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Advance Program Notes New York Gilbert & Sullivan Players H.M.S
Advance Program Notes New York Gilbert & Sullivan Players H.M.S. Pinafore Friday, May 5, 2017, 7:30 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. Albert Bergeret, artistic director in H.M.S. Pinafore or The Lass that Loved a Sailor Libretto by Sir William S. Gilbert | Music by Sir Arthur Sullivan First performed at the Opera Comique, London, on May 25, 1878 Directed and conducted by Albert Bergeret Choreography by Bill Fabis Scenic design by Albère | Costume design by Gail Wofford Lighting design by Benjamin Weill Production Stage Manager: Emily C. Rolston* Assistant Stage Manager: Annette Dieli DRAMATIS PERSONAE The Rt. Hon. Sir Joseph Porter, K.C.B. (First Lord of the Admiralty) James Mills* Captain Corcoran (Commanding H.M.S. Pinafore) David Auxier* Ralph Rackstraw (Able Seaman) Daniel Greenwood* Dick Deadeye (Able Seaman) Louis Dall’Ava* Bill Bobstay (Boatswain’s Mate) David Wannen* Bob Becket (Carpenter’s Mate) Jason Whitfield Josephine (The Captain’s Daughter) Kate Bass* Cousin Hebe Victoria Devany* Little Buttercup (Mrs. Cripps, a Portsmouth Bumboat Woman) Angela Christine Smith* Sergeant of Marines Michael Connolly* ENSEMBLE OF SAILORS, FIRST LORD’S SISTERS, COUSINS, AND AUNTS Brooke Collins*, Michael Galante, Merrill Grant*, Andy Herr*, Sarah Hutchison*, Hannah Kurth*, Lance Olds*, Jennifer Piacenti*, Chris-Ian Sanchez*, Cameron Smith, Sarah Caldwell Smith*, Laura Sudduth*, and Matthew Wages* Scene: Quarterdeck of H.M.S. Pinafore *The actors and stage managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. -
The Fortune Teller the OHIO LIGHT OPERA STEVEN BYESS STEVEN DAIGLE Conductor Artistic Director the Fortune Teller
VICTOR HERBERT The Fortune Teller THE OHIO LIGHT OPERA STEVEN BYESS STEVEN DAIGLE Conductor Artistic Director The Fortune Teller Music......................................Victor Herbert ENSEMBLE: Book and Lyrics......................Harry B. Smith Jacob Allen, Natalie Ballenger, Sarah Best, Lori Birrer, John Vocal Score Reconstruction........Adam Aceto Callison, Ashley Close, Christopher Cobbett, Mary Griffin, Anna-Lisa Hackett, Geoffrey Kannerberg, Andy Maughan, Ohio Light Opera Olivia Maughan, Evan McCormack, Geoffrey Penar, Will Perkins, Madeline Piscetta, Zachary Rusk, Mark Snyder, Raina Thorne, Artistic Director........................Steven Daigle Angela Vågenes, Joey Wilgenbusch. Conductor.................................Steven Byess Stage Director.......................Ted Christopher Sound Designer..........................Brian Rudell PROGRAM NOTES ...............................Michael D. Miller Choreographer.....................Carol Hageman Victor Herbert, acknowledged as Costume Designer.................Whitney Locher the Father of American Operetta, Scenic Designer...............................Erich Keil was born in Dublin in 1859, the Lighting Designer.....................Krystal Kennel grandson of Irish novelist-artist- Production Stage Manager...Katie Humphrey composer Samuel Lover. The family eventually moved to Stuttgart where CAST: Victor’s initial studies toward a Musette / Irma...........................Amy Maples career in medicine or law were soon Sandor...........................David Kelleher-Flight replaced -
PINAFORE BOOK.Pmd
GILBERT SULLIVAN H.M.S. Pinafore THE OHIO LIGHT OPERA J. Lynn Thompson Steven Daigle CONDUCTOR ARTISTIC DIRECTOR H.M.S. PINAFORE Music...............................Sir Arthur Sullivan PROGRAM NOTES ...................Raymond McCall Libretto.....................................W.S. Gilbert H.M.S. Pinafore has been the most frequently OHIO LIGHT OPERA performed work at The Ohio Light Opera and an audience favorite on both sides of the Atlantic Artistic Director....................Steven A. Daigle Conductor.........................J. Lynn Thompson since 1878. Its initial run in London prompted Stage Director..................Julie Wright Costa numerous unauthorized productions in this Choreographer.................... Carol Hageman country where Sullivan’s melodies were played by Costume Designer................Adrienne Jones organ grinders and Gilbert’s lyrics became tag lines Scenic Designer...............Kimberly V. Powers for would-be comedians. Meanwhile, the creators Lighting Designer...................Michael Banks earned not one penny in royalties! Sound Designer..........................Andy Kauff To counter this piracy and to demonstrate Production Stage Manager..Katie Humphrey the superiority of the authentic version, London CAST: producer Richard D’Oyly Carte decided to bring a Sir Joseph Porter..................Ted Christopher company to New York. On December 1, 1879, at Ralph Rackstraw.....................Stephen Faulk the Fifth Avenue Theatre, Sullivan conducted the Josephine...........................Natalie Ballenger score -
'His Excellency'
AROUND TOWN No.151 Autumn 2012 ISSN 0159 3285 ISSN ’His Excellency’ The Hon Alex Chernov AC QC Governor of the State of Victoria 1 VICTORIAN BAR NEWS No. 151 Autumn 2012 Editorial 2 The Editors - Victorian Bar News Continues 3 Chairman’s Cupboard - At the Coalface: A Busy and Productive 2012 News and Views 4 From Vilnius to Melbourne: The Extraordinary Journey of The Hon Alex Chernov AC QC 8 How We Lead 11 Clerking System Review 12 Bendigo Law Association Address 4 8 16 Opening of the 2012 Legal Year 19 The New Bar Readers’ Course - One Year On 20 The Bar Exam 20 Globe Trotters 21 The Courtroom Dog 22 An Uncomfortable Discovery: Legal Process Outsourcing 25 Supreme Court Library 26 Ethics Committee Bulletins Around Town 28 The 2011 Bar Dinner 35 The Lineage and Strength of Our Traditions 38 Doyle SC Finally Has Her Say! 42 Farewell to Malkanthi Bowatta (DeSilva) 12 43 The Honourable Justice David Byrne Farewell Dinner 47 A Philanthropic Bar 48 AALS-ABCC Lord Judge Breakfast Editors 49 Vicbar Defeats the Solicitors! Paul Hayes, Richard Attiwill and Sharon Moore 51 Bar Hockey VBN Editorial Committee 52 Real Tennis and the Victorian Bar Paul Hayes, Richard Attiwill and Sharon Moore (Editors), Georgina Costello, Anthony 53 Wigs and Gowns Regatta 2011 Strahan (Deputy Editors), Ben Ihle, Justin Tomlinson, Louise Martin, Maree Norton and Benjamin Jellis Back of the Lift 55 Quarterly Counsel Contributors The Hon Chief Justice Warren AC, The Hon Justice David Ashley, The Hon Justice Geoffrey 56 Silence All Stand Nettle, Federal Magistrate Phillip Burchardt, The Hon John Coldrey QC, The Hon Peter 61 Her Honour Judge Barbara Cotterell Heerey QC, The Hon Neil Brown QC, Jack Fajgenbaum QC, John Digby QC, Julian Burnside 63 Going Up QC, Melanie Sloss SC, Fiona McLeod SC, James Mighell SC, Rachel Doyle SC, Paul Hayes, 63 Gonged! Richard Attiwill, Sharon Moore, Georgia King-Siem, Matt Fisher, Lindy Barrett, Georgina 64 Adjourned Sine Die Costello, Maree Norton, Louise Martin and James Butler. -
Precious Nonsense
Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY June 2002 -- Issue 64 When but a maid of fifteen year, Unsought -- unplighted-- Short-petticoated -- and, I fear, Still shorter--sighted My, that sounds ominous! It isn't meant to be, any more than the use of plain return address labels, instead of the usual M GS heading. (I just w ound up with a stack of them, and hated to let them go to waste. We'll probably have another mailing with them: there's still a big stack!) No, it just means that seventeen years ago, when the Midwestern Gilbert and Sullivan Society started, I didn't realize putting together a newsletter could take so long. (It also means that about twelve years of yard work and house repair are catching up with me: thank you, as always, for your patience! And does anyone know any quick and effective way to clean a wooden deck that doesn't require renting a pressure sprayer? I shou ldn't be sorry to learn it!) Let me know if you're interested: I'll be glad to write you a Christmas letter about what all's been going on (a Christmas-in-July letter, maybe). And if you aren't, I don't blame you. But before we go further, have we (or more accurately, The American Concert Band / Detroit Concert Band) got something for you (if you have a record player)! Several months ago, Mary Lou Hornberger of the Concert Band sent the MGS a boxful of LP recordings of their album Through the Years with Sousa, Volume 10 of their series of recordings of all the marches of John Philip Sousa. -
Joel Andrew Weiss
OperaManager.com - Joel Andrew Weiss JOEL ANDREW WEISS Tenor This season tenor JOEL ANDREW WEISS made his international debut as Alredo in LA TRAVIATA with Polish National Opera conducted by Jacek Kaspszyk. He also sang his first Edgardo in LUCIA DI LAMMERMOOR with the Vermont International Opera Festival, and Eisenstein in DIE FLEDERMAUS with Maine Grand Opera. Upcoming performances include Don Ottavio in DON GIOVANNI and Rev. Parris in THE CRUCIBLE with Opera Company of North Carolina, Nemorino in L'ELISIR D'AMORE, DON GIOVANNI with Cedar Rapids Opera Theater, and Handel's Messiah at St. John's Lutheran in New York. Previous seasons have included THE MIKADO and Beppe in PAGLIACCI with Eugene Opera, IL RE PASTORE with New York Chamber Opera, LA BOHEME with Opera Shawnee and Maine Grand Opera, AMAHL and the NIGHT VISITORS with Lyric Opera of New York as well as performances of ELIJAH and Rossini's STABAT MATER at St. John's. Hailed by Opera News as having "a commanding presence and a powerful voice," Joel's work in contemporary opera includes ALBERT HERRING, THE SEAGULL, STREET SCENE, THE BALLAD OF BABY DOE, SUSANNAH and Louis Gruenberg's one-man opera THE CREATION. Joel also created the role of Tameem in the world premier of Martin Halpern's THE SATIN CLOAK. Early in his career Joel performed leading roles in lighter repertoire including PIRATES OF PENZANCE, EILEEN, THE GRAND DUKE and ROSE MARIE with Ohio Light Opera, Opera Theater of Northern Virginia, and Liederkranz Opera. Having grown up on the musical theater stage, Joel appeared in regional theaters in THE FANTASTICKS, KISMET, GEORGE M! and ONCE UPON A MATTRESS, as well as the hit off-Broadway musical MANY A GOOD HANGING PREVENTS A BAD MARRIAGE at the Manhattan Playhouse. -
Emily Hagens
Emily Hagens Emily Hagens AEA (EMC) Height: 5 ft. 4½ in. www.emily.hagens.com Hair: Strawberry Blonde 214.207.0182 Eyes: Green [email protected] THEATRE OH, KAY! Kay The Ohio Light Opera | dir. Ted Christopher THE DANCING YEARS Grete Schöne The Ohio Light Opera | dir. Steven Daigle BRIGADOON Jean MacLaren (Fiona u/s) The Ohio Light Opera | dir. Jacob Allen THE MIKADO Yum-Yum The Ohio Light Opera | dir. Ted Christopher HAVE A HEART Lizzie O’Brien The Ohio Light Opera | dir. Steven Daigle CARMEN Frasquita Knoxville Opera | dir. Chuck Hudson THE ELIXIR OF LOVE Giannetta Knoxville Opera | dir. Brian Deedrick CANDIDE Waltzing Couple/Ensemble Aspen Opera Theater | dir. Ed Berkeley CAN-CAN Model/Ensemble The Ohio Light Opera | dir. Steven Daigle ONE TOUCH OF VENUS Mystery Girl/Ensemble The Ohio Light Opera | dir. Steven Daigle JESUS CHRIST SUPERSTAR Ensemble (Mary u/s) The Secret Theatre | dir. Namiko Wada RUDDIGORE Ensemble (Rose u/s) The Ohio Light Opera | dir. Steven Daigle THE NEW MOON: IN CONCERT Ensemble Lyric Stage Inc. | dir. Andy Baldwin H.M.S. PINAFORE Ensemble Knoxville Opera | dir. Brian Deedrick THE MIKADO Ensemble Fort Worth Opera | dir. John De Los Santos LEHÁR/STOLZ CONCERT Soloist AIMS Festival Orchestra (Graz, Austria) AMERICAN MUSICAL THEATRE Soloist LA Operetta Foundation | dir. Michael Miller … A CENTURY AGO (1915)^ FILM IF I ONLY HAD AMNESIA (Short) Lead Dir. Andrew Scontrino COMMERCIAL Conflicts Upon Request ENTERTAINMENT AIDA CRUISES Lead Soloist AIDA Entertainment (Hamburg, Germany) TRAINING Voice: Matt Farnsworth, -
THE MERRY WIDOW Music by Franz Lehar English Dialogue by Gershom Clark Morningstar Lyrics by Adrian Ross and Ronald Orenstein
THE MERRY WIDOW Music by Franz Lehar English Dialogue by Gershom Clark Morningstar Lyrics by Adrian Ross and Ronald Orenstein FEATURES OF THIS SHOW The Merry Widow was a major hit in the United States, two years after it opened in Vienna. It boasted an English translation by Adrian Ross, a major lyricist in England. Although other librettos have been written for it since, Ross’s lyrics hold up very well, when modified for modern audiences. They convey the language that marks the period that is so important for the style of the show. Gershom Morningstar was commissioned by the Guild to rework the dialog, which was the show's weakest feature. New elements were added for plot depth and to increase the humor Obviously a star vehicle for a soprano as the Widow, the tenor De Rosillon and the soprano Valencienne have glorious duet material. The role of Danilo is one of the few chances for a baritone to be the romantic lead. The character moving the plot is Baron Zeta, who may be primarily an actor, as he sings little. There are good opportunities for supporting characters as well. CAST REQUIREMENTS Widow Hanna Glavari, soprano Marquis Cascada, baritone Count Danilo Danilovitch, baritone M. St. Brioche, a dandy, tenor Baron Mirko Zeta, actor General Cromov, actor, chorus Betush, his secretary, male or female actor Olga, his wife, actor, chorus Valencienne, his wife, soprano General Bogdanovitch, actor, chorus Camille, her lover, tenor Sylvaine, his wife, actor, chorus Zozo, the lead grisette, mezzo-soprano Praskovia Pritschitz, actor, chorus Six Grizettes, dancers Folk dancers, act 2 Chorus of embassy officials and their wives MUSICAL NUMBERS Overture........................................................................................ -
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. -
Comparison of the Original Operetta Arizona Lady, by Emmerich Kálmán
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ASU Digital Repository Comparison of the Original Operetta Arizona Lady, by Emmerich Kálmán, with its 2015 Adaptation Performed by Arizona Opera by Elizabeth Lynette Leyva A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2019 by the Graduate Supervisory Committee: Amy K. Holbrook, Chair Dale Dreyfoos Anne Elgar Kopta ARIZONA STATE UNIVERSITY May 2019 ©2019 Elizabeth Lynette Leyva All Rights Reserved ABSTRACT Emmerich Kálmán (1882-1953) was a leading composer during the Silver Age of Viennese operetta. His final work, Arizona Lady (1954), premiered posthumously, on Bavarian Radio, January 1, 1954. The stage premiere followed on February 14, 1954, at the Stadttheater in Bern, Switzerland. It is his only operetta that is set entirely in the United States, in Tucson, Arizona. Arizona Opera commissioned and produced a new adaptation of Arizona Lady, which was performed in October 2015, in both Tucson, Arizona, and Phoenix, Arizona. The libretto was heavily revised, as well as translated, primarily into English with some sections in Spanish and German. Through comparison of the original and adaptation, this study examines the artistic decisions regarding which materials, both musical and dramatic, were kept, removed, or added, as well as the rationale behind those decisions. The changes reflect differences between an Arizonan audience in 2015 and the European audience of the early 1950s. These differences include ideas of geographical identity from a native versus a foreign perspective; tolerance for nationalistic or racial stereotypes; cultural norms for gender and multiculturalism; and cultural or political agendas. -
Price of Viagra 100Mg Uk
PARTNERS FOR THE ARTS BOARD OF DIRECTORS *President: Leilane Grimaldi. Mehler Secretary: Betty Farrell NEWSLETTER 2015 *Treasurer: F. Victoria Tresansky Vol.2,No.3 *Artistic Advisor: Elaine R. Walter, PhD *Membership: Cyd Everett Dena Feeney One more year and stronger! Joe Giannino *Immediate Vice President: Robert Misbin, MD THANKS TO YOU ! *Audrey Pendergast *Founding Board Members And what a year we had! In March, PARTNERS celebrated its anniversary at Twin Oaks, the elegant residence of Taipei’s Economic and Cultural Representative to the United States (TECRO), thanks to the graciousness of His Excellency Dr. Lyushun Shen and Mrs. Shen. Winners of the vocal competi- tion of 2014 as well as a inalist of the competition in 2013 delighted the audience. The Bulgarian Music Society presented our 2014 competition winners and a inalist in a recital at the Bulgarian Embassy in April. In so doing, one more platform was presented to our stars to per- form. In May, a group from PARTNERS went to Spain on a deluxe trip that included wonderful operas and concerts. We thank Audrey Pendergast and Alan Savada, our travel agent, for arranging the trip. After a performance of I Due Foscari, we toasted the performance with Christina Scheppelmann, artistic director of the Barcelona Opera, and the cast that included Plácido Domingo. Our traditional Potluck gathering took place in June at the Savada-Stevenson’s residence in D.C. We had great fun trying to solve opera charades. Will Stevenson, Dr. Wanda O’Brien Treil and Linda Petravogi were the charade winners! The prizes for the 2015 vocal awards competition were raised thanks to generosity of members Dr. -
GILBERT and SULLIVAN: Part 1
GILBERT AND SULLIVAN: Part 1 GILBERT AND SULLIVAN Part 1: The Correspondence, Diaries, Literary Manuscripts and Prompt Copies of W. S. Gilbert (1836-1911) from the British Library, London Contents listing PUBLISHER'S NOTE CONTENTS OF REELS CHRONOLOGY 1836-1911 DETAILED LISTING GILBERT AND SULLIVAN: Part 1 Publisher's Note "The world will be a long while forgetting Gilbert and Sullivan. Every Spring their great works will be revived. … They made enormous contributions to the pleasure of the race. They left the world merrier than they found it. They were men whose lives were rich with honest striving and high achievement and useful service." H L Mencken Baltimore Evening Sun, 30 May 1911 If you want to understand Victorian culture and society, then the Gilbert and Sullivan operas are an obvious starting point. They simultaneously epitomised and lampooned the spirit of the age. Their productions were massively successful in their own day, filling theatres all over Britain. They were also a major Victorian cultural export. A new show in New York raised a frenzy at the box office and Harper's New Monthly Magazine (Feb 1886) stated that the "two men have the power of attracting thousands and thousands of people daily for months to be entertained”. H L Mencken's comments of 1911 have proved true. Gilbert & Sullivan societies thrive all over the world and new productions continue to spring up in the West End and on Broadway, in Buxton and Harrogate, in Cape Town and Sydney, in Tokyo and Hong Kong, in Ottawa and Philadelphia. Some of the topical references may now be lost, but the basis of the stories in universal myths and the attack of broad targets such as class, bureaucracy, the legal system, horror and the abuse of power are as relevant today as they ever were.