Music I: the Characters
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Singing Syllabus 2014
Singing GRADE 6 from 2009 PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or any solo Jazz subject. For alternatives, see www.abrsm.org/prerequisite. FOUR ACCOMPANIED SONGS: from memory, one chosen by the candidate from each of the four Lists, A, B, C and D (listed below). See also pp. 5, 6 and 10. ONE UNACCOMPANIED TRADITIONAL SONG: from memory, of the candidate’s own choice. See also p. 7. SIGHT-SINGING*: see pp. 8–9 AURAL TESTS FOR THE GRADE*: see pp. 82 and 85 ACCOMPANIED SONG LISTS LIST A All Voices 1 C. P. E. Bach Weihnachtslied (Christmas Song). G (dЈ–gЉ) or Eb: No. 21 from Sing Solo Christmas (high or low) (OUP) (Ger/Eng) 2 J. S. Bach Come, let us all this day, BWV 479. F (cЈ–gЉ): publ. separately (Novello NOV290321) 3 Blow The Self Banished. G (dЈ–gЉ) or D: publ. separately (Schott ED 11939 or 11940) 4 Bononcini Per la gloria d’adorarvi: from Griselda. F (dЈ–f Љ) or D: No. 19 from 30 Italian Songs and Arias of the 17th & 18th Centuries (medium-high or medium-low) (Peters EP 7743a or 7743b) (Ital/Eng) F or D: A Selection of Italian Arias 1600–1800, Vol. 2 (high or low) (ABRSM) (Ital/Eng) 5 Caldara Alma del core: from La Costanza in amor vince l’inganno. # A (aЈ–g Љ) or F: A Selection of Italian Arias 1600–1800, Vol. 1 (high or low) (ABRSM) (Ital/Eng) A or E: No. 21 from 30 Italian Songs and Arias of the 17th & 18th Centuries (medium-high or medium- low) (Peters EP 7743a or 7743b) (Ital/Eng) G or D: No. -
MERRIE ENGLAND Music by Edward German
Press Information The Finborough Theatre is now fully air conditioned Summer Season | April to July 2012 Part of the Finborough Theatre's Celebrating British Music Theatre series Citric Acid in association with Neil McPherson for the Finborough Theatre presents The first professional London production for 52 years MERRIE ENGLAND Music by Edward German. Libretto by Basil Hood. Directed by Alex Sutton. Musical Direction by Eamonn O’ Dwyer. Designed by Philip Lindley. Lighting by Miguel Vicente. Produced by Luke Holbrook. Costume Design by Sophia Anastasiou. Cast: Sammy Andrews. Alexander Beck. Jamie Birkett. Daniel Cane. Luke Courtier. Stephen Darcy. Virge Gilchrist. Tom Giles. Stuart Hickey. Rachel Holbrook. Nichola Jolley. Christopher Killik. Ruth Leavesley. Brendan Matthew. Michael Riseley. Jody Ellen Robinson. Gemma Sandzer. Rhys Saunders. Originally written for the Savoy Theatre in 1902 and a longtime British musical classic, this rediscovery celebrates both the Queen’s Diamond Jubilee as well as the 150th anniversary of the birth of composer Edward German. Merrie England plays at the Finborough Theatre for a limited run of nine Sunday and Monday evening performances and Tuesday matinees, opening on Sunday, 27 May 2012 (Press Night: Monday, 28 May 2012 at 7.30pm). Edward German's patriotic pageant deals with love and rivalries at the court of Queen Elizabeth I as the monarch visits the townsfolk of Windsor to celebrate May Day. With a plot that includes such historical personages as Sir Walter Raleigh and the Earl of Essex, murder plots and tales of witchcraft unravel to the background of the May Day revels... An English light opera in the style made famous by Gilbert and Sullivan, Merrie England features a prominent chorus and a range of principal numbers including ballads, patter songs, duets and quintets. -
2012 Shakespearean Authorship and More
Summer 2012 Shakespeare Matters page 1 12:1 “Let me not to the marriage of true minds admit impediments...” Winter 2013 Did Rudolf Steiner Name the Bard, 100 Years Ago? by Alan Stott ccompanying the general insecurity around us, there is a considerable interest in the beginnings of modern times. AWhat happened 400–500 years ago in the birth struggles of emerging Europe? Novels, studies, TV programs and films explore the events surrounding the throne of England. Several acclaimed films aim to capture the life and “glorious reign” of Elizabeth (1533-1603). Our picture of “merrie olde England” and the relative calm of Elizabeth’s reign, however, has to be modified Mark Rylance lecturing on John Dee’s Monas ����o������������ by the lasting impact of her father, the tyrant Henry VIII, together �ca at the 2012 SAT meetings (see p. 8). with the intrigues and quarrels amongst the aristocracy, religious persecutions, the realities of a police state, rigorous censorship, 2012 Shakespearean Authorship and more. But, we comfort ourselves, the age did produce Shake- Trust Conference Report speare. Of that, at least, we can be proud. (Continued on page 11) by Earl Showerman n May I received a most welcome invitation to the annual Shakespearean Authorship Trust (SAT) Conference in London. A Source for “Remembrance of IOxfordian Julia Cleave, who is a trustee of the SAT, wrote to Things Past” ask if I would make a presentation at the conference, which is held each November at Shakespeare’s Globe Theatre. The theme in Shakespeare’s Sonnet 30 of this year’s conference was “Shakespeare and the Mysteries,” a subject to which advocates of all the leading authorship candidates by Richard M. -
A Masked Ball Programme
invites you to Giuseppe Verdi’s A Masked Ball By arrangement with Chester Music Limited trading as G. Schirmer on behalf of G. Schirmer Inc Friday 27th & Saturday 28th October at 7.30pm Queen Victoria Hall, Oundle (with orchestra) Saturday 4th November 2017 at 7.30pm St Thomas a Becket Church, Ramsey (with piano) Sunday 5th November at 4pm The Key Studio, Peterborough (with piano) www.peterboroughopera.co.uk Follow us on Facebook, Twitter & Instagram 1 A MASKED BALL (Un Ballo in Maschera) Music by Giuseppe Verdi Libretto by Antonio Somma English Version by Peter Paul Fuchs Arrangement for small orchestra by Eric Weatherell Musical Director - Kate Wishart Artistic Director - Mark Ellse Choreographer - Stephanie Tenneson 2 A warm welcome to our latest production, Verdi’s “Un Ballo in Maschera” or “A Masked Ball”. We do hope you will enjoy it as much as we have while rehearsing it! Peterborough Opera was formed in 1969 to bring opera in English to the city, the first production being Mozart’s Magic Flute given in July 1970. The first singers were largely recruited by the Musical Director Clive Fairbairn from local mostly semi-professional performers who were studying with the then cathedral Master of Music Dr Stanley Vann. Since then the flow of productions has included most of the popular operas and some more challenging, not so well-known works. “A Masked Ball” continues this tradition and contains all the essential elements of a good opera – power politics, intrigue, sorcery and treachery, mixed with love, lust and betrayal, whilst meanwhile the populace are blissfully unaware of such undercurrents, until, that is, it is ‘unmasked’! You could be forgiven if you say “nothing has changed in the 21st century”! We are very excited this year to spread our ‘performance wings’ beyond Peterborough, again - this time to Oundle where we have many supporters, members, soloists and linkages with Oundle G&S and Thrapston Opera. -
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. -
Merrie England
MERRIE ENGLAND THE BAND OF THE GRENADIER GUARDS DIRECTOR OF MUSIC: LIEUTENANT-COLONEL G.J. MILLER, MVO, MBE REMASTERED HISTORICAL RECORDINGS 1923 -1934 1. MERRIE ENGLAND (SIR EDWARD GERMAN) 27th June 1927 2. SAVOY HUNTING MEDLEY (ARR. DEBROY SOMERS) 12th March 1934 3. LO! HERE THE GENTLE LARK (SIR HENRY BISHOP) 25th January 1929 4. W.H. SQUIRE’S POPULAR SONGS (WILLIAM HENRY SQUIRE) 17th September 1926 5. ETON MEMORIES (ARR. A.M. GOODHART) 1st March 1934 6. A PRINCESS OF KENSINGTON (SIR EDWARD GERMAN) 27th June 1927 7. SONGS OF THE SEA 26th November 1931 8. THE BEGGAR'S OPERA (JOHN GAY) 19th March 1923 9. THE ROSE - ENGLISH SELECTION (ARR. WILLIAM HENRY MYDDLETON) 11t h A p r i l 1927 10. POST HORN GALOP (HERMANN KOENIG) 27th November 1930 11. TOM JONES (SIR EDWARD GERMAN) 22nd June 1927 THE GRENADIER GUARDS The Grenadier Guards was raised in Bruges as a bodyguard to King During the First World War the Guards bands did much to help Charles II while he was in exile, and moved to England after the recruitment and morale at home and took turns for three-month Restoration of the British monarchy in 1661 following the brief tours to France and Belgium to play for the soldiers serving at the flirtation with parliamentary rule under Oliver Cromwell. The front. regimental band traces its history back to a warrant signed by the King in 1685 authorising its formation, and can therefore claim to Post World War Two one of the musicians to serve in the band was have been ‘born’ in the same year as Bach and Handel. -
Musicale 17-03-04-05 Cox and Box.Indd
Upcoming Events Gilbert & Sullivan Austin presents The Pirates of Penzance Preview Musicale Sunday, May 21, 3 pm Summer 2017 Grand Production cox and box Artistic & Stage Director: Ralph MacPhail, Jr. Music Director: Jeffrey Jones-Ragona 9 Performances Worley Barton Theater at Brentwood Christian School June 15–25 Austin, Texas For more information on these and other GSA activities, please visit www.gilbertsullivan.org March 4 and 5, 2017 ank You! e Cast We are particularly grateful to the following for their valued assistance with this production of Cox and Box: (Cox) (Box) Russell Barr and Crestview United Gary Hallock for helping to move and haul Andy is delighted to Methodist Church for providing Julius joined GSA in heavy objects return for his 14th season rehearsal space Bill Hatcher and Libby Weed for helping 2014 as the Bo’s’n in Ron Bell and the Church of Christ in with Gilbert and Sullivan to gather props H.M.S. Pinafore and Austin! After climbing Hyde Park for providing rehearsal Ralph MacPhail, Jr., for providing unique space played Dr. Daly the following year out of a pit as Æsculapius Carboy ( e props from his personal collection Amy Chidester for lending the antique hall in e Sorcerer. He was introduced Zoo), he was recently seen climbing R. B. Rudy for lending a car to our Artistic tree to G&S with the role of the Judge in back in to conduct a performance of e Director Diff erent Stages for lending chairs Southwestern University’s performance Gondoliers. Andy has performed roles Russell and Kay Gregory for providing e Vortex eatre for their support with of Trial by Jury. -
Social Studies: Timeline
Social Studies: Timeline Students Will Read Our Composer: Sir Arthur Seymour Sullivan. Read the information sheets containing historical facts included with the lesson. Select and combine information to create a timeline containing events from the composer’s life, the life of Queen Victoria, and events from U.S. History from the same century. Before the Lesson Print/provide copies for each student of the article Our Composer: Sir Arthur Seymour Sullivan and the information sheets included with the lesson. Decide what materials students will use to create their timeline. It is possible to use regular paper, sentence strips, butcher paper, or electronic media. Prepare internet access for additional research as needed. Gather pens, pencils, scissors, glue, tape, and timeline paper as needed for your group. Introduction Have your students read Our Composer: Sir Arthur Seymour Sullivan and the information sheets included with the lesson. Discuss how you would like students to build their timeline. They can be written onto selected paper or students may cut the information statements apart and glue or tape them to their project. Electronic timelines may also be an option for your classroom. Guided/Independent Practice Depending on your grade level, the ability of your students, and time constraints, you may choose to have students work as a whole class, in small groups, with a partner, or individually. Discuss your expectations for student products. Direct the students on how many items from each information list you expect them to include in their timeline. If students are working with a partner or in small groups, give them time to discuss their choices. -
Midwestern Gilbert and Sullivan Society
NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY September 1990 -- Issue 27 But the night has been long, Ditto, Ditto my song, And thank goodness they're both of 'em over! It isn't so much that the night was long, but that the Summer was (or wasn't, as the case may be). This was not one of S/A Cole's better seasons: in June, her family moved to Central Illinois; in July, the computer had a head crash that took until August to fix, and in that month, she was tired and sick from all the summer excitement. But, tush, I am puling. Now that Autumn is nearly here, things are getting back to normal (such as that is). Since there was no summer Nonsense, there is all kinds of stuff in this issue, including the answers to the Big Quiz, an extended "Where Can it Be?/The G&S Shopper", reports on the Sullivan Festival and MGS Annual Outing, and an analysis of Thomas Stone's The Savoyards' Patience. Let's see what's new. First of all, we owe the Savoy-Aires an apology. Oh, Members, How Say You, S/A Cole had sincerely believed that an issue of the What is it You've Done? Nonsense would be out in time to promote their summer production of Yeomen. As we know now, Member David Michaels appeared as the "First no Nonsense came out, and the May one didn't even Yeomen" in the Savoy-Aires' recent production of mention their address. Well, we're going to start to The Yeomen of the Guard. -
The Tudors with Camille Saint-Saëns's Henry VIII
Media Contact: April Thibeault/AMT PR mailto:[email protected] 212.861.0990 Odyssey Opera Begins its 2019-20 Season: The Tudors with Camille Saint-Saëns’s Henry VIII What:Henry VIII by Camille Saint-Saëns When: Saturday, September 21, 2019, at 7:30 p.m. Where: New England Conservatory’s Jordan Hall, 30 Gainsborough Street, Boston, MA| T: Green to Symphony, Orange to Mass Ave Tickets: $25 and Up. To purchase, visit odysseyopera.org or call 617.826.1626. BOSTON, MA (For Release 07.18.19) — One of the nation’s most adventurous opera companies, Odyssey Opera, begins its seventh season with a concert performance of Henry VIII (1883)by French composer Camille Saint-Saëns based on El cisma en Inglaterra (The schism in England) by Pedro Calderón de la Barca. This kick-starts the company’s 2019-20 season featuring concert and staged operas about the great English dynasty of the 16th century: the Tudors. With libretto by Léonce Détroyat and Armand Silvestre, Henry VIII brings to life one of history’s most infamous love triangles featuring baritone Michael Chioldi as King Henry, soprano Ellie Dehn as Henry’s first wife, Catherine of Aragon, and mezzo-soprano Hilary Ginther as Henry’s second wife, Anne Boleyn. Dedicated to performing neglected works, Odyssey Opera resurrects this little known and intensely powerful work. It premiered in 1883 and received its North American premiere 100 years later in 1983. “Henry VIII has all the ingredients of a spectacular grand opera,” says Gil Rose, Odyssey Opera’s Artistic and General Director. “It has a sensational historical subject and sweeping vocal melodies and rich orchestral writing. -
Cox and Box/Trial by Jury Program 2014
The Dairyville Players Under the direction of Dennis Britten and musical direction of Bernd R. Kuehn, conductor of the Oregon Chorale Present With 3 Performances August 22-24 at The Alpenrose Opera House 6149 SW Shattuck Road, Portland 97221 Friday, Saturday and Sunday at 7:30 PM And 1 Performance September 5 Multnomah Arts Center in Multnomah Village – Friday 7:30 Suggested donation from $8 – Tickets Available at the door of the Opera House on the day of performance only We Wish to Thank the Following for Their Help with This Production Our photographer was a big help to us And she is available through FaceBook: https://www.facebook.com/erica.grogg.3 YOUR DONATION Whether you made the suggested donation upon entering or choose to add to your donation upon exiting, be assured your contribution is helping this fledgling theatre company begin to bring you more of the fun of treasured theatre works in the future. Thank you for your help. Proudly Presents Cox and Box or, The Long-Lost Brothers, with a libretto by F. C. Burnand and music by Arthur Sullivan Directed by Dennis Britten a one-act comic opera based on the 1847 farce by John Maddison Morton Fifteen Minute Intermission & Trial by Jury with music by Arthur Sullivan and libretto by W. S. Gilbert Directed by Dennis Britten and Musical Direction by Bernd R. Kuehn a comic opera in one act first produced in 1875 Cast (In Order of Appearance) Cox and Box Mr. Cox…………………………………………………………Robert Patrick Sergeant Bouncer………………………………………...Steve Pitzel Mr. Box……………………………………………………..….Owen Hofmann-Smith -
Gilbert and Sullivan's 'Respectable Capers'
PALGRAVE STUDIES IN BRITISH MUSICAL THEATRE GILBERT AND SULLIVAN’S ‘RESPECTABLE CAPERS’ CLASS, RESPECTABILITY AND THE SAVOY OPERAS, 1877 – 1909 MICHAEL GORON Palgrave Studies in British Musical Theatre Series Editors Millie Taylor Department of Performing Arts University of Winchester Winchester , UK Dominic Symonds Lincoln School of Performing Arts University of Lincoln Lincoln , UK Aim of the Series Britain’s contribution to musical theatre in the late twentieth century is known and celebrated across the world. In historiographies of musical theatre, this assertion of British success concludes the twentieth century narrative that is otherwise reported as an American story. Yet the use of song and music in UK theatre is much more widespread than is often acknowledged. This series teases out the nuances and the richness of British musical theatre in three broad areas: British identity; Aesthetics and dramaturgies; Practices and politics. More information about this series at http://www.springer.com/series/15105 Michael Goron Gilbert and Sullivan’s ‘Respectable Capers’ Class, Respectability and the Savoy Operas 1877–1909 Michael Goron Southampton Solent University Southampton , UK University of Winchester Winchester, UK Palgrave Studies in British Musical Theatre ISBN 978-1-137-59477-8 ISBN 978-1-137-59478-5 (eBook) DOI 10.1057/978-1-137-59478-5 Library of Congress Control Number: 2016941777 © The Editor(s) (if applicable) and The Author(s) 2016 The author(s) has/have asserted their right(s) to be identifi ed as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright.