with flute obbligato) III *"Fledermaus" Fantasy . ... ... .. _. .. .. .................... .... .. J. Strauss The scene-a masked ball.
    [Show full text]
  • Transcript Released 4/22/2021 CHRIS LARGENT: Hey There, Let Me Take You Off This Busy Main Road of Van Ness Avenue, Follow Me Through This Parklet
    North Stage Door - Episode 1 Transcript Released 4/22/2021 CHRIS LARGENT: Hey there, let me take you off this busy main road of Van Ness Avenue, follow me through this parklet. I’m going to bring you into the secret world - not accessible to the general public...The North Stage Door! Welcome to San Francisco Opera's new podcast! I'm your host, Chris Largent and I'm delighted to sweep you into this massive hive of creativity, stagecraft and performance at one of opera’s most exciting companies. Along the way, we’ll meet singers, directors, designers -- and some surprise guests; like Pixar’s Chief Creative Officer and Academy Award Winning Director Pete Docter, and internationally acclaimed opera star Patricia Racette. In normal times, walking around backstage, there would be a flurry of activity. But, it's not really happening like that this year...our stage has been dark. Our season? Canceled. This moment of social distancing has given us time to reflect -- how can this venerable artform that is entirely dependent on precision planning, hundreds and hundreds of people from different disciplines collaborating behind the scenes, and thousands in the audience --- how might this artform of opera adapt to a different reality, yet still adhere to restrictions necessary to keep everyone safe? How can we satisfy the craving we’re all feeling... to experience opera live and come together as a community again? Luckily, San Francisco Opera is in the process of answering this question with a production of Barber of Seville that is unlike any other --and is taking shape as I speak.
    [Show full text]
  • Verdi's Rigoletto
    Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
    [Show full text]
  • May Festival
    UNIVERSITY MUSICAL SOCIETY Charles A. Sink, President Thor Johnson, Guest Conductor Lester McCoy, Conductor Sixth Concert 1956-1957 Complete Series 32 14 Sixty-fourth Annual MAY FESTIVAL THE PHILADELPHIA ORCHESTRA EUGENE ORMANDY, Conductor SOLOIST RISE STEVENS, Mezzo-Soprano SUNDAY EVENING, MAY 5, 1957, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM "Academic Festival" Overture, Op. 80 BRAHMS Symphony No.3, in one movement HARRIS Lieder eines fahrenden Gesellen MAHLER RIsE STEVENS INTERMISSION *Prelude to "Afternoon of a Faun" DEBUSSY "Connais-tu Ie pays?" from Mignon THOMAS Air de Lia, from L'Enfant prodigue DEBUSSY "Amour, viens aider" from Samson et Dalila SAINT-SAENS MISS STEVENS Choreographic Poem, "La Valse" RAVEL * Columbia Records. The Steinway is the official piano oj the University Musical Society. The Lester Piano is the official piano oj the Philadelphia Orchestra. A R S LON G A V I T A BREVIS 1957 - UNIVERSITY MUSICAL SOCIETY CONCERTS - 1958 Seventy-ninth Annual Choral Union Series LILY PONS, Soprano Thursday, October 3 BOSTON SYMPHONY ORCHESTRA Thursday, October 17 CHARLES MUNCH, Conductor YEHUDI MENUHIN, Vi olinist Tuesday, October 29 THE CLEVELAND ORCHESTRA Sunday, November 10 GEORGE SZELL, Conductor WILLIAM WARFIELD, Baritone Tuesday, November 26 PRAGUE PHILHARMONIC ORCHESTRA Thursday, February 13 KAREL AN CERL , Conductor OBERNKIRCHEN CHILDREN'S CHOIR Tuesday, February 25 CHICAGO SYMPHONY ORCHESTRA Sunday, March 2 FRITZ REINER, Conductor MYRA HESS, Pianist . Saturday, March 8 VIENNA ON PARADE . Wednesday, April 2 CAPT. JULIUS HERRMANN, Conductor Season Tickets,' Remaining unclaimed seats in Block A, $17.00 j Block B, $14.00 j Block C, $12.00 j Block D, $10.00 Twelfth Annual Extra Concert Series THE NBC OPERA COMPANY .
    [Show full text]
  • Signerede Plader Og Etiketter Og Fotos Signed Records and Labels and Photos
    Signerede plader og etiketter og fotos Signed records and labels and photos Soprano Blanche Arral (10/10-1864 – 3/3-1945) Born in Belgium as Clara Lardinois. Studied under Mathilde Marchesi in Paris. Debut in USA at Carnegie Hall in 1909. Joined the Met 1909-10. Soprano Frances Alda (31/5-1879 – 18/9-1953) Born Fanny Jane Davis in New Zealand. Studied with Mathilde Marchesi in Paris, where she had her debut in 1904. Married Guilio Gatti-Casazza – the director of The Met – in 1910. Soprano Geraldine Farrar – born February 28, 1882 – in Melrose, Massachusetts – died March 11, 1967 in Ridgefield, Connecticut Was also the star in more than 20 silent movies. Amercian mezzo-soprano Zélie de Lussan – 1861 – 1949 (the signature is bleached) American tenor Frederick Jagel – June, 10, 1897 Brooklyn NY – July 5, 1982, San Francisco, California At the Met from 1927 - 1950 Soprano Elisabeth Schwartzkopf – Met radio transmission on EJS 176 One of the greatest coloratura sopranos. Tenor Benjamino Gigli (20/3-1890 – 30/11-1957) One of the greatest of them all. First there was Caruso, then Gigli, then Björling and last Pavarotti. Another great tenor - Guiseppe di Stefano (24/7-1921 – 3/3-2008) The Italian tenor Guiseppe Di Stefano’s carreer lasted from the late 40’s to the early 70’s. Performed and recorded many times with Maria Callas. French Tenor Francisco (Augustin) Nuibo (1/5-1874 Marseille – Nice 4.1948) The Paris Opéra from 1900. One season at The Met in 1904/05. Tenor Leo Slezak (18/8-1873 – 1/6-1946) born in what became Czeckoslovakia.
    [Show full text]
  • Frances Greer COLLECTION: 4700.0902
    T. Harry Williams Center for Oral History Collection ABSTRACT INTERVIEWEE NAME: Frances Greer COLLECTION: 4700.0902 IDENTIFICATION: Lyric soprano with Metropolitan Opera, graduate of LSU School of Music INTERVIEWER: Ronald Ross, Jane Ross SERIES: University History – Women at LSU INTERVIEW DATES: August 3, 1997 FOCUS DATES: 1921 - 1990s ABSTRACT: Tape 1286 Greer's first public performance at age four; born and raised in Arkansas; entry in President Clinton's Amazing Arkansas; shows musical ability as an infant; comes to LSU as music major in 1934; auditions for Professor H. W. Stopher; Greer wins scholarship; works singing for Rotary Club while at LSU; LSU Opera; keyboard skills; reading music; Helen Gunderson; Pearl Willis, theory teacher; Pasquale Amato, voice teacher; Louis Hasslemans, conductor; foreign langauages for singers; Greer's roles with LSU Opera; LSU School of Music Ensemble; Metropolitan Opera broadcasts; Greer sings in English with Philadelphia Opera Company; Curtis Institute; Lily Pons; Willford Pelletier invites Greer to audition for Metropolitan Opera; Greer and Margaret Harshaw win competition in the early 40s; Greer's first role in La Boheme at the Met; voice type lyric soprano; Jenny Cervini, dresser; Greer honored as an "Arkansas Traveler"; Thomas J. Watson, CEO of IBM and fellow Arkansan, visits Greer; Watson has Greer and Mary Tibbit sing several times at United Nations functions at the Waldorf Astoria; baritone Jussi Bjoerling; tenor Jan Pierce; lyric coloratura Eleanor Steber; Greer always learning; Leonard
    [Show full text]
  • “Can't Help Singing”: the “Modern” Opera Diva In
    “CAN’T HELP SINGING”: THE “MODERN” OPERA DIVA IN HOLLYWOOD FILM, 1930–1950 Gina Bombola A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2017 Approved by: Annegret Fauser Tim Carter Mark Katz Chérie Rivers Ndaliko Jocelyn Neal ©2017 Gina Bombola ALL RIGHTS RESERVED ii ABSTRACT Gina Bombola: “Can’t Help Singing”: The “Modern” Opera Diva in Hollywood Film, 1930–1950 (Under the direction of Annegret Fauser) Following the release of Columbia Pictures’ surprise smash hit, One Night of Love (1934), major Hollywood studios sought to cash in on the public’s burgeoning interest in films featuring opera singers. For a brief period thereafter, renowned Metropolitan Opera artists such as Grace Moore and Lily Pons fared well at the box office, bringing “elite” musical culture to general audiences for a relatively inexpensive price. By the 1940s, however, the studios began grooming their own operatic actresses instead of transplanting celebrities from the stage. Stars such as Deanna Durbin, Kathryn Grayson, and Jane Powell thereby became ambassadors of opera from the highly commercial studio lot. My dissertation traces the shifts in film production and marketing of operatic singers in association with the rise of such cultural phenomena as the music-appreciation movement, all contextualized within the changing social and political landscapes of the United States spanning the Great Depression to the Cold War. Drawing on a variety of methodologies—including, among others, archival research, film analysis, feminist criticisms, and social theory—I argue that Hollywood framed opera as less of a European theatrical art performed in elite venues and more of a democratic, albeit still white, musical tradition that could be sung by talented individuals in any location.
    [Show full text]
  • Martin V Kogan 2019
    Neutral Citation Number: [2019] EWCA Civ 1645 Case No: A3/2018/0070 IN THE COURT OF APPEAL (CIVIL DIVISION) ON APPEAL FROM THE HIGH COURT OF JUSTICE BUSINESS AND PROPERTY COURTS OF ENGLAND AND WALES INTELLECTUAL PROPERTY ENTERPRISE COURT HIS HONOUR JUDGE HACON [2017] EWHC 2927 (IPEC) Royal Courts of Justice Strand, London, WC2A 2LL Date: 09/10/2019 Before: LORD JUSTICE FLOYD LORD JUSTICE HENDERSON and LORD JUSTICE PETER JACKSON - - - - - - - - - - - - - - - - - - - - - Between: JULIA KOGAN Appellant - and - (1) NICHOLAS MARTIN (2) BIG HAT STORIES LIMITED (3) FLORENCE FILM LIMITED (4) PATHE PRODUCTIONS LIMITED (5) QWERTY FILMS LIMITED Respondents - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Simon Malynicz QC, Lionel Bently and Ashton Chantrielle (instructed by Keystone Law) for the Appellant Tom Weisselberg QC (instructed by Lee & Thompson LLP) for the First and Second Respondents Jonathan Hill (instructed by Wiggin LLP) for the Third, Fourth and Fifth Respondents Hearing date: May 2, 2019 - - - - - - - - - - - - - - - - - - - - - Approved Judgment Judgment Approved by the court for handing down. Martin v Kogan Lord Justice Floyd: 1. This is the judgment of the court to which all its members have contributed. Introduction 2. This appeal concerns a dispute over the authorship of the screenplay of a film about the latter part of the life of Florence Foster Jenkins (“FFJ”). FFJ was a wealthy American socialite who loved music. She considered herself to be a talented operatic singer, but she was an awful one. The first and second claimants and respondents, Nicholas Martin and his company Big Hat Productions Limited, brought these proceedings against the defendant and appellant, Julia Kogan, for a declaration that Mr Martin was the sole author of, and sole owner of the copyright in, the screenplay.
    [Show full text]
  • Forgotten Splendour
    FORGOTTEN SPLENDOUR A Chronology of the North Shore Music Festival 1909 to 1939 by Andrew Cottonaro Beginning in 1909 and lasting until 1939, the North Shore Music Festival of Northwestern University was a significant musical and social event in the Chicago area. For a few days each Spring, the campus hosted a diverse body of performers in a series of grand concerts. Naturally, some of that era’s most eminent singers could be heard there. Their presence certainly helped to sell tickets and their artistry helped to sustain the festival as a popular and critical success. Now, sixty years later, the festival hardly even counts as a faded memory. To date, two books (in part), offer a general outline of the festival’s history, but both lack any detailed analysis of who appeared and what was actually sung. This is the first attempt to present a chronology of the vocal offerings (quite distinct from the orchestral offerings) at the festival. Northwestern University, the official sponsor of the festival, is located in Evanston, Illinois (USA). The town is a suburb of Chicago, directly north of the city and on the banks of Lake Michigan. Because of this geographic position, Evanston and the other cities of the area are called the North Shore, hence the origin of the festival’s name. Northwestern University was incorporated in 1850 and gradually won recognition for its academic excellence. The establishment of musical studies, however, was a tangled web of many failed efforts. In a final and desperate attempt to salvage musical education, the university’s board of trustees in 1891 appointed Peter Christian Lutkin (1858-1931) to direct musical studies, a post that he held until his death.
    [Show full text]
  • 18.9 Scores, Books, Catalogues, Pp 207-216
    OPERA SCORES 4022. BLUEBEARD’S CASTLE (Béla Bártok). HC. Full score. 1952 Boosey & Hawkes edition. German/English. 174 pp. Very slight spine wear. Just about 1-2. $12.00. 4015. [IL ] CAMPANELLO (Gaetano Donizetti). Maroon Ricordi. 1975 printing. Italian. 149 pp. Just about 1-2. $8.00. 4016. CENDRILLON (Jules Massenet). HC. Au Ménestrel. 1899. 361 pp. Slightest cover wear, otherwise just about 1-2. $15.00. 4004. [THE ] CONSUL (Gian-Carlo Menotti). PC. G. Schirmer. 1950. English. 291 pp. Slightest cover wear. Just about 1-2. $10.00. 4028. [ LA ] DANSEUSE DE TANAGRA (Henri Hirchmann). HC. Choudens, France. 1911. French. 293 pp. A few underlined lines. Some spine wear. Just about 1-2. $15.00. 4018. DEJANICE (Alfredo Catalani). HC. Pub. 1892. 281 pp. This is a 1920 reprint . Loose first page. Slightest cover wear. Otherwise just about 1-2. $12.00. 4030. DINORAH (Giacomo Meyerbeer). HC. Ricordi. No dates, but probably around 1900 printing. Italian. 349 pp. Spine has gold stamping “Lily Pons”. Obviously from her library but in clean, unmarked condition. Just about 1-2. $15.00. 4002. [ THE ] EMPEROR JONES (Louis Gruenberg). PC. Cos Cob Press, NY, 1933. English/German. 174 pp. Pencil writing in inside blank cover pages. Lightest cover mks. Excellent copy. Just about 1-2. $15.00. 4023. [ LA ] FORÊT BLEUE (Louis Aubert). HC. Durand et Cie, France. 1911. French/ English. 236 pp. Lightest spine wear. Just about 1-2. $15.00. 4014. FRANCESCA DA RIMINI (Riccardo Zandonai). HC. Maroon Ricordi. 1945 printing. Italian. 335 pp. Covers loose. Content as new. Just about 1-2.
    [Show full text]
  • Wilfrid Pelletier
    AMICA International Automatic Musical Instrument Collectors' Association Honor Roll WILFRID PELLETIER BY EMMETT M. FORD, The AMICA Jan/Feb 1978 Wilfrid Pelletier, pianist, conductor of opera and symphony, piano roll and phonograph recording artist, was born in Montreal, Canada, June 20, 1896. At an early age he showed an aptitude for music and studied piano with his father. The timpani fascinated the boy and his parents, realizing he was destined for a musical career, launched him in studies of composition and harmony. His capacity for work equaled his musical gifts and at the age of seventeen he was engaged as assistant conductor of the Montreal Opera Company. In 1914 he won the Province of Quebec Prix d'Europe Scholarship enabling him to go to Paris where piano study was with the famous pianist and teacher, Isidor Phillip; composition with the famous organist, Widor; harmony with Marcel Rosseau, and opera tradition and repertoire with Camille Bellaigue. Returning to the U.S. in 1917, he became a coach at the Metropolitan Opera. His first rehearsal was Saint- Saens' opera ''Samson et Delilah." The cast included Caruso, Matzenauer and Whitehill. He continued at the Met proving a conscientious worker in preparing the operas for the principal conductors. Later Mr. Pelletier became assistant conductor of the Metropolitan Opera for the French and Italian repertoire and in 1931 was appointed the principal conductor. During the years with the Met he conducted German, Russian, French and Italian repertoire, both classic and modern and also prepared and conducted a number of American works. During his long stay with the Met he coached famous singers, such as Caruso, Bori, Gigli, Farrar, Lily Pons, Grace Moore and Rose Bampton in many of their famous roles.
    [Show full text]
  • Mattiwilda Dobbs Will Sing in Sherwood Hall
    Mattiwilda Dobbs will sing in Sherwood Hall April 29, 1967 Mattiwilda Dobbs, internationally known American soprano who is a special favorite at the Metropolitan Opera, reigning prima donna of the Hamburg Opera and guest star of the Royal Opera in Stockholm, will appear at 8:30 p.m., Saturday (May 6), Sherwood Hall, La Jolla. The concert is sponsored by the University of California, San Diego Committee for Arts and Lectures. Tickets are on sale for $3.00 for the public, and $1.00 for UCSD students. Miss Dobbs will sing a number of works by such composers as Gluck, Haydn, Mendelssohn, Brahms, Rossini, Verdi, Douglas Moore, Menotti and Gounod. A singer of international achievement, Miss Dobb's biography is a success story. She was born in Atlanta, Georgia, the fifth of six daughters of an Atlanta railway mail clerk. Her father managed to put all six of his daughters through college and lived to see Mattiwilda become celebrated prima donna of the Metropolitan Opera. Mattiwilda's first assignment, at the age of six, was to sing a "solo duet." A local church had scheduled two of the Dobbs' daughters for a duet. Mattiwilda's sister became ill, so she bravely sang the duet, alone. She began piano lessons at an early age, and, like Lily Pons, was an accomplished pianist before ever having voice lessons. It was not until college that Mattiwilda took up voice training. In her last year at college, she was invited to New York to meet with Madame Lotte Leonard, noted voice teacher. Madame Leonard has continued to be Mattiwilda's teacher.
    [Show full text]