DOCSLIB.ORG

Musical Weltpremiere 17. Februar 2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musical Weltpremiere 17. Februar 2018 M TTERHORN MUSICAL VON MICHAEL KUNZE & ALBERT HAMMOND ORCHESTRIERUNG KOEN SCHOOTS WELTPREMIERE 17. FEBRUAR 2018 Hauptsponsoren Co-Sponsoren Medienpartner Ostschweizer Stiftung für Musik und Theater Matterhorn: Der Konflikt zwischen Mensch und Natur Musical von Michael Kunze und Albert Hammond, Orchestrierung von Koen Schoots Seit Jahren beschäftigt mich ein Thema und drängt mich zu einer dramatischer Bearbeitung auf meine Art. Das Matterhorn-Musical ist mehr als ein historisches Bergsteiger-Drama. Es behandelt den höchst aktuellen Konflikt zwischen Mensch und Natur. Und mehr als nebenbei geht es um die Gier nach Erfolg - ein Problem unserer Zeit und Gesellschaft. In der Geschichte vom Kampf ums Matterhorn glaube ich, die ideale Parabel für eine theatralische Bearbeitung dieser Themen gefunden zu haben. Werner Signer vom Theater St.Gallen hat meine Intention sofort verstanden und mich zur Realisierung ermutigt. Mit Albert Hammond, einem der erfolgreichsten Songwriter der internationalen Pop-Szene, habe ich den idealen Komponisten gefunden, um aus dem Projekt ein musikalisch mitreissendes Bühnenstück zu machen. Michael Kunze, Januar 2018 Matterhorn: Die Geschichte Musical von Michael Kunze und Albert Hammond, Orchestrierung von Koen Schoots Edward Whymper, ein junger englischer Zeichner und Graveur, kommt 1861 nach Zermatt und erblickt das Matterhorn. Er gehört nicht zu dem elitären Alpine Club, dessen überwiegend adelige Mitglieder die bisher unbezwungenen Viertausender der Westalpen besteigen. Vielmehr hat man ihn in die Schweiz geschickt, um die Berichte der englischen Gipfelstürmer vor Ort zu illustrieren. Das Ehepaar Seiler, in deren Hotel die Alpine-Club-Mitglieder wohnen, hofft auf eine baldige Bezwingung des Matterhorns und einen davon ausgelösten Touristen-Boom. Die Überheblichkeit der Alpine-Club-Gentlemen kränkt Edward. Er will es allen zeigen. Vor allem will er Olivia, Tochter des englischen Seilfabrikanten John Buckingham, beweisen, dass er besser ist als ihr Verlobter, der reiche Robert Hadow, und die anderen Gentlemen. Nach mehreren vergeblichen Versuchen glaubt sich Whymper im Sommer 1865 für die Eroberung des als unbesteigbar und dämonisch geltenden Matterhorns gerüstet. Er hat sich mit dem Bergführer Antoine Carrel in Breuil verabredet. Doch als er sich mit ihm treffen will, um den Aufstieg von der italienischen Seite zu beginnen, ist Carrel bereits mit anderen zum Gipfel unterwegs. Italienische Patrioten haben ihn davon überzeugt, dass die Besteigung eine nationale Angelegenheit ist. Der tief enttäuschte Whymper findet sechs Männer, die bereit sind, mit ihm den Aufstieg von der Schweizer Seite aus zu wagen. Am frühen Morgen des 13. Juli verlassen die sieben Bergsteiger Zermatt. Der Aufstieg geht zügig voran, denn die Schwierigkeiten, die sich ihnen entgegenstellen, sind geringer als befürchtet. Am 14. Juli 1865 betritt Edward Whymper um 13.40 Uhr als erster Mensch den Gipfel des Matterhorns. Vom höchsten Punkt des Matterhorns aus erblicken er und seine Gefährten kaum 200 Meter tiefer die italienische Mannschaft, die den Kampf um den Berg nur knapp verloren hat. Doch beim Abstieg der erfolgreichen Seilschaft kommt es zur Katastrophe. Der wenig erfahrene Robert Hadow rutscht an einer ausgesetzten Stelle aus und stürzt in die Tiefe. Die ihm nachfolgen, werden mitgerissen. Ein Riss des Seils rettet Whymper und zwei Bergführern das Leben. Entsetzt sehen sie die vier anderen Kletterer über die senkrecht abfallende Wand in die Tiefe fallen. Mit tief gesenktem Kopf kehrt der Bezwinger des Matterhorns nach Zermatt zurück. Die Feier fällt aus. Olivia will verhindern, dass Edward sich das Leben nimmt. Sie fordert ihn auf, aus der Niederlage zu lernen. Das halte sie für bewundernswerter als das Erreichen eines Berggipfels. Es wird behauptet, Whymper habe das Seil zerschnitten, um sich zu retten. Olivias Vater schwört, es hätte gar nicht reissen können. Whymper habe in Wahrheit den Verlobten seiner Tochter ermordet. Eine Untersuchung wird eingeleitet. Whymper versichert, das Seil sei gerissen. Doch er übernimmt die Verantwortung für die Tragödie. Matterhorn: Autoren, Leitungsteam und Besetzung Buch und Liedtexte: Michael Kunze Musik: Albert Hammond Orchestrierung: Koen Schoots Musikalische Leitung: Bernd Steixner Inszenierung: Shekhar Kapur Mitarbeit Regie: Angus Wilkinson Choreografie: Jonathan Huor Bühne: Peter J. Davison Kostüm: Franz Blumauer Licht: Michael Grundner Video: fettFilm Dramaturgie: Marius Bolten Edward Whymper: Oedo Kuipers / Rune Høck Møller Olivia Buckingham: Veronica Appeddu Orka: Sabrina Weckerlin Antoine Carrel: Benjamin Oeser Luc Meynet: Luigi Schifano Alexander Seiler: Ramin Dustdar Catharina Seiler: Patricia Hodell Felice Giordano: Reinwald Kranner John Buckingham: Dean Welterlen Marcella Favre: Juliane Bischoff Josef Ruden: Jon Geoffrey Goldsworthy JohnTyndall: André Bauer Charles Hudson / Joseph Anton Clemenz: Samuel Tobias Klauser Robert Hadow: Marco Toth Michel Croz: Michael Souschek Lord Francis Douglas: Timo Verse Peter Taugwalder sen.: Martin Kiuntke Peter Taugwalder jun.: Nicolo Soller Rosina: Stéphanie Signer Ensemble Silke Braas-Wolter / Pamela Zottele Anna Burger Jil Clesse Klaudia Dodes Max Meister Gabriela Ryffel Matterhorn-Band Matterhorn: Das Autorenteam Buch und Liedtexte Michael Kunze Musik Albert Hammond Orchestrierung Koen Schoots Michel Kunze, Autor Michael Kunze begann Ende der 60er-Jahre als Liedertexter und Schallplattenproduzent zu arbeiten. Für sein Schaffen wurde er u.a. mit 79 Gold- und Platinschallplatten, einem Echo Lifetime Award und dem US-amerikanischen Grammy ausgezeichnet. Mit Elisabeth avancierte er zum erfolgreichsten deutschsprachigen Bühnenautor. Auch seine nachfolgenden Werke Tanz der Vampire, Mozart!, Rebecca, Moses und Marie Antoinette wurden zu internationalen Erfolgen. Als bisher einziger Librettist aus dem deutschen Sprachraum erreichte er den Broadway. Aus seiner Feder stammen, neben Evita auch die deutschen Adaptionen anderer Musicalerfolge wie Cats, Das Phantom der Oper, A chorus line, Disneys Der Glöckner von Notre Dame, Disneys Der König der Löwen, Mamma Mia!, Aida und Wicked. Sein Poporatorium Luther reist 2017 durch Deutschlands größte Hallen. Er ist Autor mehrerer Bücher, TV-Shows, Theaterstücke, politischer Kabarett-Texte sowie einer Oper. Er ist Mitglied der deutschen Dramatiker Union und der US- amerikanischen Dramatists Guild, Inc. Albert Hammond, Musik wurde in London geboren und wuchs in Gibraltar auf. Im Alter von 9 Jahren sang er im Kirchenchor, mit 14 begann er gemeinsam mit seinem Freund Richard Cartwright öffentlich aufzutreten. 1960 gründeten die beiden mit weiteren Musikern die Band The Diamond Boys, die zunächst in Spanien auftrat und nach einer Marokko-Tournee ihre zweite Single bei RCA veröffentlichen konnte. 1966 zog Hammond nach England und gründete mit Mike Hazlewood die Band The Family Dogg. Der internationale Durchbruch als Sänger gelang ihm 1972 in den USA mit dem von ihm und Hazlewood verfassten Song It Never Rains in Southern California. Nach zahlreichen weiteren Soloerfolgen konzentrierte er sich ab Ende der 1980-er Jahre auf das Songwriting. Aus seiner Feder stammen Welthits wie The Air That I Breathe, One Moment in Time und When You Tell Me That You Love Me. Seit 2013 spielt er mit seiner Band wieder vermehrt Konzerte in ganz Europa. Koen Schoots, Arrangements, Orchestrierung und Musical Supervision wurde in den Niederlanden geboren, wo er auch seine Ausbildung als Operndirigent erhielt. Seit der ersten Zusammenarbeit mit Frank Wildhorn bei der Europapremiere von Jekyll&Hyde ist er sein europäischer Supervisor und dirigierte die Europapremieren von The Scarlet Pimpernel, Dracula, die Uraufführung von Rudolf in Budapest und Der Graf von Monte Christo am Theater St.Gallen. Von 2004 bis 2010 dirigierte er die Opernfestspiele St.Margarethen. Von 2010 bis 2017 war er Musikdirektor Musical der Vereinigten Bühnen Wien und leitete dort alle Musicalpremieren. Am Theater St.Gallen stand er zuletzt für die Musicalproduktion Artus, Excalibur am Dirigentenpult. Anschliessend übernahm er an der Komischen Oper Berlin die musikalische Leitung der Operette Marinka sowie Anatevka. In Wien dirigierte er die Uraufführung von Schikaneder, dem neuen Werk von Stephen Schwartz. Matterhorn: Das Produktionsteam Musikalische Leitung Bernd Steixner Inszenierung Shekhar Kapur Choreografie Jonathan Huor Bühne Peter J. Davison Kostüm Franz Blumauer Licht Michael Grundner Video fettFilm Bernd Steixner, Musikalische Leitung studierte Klavier und Orchesterleitung an der Musikhochschule Köln. Danach spezialisierte er sich auf das Musical-Fach und ist seit 2010 Musikalischer Leiter des Stage Apollo Theaters in Stuttgart. Er war Musikalischer Leiter bzw. Supervisor unter anderem bei Gaudí (Köln), Gambler (Mönchengladbach), Les Misérables (Duisburg, Berlin), Das Phantom der Oper (Hamburg), Elisabeth (Essen, Berlin), 3 Musketiere (Berlin), Jesus Christ Superstar (Essen, Hamburg, Berlin), Tanz der Vampire (Berlin, Budapest, Wien, Antwerpen, Oberhausen, St. Petersburg), Marie Antoinette (Bremen, Tecklenburg, Seoul), The Producers (Berlin), Ich war noch niemals in New York (Wien, Stuttgart, Zürich, Berlin, München), Sister Act (Stuttgart), Diesneys Musical Tarzan (Stuttgart), The Crest of the Royal Family (Tokio), Mary Poppins (Stuttgart). Am Theater St.Gallen war er Musical Supervisor bei Tanz der Vampire. Shekhar Kapur, Inszenierung ist ein indischer Filmregisseur, Produzent und Geschichtenerzähler. Sein Regiedebut war der preisgekrönte Bollywood-Kultfilm
Load more

Recommended publications
  • Gay Marriage Party Ends For
    'At Last* On her way to Houston, pop diva Cyndi Lauper has a lot to say. Page 15 voicewww.houstonvoice.com APRIL 23, 2004 THIRTY YEARS OF NEWS FOR YOUR LIFE. AND YOUR STYLE. Gay political kingmaker set to leave Houston Martin's success as a consultant evident in city and state politics By CHRISTOPHER CURTIS Curtis Kiefer and partner Walter Frankel speak with reporters after a Houston’s gay and lesbian com­ circuit court judge heard arguments last week in a lawsuit filed by gay munity loses a powerful friend and couples and the ACLU charging that banning same-sex marriages is a ally on May 3, when Grant Martin, violation of the Oregon state Constitution. (Photo by Rick Bowmer/AP) who has managed the campaigns of Controller Annise Parker, Council member Ada Edwards, Texas Rep. Garnet Coleman and Sue Lovell, is moving to San Francisco. Back in 1996 it seemed the other Gay marriage way around: Martin had moved to Houston from San Francisco after ending a five-year relationship. Sue Lovell, the former President party ends of the Houston Gay and Lesbian Political Caucus (PAC), remembers first hearing of Martin through her friend, Roberta Achtenberg, the for­ mer Clinton secretary of Fair for now Housing and Equal Opportunity. “She called me and told me I have a dear friend who is moving back to Ore. judge shuts down weddings, Houston and I want you to take Political consultant Grant Martin, the man behind the campaigns of Controller Annise Parker, good care of him.” but orders licenses recognized Council member Ada Edwards, Texas Rep.
    [Show full text]
  • „Nowhere to Go but Up“? Die Gattungsmerkmale Des Musicals
    „Nowhere to Go But Up“? Die Gattungsmerkmale des Musicals Dissertation zur Erlangung des Grades der Doktorin der Philosophie an der Fakultät für Geisteswissenschaften der Universität Hamburg im Promotionsfach Historische Musikwissenschaft vorgelegt von Sarah Baumhof Hamburg, 2021 Tag der Disputation: 21.1.2021 Vorsitzende der Prüfungskommission: Prof. Dr. Ivana Rentsch Erstgutachterin: Prof. Dr. Ivana Rentsch Zweitgutachter: Prof. Dr. Oliver Huck Anmerkungen zu Begrifflichkeiten, Schreibweisen und Quellenangaben ............................................ IV 1 Einleitung .......................................................................................................................... 1 1.1 Ziel und Titel der Dissertation .................................................................................... 1 1.2 Aktueller Forschungsstand ......................................................................................... 2 1.2.1 Sekundärliteratur: Umfang und Publikationsart ..................................................... 2 1.2.2 Subjektivität und qualitative Mängel ...................................................................... 6 1.2.3 Geographische Zentrierung .................................................................................. 11 1.2.4 Fehlende Musikanalyse ........................................................................................ 13 1.2.5 Determiniertheit .................................................................................................... 15 1.3 Fragestellung und
    [Show full text]
  • WONDERLAND': Kate Shindle (Center) As the Mad Hatter & the Ensemble in Wonderland
    DARK LADY IN 'WONDERLAND': Kate Shindle (center) as the Mad Hatter & the ensemble in Wonderland. Photo: Michal Daniel Theater Review Mind-numbing malice in Wonderland WONDERLAND Book by Gregory Boyd and Jack Murphy Lyrics by Jack Murphy Music by Frank Wildhorn Choreography by Marguerite Derricks Directed by Gregory Boyd. Marquis Theatre 1535 Broadway at 46th Street (877‐250‐2929), www.wonderlandonbroadway.com By Scott Harrah Have your kids been behaving badly? Punish them by taking them to this mind‐numbing mess of a Broadway musical. The White Rabbit has laid one big, stinking rotten egg of a show just in time for Easter, loosely based on Lewis Carroll’s classic children’s book, Alice in Wonderland. It is a shame indeed because so much could be done to make an imaginative, innovative musical adaptation of this timeless kid's story, but book writers Gregory Boyd and Jack Murphy and Broadway veteran composer Frank Wildhorn (of Jekyll & Hyde fame) fail on so many levels. The result is an excruciatingly painful, cringe‐inducing show that makes one’s jaw drop in stultifying amazement by how ill conceived the story is from beginning to end. We know we are in trouble in the show’s opener when grown‐up Alice (Janet Dacal, last seen on Broadway's In The Heights) appears on stage sporting dark leggings, a smock top with 1980s‐ style cinch belt and boots, and a frizzy hairstyle that makes her resemble pop‐rocker Pat Benatar in her MTV heyday. There is no doubt that Ms. Dacal is a gifted actor and great singer, but the material she is given with here wastes her talents.
    [Show full text]
  • The Rita Williams Popular Song Collection a Handlist
    The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy
    [Show full text]
  • Kareen M. King, MA, RDT
    9/18/2017 Kareen M. King, MA, RDT www.thegoldenexperience.com Exhilarating Exhales! Sigh. Yawn. Raspberry. Siren. Roller Coaster. Yodel. Tarzan. “Sometimes all I need is the air that I breathe and to love you.” (From The Air That I Breath, by Albert Hammond and Mike Hazlewood, recorded by The Hollies) 1 9/18/2017 “We tried to play games to get our minds off of drowning.” – Adolescent victim of Hurricane Katrina London Bridge Ring Around the Rosy Rain, Rain Go Away Humpty Dumpty Snow White www.rhymes.org.uk Let’s have fun! “Play-related” Therapies Drama Therapy (www.nadt.org) Dance Therapy (www.adta.org) Music Therapy (www.musictherapy.org) Play Therapy (www.a4tp.org) Art Therapy (www.arttherapy.org) Therapeutic Recreation (www.atra-online.com) The purpose of all of the above? To move from being stuck toward personal growth and emotional freedom 2 9/18/2017 Definition of Play To occupy oneself in amusement, sport, or other recreation To deal or behave carelessly or indifferently To behave or converse sportively or playfully. To move or operate freely within a bounded space, as machine parts do. “Play is apparently purposeless activity that’s fun to do, pleasurable. It’s one of the brain’s most important exercises, actually opening up the brain to new ideas. It’s a terribly important component of being a human.” Play can “make one enormously more productive and invigorated in other aspects of life.” - Dr. Stuart Brown, psychologist and author of Play: How it Shapes the Brain, Opens the Imagination, and Invigorates the
    [Show full text]
  • Albert Hammond
    18 júní 2016 Víst er til meira af þeim Konráð Rúnar Friðfinnsson tók saman. Myndir aðrar en af höfundi eru ekki hans eign. Texti: KRF. Nema þar sem annað er tilgreint. Vangaveltur höfundar Hvað fær heillað fólk? Ekki gott að segja og kemur þar margt til greina og útilokað að benda á eitthvað eitt. Til þess er mannlífið of margbreytilegt og flóran fjölskrúðug og líka flókið og lífið merkilegra en svo að hægt sé að staðsetja svona lagað. Er hver manneskja enda hafsjór upplýsinga. Brotin sem hver birtir úr eigin hugskoti fræða svolítið en aldrei nema agnarögn. Hugur fólks er sístarfandi afl sem aldrei þagnar nema skamma stund í senn, áður en allt fer aftur af stað. Hugsun er eitt helsta afl manneskju og gerir fyrir vikið merkilega á sinn hátt og er sorglegt til þess að hugsa hve oft er borin lítil virðing fyrir einstaklingi, jafn stórfenglegur og hann nú er og má vel segja um að sé sitt veldi sem fært er um að fara og gera gott, hlúa að sem allstaðar kviknar líf af í fótsporum svona einstaklings á meðan önnur sköpun Guðs, að öllu leit eins gerð, fer með sig sjálfa í gagnstæða átt og umbreytir hverjum staðnum á fætur öðrum í eyðandi eld og allt þar að hreinu helvíti. Svona er nú þessi sköpun Guðs sem heitir maður. Engin fær staðið óstuddur í þessu og án leiðsagnar Guðs en honum þó markvist og skipulega haldið frá eigin hjálpræði af vantrú og er í grunninn einnig skipuleg aðför. Allt af hugsun vitsmunavera sem ráða svo illa við hugsunina með enga leið til að hemja huga sinn.
    [Show full text]
  • Augsome Karaoke Song List Page 1
    AUGSome Karaoke Song List 44 - When Your Heart Stops Beating 112 - Come See Me 112 - Cupid 112 - Dance With Me 112 - It's Over Now 112 - Only You 112 - Peaches And Cream 112 - U Already Know 311 - All Mixed Up 311 - Amber 311 - Beyond The Gray Sky 311 - Creatures (For A While) 311 - Don't Tread On Me 311 - Down 311 - First Straw 311 - Hey You 311 - I'll Be Here Awhile 311 - Love Song 311 - You Wouldn't Believe 411 - Dumb 411 - On My Knees 411 - Teardrops 702 - Get It Together 702 - I Still Love You 702 - Steelo 702 - Where My Girls At 911 - All I Want Is You 911 - How Do You Want Me To Love You 911 - Little Bit More, A 911 - More Than A Woman 911 - Party People (Friday Night) 911 - Private Number 1927 - That's When I Think Of You 1975 - Chocolate 1975 - City 1975 - Love Me 1975 - Robbers 1975 - Sex 1975 - Sound 1975 - Ugh 1 Giant Leap And Jazz Maxi - My Culture 10 Years - Beautiful 10 Years - Through The Iris 10 Years - Wasteland 10,000 Maniacs - Because The Night 10,000 Maniacs - Candy Everybody Wants 10,000 Maniacs - Like The Weather 10,000 Maniacs - More Than This 10,000 Maniacs - These Are The Days 10,000 Maniacs - Trouble Me 100 Proof Aged In Soul - Somebody's Been Sleeping Page 1 AUGSome Karaoke Song List 101 Dalmations - Cruella de Vil 10Cc - Donna 10Cc - Dreadlock Holiday 10Cc - I'm Mandy 10Cc - I'm Not In Love 10Cc - Rubber Bullets 10Cc - Things We Do For Love, The 10Cc - Wall Street Shuffle 112 And Ludacris - Hot And Wet 12 Gauge - Dunkie Butt 12 Stones - Crash 12 Stones - We Are One 1910 Fruitgum Co.
    [Show full text]
  • Seattle-Symphony-May-2017-Encore
    MAY 2017 CELEBRATE ASIA BROADWAY ROCKS WITH THE SEATTLE MEN’ S CHORUS LOOKING AHEAD: RAVEL’ S MAGICAL OPERA Sophistication without compromise. Satisfaction without delay. Work with Coldwell Luxury lives here. Banker Bain to find a home that completes your dreams, anywhere in the world, and quenches your desire for the very best. Coldwell Banker Bain Global Luxury. ColdwellBankerBain.com/GlobalLuxury It’s what we do. SeattleSymphony_LuxuryLivesHere.indd 1 4/18/2017 11:20:03 AM Encore spread.indd 1 4/18/17 1:54 PM Sophistication without compromise. Satisfaction without delay. Work with Coldwell Luxury lives here. Banker Bain to find a home that completes your dreams, anywhere in the world, and quenches your desire for the very best. Coldwell Banker Bain Global Luxury. ColdwellBankerBain.com/GlobalLuxury It’s what we do. SeattleSymphony_LuxuryLivesHere.indd 1 4/18/2017 11:20:03 AM Encore spread.indd 1 4/18/17 1:54 PM CONTENTS SUBSCRIPTIONS NOW ON SALE SINGLE TICKETS ON SALE AUGUST 1 WORLD DANCE SERIES BANDALOOP Lizt Alfonso Dance Cuba Bill T. Jones/Arnie Zane Company Cloud Gate Dance Theatre of Taiwan Hubbard Street Dance Chicago Complexions Contemporary Ballet WORLD MUSIC & THEATER SERIES Habib Koité Third Coast Percussion Martha Redbone: Bone Hill - The Concert Feathers of Fire: A Persian Epic Diego El Cigala INTERNATIONAL CHAMBER MUSIC SERIES Juilliard String Quartet Montrose Trio Takács Quartet with special guest Erika Eckert Danish String Quartet Jerusalem Quartet Calidore String Quartet with David Finckel & Wu Han PRESIDENT'S PIANO
    [Show full text]
  • A BED and a CHAIR: a New York Love Affair
    Contact: Helene Davis [email protected]/212.354.7436 Helene Davis Public Relations: NORM LEWIS, JEREMY JORDAN join CYRILLE AIMÉE, BERNADETTE PETERS in A BED AND A CHAIR: A New York Love Affair New Stephen Sondheim/Wynton Marsalis Collaboration Presented by NEW YORK CITY CENTER & JAZZ AT LINCOLN CENTER Directed by John Doyle; Choreographed by Parker Esse November 13 – 17 at City Center Special Gala Benefit Performance on November 14 New York, N.Y., October 11, 2013 – Norm Lewis and Jeremy Jordan will join Cyrille Aimée and Bernadette Peters in Stephen Sondheim and Wynton Marsalis’s A BED AND A CHAIR: A New York Love Affair, a new musical event featuring Sondheim’s music arranged and performed by the Jazz at Lincoln Center Orchestra with Wynton Marsalis. This Encores! Special Event, directed by frequent Sondheim collaborator John Doyle, with choreography by Parker Esse and musical supervision by David Loud, was conceived by Peter Gethers, Jack Viertel and John Doyle, and will run for seven performances, November 13 – 17 at City Center. The cast will include Cyrille Aimée, Jeremy Jordan, Norm Lewis and Bernadette Peters with dancers Meg Gillentine, Tyler Hanes, Grasan Kingsberry and Elizabeth Parkinson. A BED AND A CHAIR: A New York Love Affair, presented by the combined forces of City Center’s Encores! program and Jazz at Lincoln Center, celebrates love in New York and love of New York. Native Manhattanite Sondheim and adopted citizen Marsalis (originally from New Orleans) and compared musical notes on their shared passion for our city in a program that features more than two dozen Sondheim compositions, each piece newly re-imagined by the unique musical sensibility of Marsalis and performed by the Jazz at Lincoln Center Orchestra.
    [Show full text]
  • Performance Programme Anna Roberts
    End-of-Year Recital Performance Programme Anna Roberts Performance Programme Student: Anna Roberts Student Number: 190002954 Accompanist: Ben Smith Theme: For this performance, I have created a rounded theme: The cycle of love – from infatuation to heartbreak to empowerment, and the emotions that lie in-between. The realisation of falling in love will be displayed through ‘In His Eyes’, and then ‘My Man’ to emphasise the devotion to another. Then the breaK-up will be conveyed through ‘There’s A Fine, Fine Line’ and then ‘Out Here on My Own’ to heighten the feeling of loneliness. Finally, ‘I Am Changing’ represents a strong comeback and the reconnection of independence. In His Eyes Musical: Jekyll & Hyde (1990) Music: Frank Wildhorn Lyrics: Frank Wildhorn, Leslie Bricusse, Steve Cuden Originally a duet but being performed as a solo. Theme: The realisation of falling in love Frank Wildhorn was born in New York in 1958 and built his career as a composer. ‘Jekyll & Hyde’ is his best-known musical, and he also composed “Where Do broke Hearts Go” a number one hit for Witney Houston.1 Leslie Bricusse (b.1931) contributed to many musicals as a composers-lyricist. The award-winning British composer’s songs have been recorded by artists such as Frank Sinatra, Michele Bublé and Mariah Carey. He is known for his contributions to ‘Jekyll & Hyde’, ‘Doctor Doolittle’ and ‘Willy Wonka’.2 Writer, director, and producer Steve Cuden (b. 1955) has worked on musicals including ‘Jekyll & Hyde’, TV series such as ‘X- Men’ and written two books about Broadway and Hollywood.3 Based on Robert Louis Stevenson’s 1886 novel ‘Strange Case of Dr Jekyll and Mr Hyde’, ‘Jekyll & Hyde’ is a 1990 musical.
    [Show full text]
  • Cast Company
    Award-winning Broadway Musicals Captured LIVE IN PERFORMANCE www.broadwayonline.com Book & Lyrics by Leslie Bricusse Music by Frank Wildhorn Conceived for the stage by Stephen Cuden and Frank Wildhorn Captured live-in-performance at Broadway’s Plymouth Theatre Directed for Broadway Worldwide by Don Roy King The longest-running show in the history of Broadway's Plymouth Theatre, Jekyll & Hyde broke the house record PRINCIPAL CAST on three occasions and ran for over 1,500 performances. Dr. Henry Jekyll David Hasselhoff The show won a legion of repeat visitors, dubbed by the press Lucy Coleen Sexton as "Jekkies", with some hardcore fans seeing the show Emma Carew Andrea Rivette hundreds of times. John Utterson George Merritt Sir Danvers Carew Barrie Ingham David Hasselhoff made his Broadway debut in the title role, having first come to the attention of American audiences Lord Savage / The Spide Martin Van Treuren through his role as Dr. Snapper Foster on The Young and The Lady Beaconsfield / Restless. He went on to star as Michael Knight in the series Guinevere Corinne Melanon Knight Rider and then received worldwide attention as the star of Baywatch. COMPANY Another notable cast member is Kelli O’Hara, who makes Juan Betancur here Broadway debut in the ensemble of Jekyll & Hyde, but David Chaney soon thereafter had a starring role in Sweet Smell of Success Sheri Cowart with John Lithgow. She has since been nominated 4 times Bill E. Dietrich for best actress Tony Awards® in The Light in The Piazza, John Treacy Egan Pajama Game, South Pacific and Nice Work If You Can Get It.
    [Show full text]
  • Lana-Del-Rey.Pdf
    Advertisement News Opinion Sport Culture Lifestyle More Lana Del Rey Did Lana Del Rey plagiarise Radiohead? A note-by-note analysis After Lana Del Rey settles her plagiarism case with Radiohead, composer Ed Newton-Rex shows just how similar their songs Get Free and Creep truly are Niko Kommenda Mon 26 Mar 2018 11.30 EDT 146 401 “Lana Del Radiohead”, the internet scoffed recently, after Lana Del Rey’s song Get Free was found to have more than a passing similarity to Radiohead’s breakthrough hit Creep. It was all there: the moody chord changes, the even moodier, downward-turning melody. Radiohead noticed, and requested that they be added to the song’s credits – a dispute that, according to Del Rey, has been brought to an end. Creep had, of course, been subject to its own plagiarism dispute in the 1990s, with the songwriters Albert Hammond and Mike Hazlewood added to the credits thanks to a similarity with the hit song they wrote for the Hollies, The Air That I Breathe. So how similar are Get Free and Creep, and did Radiohead have a legitimate complaint? The Guardian spoke to a professional composer, Ed Newton-Rex, to analyse the pair of songs. The chords heard in Creep are rare in pop music He starts his analysis by pointing out that the two songs use the same sequence of chords to accompany the melody throughout the track. While this is not unusual in the industry – some chord progressions appear in hundreds of songs – the chords heard in Creep and Get Free are relatively rare in pop music.
    [Show full text]