Midwestern Gilbert and Sullivan Society
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SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com SirArthurSullivan ArthurLawrence,BenjaminWilliamFindon,WilfredBendall \ SIR ARTHUR SULLIVAN: Life-Story, Letters, and Reminiscences. From the Portrait Pruntfd w 1888 hv Sir John Millais. !\i;tn;;;i*(.vnce$. i-\ !i. W. i ind- i a. 1 V/:!f ;d B'-:.!.i;:. SIR ARTHUR SULLIVAN : Life-Story, Letters, and Reminiscences. By Arthur Lawrence. With Critique by B. W. Findon, and Bibliography by Wilfrid Bendall. London James Bowden 10 Henrietta Street, Covent Garden, W.C. 1899 /^HARVARD^ UNIVERSITY LIBRARY NOV 5 1956 PREFACE It is of importance to Sir Arthur Sullivan and myself that I should explain how this book came to be written. Averse as Sir Arthur is to the " interview " in journalism, I could not resist the temptation to ask him to let me do something of the sort when I first had the pleasure of meeting ^ him — not in regard to journalistic matters — some years ago. That permission was most genially , granted, and the little chat which I had with J him then, in regard to the opera which he was writing, appeared in The World. Subsequent conversations which I was privileged to have with Sir Arthur, and the fact that there was nothing procurable in book form concerning our greatest and most popular composer — save an interesting little monograph which formed part of a small volume published some years ago on English viii PREFACE Musicians by Mr. -
Serpent Newsletter
Serpent Newsletter Serpent Newsletter P.O. Box 954 Mundelein, Illinois 60060 USA Newsletter for Serpent Enthusiasts September 27, 2011 A Note from the Editor Workshops Ÿ This newsletter has a somewhat different balance then some The 2011 Serpentarium other recent editions. For a while now we have been seeing many new materials in each issue, but there have been no The latest biennial international serpent gathering took place new audio or video recordings uncovered or discovered once again at Boswedden House on the rocky western shores since April of this year, with the exception of one CD that of Cornwall, England. Nigel Nathan and Thelma Griffiths did not arrive in time for a review. By way of compensation, were the hosts, and Phil Humphries of the London Serpent there have been many notices of other serpent activities and Trio presided over the sessions. results from some interesting research have also come to light. Participants began to arrive Thursday, May 26, in the afternoon. The weather was blustery with plenty of pelting There has been some suggestion that more people would rain, but it was easing up somewhat by dinner time. Early prefer to receive this newsletter electronically than in print arrivals included John Weber, his friend and serpent form. So it’s a good time to find out the feelings of all newcomer Ross Nuccio, and Paul Schmidt, all from the readers and thus inform future decisions. The newsletter Chicago area. This trio, plus Nigel, enjoyed getting up-to- goes to players and other interested individuals, as well as to speed on the local news during dinner at the golf course early music directors, composers, college faculty, libraries, tavern just down the hill from Boswedden. -
Eastman Notes July 2006
Attention has been paid! Playing inside Eastman Opera Theatre & outside takes aim at Assassins New books by two faculty members Eastman 90 Nine decades of Eastman milestones Winter 2012 FOr ALUMni, PArentS, AnD FrienDS OF tHe eAStMAn SCHOOL OF MUSiC FROM THE DEAN A splendid urgency Every now and then I have the good fortune of hearing a concert that is so riveting, I am reminded why I got into music in the first place. The Eastman Philharmonia’s recent performance of Stravinsky’s Rite of Spring, under the guest baton of Brad Lubman, was just such an occasion. Prepared and conducted su- perbly by Brad, and exuberantly performed by students clearly amped up by the music and the occasion, the raw beauty of one of Stravinsky’s greatest works came to stunning life. The power of this experience had nothing to do with outcomes, technologi- cal expertise, assessment, metrics of excellence, or gainful employment upon graduation. This was pure energy funneled into an art form. It was exotically NOTES irrational. It was about the rigorous pursuit of beauty, Volume 30, number 1 pure and simple. Winter 2012 As the national “music movement” grapples with the perception that it has lost precious ground in the fight Editor to keep music in our schools, I was reminded of our na- David raymond tional obsession with practical outcomes, and the chal- Contributing writers lenge of making a case for subjective artistic value in the John Beck Steven Daigle face of such an objectivity-based national agenda. Matthew evans Although we tend to focus on the virtues of music it- Douglas Lowry self, what we are really talking about is the act of learning robert Morris music. -
PARLOPHON Matrix Numbers — 2-9000 to 2-9999: British Discography Compiled by Christian Zwarg for GHT Wien Diese Diskographie Dient Ausschließlich Forschungszwecken
PARLOPHON Matrix Numbers — 2-9000 to 2-9999: British Discography compiled by Christian Zwarg for GHT Wien Diese Diskographie dient ausschließlich Forschungszwecken. Die beschriebenen Tonträger stehen nicht zum Verkauf und sind auch nicht im Archiv des Autors oder der GHT vorhanden. Anfragen nach Kopien der hier verzeichneten Tonaufnahmen können daher nicht bearbeitet werden. Sollten Sie Fehler oder Auslassungen in diesem Dokument bemerken, freuen wir uns über eine Mitteilung, um zukünftige Updates noch weiter verbessern und ergänzen zu können. Bitte senden Sie Ihre Ergänzungs- und Korrekturvorschläge an: [email protected] This discography is provided for research purposes only. The media described herein are neither for sale, nor are they part of the author's or the GHT's archive. Requests for copies of the listed recordings therefore cannot be fulfilled. Should you notice errors or omissions in this document, we appreciate your notifying us, to help us improve future updates. Please send your addenda and corrigenda to: [email protected] master 2-9000 master 2-9001 master 2-9002 master 2-9003 1911.08. D30 AN GBR: London, Beka Record Co. Head Office, 77 City Road, E.C. Where My Caravan Has Rested — Song (Hermann Löhr / Edward Teschemacher) Julian Jones (MD). — (orchestra). Giuseppe Lenghi-Cellini (tenor). master 2-9004 1911.08. D30 AN GBR: London, Beka Record Co. Head Office, 77 City Road, E.C. RIGOLETTO (Giuseppe Verdi / Francesco M. Piave) I/ 1: Questa o quella — Ballata {Duca} Questa o quella Julian Jones (MD). — (orchestra). Giuseppe Lenghi-Cellini (tenor). master 2-9005 1911.08. D30 AN GBR: London, Beka Record Co. -
Or, the Witch's Curse!
Ruddygore or, The Witch's Curse! An Entirely Original Supernatural Opera in Two Acts Written by W. S. Gilbert Composed by Arthur Sullivan First produced at the Savoy Theatre, London, Saturday 22nd January 1887 under the management of Mr. Richard D'Oyly Carte This edition privately published by Ian C. Bond at 2 Kentisview, Kentisbeare, CULLOMPTON. EX15 2BS. © 1995 RUDDYGORE Of all the Gilbert and Sullivan joint works, RUDDYGORE has been the most unfairly treated. The initial, rather hostile reception, led the partners to make a number of cuts and changes which, under rather more favourable circumstances, would probably not have been so severe. This gradual dissection continued in the 1920’s at the hands of Geoffrey Toye, Harry Norris, Malcolm Sargent and J M Gordon until, by the post-war revival of 1949, RUDDIGORE was, to all intents and purposes, a new work. It is to be hoped that such a thing could not happen today as I would like to think that we have far too much respect for the works of these two men to allow anyone to take such drastic rewrites upon themselves. That the original version of the opera works is evidenced by the considerable number of amateur revivals over the past few years that have attempted to return as closely as possible (given the lack of performing material) to a ‘first night version’ - a trend fuelled by the New Sadler’s Wells revival of 1987. That Gilbert was guilty of one miscalculation is fairly obvious in his placing of “The battle’s roar is over” in Act One. -
Social Discourse in the Savoy Theatre's
SOCIAL DISCOURSE IN THE SAVOY THEATRE’S PRODUCTIONS OF THE NAUTCH GIRL (1891) AND UTOPIA LIMITED (1893): EXOTICISM AND VICTORIAN SELF-REFLECTION William L. Hicks, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: John Michael Cooper, Major Professor Margaret Notley, Committee Member Mark McKnight, Committee Member James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Hicks, William L, Social Discourse in the Savoy Theatre’s Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection. Master of Music (Musicology), August 2003, 107 pp., 4 illustrations, 12 musical examples, references, 91 titles. As a consequence to Gilbert and Sullivan’s famed Carpet Quarrel, two operettas with decidedly “exotic” themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society. Copyright, 2003 by William L. Hicks ii ACKNOWLEDGEMENTS Because of the obscurity of The Nautch Girl and Utopia Limited, I am greatly indebted to the booksellers Christopher Browne and Wilfred M. -
1920 Patricia Ann Mather AB, University
THE THEATRICAL HISTORY OF WICHITA, KANSAS ' I 1872 - 1920 by Patricia Ann Mather A.B., University __of Wichita, 1945 Submitted to the Department of Speech and Drama and the Faculty of the Graduate School of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. Redacted Signature Instructor in charf;& Redacted Signature Sept ember, 19 50 'For tne department PREFACE In the following thesis the author has attempted to give a general,. and when deemed.essential, a specific picture of the theatre in early day Wichita. By "theatre" is meant a.11 that passed for stage entertainment in the halls and shm1 houses in the city• s infancy, principally during the 70' s and 80 1 s when the city was still very young,: up to the hey-day of the legitimate theatre which reached. its peak in the 90' s and the first ~ decade of the new century. The author has not only tried to give an over- all picture of the theatre in early day Wichita, but has attempted to show that the plays presented in the theatres of Wichita were representative of the plays and stage performances throughout the country. The years included in the research were from 1872 to 1920. There were several factors which governed the choice of these dates. First, in 1872 the city was incorporated, and in that year the first edition of the Wichita Eagle was printed. Second, after 1920 a great change began taking place in the-theatre. There were various reasons for this change. -
Class, Respectability and the D'oyly Carte Opera Company 1877-1909
THE UNIVERSITY OF WINCHESTER Faculty of Arts ‘Respectable Capers’ – Class, Respectability and the D’Oyly Carte Opera Company 1877-1909 Michael Stephen Goron Doctor of Philosophy June 2014 The Thesis has been completed as a requirement for a postgraduate research Degree of the University of Winchester The word count is: 98,856 (including abstract and declarations.) THE UNIVERSITY OF WINCHESTER ABSTRACT FOR THESIS ‘Respectable Capers’: Class, Respectability and the D’Oyly Carte Opera Company 1877-1909 Michael Stephen Goron This thesis will demonstrate ways in which late Victorian social and cultural attitudes influenced the development and work of the D’Oyly Carte Opera Company, and the early professional production and performance of the Gilbert and Sullivan operas. The underlying enquiry concerns the extent to which the D’Oyly Carte Opera organisation and its work relate to an ideology, or collective mentalité, maintained and advocated by the Victorian middle- classes. The thesis will argue that a need to reflect bourgeois notions of respectability, status and gender influenced the practices of a theatrical organisation whose success depended on making large-scale musical theatre palatable to ‘respectable’ Victorians. It will examine ways in which managerial regulation of employees was imposed to contribute to both a brand image and a commercial product which matched the ethical values and tastes of the target audience. The establishment of a company performance style will be shown to have evolved from behavioural practices derived from the absorption and representation of shared cultural outlooks. The working lives and professional preoccupations of authors, managers and performers will be investigated to demonstrate how the attitudes and working lives of Savoy personnel exemplified concerns typical to many West End theatre practitioners of the period, such as the drive towards social acceptability and the recognition of theatre work as a valid professional pursuit, particularly for women. -
THE MIKADO Gilbert & Sullivan
THE MIKADO Gilbert & Sullivan FESTIVAL THEATRE STATE OPERA SOUTH AUSTRALIA THE MIKADO A Comedic Opera in two acts Gilbert & Sullivan by Gilbert & Sullivan Orchestration by Eric Wetherell A Comedic Opera in two acts Orchestration by Eric Wetherell CREATIVES CAST Conductor - Simon Kenway Mikado - Pelham Andrews Director - Stuart Maunder Nanki Poo- Dominic J. Walsh Design - Simone Romaniuk Ko-Ko - Byron Coll Lighting Designer - Donn Byrnes Pooh-Bah - Andrew Collis Choreography - Siobhan Ginty Pish-Tush - Nicholas Cannon Associate Choreographer - Penny Martin Yum-Yum - Amelia Berry Repetiteur - Andrew George Pitti-Sing - Bethany Hill Peep-Bo - Charlotte Kelso Katisha - Elizabeth Campbell 9-23 NOVEMBER ADELAIDE FESTIVAL THEATRE STATE OPERA CHORUS The Mikado is an original ADELAIDE SYMPHONY ORCHESTRA production by Opera Queensland. Director’s Note There is no theatrical phenomenon in the Antipodes The G&S operetta’s durability is extraordinary but with the staying power of Gilbert and Sullivan. not unexplainable. After all, Gilbert’s dramatic situations are still funny, and Sullivan’s music Our love affair with G&S (and let’s face it, how succeeds in providing a kind of romantic foil to many creators are instantly recognised by their Gilbert’s pervasive drollery and cynicism. This kind initials alone?) is almost as enduring as the works of friction was very much at the heart of Gilbert themselves. In the 1870s, when policing copyright and Sullivan’s creative relationship and the gentle was much trickier than it is now, two rival “pirate” satire alternating with genuine heartfelt emotion is productions of H.M.S. Pinafore were playing across a combination that never ages – indeed, perhaps it’s the street from one another in Melbourne. -
The Best of Gilbert & Sullivan
The Best of Gilbert & Sullivan Beecham Choral Society and Royal Philharmonic Orchestra conducted by James Walker The Mikado If You Want To Know Who We Are A Wand'ring Minstrel I [Nanki-poo] – Edgar Fleet Behold the Lord High Executioner [Ko-ko] – Donald Adams I've Got a Little List [Ko-ko] – Donald Adams Comes a Train of Little Ladies Three Little Maids from School are we [Peep-bo] – Cynthia Glover [Pitti-sing] – Jean Allister [Yum-yum] – Patricia Clarke The Moon and I [Yum-yum] – Patricia Clarke Mi-ya Sa-ma, Mi-ya Sa-ma [Katisha] – Jean Allister [Mikado] – Anthony Raffell My Object All Sublime [Mikado] – Anthony Raffell For He's Gone and Married Yum-Yum The Pirates of Penzance Pour, Oh Pour the Pirate Sherry [Samuel] – Neil Howlett Oh Better Far to Live And Die [Pirate King] – Kenneth Sandford Climbing Over Rocky Mountain Oh, Is There Not One Maiden Breast [Frederic] – Edgar Fleet [Mabel] – Cynthia Glover Poor Wand'ring One [Mabel] – Cynthia Glover I Am the Very Model of a Modern Major-General [Major-general] – John Cartier When the Foeman Bares His Steel [Mabel] – Cynthia Glover [Samuel] – Neil Howlett [Sergeant] – Donald Adams A Policeman's Lot Is not a Happy One [Sergeant] – Donald Adams With Cat-Like Tread [Samuel] – Neil Howlett H. M. S. Pinafore We Sail the Ocean Blue I'm Called Little Buttercup [Mrs. Cripps (Buttercup)] – Jean Allister The Nightingale [Ralph] – Edgar Fleet A Maiden Fair to See [Ralph] – Edgar Fleet I am the Captain of the Pinafore [Captain Corcoran] – Neil Howlett Over the Bright Blue Sea Sir Joseph's Barge is Seen I Am the Monarch of the Sea [Captain Corcoran] – Neil Howlett [Cousin Hebe] – Jean Allister [Sir Joseph Porter] – Stanley Riley When I Was a Lad [Sir Joseph Porter] – Stanley Riley Things Are Seldom What They Seem [Captain Corcoran] – Neil Howlett [Mrs. -
December 8, 2009 (XIX:15) Mike Leigh TOPSY-TURVY (1999, 160 Min)
December 8, 2009 (XIX:15) Mike Leigh TOPSY-TURVY (1999, 160 min) Directed and written by Mike Leigh Produced by Simon Channing Williams Cinematography by Dick Pope Film Editing by Robin Sales Art Direction by Helen Scott Set Decoration by John Bush and Eve Stewart Costume Design by Lindy Hemming Allan Corduner...Sir Arthur Sullivan Dexter Fletcher...Louis Sukie Smith...Clothilde Roger Heathcott...Banton Wendy Nottingham...Helen Lenoir Stefan Bednarczyk...Frank Cellier Geoffrey Hutchings...Armourer Timothy Spall...Richard Temple (The Mikado) Francis Lee...Butt Kimi Shaw...Spinner William Neenan...Cook Toksan Takahashi...Calligrapher Adam Searle...Shrimp Akemi Otani...Dancer Martin Savage...George Grossmith (Ko-Ko) Kanako Morishita...Samisen Player Jim Broadbent...W. S. Gilbert Theresa Watson...Maude Gilbert Lesley Manville...Lucy Gilbert Lavinia Bertram...Florence Gilbert Kate Doherty...Mrs. Judd Togo Igawa...First Kabuki Actor Kenneth Hadley...Pidgeon Eiji Kusuhara...Second Kabuki Actor Keeley Gainey...Maidservant Ron Cook...Richard D'Oyly Carte Naoko Mori...Miss 'Sixpence Please' Eleanor David...Fanny Ronalds Eve Pearce...Gilbert's Mother Gary Yershon...Pianist in Brothel Neil Humphries...Boy Actor Katrin Cartlidge...Madame Vincent Franklin...Rutland Barrington (Pooh-Bah) Julia Rayner...Mademoiselle Fromage Michael Simkins...Frederick Bovill Jenny Pickering...Second Prostitute Alison Steadman...Madame Leon Kevin McKidd...Durward Lely (Nanki-Poo) Cathy Sara...Sybil Grey (Peep-Bo) Sam Kelly...Richard Barker Angela Curran...Miss Morton Charles Simon...Gilbert's Father Millie Gregory...Alice Philippe Constantin...Paris Waiter Jonathan Aris...Wilhelm David Neville...Dentist Andy Serkis...John D'Auban Matthew Mills...Walter Simmonds Mia Soteriou...Mrs. Russell Shirley Henderson...Leonora Braham (Yum-Yum) Louise Gold...Rosina Brandram (Katisha) Nicholas Woodeson...Mr. -
Precious Nonsense
Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY June 2001 -- Issue 63 Of course, you will understand that, as Chancellor of the Exchequer, I am bound to see that due economy is observed. There's nothing like a bargain. W ith the postal rate on letters weighing more than an ounce going up on July 1, it seemed like a good idea to try to get a "fat" newsletter out before the change. So here we are. Although we're lacking any play synopses this time around, we do have the answers to last year's Big Quiz, plenty of news of G&S productions, and some interesting insights from Arthur Robinson. So let's see how it goes. Oh, Members, How Say You, What is it You've Light Opera at (330) 263-2345 / www.wooster.edu/OHIOLIGHTOPERA/ . Or e-mail Done? [email protected]. And their address is The We were saddened and pleased to learn that MGS College of Wooster, Wooster, OH 44691. member and frequent G&S lead performer David Michaels is leaving the Chicago area for Seattle. Sad because he’s Although Light Opera Works isn't presenting any G&S going, and glad because he’ll be seeing more of his family this season, they do have an interesting program for youth, (and able to report on G&S activity in Washington State)! featuring, among other things, an opportunity to work on a Best wishes for his move and his future! production of The Pirates of Penzance. Their Musical Theater Summer Workshops (“for kids 8 to 18") this year By the way, someone asked what our membership include Annie (July 9-14, 2001), Pirates of Penzance (July statistics are, after the renewals were returned.