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Seattle Opera Announces 2021/22 Season— a Return to Live, In-Person Performances
FOR IMMEDIATE RELEASE: May 11, 2021 Contact: Gabrielle Gainor (206) 295-0998, [email protected] Press images: https://seattleopera.smugmug.com/2122 Password: “press” Seattle Opera announces 2021/22 season— a return to live, in-person performances La bohème Orpheus and Eurydice Blue The Marriage of Figaro Plus a special recital by Lawrence Brownlee McCaw Hall and The Opera Center Subscriptions begin at $240 (BRAVO! Club, senior, and student pricing is also available). Single tickets will go on sale closer to each production. seattleopera.org SEATTLE—After more than a year without live, in-person performances due to COVID-19, Seattle Opera will officially return to the theater this fall with its 2021/22 Season. Offerings include immortal favorites (La bohème, The Marriage of Figaro), historic works with a modern twist (Orpheus and Eurydice), plus an award-winning piece speaking to racial injustice in America (Blue). It will take years for Seattle Opera—and the arts sector as a whole—to recover from the pandemic’s economic impact. Feeling the presence and excitement of live performance again is one way that the healing can begin, said General Director Christina Scheppelmann. “The theater, where music, storytelling, lights, performers, and audiences meet, is a space of magic and impact,” Scheppelmann said. “This past year has been difficult and challenging on so many levels. As we process all that we’ve been through, we can come here to enjoy ourselves. We can rediscover the positive moment and outlook we are seeking. Through opera, we can reconnect with our deepest emotions and our shared humanity.” In addition to mainstage productions, the company will offer a special, one-night- only recital by tenor Lawrence Brownlee (April 29, 2022, at McCaw Hall) with pianist John Keene. -
Bruce Walker Musical Theater Recording Collection
Bruce Walker Musical Theater Recording Collection Bruce Walker Musical Theater Recording Collection Recordings are on vinyl unless marked otherwise marked (* = Cassette or # = Compact Disc) KEY OC - Original Cast TV - Television Soundtrack OBC - Original Broadway Cast ST - Film Soundtrack OLC - Original London Cast SC - Studio Cast RC - Revival Cast ## 2 (OC) 3 GUYS NAKED FROM THE WAIST DOWN (OC) 4 TO THE BAR 13 DAUGHTERS 20'S AND ALL THAT JAZZ, THE 40 YEARS ON (OC) 42ND STREET (OC) 70, GIRLS, 70 (OC) 81 PROOF 110 IN THE SHADE (OC) 1776 (OC) A A5678 - A MUSICAL FABLE ABSENT-MINDED DRAGON, THE ACE OF CLUBS (SEE NOEL COWARD) ACROSS AMERICA ACT, THE (OC) ADVENTURES OF BARON MUNCHHAUSEN, THE ADVENTURES OF COLORED MAN ADVENTURES OF MARCO POLO (TV) AFTER THE BALL (OLC) AIDA AIN'T MISBEHAVIN' (OC) AIN'T SUPPOSED TO DIE A NATURAL DEATH ALADD/THE DRAGON (BAG-A-TALE) Bruce Walker Musical Theater Recording Collection ALADDIN (OLC) ALADDIN (OC Wilson) ALI BABBA & THE FORTY THIEVES ALICE IN WONDERLAND (JANE POWELL) ALICE IN WONDERLAND (ANN STEPHENS) ALIVE AND WELL (EARL ROBINSON) ALLADIN AND HIS WONDERFUL LAMP ALL ABOUT LIFE ALL AMERICAN (OC) ALL FACES WEST (10") THE ALL NIGHT STRUT! ALICE THROUGH THE LOOKING GLASS (TV) ALL IN LOVE (OC) ALLEGRO (0C) THE AMAZING SPIDER-MAN AMBASSADOR AMERICAN HEROES AN AMERICAN POEM AMERICANS OR LAST TANGO IN HUAHUATENANGO .....................(SF MIME TROUPE) (See FACTWINO) AMY THE ANASTASIA AFFAIRE (CD) AND SO TO BED (SEE VIVIAN ELLIS) AND THE WORLD GOES 'ROUND (CD) AND THEN WE WROTE... (FLANDERS & SWANN) AMERICAN -
Copyrighted Material
335 Index a “After You Get What You Want, You “Aba Daba Honeymoon” 151 Don’t Want It” 167 ABBA 313 Against All Odds (1984) 300 Abbott and Costello Meet Frankenstein “Age of Not Believing, The” 257 (1948) 155 Aguilera, Christina 323, 326 Abbott, Bud 98–101, 105, 109, 115 “Ah Still Suits Me” 87 ABC 229–230 “Ah, Sweet Mystery of Life” 78 Abdul, Paula 291 AIDS 317–318 About Face (1953) 151 “Ain’t There Anyone Here for “Abraham” 110–111 Love?” 170 Absolute Beginners (1986) 299 Aladdin (1958) 181 Academy Awards 46, 59, 73–74, 78, 82, Aladdin (1992) 309–310, 312, 318, 330 89, 101, 103, 107, 126, 128, 136, 140, Aladdin II, The Return of Jafar 142, 148–149, 151, 159, 166, 170, 189, (1994) 309 194, 200, 230, 232–233, 238, 242, 263, Alamo, The (1960) 187 267, 271, 282, 284, 286, 299, 308–309, Alexander’s Ragtime Band (1938) 83, 319, 320–321 85–88 Ackroyd, Dan 289 Alice in Wonderland (1951) 148 Adler, Richard 148 Alice in Wonderland: An X‐Rated Admiral Broadway Revue (1949) 180 Musical Fantasy (1976) 269 Adorable (1933) 69 All‐Colored Vaudeville Show, An Adventures of Priscilla, Queen of the (1935) 88 Desert, The (1994) 319 “All God’s Chillun Got Rhythm” 88–89 African AmericansCOPYRIGHTED 13–17, 21, 24, 28, 40, All New MATERIAL Mickey Mouse Club, The 43, 54–55, 78, 87–89, 109–111, 132, (1989–94) 326 163–164, 193–194, 202–203, 205–209, “All Out for Freedom” 102 213–216, 219, 226, 229, 235, 237, All‐Star Revue (1951–53) 179 242–243, 258, 261, 284, 286–287, 289, All That Jazz (1979) 271–272, 292, 309, 293–295, 314–315, 317–319 320, 322 “After the Ball” 22 “All You Need Is Love” 244 Free and Easy? A Defining History of the American Film Musical Genre, First Edition. -
Dorothy Fields and the American Musical
Journal of Film Music 4.2 (2011) 171-175 ISSN (print) 1087-7142 doi:10.1558/jfm.v4i2.171 ISSN (online) 1758-860X REVIEWS Charlotte Greenspan. “Pick Yourself Up”: Dorothy Fields and the American Musical Oxford and New York: Oxford University Press, 2010. [xxii, 298 p. ISBN: 9780195111101. $27.95 (hardcover)] Broadway Legacies. Illustrations, appendices, index, and songs, shows, and films index. MELissA UrsuLA DAWN GOLdsmiTH Elms College, Chicopee, Massachusetts [email protected] orothy Fields (1905–74), whose work interested in the business), her initial work as a lyricist straddled stage and screen, had a for Mills Music as well as for Cotton Club revues (for D tremendously successful career as a lyricist example, Blackberries, which opened on September 29, and librettist. Fields grew up in a famous American 1929), and her lifelong concurrent work for Broadway theatre family: Her father was Lew Fields, a comedian, musicals and films. According to Greenspan, Fields actor, producer, and theater manager, and half of the was a lyricist for “more than four hundred songs, famous Weber and Fields duo of vaudeville. As the mostly distributed in nineteen Broadway shows and youngest member of her family, Dorothy spent most more than thirty films, as well as librettos for nine of her childhood years living with both her father’s musicals” (pp. 223-24). Close partnerships included, celebrity as a leading Broadway producer as well as among others, composers Jimmy McHugh, Jerome with his success in the business (p. xii). Greenspan Kern, Arthur Schwartz, Albert Hague, and Cy explains that, in the Fields house, “she grew up in an Coleman. -
Make Mine Manhattan
MAKE MINE MANHATTAN Sketches and Lyrics by ARNOLD B. HORWITT Music by RICHARD LEWINE Directed by BEN WEST Final Draft Mar. 4, 2012 UnsungMusicalsCo. Inc. P.O. Box 722 New York, New York 10159 © Horwitt/Lewine www.unsungmusicals.org CHARACTERS Boy 1 (Nicolas Dromard) Boy 2 (Dennis O’Bannion) Boy 3 (Bret Shuford) Boy 4 (Greg Reuter) Girl 1 (Gabrielle Ruiz) Girl 2 (Nadine Isenegger) Girl 3 (Kristen J. Smith) Girl 4 (LaQuet Sharnell) SKETCHES AND MUSICAL NUMBERS “Anything Can Happen in New York” .................... B1 & Company “My Brudder and Me” ....................................... G1 & B2 Stage Door Fifi ............................... B1, B2, B4, G2 & G4 “Old Fashioned Girl” ........................................... B1 “Manhattan in the Spring” ............................. G2, G1 & G3 Hollywood Heads East .................. B2, B3, B4, G1, G2, G3 & G4 “Movie House in Manhattan” ..................................... G4 “I Don’t Know His Name” ................................... G3 & B3 “Talk to Me” .............................................. B4 & G4 “Anything Can Happen in New York” ..................... B1, G2 & G3 “Subway Song” .................................................. B3 “Gentleman Friend” ........................................ G3 & B3 “Saturday Night in Central Park” ................. G2, B2 & Company “Schrafft’s” ................................................... G4 “New York Gal” ................................................. G1 “I Gotta Have You” ........................................ B1 & G1 “I Fell in -
Mostly Mozart Festival Orchestra
Ju ly 25–Augu st 20, 2017 Tuesday and Wednesday, August 1–2, 2017 at 7:30 pm m Pre-concert talk with David Lang and John Schaefer on Tuesday, a August 1 at 6:15 pm in the Stanley H. Kaplan Penthouse r g o Mostly Mozart Festival Orchestra r Louis Langrée, Conductor P So- Percussion M|M e h MOZART Overture to Die Entführung aus dem Serail (1781–82) T DAVID LANG man made (2013) (New York premiere) Intermission LULLY Selections from Le Bourgeois gentilhomme (1670) Ouverture Canaries Deuxième air des garçons tailleurs Marche pour la Cérémonie des Turcs MOZART Symphony No. 31 in D major (“Paris”) (1778) Allegro assai Andante Allegro M|M Mostly Mozart debut Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. David Geffen Hall Mostly Mozart Festival The Mostly Mozart Festival is made possible by Rita E. and Gustave M. Hauser. Additional support is provided by The Howard Gilman Foundation, The Fan Fox and Leslie R. Samuels Foundation, Inc., and Friends of Mostly Mozart. American Airlines is the Official Airline of Lincoln Center Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center “Summer at Lincoln Center” is supported by Pepsi Zero Sugar Artist Catering provided by Zabar’s and Zabars.com So- Percussion will be available to sign CDs after the performance on Tuesday, August 1. UPCOMING MOSTLY MOZART FESTIVAL EVENTS : Wednesday, August 2, at 10:00 pm in the Stanley H. -
Vocal Solos – Level 6 Codes for Suggested Voice Classification A= Alto B = Bass/Baritone M = Mezzo Soprano O = Anyone S = Sopr
Vocal Solos – Level 6 Codes for Suggested Voice Classification A= Alto B = Bass/Baritone M = Mezzo Soprano O = Anyone S = Soprano T = Tenor (y)= recommended as appropriate for younger voices Code Title Publisher 01 Art Songs, First Year CD 02 Contemporary Art Songs GS 03 Expressive Singing, Song Anthology, Vol.I WCB 04 Expressive Singing, Song Anthology, Vol. II WCB 05 Fifty Art Songs from the Modern Repertoire GS 06 Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf, Strauss GS 07 Fifty-Five Art Songs SUBI 08 Fifty-Six Songs You Like to Sing GS 09 Pathways Of Song, Vol. I WIT 10 Pathways Of Song, Vol. II WIT 11 Pathways Of Song, Vol. III WIT 12 Pathways Of Song, Vol. IV WIT 13 Twentieth Century Art Songs GS 14 Twenty-Four Italian Songs and Arias GS 15 Classic Italian Songs, Vol. 1 CD 16 Broadway Repertoire (4 Vol: S, M, T, B) CHAP 17 Song Anthology One LEYE 18 Song Anthology Two LEYE 19 Basics of Singing (ed. Jan Schmidt) SBKS 20 Foundations In Singing (ed. Christy) (Med-High & Med-Low editions) WCB 21 Young Singer, The (4 Volumes: S, A, T, B) ROW 22 Functional Lessons In Singing (ED. Trusler & Ehret) PHRA 23 New Anthology of American Song GS 24 Solos for the Church Soloist (High & Low) (ed. Pfautsch) LGCL 25 One for the Melody (ed. Hawley Ades) (Unison Songs By Classic Composers) SP 26 Sacred Songs For All Occasions (High & Low Editions) (ed. Hollingsworth & Frederickson) ROW Vocal Solo Composer Title Voices Portion/Collection/Worktitle Pub. Arne, T. -
Filene Artists – Wto the Emperor of Atlantis 2019
FILENE ARTISTS – WTO THE EMPEROR OF ATLANTIS 2019 JOSHUA BLUE, tenor Haywards Heath, United Kingdom TRAINING: Washington National Opera, The Santa Fe Opera, The Juilliard School, Music Academy of the West, Opera Theatre of Saint Louis, Oberlin Conservatory of Music HIGHLIGHTS: Monsieur Triquet in Eugene Onegin, Alfredo in La traviata (Washington National Opera DCYAP), Tisiphone in Hippolyte et Aricie (The Juilliard School), Scaramuccio in Ariadne auf Naxos (Austin Opera), Il Podesta in La finta giardiniera (The Juilliard School), Nemorino in L’elisir d’amore (Music Academy of the West), Franz/Block in The Trial (Opera Theatre of Saint Louis) Learn more about Joshua Blue BEN EDQUIST, baritone*^ Lake Jackson, TX TRAINING: Houston Grand Opera, Glimmerglass Festival, Rice University HIGHLIGHTS: William Dale in Silent Night (Austin Opera), Mayo Buckner in Mayo (Crane Opera Ensemble), Bernardo in West Side Story (Grand Teton Music Festival), Remo in The Skating Rink (Garsington Opera), Manfred in Out of Darkness: Two Remain (Atlanta Opera), Father in The Juniper Tree and William in The Fall of the House of Usher (WTO) Learn more about Ben Edquist MEGAN ESTHER GREY, mezzo-soprano Cedar Falls, IA TRAINING: The Metropolitan Opera, Merola Opera Program, Chautauqua Opera, University of Northern Iowa HIGHLIGHTS: Proserpina in L’Orfeo (Chautauqua Opera), Hansel in Hänsel und Gretel, L’enfant in L’enfant et les sortilèges, Mrs. Page in The Merry Wives of Windsor and Mrs. McLean in Susannah (University of Northern Iowa Opera), Metropolitan Opera National -
Opera up Close Youtube Playlist Bit.Ly/Operaupclosecco
Opera Up Close YouTube Playlist bit.ly/operaupcloseCCO All answers to the “what language are they singing?” questions are at the bottom of this list. 1. “What Happens Just Before Show Time At The Met Opera” https://youtu.be/GdUScE7VZq8 The American Ballet Theater shows us what happens before their performance of WHIPPED CREAM at the Met. Notice how many people it takes to put on a show! Make sure to read all the fun pop-up text as the camera zooms through the opera house. Pay close attention to the wigs and makeup, scene shop, and wardrobe (costume) departments. Did you know that wigs and facial hair are made out of real human hair? WOW! And look at how big that stage is. It’s so big that a set as big as a building can fit on it. What’s your favorite thing or person that you spot backstage? 2. COLORATURA SOPRANO - The Queen of the Night from THE MAGIC FLUTE – Diana Damrau https://youtu.be/YuBeBjqKSGQ You will hear a wonderful example of “coloratura soprano” singing in this video. A coloratura soprano sings high, light, and fast notes and has the highest voice of all sopranos and treble voices. This is German soprano Diana Damrau as The Queen of the Night in Mozart’s THE MAGIC FLUTE. Notice how her upper body fully engages (moves) when she sings the high and fast notes. Can you sing this high? What language is Diana Damrau singing? 3. LYRIC SOPRANO - Mimi from LA BOHÈME – Angel Blue https://youtu.be/XacspEL_3Zk Another kind of soprano is a “lyric soprano.” A lyric soprano sings high notes, too, but these voices are not comfortable singing as high for as long of a time period as coloratura sopranos, and the color of the voice is different. -
Playbill: up in Central Park, 1945, Herbert Fields, Dorothy Fields, New Century Theatre (New York, N.Y.), American Theatre Press, 1945
Playbill: Up in Central Park, 1945, Herbert Fields, Dorothy Fields, New Century Theatre (New York, N.Y.), American Theatre Press, 1945 DOWNLOAD http://bit.ly/1YcVnSa http://goo.gl/RVZIr http://www.powells.com/s?kw=Playbill%3A+Up+in+Central+Park New Century Theatre, Michael Todd's presents "Up in Central Park," book by Herbert and Dorothy Fields, lyrics by Dorothy Fields, music by Sigmund Romberg, with Wilbur Evans, Betty Bruce, Noah Beery, Charles Irwin, Maureen Cannon, Fred and Elaine Barry, Walter Burke, Maurice Burke, Paul Reed, book staged by John Kennedy, dances by Helen Tamiris, settings and lighting by Howard Bay, costumes by Grace Houston and Ernest Schraps, orchestra directed by Max Meth, orchestrations by Don Walker. DOWNLOAD http://bit.ly/1FIQcyZ http://bit.ly/1pD3erR Embraceable You , , Jun 1, 2002, Music, 70 pages. This Gershwin classic has been performed and recorded countless times, and now it's time for your beginning players to play and learn this gorgeous standard! Arranger Mike. The Batman Going Batty, , 2005, Juvenile Fiction, 24 pages. Batman must find a way to foil Joker's plot to gas all of Gotham City using a hot air balloon.. The Way You Look Tonight , Dorothy Fields, Jan 7, 2002, Family & Relationships, 64 pages. Apart from the introduction and song lyrics, the work consists of brief literary quotations.. The ghost sonata , August Strindberg, Nov 1, 1991, Drama, 52 pages. Stories for creative acting stories recommended and used successfully by leading creative dramatics directors and teachers, Charles Robert Kase, 1961, Education, 269 pages. Pandora's box (Lulu) , Ladislaus Vajda, Georg Wilhelm Pabst, Frank Wedekind, 1971, Performing Arts, 136 pages. -
The 2018 Guide Festivals
April 2018 The 2018 Guide Festivals FEATURE ARTICLE 10 Questions, Two (Very Different) Festivals Editor’s Note Our fifth annual Guide to Summer Festivals is our biggest yet, with some 85 annotated entries, plus our usual free access to the 1400 listings in the Musical America database. The details for the 85—dates, locations, artistic directors, programming, guest artists, etc.—have been provided by the festivals themselves, in response to a questionnaire sent to our list of Editor’s Picks. Those are determined by a number of factors: it’s hardly a surprise to see the big-budget events, such as Salzburg, Tanglewood, and Aspen, included. But budget is by no means the sole criterion. The 2018 Guide Programming, performers, range and type of events offered—all of these factor into the equation. For our feature article, we chose two highly regarded events and asked them one set of questions, just for the purposes of compare and contrast. Since George Loomis traveled to Ravenna last summer and knows Ojai well, we decided he was the perfect candidate to get the answers. Our hunch that the two couldn’t be more different turned out to be quite accurate: one takes place over a weekend, the over a two-month period; one is in the U.S., the other in Europe; one is rural, the other urban; one’s in a valley, the other by the sea; one focuses on contemporary fare, the other on traditional; one houses its artists in homes, the other in hotels; one is overseen by a man, the other by Festivals a woman; Ojai’s venues are primarily outdoor and strictly 20th century, Ravenna’s are mostly indoor and date as far back as the sixth century. -
The Rise of the Costume Designer: a Critical History of Costume on the New York Stage from 1934 to 1950
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1968 The Rise of the Costume Designer: a Critical History of Costume on the New York Stage From 1934 to 1950. Eelin Stewart Harrison Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Harrison, Eelin Stewart, "The Rise of the Costume Designer: a Critical History of Costume on the New York Stage From 1934 to 1950." (1968). LSU Historical Dissertations and Theses. 1444. https://digitalcommons.lsu.edu/gradschool_disstheses/1444 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microfilmed exactly as received 68-16,312 HARRISON, Eelin Stewart, 1915- THE RISE OF THE COSTUME DESIGNER: A CRITICAL HISTORY OF COSTUME ON THE NEW YORK STAGE F R O M 1934 TO 1950. Louisiana State University and Agricultural and Mechanical College, Ph.D., 1968 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan Co) EELIN STEWART HARRISON 1968 ALL RIGHTS RESERVED THE RISE OF THE COSTUME DESIGNER: A CRITICAL HISTORY OF COSTUME ON THE NEW YORK STAGE FROM 1934 TO 1950 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Speech by Eelin Stewart Harrison B.A., Brooklyn College, 1945 M.A., Louisiana State University, 1946 May, 1968 , ACKNOWLEDGMENTS The author wishes to express gratitude to all those who have so graciously given of their time and skill in the accomplishment of this task: To my esteemed professor, Claude L.