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L DTAT Alexandra Theatre, Hull Programmes and Playbills 26 Dec 1902-1937
Hull History Centre: Alexandra Theatre, Hull Programmes and Playbills L DTAT Alexandra Theatre, Hull Programmes and Playbills 26 Dec 1902-1937 Historical Background: The Alexandra Theatre opened in 1902 on the corner of George Street and Charlotte Street. It was owned by William Morton and designed by T Guest. A brick corner-tower was its main feature. The theatre was refurbished in 1930 but then destroyed by heavy bombing in 1941. Extent: 43 items Related material: Plans of the Alexandra Theatre can be found at C TAB/CB3 Access conditions: Access will be granted to any accredited reader L DTAT/1 Alexandra Theatre, Hull, Programmes 26 Dec 1902- 42 items 1937 L DTAT/1/1 The Original Royal Divorce Company, Princess Dec 1902- Theatre, London presents ''A Royal Divorce.'' Jan 1903 Performers: Miss Edith Cole, Frederick Moyes, William Dexter, Charles A. Doran, Herbert H. Young, Mr H.P. Owen This is a photocopy, the original programme at L DTAT/1/1a is not fit for production. 1 item L DTAT/1/1a The Original Royal Divorce Company, Princess Dec 1902- Theatre, London presents ''A Royal Divorce.'' Jan 1903 Performers: Miss Edith Cole, Frederick Moyes, William Dexter, Charles A. Doran, Herbert H. Young, Mr H.P. Owen Original programme. Not fit for production. See L DTAT/1/1 for photocopy. 1 item L DTAT/1/2 Walter Howard presents ''The Story of the 17 Nov 1917 Rosary.'' Performers: Alfred Farrell, Charles Calvert, Reginald Hancock, Sidney A. Monckton, Christopher Hodge, Frank Stevens, Anne Crankshaw, Robert Monteigle, Cyril Harcourt, April Merle, Esme Lewis and Vera French 1 item L DTAT/1/3 A list of performances for the week - Romeo & 8 Jan 1923 Juliet, Aida, Il Trovatore, Maritana, Lohengrin, Carmen. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
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. -
ARSC Journal
THE GILBERT AND SULLIVAN OPERETTAS ON 78s: COMPLETE SETS AND ABRIDGEMENTS, 1906. 1950 John W. N. Francis In 1877 Richard D'Oyly Carte commissioned Gilbert and Sullivan to write The Sorcerer, and organized an ensemble of singer-actors to perform the new piece under the author's artistic direction. Also in 1877, of course, Charles Cros and Thomas Edison invented sound recording. More than a century later both the music and the medium continue to flourish, and indeed they have come together often and success fully--notably in the many complete versions by the D'Oyly Carte Opera Company, which have set standards of style and ensemble for generations of devotees and amateur performers. This discography documents the complete recordings of the Gilbert and Sullivan operettas made at 78 rpm, not only by the D'Oyly Carte company or under its aegis, but also by others with lesser claims to authenticity. Also included are substantial abridgements and sets of excerpts--groups of five or more sides made at essentially the same time and place and with the same performers, whether or not they were ever issued collectively or with consecutive numbering. The following comments set the recordings in the context of the D'Oyly Carte Opera Company's history. THE ACOUSTIC RECORDINGS When Richard D'Oyly Carte died in 1901, his widow Helen assumed manage ment of the businesses he had built, including the Savoy Theatre in London and the opera company, which was then on tour. In 1906 she brought the troupe back to the Savoy for a repertory season of Gilbert and Sullivan, its very first. -
GILBERT and SULLIVAN PAMPHLETS† Number Two
1 GILBERT AND SULLIVAN PAMPHLETS † Number Two CURTAIN RAISERS A Compilation by Michael Walters and George Low First published October 1990 Slightly revised edition May 1996 Reprinted May 1998. Reformatted and repaginated, but not otherwise altered. INTRODUCTION Very little information is available on the non Gilbert and Sullivan curtain raisers and other companion pieces used at the Savoy and by the D’Oyly Carte Opera Company on tour in their early years. Rollins and Witts give a brief list at the back of their compilation, and there are passing references to some of the pieces by Adair-Fitz- gerald and others. This pamphlet is intended to give some more data which may be of use and interest to the G&S fraternity. It is not intended to be the last word on the subject, but rather the first, and it is hoped that it will provoke further investigation. Perhaps it may inspire others to make exhaustive searches in libraries for the missing scores and libretti. Sources: Cyril Rollins & R. John Witts: 1962. The D’Oyly Carte Opera Company in Gilbert and Sullivan Operas. Cyril Rollins & R. John Witts: 1971. The D’Oyly Carte Opera Company in Gilbert and Sullivan Operas. Second Supplement. Privately printed. p. 19. J.P. Wearing: 1976. The London Stage, 1890-1899. 2 vols. J.P. Wearing: 1981. The London Stage, 1900-1909. 2 vols. Allardyce Nicoll: A History of English Drama 1660-1900, vol. 5. (1959) Late Nineteenth Century Drama 1850-1900. Kurt Ganzl: 1986. The British Musical Theatre. 2 vols. S.J. Adair-Fitzgerald: 1924. -
Bravoto the BLUE HILL TROUPE!
Blue Hill Trou Hill Blue The secret is out... Blue Hill Troupe, Ltd. Greenwood Gardens, presents a historic garden in Short Hills, New Jersey opens to the public! pe, Ltd. Gilbert & Sullivan’s Gilbert & Sullivan’s The THE MIKADOTHE reated in a gilded age and restored in light of today’s best practices, Greenwood Gardens is Can enclave of historic ornamental gardens less than an hour’s drive from New York City. Beginning Mikado April 28, 2013, Greenwood will open its grounds to the public as a new cultural resource devoted to or, The Town of Titipu the appreciation of horticulture, preservation, and conservation. for the benefit of The GO Project Photos: ©Ken Druse April 12-20, 2013 274 Old Short Hills Road Hours: Short Hills, New Jersey 07078 Beginning April 28, 2013 Sunday 10 A.M. - 4 P. M. El Teatro of El Museo del Barrio 2013 973-258-4026 Monday 10 A.M. - 3 P. M. New York, NY greenwoodgardens.org Tuesday 10 A.M. - 3 P. M. Deutsche Bank Private Wealth Management Inspiring Minds, Sharing Cultures Deutsche Bank Private Wealth Management recognizes the importance of the arts and appreciates the positive influences they make on society. Through longstanding partnerships with organizations that support artistic and cultural dynamism, we are dedicated to providing experiences with the arts to a wide-ranging audience. We are committed to preserving and expanding the rich and diverse cultural resources in the communities in which we are deeply rooted. Deutsche Bank Private Wealth Management is proud to support the Bill Hill Troupe’s production of The Mikado. -
London Musicals 1920-1924.Pub
1920 1 MEDORAH London run: Alhambra, January 22 nd – March 13 th (60 performances) Music: Vada Ennem Book & Lyrics Denn Spranklin English adaptation: Rupert Hazell English lyrics : Adrian Ross Additional numbers : John Ansell Director: E. Dagnell Choreographer: Will Bishop Musical Director : John Anstell Cast: Leo Stormont ( Sultan), Ada Reeve (Medorah), W.S. Percy ( Dadoolah), Jamieson Dodds (Vernon Grant ), Leslie Stiles ( Ambassador Manston), Margaret Campbell ( Mrs Manston) Songs: Tomorrow’s Another Day, There’s Always a Drawback, Like a Dream. Wonderful Joy, Hope Again, Love and My Soul Alone Story: In Caravanistan beauty is measured in physical bulk, the heavier the better. The Sultan’s eldest daughter, Medorah, is thin, too thin to be an eligible bride. Chancellor Dadoolah suggests she is sent to America for the purposes of putting on weight – a suggestion that delights her because she has fallen in love with Vernon Grant, the man who accompanied the American ambassador and his wife to a reception in the Sultan’s palace. They meet again in Washington, and when she is summoned back to Caravanistan , Vernon secretly follows. Meantime, after various adventures, Vernon is captured and forced to work as a slave in the Sultan’s household. With no hope of marrying his underweight daughter to a prince, the Sultan condemns her to marry his new slave – and thus Medorah and Vernon are happily united. Notes: The original publicity declared that “Medorah” was jointly produced by Mr. Bernard J. Hishin and Sir Oswald Stoll, but within a week of opening, the show was subject to a legal dispute in the Court of Chancery, with Violet Melnotte claiming (and winning) half-ownership in the copyright of the English version of this Dutch original. -
Examples of How Alan Kelly's Data Was Coded
Examples of how Alan Kelly’s data was coded 1. A straightforward example Kelly’s data as provided by him in Microsoft Word DEREK OLDHAM (organ) Cc 20633 Semele: Where’er you walk (Handel) -1 21-10-30 -2 -3 32-2014 C2146 As automatically tagged in XML by CHARM’s partners CCH <head> <performer> DEREK OLDHAM (organ) </performer> <venue> Kingsway Hall, London </venue> </head> <record xml:id ="MAT201_17367" > <catNum></catNum> <matrix><num> Cc 20633-1</num></matrix> <date when ="" >21-10-30 </date> <title>Semele: Where’er you walk <composer> Handel </composer></title> </record> <record xml:id ="MAT201_17368" > <catNum></catNum> <matrix><num> Cc 20633-2</num></matrix> <date when ="" >21-10-30 </date> <title> Semele: Where’er you walk <composer> Handel </composer></title> </record> <record xml:id ="MAT201_17369" > <catNum></catNum> <matrix><num> Cc 20633-3</num></matrix> <date when ="" >21-10-30 </date> <title> Semele: Where’er you walk <composer> Handel </composer></title> <note> 32-2014 C2146 </note> </record> As it appears via a search in the CHARM discography Composer: Handel, Work: Semele: Where’er you walkHandel, Performer: DEREK OLDHAM (organ), Date: 21-10-30 Catalogue : Kelly Performer: DEREK OLDHAM (organ) Venue: Kingsway Hall, London Num: Cc 20633-1 Date: 21-10-30 Title: Semele: Where’er you walk Composer: Handel ------------------------------------------------------------------------------------------------------------------ Composer: Handel, Work: Semele: Where’er you walkHandel, Performer: DEREK OLDHAM (organ), Date: 21-10-30 Catalogue -
If You Love Music
of the singers. Apart from Alfred Deller's, Patience herself, even Sargent's lovelybard? it doesn't sound like Leslie Rands). no such attempts come to mind. Yet one of Elsie Morison can't match the indomitable K.F. the best things about the performance is its Margaret Mitchell in the D'Oyly Carte's pacing. Particularly in this style of fluid postwar mono set,formerly on Rich- recitative, with its witty exchanges and rap- HAYDN: Symphonies (11)-See page mond. 58. id shifts in tone, the ever changing move- The Gondoliers excerpts, not to be ment of the music requires the utmost con- confused with the differently cast 1927 trol in order to seem natural. To Jacobs' complete recording conducted by HarryLEONCAVALLO: La Bohente. credit, Orontea seems as brisk and as much Norris (Arabesque 8058-2L), comprise CAST: fun as a Hollywood comedy. something under half the score, concentrat- Mimi Lucia Popp (s) The recording qualityisexcellent, ing on the gondoliers themselves and their Musette Alexandrina Milcheva (ms) with sound-intimate rather than spectacu- wives. I prefer the excerpts to the complete Eufemia Sofia Lis (ms) lar-that befits the scale of the work. It is a recording. They're performed with agree- Marcello Franco Bonisolli (t) Gaudenzio Friedrich Lenz (t) pleasure that the clearly produced but unob- able spirit, if again without much vocal dis- Durand Norbert Orth (t) trusive digital sound and the excellent tinction, one exception being the fine "Ris- II Signore del primo pianoAlbert Gassner (t) pressing allow Cesti's Orontea to shine for ing early in the morning" !Leonard Hub- Rodolfo Bernd Weikl (b) itself. -
The Bruce Doery Collection (Members Are Able to Borrow Items from This Collection)
The Bruce Doery Collection (Members are able to borrow items from this collection) TITLE AUTHOR YEAR WSG 2.1 Libretti (individual) Thespis TerrenceRees 1964 2003 (revised Thespis Terrence Rees edition) 1979 Flint/Brock The Mikado illustrations 1979 Flint/Brock The Yeomen of the Guard illustations 2.2 Libretti collected. 1951 The Savoy Operas MacMillan 1975 The Savoy Operas MacMillan Annotated Ian Bradley 1996 The First Night G&S Reginald Allen 1975 2.3 Gillbert Without Sullivan Gilbert Before Sullivan Jane W. Stedman 1969 2.5 Prose and Verse The Bab Ballads 1953 The Lost Stories of W. S. Gilbert Peter Hainin Ed. 1982 2.6 Story adaptations The Savoy Stories Evelyn Gatliff 1950 Stories from G&S Gladys Davidson 1952 The Nightmare Song Angie Sage 1981 3 Biographies Gilbert His Life and Strife Hesketh Pearson 1957 W.S. Gilbert The Classic Victorian and His Theatre Jane W. Steadman 1996 3.2 A.S.S. Sir Arthur Sullivan H.Sullivan /N. Flower 1950 Sir Arthur Sullivan Percy M. Young 1971 Arthur Sullivan A Victorian Musician Arthur Jacobs 1984 Sullivan and the Scott Russells John Wolfson 1984 Uncle Arthur Californian Connection Scott Hayes 2003 3.3 Savoyards Page 1 of 4 The Bruce Doery Collection (Members are able to borrow items from this collection) Muriel Dickson Michael Walters 2004 Aileen Davies 1920'2 Soubrette Tony Joeseph 2002 George Grossmith Tony Joeseph 1982 Charles Goulding Bristol Tennor Tony Joeseph 2001 Evelyn Gardiner Flying Opera Singer Tony Joeseph 2004 1952 (UK Here's A How-de-do Martin Green Version) A Song To Sing-O! Winifred Lawson 1955 The Secret's Of A Savoyard Henry A. -
Gilbert & Sullivan Princess Ida Mp3, Flac
Gilbert & Sullivan Princess Ida mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Non Music / Classical / Stage & Screen Album: Princess Ida Country: UK Released: 1933 Style: Operetta MP3 version RAR size: 1367 mb FLAC version RAR size: 1162 mb WMA version RAR size: 1464 mb Rating: 4.1 Votes: 791 Other Formats: APE MP1 AC3 AA MP4 WMA WAV Tracklist Hide Credits A Overture B Search Throughout Today We Meet, My Baby Bride And I C Tenor Vocals – Derek Oldham From The Distant Panorama D1 Vocals – Darrell Fancourt, Edward Halland, Stuart Robertson We Are Warriors Three D2 Vocals – Darrell Fancourt, Edward Halland, Stuart Robertson E If You Give Me F Come, Cyril G Towards The Empyrean Heights H Mighty Maiden I Gently, Gently J I Am A Maiden K The World Is But A Broken Toy L A Lady Fair M Now, Wouldn't You Like N Would You Know O Madam, Without The Castle Walls P Be Reassured Q Death To The Invader R Whene'er I Spoke S When Anger T This Is Our Duty Barcode and Other Identifiers Matrix / Runout (Stamped runout, side C): 2B4220Ⅰ☐ R 32-3327 1 Matrix / Runout (Stamped runout, side D): 2B 4229Ⅰ☐ G 32-3328 Related Music albums to Princess Ida by Gilbert & Sullivan Gilbert And Sullivan / D'Oyly Carte Opera Company - H.M.S. Pinafore, Trial By Jury Gilbert & Sullivan, D'Oyly Carte Opera Company, Royal Philharmonic Orchestra, Sir Malcolm Sargent - Princess Ida Gilbert & Sullivan, The Chorus Of The D'Oyly Carte Opera Company - Gilbert & Sullivan Choruses Gilbert & Sullivan, The D'Oyly Carte Opera Company - Patience (With Complete Dialogue) G & S - The D'Oyly -
The Mikado of Japan ...O • • •••••••••••• Darrell
The Mikado of Japan ........................................ o • • •••••••••••• D arrell Fanco urt Nanki-Poo, his son (disguised) ....................... o • • • ••••• o • • • ••••••••••••• Derek Oldham Ko-Ko, Lord High Executioner .................... o • , • •••••••••••• o • , ••••• Sir Henry A. Lytton Pooh-Bah, Lord High Everything Else ................. , . ............ o •••••••••• Leo Sheffield Pish-Tush, a Noble Lord ................ ............ o • • • ••••••••••••••••••••• Geo rge Ba ker Go-To, a Noble Lord .......................................................T. Penry Hughes Yum-Yum, ward of Ko-Ko ...................................................... Elsie Griffin Pitti-Sing, schoolfricnd (shared role) ....... Aileen Davies*, Doris Hemingway**, Beatrice Elburn*** Pccp-Bo, another school friend ................................................. Beatrice Elburn Ka tisha, a Lady of the Mikado's court............................................. Bertha Lewis Light Opera Orchestra and Chorus H arry Norris, conductor (Pitti-Sing: *CD 1, Tracks 12, 16 & 17;CD 2, Tracks 7, 8, 9 & 13. **CD 1, Track 11; CD 2, Track 3. ***CD 2, Track 1) Producer's Note The 1926 D'Oyly Carte production of The Mikado boasted several " firsts". It was the first to usc new costumes and scenery since the original production of 1885, and the first to broadcast a portion of the opening night performance on the radio, li ve from the theater. It would also become not merely the first Gilbert and Sullivan work, but the first opera of any kind to be recorded complete using the new electrical process. As might be expected with such an early effort, the recording guality is variable. Some portions have much clarity and presence, while other sides sound dim and muffled. There are balance problems between singers and orchestra, and sometimes between one singer and another. The sides dating from the December 6th session are particularly problematic- bass-deficient, shrill and distorted.