DOCSLIB.ORG

MUSICAL NOTES, Ireland, Scotland, Germany, and Scandinavia in Plymouth Church on Thursday Evening, Nov

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MUSICAL NOTES, Ireland, Scotland, Germany, and Scandinavia in Plymouth Church on Thursday Evening, Nov THE MUSICAL CRITIC AND TRADE REVIEW. November 20th, 1880. FOLKS-SONGS.—Mr. George Werrenrath sang the folk-songs of England, MUSICAL NOTES, Ireland, Scotland, Germany, and Scandinavia in Plymouth Church on Thursday evening, Nov. 11. He was assisted by Miss Hattie L. Simms, Mr. AT HOME. Henry Camp, and others. SULLIVAN.—Gilbert and Sullivan's " Pirates of Penzance" -will be given HASSELBRINK.—Mr. Carlos Hasselbrink, the young violinist from South by the D'Oyly Carte Company at Newark on November 22d,iPaterson the 23d, America, who made his debut in this country in Chickering Hall, on Oct. 14, Jersey City the 24th, and. at the Brooklyn Academy of Music on the 25th, has given up the idea of being considered a solo violinist, and intends to join 26th and 27th insts. an orchestra. Sensible yonng man! SEQUIN.—Mrs/Zelda Seguin, having recovered from her recent indis- SEIFERT.—A shocking tragedy occurred at Buffalo, on the morning of position, has rejoined the Emma Abbott Opera Company. Nov. 10, about seven o'clock. Russell Dart, a prominent citizen, shot and dangerously wounded Professor Emil Seifert, a well-known music teacher. EUTERPE.—The soloists engaged to assist the Euterpe Society of Ho- It appears that Seifert had become enamoured of Miss Dart, one of his boken, on Thursday evening, Nov. 11, on the occasion of the celebration of pupils, and of late had been very attentive to her. The father forbade him Schiller's birthday, were Miss Fanny Pollak, Miss Henne, Mr. Graff, Mr. the house, which Seifert resented; angry words followed, when Dart fired Remmertz and Mr. Pecher, organist. Max Bruch's oratorio, '' The Lady of three shots at Seifert, each one taking effect. Dart tried to escape, but was the Bell" (Schiller's poem), for soli, choir, orchestra and organ, was per- promptly arrested. Seifert has been married. His wife recently obtained formed. The concert took place in the First M. E. Church, Hoboken. a divorce from him. He lived formerly in New York, and Baltimore, and is STRAUSS.-—Johann Strauss has composed a new opera, entitled, " The well known among the professional people of both cities. Lace Handkerchief of the Queen," which was brought out in Vienna about a GILMOEE.—A grand military concert was given on the night of Nov. 9th, month ago, and which achieved a great success. It was very favorably in the armory of the Twenty-seventh Regiment N.G.S.N.Y., by Gilmore's spoken of by the critics, and is said to be amusing and brilliant. We are Twenty-second Regiment Band, under the direction of Mr. P. S. Gilmore. informed that the Thalia theatre has the right to produce it in the German The concert was in aid of a fund, to buy a uniform for the band which may language, and will bring it out at an early date. be worn by members in all professional engagements outside of regimental JOSEFFY.—Mr. Saalfield has completed arrangements whereby the duties. The soloists during the evening were Constantin Sternberg (piano), appearance of Herr Joseffy is assured at six of the coming Saalfield concerts. Signor Raffaylo (euphonium), Signor de Carlo (piccolo), Mr. Christian At the first of these, which will be given November 22, he will be assisted Fritsch, who sang Abt's " Good Night, My Child," and Miss Emily Spader, by a full orchestra under the direction of SignorD'Auria. Saalfield proposes, who sang the Grand Aria from " II Trovatore." A strong chorus assisted in and Joseffy disposes. the singing of the " Heavens are Telling," and " Columbia." After the con- BECHTEL.—Professor Frederick Bechtel, of Brooklyn, has composed an cert there was dancing. opera, which he entitles " Alfred the Great." Selections from the same are SOLDENE.—Miss Emily Soldene and her new Comic Opera Company to be given at a concert in the Brooklyn Athenaeum. gave their first performance at the Brooklyn Academy of Music, on Monday BELARI.—Signor Emilio Belari, formerly one of the principal tenors of night, Nov. 8, to a numerous audience, the pieces selected being " Trial by the Theatre Royale of Madrid, has arrived in this country on a professional Jury" and "Chilperic." visit. GOOD FOR THEM !—The premium obtained on the sale of boxes and re- ZUNDEL.—A memorial collection was made a week ago Sunday last at served seats for the Brooklyn Philharmonic concerts to be given during the Plymouth Church. It was for the purpose of raising a sum of money that season was $1,6H8. The highest premium paid this year was $9.75 per seat; should be equal at least to the payment of $200 a year to Mr. John Zundel, the lowest was 25 cents. the late organist of the church, and now its organist emeritus. Mr. Zundel WAGNER CONCERT.—Another "Wagner" concert was given on Nov. 9th, resides in Europe, and before he went there the trustees of the church had at Koster & Bial's, by Rudolph Bial's orchestra. undertaken to pay him $200 a year as iong as he lived. Afterwards they decided that they could not afford to pay it. They are now trying to make GERMAN OPERA.—On Saturday, November 13, the Thalia Theatre Opera it up by voluntary contributions. Company produced with a full chorus, at the Waverly Opera House, Brooklyn, Suppe's opera, "Boccaccio." NEW OPERETTA.—The first performance of the operetta, "DerRatten- fanger von Hameln," libretto, by H. Italiener, music by Adolf Neuendorff, A LUCKY COMPOSER.—The Mendelssohn Glee Club's three prizes have occurs on December 14, at the Germania Theatre. Active rehearsals are been awarded. Out of 39 compositions submitted to the committee (Messrs. taking place every day. Joseph Mosenthal, Dudley Buck, and Samuel P. Warren,) the three success- ful works are all by the same writer, Mr. W. W. Gilchrist, of Philadelphia. AWARDS.—It was announced last June that two prizes would be awarded The first of these prize songs is entitled " Ode to the Sun," and is for chorus, by the musical director of the Church of the Holy Trinity in this city for with an accompaniment of two pianos. The second is called "In Autumn," original compositions for church services. The committee of award con- and the third is " Dreaming forever." The songs will all be sung in the sisted of Mr. Joseph Mosenthal, the Rev. Dr. George J. Geer, the Rev. Dr. course of the season at the concerts of the Mendelssohn Glee Club. Marvin R. Vincent, Mr. George E. Aiken, and Mr. A. R. Parsons, the organist of the church. This committee, it is stated, have received a great HUBBARD.—A very interesting programme for a piano recital was given number of compositions, and have decided to award the first prize to Mr. by Albert D. Hubbard, on Saturday afternoon, Nov. 13th, at Chickering Hall. John H. Cornell, and the second prize to Caryl Florio. Every number was selected from the " old masters," including Bach, Handel, Gluck, Field, Mozart, Beethoven, Kalkbrenner, Schubert and Weber. Miss HOWARD.—Mme. Constance Howard has arranged to give two piano Segur, vocalist, will assist. At a second recital on Jan. 8th, Mr. Hubbard recitals next month, with the co-operation of Mr. S. B. Mills, Mr. Herman will play selections from the "new masters"—Mendelssohn, Saint-Saens, *Brandt, Mr. E. S. Lansing, Miss Emily Winant, and Mrs. Buxton. Henselt, Brahms, Rubinstein, Schumann, Wagner and Liszt. KOSTER AND BIAL'S.—Constantin Sternberg, the Russian pianist, Wil- THE LEADER OF THE NINTH.—Mr. M. Arbuckle, leader of the Ninth helmj, the violinist, and Mile. Letitia Fritsch, the vocalist, have been en- Regiment Band, now performing at the American Institute Fair, received, on gaged, and will give a series of concerts, in conjunction with the orchestra, the evening of November 13th, a superb silver and gold cornet from his at Koster & Bial's, beginning on the 5th of December. friends. The instrument has just arrived from Europe, and is said to be the BEEBE.—Miss Mary Beebe, the well known soprano of the Ideal Opera handsomest ever made. Several leading musicians were present on the Company, is quite ill, at her home in Boston. occasion, and assisted in the programme. SCHILLER.—Madame Madeline Schiller, whose health has been fully re- THE LEADER OF THE TWENTY-SECOND.—The instrumental, vocal and stored, contemplates an early return to the United States, for a permanent promenade concert given by Gilmore's band, at the armory of the Twenty- residence. second regiment, proved so successful that one will be given every week, beginning on Saturday, November 20. The cost of supplying the band with CELLIER.—Mrs. Alfred Cellier has arrived in this country. She will pass a new uniform, which is the object of these entertainments, will be about the winter in Boston with her husband. •14,500. ROOSEVELT.—" The Masque of Pandora," poem by Longfellow, and TAYLOR.—A concert will be given at the Brooklyn Academy of Music on music by Alfred Cellier, will be produced at the Boston theatre, Jan. 10th. the 29th inst., on the occasion of the annual benefit of Mr. D. Taylor, the Prof. Longfellow is to aid the enterprise by writing several new songs ex- local manager of Mapleson's Opera Company. Among the artists whose pressly for Miss Roosevelt. [But how will she sing them ?—Ed. MUSICAL names are announced are Signors Campanini and Galassi, Mdlle. Belocca, CRITIC AND TRADE REVIEW.] Miss Fannie Kellogg, of Boston ; Mdme. Chatterton-Bohrer, the harpist ; SERENADE. —At half-past eleven o'clock on Monday night, November 8, Mdme. Teresa Carreno, pianist; Miss Marie Geist, violinist, and the Temple Gilmore's band appeared at the corner of Broadway and Twenty-fourth Quartette, of Boston.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Recitative in the Savoy Operas
    Recitative in the Savoy Operas James Brooks Kuykendall In the early 1870s, London music publisher Boosey & Co. launched a new venture to widen its potential market. Boosey’s repertoire had been domestic music for amateur vocalists and pianists: drawing-room ballads and both piano/vocal and solo piano scores across the range of standard Downloaded from operatic repertory of the day, published always with a singing translation in English and often substituting Italian texts for works originally in French or German. Rossini, Donizetti, Bellini, and Verdi, Auber, Meyerbeer, Gounod, and Lecocq, Mozart, Beethoven, Weber, and Wagner all appeared in Boosey’s Royal Edition of Operas series, together http://mq.oxfordjournals.org/ with a handful of “English” operas by Michael William Balfe and Julius Benedict. The new effort supplemented this domestic repertory with one aimed at amateur theatricals: “Boosey & Co.’s Comic Operas and Musical Farces.” The cartouche for this series is reproduced in figure 1, shown here on the title page of Arthur Sullivan’s 1867 collaboration with Francis C. Burnand, The Contrabandista. Seven works are listed as part of the new imprint, although three by guest on May 11, 2013 of these (Gounod, Lecocq, and Offenbach’s Grand Duchess) had been issued as part of the Royal Edition. Albert Lortzing’s 1837 Zar und Zimmermann masquerades as Peter the Shipwright, and it appeared with an English text only. The new series may well have been the idea of Sullivan himself. He had been retained by Boosey since the late 1860s as one of the general editors for the Royal Edition.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Mr. D'oyly Carte's "A" Company 1881 ("B" from 7Th March)
    Mr. D'Oyly Carte's "A" Company 1881 ("B" from 7th March) 3rd – 8th January: Ayr QUEEN'S ROOMS.– The Pinafore company, under the management of Mr. J. B. Howard of Edinburgh, recently appeared here, and gave three performances to crowded houses. [The Era (London, England), Saturday, January 8, 1881; Issue 2207.] 10th – 15th January: ———— 17th – 19th January: Carlisle HER MAJESTY'S THEATRE. – Lessee, Mr. C. Bernard. – A visit from the Pinafore company is not proving so acceptable as on former occasions, owing to a most decided falling off in the production of the work. [The Era (London, England), Saturday, January 22, 1881; Issue 2209.] 20th – 22nd January: Dumfries THEATRE ROYAL. – Lessee, Mr. A. D. McNeill. – We have been favoured by a return visit of the Pinafore company, who appeared here for three nights, viz., 20th, 21st, 22nd inst., with all their former success. [The Era (London, England), Saturday, January 29, 1881; Issue 2210.] 24th – 29th January: Whitehaven THEATRE ROYAL. – Lessee, Mr. Ed. Fletcher. – Last week we had a return visit from the Pinafore company, and we are glad to record that large and enthusiastic audiences testified their appreciation of Mr. Fletcher's enterprise. [The Era (London, England), Saturday, February 5, 1881; Issue 2211.] 31st January – 2nd February: Kendal ST. GEORGE'S HALL. – Lessee, Mr. E. Fletcher. – Mr. D'Oyly Carte's opera company performed H.M.S. Pinafore here on Monday, 31st, to an average house. The performance throughout was well rendered, and reflected great credit on both actors and managers, Miss Ethel Pierson and Mr. Cadwaladr being especially brilliant in the parts of Josephine and Ralph Rackstraw respectively.
    [Show full text]
  • British Orchestral Music
    BRITISH ORCHESTRAL MUSIC (Including Orchestral Poems, Suites, Serenades, Variations, Rhapsodies, Concerto Overtures etc) Written by Composers Born Between 1800 & 1910 A Discography Of CDs And LPs Prepared by Michael Herman Composers C-G WALTER CARROLL (1869-1955) Born in Manchester. He got his musical degrees at the Universities of Durham and Manchester and went on to an acdemic career at the University of Manchester and at the Royal Manchester College of Music. He became Music Dvisor to the City of Manchester and devoted himself to reforming and improving art education in the schools. With this goal in mind he composed piano music for children as well as instructional books. His enormous academic load precluded much time for other composing. Festive Overture (c. 1900) Gavin Sutherland/Royal Ballet Sinfonia ( + Blezard: Caramba, Black: Overture to a Costume Comedy, Langley: Overture and Beginners , Dunhill: Tantivy Towers, Chappel: Boy Wizard, Hurd: Overture to an Unwritten Comedy, Monckton: The Arcadians. Lane: A Spa Overture, Pitfield: Concert Overture and Lewis: Sussex Symphony Overture) WHITELINE CD WHL 2133 (2002) ADAM CARSE (1878-1958) Born in Newcastle-on-Tyne. He studied under Frederick Corder at the Royal Academy and later went on to teach at that school. He composed in various genres and his orchestral output includes 2 Symphonies, the symphonic poems "The Death of Tintagiles" and "In a Balcony," a Concert Overture and Variations for Orchestra. He also wrote musical textbooks that kept his name in print long after his compositions were forgotten. The Willow Suite for String Orchestra (1933) Gavin Sutherland/Royal Ballet Sinfonia ( +Purcell/Britten: Chacony, Lewis: Rosa Mundi, Warlock/Lane: Bethlehem Down, Holst: Moorside Suite, Carr: A Very English Music, W.
    [Show full text]
  • The British Invasion a Festival of English Musical Dramas May–June 2015 the British Invasion: a Festival of English Musical Dramas 1
    the british are coming THE BRITISH INVASION A FESTIVAL OF ENGLISH MUSICAL DRAMAS MAY–JUNE 2015 THE BRITISH INVASION: A FESTIVAL OF ENGLISH MUSICAL DRAMAS 1 THE BRITISH INVASION A FESTIVAL OF ENGLISH MUSICAL DRAMAS RALPH VAUGHAN WILLIAMS: P. 6 SIR JOHN IN LOVE Sunday, May 17 at 3pm Wednesday, May 20 at 7:30pm Saturday, May 23 at 7:30pm Boston University Theatre ARTHUR SULLIVAN: THE ZOO P. 20 WILLIAM WALTON: THE BEAR Friday, May 22 at 7:30pm Sunday, May 24 at 3pm Boston University Theatre KINGS, QUEENS, SAINTS & SINNERS P. 30 FIVE MONODRAMAS Saturday, May 30 at 7:30pm Boston University Theatre THOMAS ADÈS: P. 44 POWDER HER FACE Thursday, June 18 at 7:30pm Friday, June 19 at 7:30pm Saturday, June 20 at 7:30pm The Boston Conservatory Theater Gil Rose, Artistic and General Director Randolph J. Fuller, Festival Underwriter ODYSSEYOPERA.ORG THE BRITISH INVASION: A FESTIVAL OF ENGLISH MUSICAL DRAMAS 1 DAS LAND OHNE OPER—NEIN! BY RANDOLPH J. FULLER Of all the worn-out bromides Still it was unquestionably relentlessly repeated by self-styled Sullivan’s success in the field that eminent musicologists, perhaps the convinced other English composers most infuriating is the old canard to pursue careers in opera. What that England, indeed Britain could be more tempting, after as a whole, has never produced all, than to follow Sir Arthur’s anything of lasting interest, much commercial and artistic triumph of less quality, in the realm of opera. Ivanhoe (1891) with operas of their Even today you read in endless own? program notes that nothing but a musical wasteland exists between Ivanhoe was the score that opened Purcell’s Dido and Aeneas and Richard D’Oyly Carte’s magnificent the appearance of Britten’s Peter new Royal English Opera House Grimes.
    [Show full text]
  • Turn of the Century British Musical Comedy in an American Performance Library Victoria Peters University of Wisconsin-Milwaukee
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2018 Turn of the Century British Musical Comedy in an American Performance Library Victoria Peters University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Music Commons, and the Theatre History Commons Recommended Citation Peters, Victoria, "Turn of the Century British Musical Comedy in an American Performance Library" (2018). Theses and Dissertations. 1896. https://dc.uwm.edu/etd/1896 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. TURN OF THE CENTURY BRITISH MUSICAL COMEDY IN AN AMERICAN PERFORMANCE LIBRARY by Victoria Peters A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music at The University of Wisconsin-Milwaukee May 2018 ABSTRACT TURN OF THE CENTURY BRITISH MUSICAL COMEDY AND THIER USE IN AN AMERICAN PERFORMANCE LIBRARY by Victoria Peters The University of Wisconsin-Milwaukee, 2018 Under the Supervision of Professor Gillian Rodger The genre label 'musical comedy' gained its stride in the 1920s, but the term emerged as early as the 1870s. These early musical comedies are often overlooked in the historical discussion of musical theater, due to a lack of integration between the storyline and musical numbers. With the help of the Tams-Witmark collection, housed at the University of Wisconsin-Madison’s Mills Music Library, this paper examines how two of these early musical comedies, composed by England’s Ivan Caryll and Sidney Jones, were exported and used by touring theater companies in The United States.
    [Show full text]
  • FEB 9 – MAR 25, 2018 Education Matinees Feb 20-28 Photo by Petronella J
    By Arthur Sullivan and W. S. Gilbert Directed by Doug Scholz-Carlson FEB 9 – MAR 25, 2018 Education Matinees Feb 20-28 photo by Petronella J. Ytsma Area Premiere / Proscenium Stage made possible with support from: BARBARA DAVIS Education Matinees made possible with support from: TWIN CITIES OPERA GUILD, INC. 2017–2018 SEASON Compose yourself your way. However your day unfolds, let Classical MPR meet you where you are. Tune in or stream at classicalmpr.org. Prompt & Friendly Service Reliable Peace of Mind More than 475,000 Twin Cities Customers Since 1930 Our Heating and Cooling Solutions › Furnaces › Heat Pumps › Air Conditioners › Fan Coils › Boilers › Air Cleaners › Ductless Systems › Humidifiers Contact Us | 612-824-2656 | standardheating.com Dear Park Square Patron: Thank you for being a part of our first ever Gilbert and Sullivan! It’s official: with my retirement on September 1, Park Square will be in the creative hands of our third Artistic Director! Our new creative leader will inherit a 2018-2019 season full of exciting artistic partnerships. We will work with distinctive newcomers Theatre Coup d’État and PRIME Productions, as well as old friends Flying Foot Forum and Girl Friday Productions. The season’s firsts will include regional and world premieres on both stages that range from the profound presence of Susan B. Anthony and Frederick Douglass to the silly stresses of a small-town talent contest in a world premiere musical created and driven by Millennials. The great storytelling by accomplished directors and writers that you’ve come to expect from us will continue.
    [Show full text]
  • PROMPT): JC Williamson (Gilbert & Sullivan Progarms
    AUSTRALIAN EPHEMERA COLLECTION FINDING AID J.C. WILLIAMSON GILBERT & SULLIVAN PROGRAMS PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA JANUARY 2015 James Cassius Williamson was an American actor who immigrated to Australia in the 1870s. Along with business partners, such as William Musgrove, his theatre company became one of the most dominant in colonial Australia. After his death in 1913 the company, now named J.C. Williamson Ltd. continued under the direction of George Tallis and the Tait brothers (who remained involved in the company until the 1970s). J.C. Williamson continued to be one of the biggest theatre companies in Australia throughout the first three quarters of the 20th century. J.C. Williamson held the license for theatres in Melbourne, Sydney, Brisbane, Adelaide and New Zealand (at times more than one theatre in each city). In 1976 the company closed, but the name was licensed until the mid 1980s. This list includes productions of Gilbert and Sullivan operettas held in J.C. Williamson theatres, as well as those produced by J.C. Williamson and performed in other theatres under venue hire arrangements. CONTENT Printed materials in the PROMPT collection include programs and printed ephemera such as brochures, leaflets, tickets, etc. Theatre programs are taken as the prime documentary evidence of a performance staged by the J.C. Williamson company. In a few cases however, the only evidence of a performance is a piece of printed ephemera. In these cases the type of piece is identified, eg, brochure. The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for these artists are filled.
    [Show full text]
  • DOROTHY a Pastoral Comedy Cullagh • Mears • J.I
    Alfred CELLIER (1844–1891) DOROTHY A Pastoral Comedy Cullagh • Mears • J.I. Jones • Vallis • Maitland Robinson • Relph • M.V. Jones • Maclaine Victorian Opera RICHARD BONYNGE 1 Overture 7:40 # Entrance Music 0:41 Alfred (Dorothy, Lydia) Act I 27:53 $ Graceful Dance 1:18 The grounds of the Hop-Pole Inn % Song 2:04 CELLIER (an autumn morning) Contentment I give you (1844–1891) (Bantam) 2 Opening Chorus 4:57 ^ Sextet and Chorus 2:56 Lads and lasses round about Now let’s to bed Dorothy (Tom, Phyllis, Chorus) (Bantam, Lurcher, Sherwood, A pastoral comedy opera in three acts (1886) 3 Song and Trio Dorothy, Wilder, Lydia) Libretto: Benjamin C. Stevenson (1839–1906) Be wise in time, Oh Phyllis 2:32 & Quartet 1:26 Performing edition: Richard Bonynge (Dorothy, Lydia, Phyllis) One moment, pray 4 WORLD PREMIERE RECORDING Quartet 2:17 (Wilder, Sherwood, Dorothy, Lydia) We’re sorry to delay you * Song 3:35 (Wilder, Sherwood, Dorothy, Lydia) Queen of my Heart Dorothy Bantam, Sir John Bantam’s daughter ..................... Majella Cullagh, Soprano 5 Song and Trio 2:32 (Sherwood) Lydia Hawthorne, Dorothy’s cousin .................................. Lucy Vallis, Mezzo–soprano With such a dainty dame ( Trio 1:21 (Wilder) Are you sure? Phyllis Tuppitt, innkeeper’s daughter ................. Stephanie Maitland, Mezzo–soprano 6 Geoffrey Wilder, Sir John’s nephew and heir ................................... Matt Mears, Tenor Quintet 3:40 (Wilder, Sherwood, Bantam) A father’s pride and joy ) Ensemble 5:53 Harry Sherwood, Wilder’s friend ....................................... John Ieuan Jones, Baritone (Tuppitt, Wilder, Sherwood, Dorothy, Lydia) What noise was that Sir John Bantam, Squire, Chanticleer Hall ......................
    [Show full text]
  • The Use of the Cornet in the Operettas of Gilbert and Sullivan" (2003)
    Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2003 The seu of the cornet in the operettas of Gilbert and Sullivan John Christopher Schuesselin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Schuesselin, John Christopher, "The use of the cornet in the operettas of Gilbert and Sullivan" (2003). LSU Major Papers. 40. https://digitalcommons.lsu.edu/gradschool_majorpapers/40 This Major Paper 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 Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE USE OF THE CORNET IN THE OPERETTAS OF GILBERT AND SULLIVAN A Written Document 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 Musical Arts in The School of Music by John Christopher Schuesselin B.M., Eastman School of Music, 1990 M.M., Kent State University, 1992 May 2003 Copyright 2003 John Christopher Schuesselin All rights reserved ii To Nancy María, thank you for your endless support and for teaching me the real meaning of “due date.” iii Acknowledgements Thank you to my family for their unending interest and support, Andrew Fox for his help with the musical examples, James Stuart for giving me the opportunity to play with the Ohio Light Opera in 1985, and Joseph Skillen for guiding me through the entire process.
    [Show full text]