Vocal Performance from Renaissance to Modern Day
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Theater Souvenir Programs Guide [1881-1979]
Theater Souvenir Programs Guide [1881-1979] RBC PN2037 .T54 1881 Choose which boxes you want to see, go to SearchWorks record, and page boxes electronically. BOX 1 1: An Illustrated Record by "The Sphere" of the Gilbert & Sullivan Operas 1939 (1939). Note: Operas: The Mikado; The Goldoliers; Iolanthe; Trial by Jury; The Pirates of Penzance; The Yeomen of the Guard; Patience; Princess Ida; Ruddigore; H.M.S. Pinafore; The Grand Duke; Utopia, Limited; The Sorcerer. 2: Glyndebourne Festival Opera (1960). Note: 26th Anniversary of the Glyndebourne Festival, operas: I Puritani; Falstaff; Der Rosenkavalier; Don Giovanni; La Cenerentola; Die Zauberflöte. 3: Parts I Have Played: Mr. Martin Harvey (1881-1909). Note: 30 Photographs and A Biographical Sketch. 4: Souvenir of The Christian King (Or Alfred of "Engle-Land"), by Wilson Barrett. Note: Photographs by W. & D. Downey. 5: Adelphi Theatre : Adelphi Theatre Souvenir of the 200th Performance of "Tina" (1916). 6: Comedy Theatre : Souvenir of "Sunday" (1904), by Thomas Raceward. 7: Daly's Theatre : The Lady of the Rose: Souvenir of Anniversary Perforamnce Feb. 21, 1923 (1923), by Frederick Lonsdale. Note: Musical theater. 8: Drury Lane Theatre : The Pageant of Drury Lane Theatre (1918), by Louis N. Parker. Note: In celebration of the 21 years of management by Arthur Collins. 9: Duke of York's Theatre : Souvenir of the 200th Performance of "The Admirable Crichton" (1902), by J.M. Barrie. Note: Oil paintings by Chas. A. Buchel, produced under the management of Charles Frohman. 10: Gaiety Theatre : The Orchid (1904), by James T. Tanner. Note: Managing Director, Mr. George Edwardes, musical comedy. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
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 -
Too-Ra-Loo-Ra-Loo-Ral)
Connecticut College Digital Commons @ Connecticut College Historic Sheet Music Collection Greer Music Library 1913 That's An Irish Lullaby (Too-ra-loo-ra-loo-ral) James R. Shannon Follow this and additional works at: https://digitalcommons.conncoll.edu/sheetmusic Recommended Citation Shannon, James R., "That's An Irish Lullaby (Too-ra-loo-ra-loo-ral)" (1913). Historic Sheet Music Collection. 1080. https://digitalcommons.conncoll.edu/sheetmusic/1080 This Score is brought to you for free and open access by the Greer Music Library at Digital Commons @ Connecticut College. It has been accepted for inclusion in Historic Sheet Music Collection by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. ~i TOO-RA-LOO-RA-LOO-RAL --·r>*--<1·-- l InCrctoc) In E~ Contralto (el, to e!, J{ or Baritone (lead) Soprano (g to a/,J 1---------~-~---+------='-------4 or Tenor PUBLISHED IN THE FOLLOWING ARRANGEMENTS Vocal Solo, C-E~-F-G ... ... each .;o Piano Solo (Gotham Classics No. 85) .50 Vocal Duet, ED-G . .... ... ... each .60 i Part Mixed (SAB) . I; 2 Part (SA or TB) . .15 4 Part Mixed (SA TB) . I 5 3 Part Treble (SSA) .. .15 . Accordion Solo (Bass Clef) . .;o 4 Part Treble (SSAA) .. .. ....... .16 Vocal Orchestration, F-C . ..... each .75 4 Part Male (TTBB) ............... .15 Dance Orchestration (Fox Trot) . .7 5 Band .... ......... .. ......... 1.00 WHEN PERFORMING THIS CO MPOSITION KINDLY G !VE ALL PROGRAM C -
Consuming Fantasies: Labor, Leisure, and the London Shopgirl
Sanders_FM_3rd.qxp 1/19/2006 10:23 AM Page i CONSUMING FANTASIES Sanders_FM_3rd.qxp 1/19/2006 10:23 AM Page ii Sanders_FM_3rd.qxp 1/19/2006 10:23 AM Page iii Consuming Fantasies: LABOR, LEISURE, AND THE LONDON SHOPGIRL, 1880–1920 Lise Shapiro Sanders The Ohio State University Press Columbus Sanders_FM_3rd.qxp 1/19/2006 10:23 AM Page iv Copyright © 2006 by The Ohio State University Press. All rights reserved. Library of Congress Cataloging-in-Publication Data Sanders, Lise, 1970– Consuming fantasies : labor, leisure, and the London shopgirl, 1880–1920 / Lise Shapiro Sanders. p. cm. Includes bibliographical references and index. ISBN 0-8142-1017-1 (alk. paper) — ISBN 0-8142-9093-0 (cd-rom) 1. English literature—19th century—History and criticism. 2. Women sales personnel in literature. 3. English literature—20th centu- ry—History and criticism. 4. Women sales personnel—England— London—History. 5. Working class women—England—London— History. 6. Department stores—England—London—History. 7. Retail trade—England—London—History. 8. Women and literature— England—London. 9. London (England)—In literature. 10. Sex role in literature. I. Title. PR468.W6S26 2006 820.9'3522—dc22 2005029994 Cover design by Jeff Smith. Type set in Adobe Garamond. Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences— Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 Sanders_FM_3rd.qxp 1/19/2006 10:23 AM Page v CONTENTS List of Illustrations vii Acknowledgments ix Introduction 1 1. -
Imagining China in London Musical Theatre During the 1890S: the Geisha and San Toy
Imagining China in London Musical Theatre during the 1890s: The Geisha and San Toy William A. EVERETT University of Missouri-Kansas City Conservatory of Music and Dance 4949 Cherry Street, Kansas City, MO 64110-2229, USA E-mail: [email protected] (Received: March 2016; accepted: June 2016) Abstract: For people living in London during the 1890s, China and the Chinese were largely mythical constructions. Attitudes towards China, as well as the Chinese them- selves, were being imagined at the time through various media, including popular musical theatre. Two shows, both with music by Sidney Jones and produced by George Edwardes at Daly’s Theatre, were significant in this identity construction: The Geisha (1896) and San Toy (1899). Both musicals are set in East Asia and include Chinese and British characters. In The Geisha, which takes place in Japan, the sole Chinese char- acter is Wun-Hi, the owner of a teahouse. He is less than honorable, and his music is in an ethnic-based music hall style, with nearly speech-sung melodies and unashamed Pidgin English. In Jones’s score for San Toy, which is set in China, characters who endorse Western views sing glorious melodic lines reminiscent of Gilbert and Sullivan while those who do not sound like Wun-Hi in The Geisha, with clipped articulations and non-standard English. Keywords: Orientalism, China, Operetta, The Geisha, San Toy How the British imagined China and the Chinese at the end of the nineteenth century was a complex, multi-faceted, and sometime contradictory affair. London at the time had a Chinese population of only about 300, and most Londoners as- sociated the Chinese with laundries, catering businesses, or opium dens.1 (Charles Dickens’ The Mystery of Edwin Drood provides a vivid example for the last of these images, with its menacing atmosphere filled with mystery and unknowing.) 1. -
Wand'ring Minstrels in I Have a Song to Sing, O!
E OWL P RFO B RM S I D N N G A A L D R 97th Annual T The E S Summer Music R 2273rd Festival Event Tuesday, July 28, 2020 8:00 p.m. ● ALBERT BERGERET, ARTISTIC DIRECTOR WAND’RING MINSTRELS IN I HAVE A SONG TO SING, O! INTRODUCTION BY Nathan Gonzales ________________________________________________________________________________ This program is generously sponsored by ______________________________________E_S__R_I ______________________________________ THIS EVENING’S ARTIST Director: James Mills Music Director & Conductor: Albert Bergeret Executive Producer: David Wannen Editor: Danny Bristoll Sarah Caldwell Smith, Soprano Rebecca Hargrove, Soprano Angela Christine Smith, Contralto Alex Corson, Tenor James Mills, Comic Baritone Matthew Wages, Bass-Baritone David Wannen, Bass Accompanist: Elizabeth Rogers MUSICAL NUMBERS With Cat-like Tread, Upon Our Prey We Steal (The Pirates of Penzance) . .Ensemble I Have a Song to Sing, O! (The Yeomen of the Guard) . .James Mills Sarah Caldwell Smith Am I Alone and Unobserved? (Patience) . .James Mills A British Tar (H.M.S. Pinafore) . .Alex Corson Matthew Wages David Wannen I’m Called Little Buttercup (H.M.S. Pinafore) . .Angela Christine Smith We’re Called Gondolieri (The Gondoliers) . .Alex Corson Matthew Wages Take a Pair of Sparkling Eyes (The Gondoliers) . .Alex Corson Oh, Better Far to Live and Die (The Pirates of Penzance) . .Matthew Wages and Men When All Night Long a Chap Remains (Iolanthe) . .David Wannen Three Little Maids From School are We (The Mikado) . .Rebecca Hargrove Angela Christine Smith Sarah Caldwell Smith The Sun, Whose Rays are All Ablaze (The Mikado) . .Rebecca Hargrove Here’s a How-de-do! (The Mikado) . .Alex Corson James Mills Rebecca Hargrove Alone, and Yet Alive! (The Mikado) . -
London Musicals 1920-1924.Pub
1920 1 MEDORAH London run: Alhambra, January 22 nd – March 13 th (60 performances) Music: Vada Ennem Book & Lyrics Denn Spranklin English adaptation: Rupert Hazell English lyrics : Adrian Ross Additional numbers : John Ansell Director: E. Dagnell Choreographer: Will Bishop Musical Director : John Anstell Cast: Leo Stormont ( Sultan), Ada Reeve (Medorah), W.S. Percy ( Dadoolah), Jamieson Dodds (Vernon Grant ), Leslie Stiles ( Ambassador Manston), Margaret Campbell ( Mrs Manston) Songs: Tomorrow’s Another Day, There’s Always a Drawback, Like a Dream. Wonderful Joy, Hope Again, Love and My Soul Alone Story: In Caravanistan beauty is measured in physical bulk, the heavier the better. The Sultan’s eldest daughter, Medorah, is thin, too thin to be an eligible bride. Chancellor Dadoolah suggests she is sent to America for the purposes of putting on weight – a suggestion that delights her because she has fallen in love with Vernon Grant, the man who accompanied the American ambassador and his wife to a reception in the Sultan’s palace. They meet again in Washington, and when she is summoned back to Caravanistan , Vernon secretly follows. Meantime, after various adventures, Vernon is captured and forced to work as a slave in the Sultan’s household. With no hope of marrying his underweight daughter to a prince, the Sultan condemns her to marry his new slave – and thus Medorah and Vernon are happily united. Notes: The original publicity declared that “Medorah” was jointly produced by Mr. Bernard J. Hishin and Sir Oswald Stoll, but within a week of opening, the show was subject to a legal dispute in the Court of Chancery, with Violet Melnotte claiming (and winning) half-ownership in the copyright of the English version of this Dutch original. -
Herbert Women!
News From VHSource, LLC Vol 6 June 2017 Herbert Women! Here Herbert presents us with two very strong women, Happily Ever After? and that question just keeps rearing its head: “Will these relationships work after the audience goes home.” ast month’s wonderful week of Victor Herbert in Both Barry O’Day and Crown Prince Ivan get the girl. New York City led to interesting discussions over the Interestingly, both of these original works fall into the Lthree or four days as great friends from across the second decade of the new 20th century. The same country gathered in New York – California, Wisconsin, decade that saw women finally begin to get the right to Michigan, Connecticut, Massachusetts! We all enjoyed th vote. That issue had been brewing since the 1870s in two VHRP LIVE! 100 Anniversary performances of Europe and both the European and American male Herbert’s Eileen (1917) and the MasterVoices’ populations were getting fed up with the protestations performance of Herbert’s Babes In Toyland (1903). of strong females. One discussion in particular raised the issue of whether or Finland was the first European country to grant voting not Eileen and Barry O’Day would have lived happily ever rights to women in 1913, followed by Canada in 1917, after. The consensus seemed to be that they would NOT. Britain in 1918 and the United States in 1920. One Eileen had backed the O’Day into too many corners during could say women were definitely feeling their growing their courtship and never would have succeeded in stopping strength in the real world. -
The Théâtre Musical Léger in Europe: from the Operetta to the Music-Hall
INTERNATIONAL CONFERENCE The THÉÂTRE MUSICAL LÉGER in Europe: From the Operetta to the Music-hall 5-7 October 2015 Lucca, Complesso Monumentale di San Micheletto Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Palazzetto Bru Zane, Venice PROGRAMME ORGANIZED BY CENTRO STUDI OPERA OMNIA LUIGI BOccHERINI www.luigiboccherini.org The THÉÂTRE MUSICAL LÉGER in Europe: From the Operetta to the Music-hall International Conference 5-7 October 2015 Lucca, Complesso monumentale di San Micheletto Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Palazzetto Bru Zane - Centre de musique romantique française, Venice ef Scientific Commitee Olivier Bara (CNRS-Université Lyon 2) Lorenzo Frassà (Centro Studi Opera Omnia Luigi Boccherini) Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini) Étienne Jardin (Palazzetto Bru Zane) Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini) Michela Niccolai, Conference director (Bibliothèque Historique de la Ville de Paris – ART) ef Keynote Speakers Olivier Bara (CNRS-Université Lyon 2) Michela Niccolai (Bibliothèque Historique de la Ville de Paris – ART) MONDAY 5 OCTOBER 9.30-10.30: Welcome and Registration 10.30-11.00: Opening • Fulvia Morabito (President Centro Studi Opera Omnia Luigi Boccherini) • Étienne Jardin (Palazzetto Bru Zane, Venice) • Michela Niccolai (Bibliothèque Historique de la Ville de Paris – ART) 11.00-12.30: Entertainment System in the European Countries: United Kingdom (Chair: Clair Rowden, Cardiff University, UK) • William A. Everett (University of Missouri-Kansas -
Kern FESTIVAL
COMIC OPERA GUILD FESTIVAL RECORDINGS CDs will be mailed to you. For orders of one title, please include $5.00 shipping. For 2 titles or more, mailing is included. COMIC OPERA GUILD, P.O. BOX 1922, ANN ARBOR, MI 48106 The Victor Herbert JEROME FESTIVAL Kern FESTIVAL MUSIC MUSIC MUSIC MUSIC ONLY & DIALOG ONLY & DIALOG ❑ MADEMOISELLE MODISTE ❑ $18 ❑ HAVE A HEART ❑ $23 ❑ $23 ❑ PRINCESS “PAT” ❑ $18 ❑ VERY GOOD, EDDIE ❑ $23 ❑ $23 ❑ THE RED MILL ❑ $18 ❑ THE CABARET GIRL ❑ $18 ❑ $23 ❑ OH, BOY! ❑ $23 ❑ $23 ❑ THE ONLY GIRL ❑ $18 ❑ OH, LADY! LADY!! ❑ $18 ❑ $23 ❑ WHEN SWEET SIXTEEN ❑ $18 ❑ SALLY ❑ $23 ❑ $23 ❑ SWEETHEARTS ❑ $23 ❑ GOOD MORNING, DEARIE ❑ $18 ❑ $23 ❑ THE SINGING GIRL ❑ $23 ❑ $23 ❑ STEPPING STONES ❑ $18 ❑ ORANGE BLOSSOMS ❑ $18 ❑ $23 ❑ CAT AND THE FIDDLE ❑ $23 ❑ THE ENCHANTRESS ❑ $23 ❑ $23 ❑ LEAVE IT TO JANE ❑ $18 ❑ $23 ❑ BABETTE ❑ $18 ❑ $23 ❑ LOVE-MIKE & ROCKABYE ❑ $18 ❑ $18 ❑ LITTLE NEMO ❑ $23 ❑ $23 ❑ NIGHT BT & BUNCH-JUDY ❑ $18 ❑ $18 ❑ THE GIRL FROM UTAH ❑ $18 ❑ $23 ❑ IT HAPPENED IN NORDLAND ❑ $18 ❑ $23 ❑ ❑ ❑ THE IDOL’S EYE $23 $23 OTHER COMPOSERS ❑ THE PRIMA DONNA ❑ $18 ❑ $23 ❑ MARY HIRSCH ❑ $18 ❑ $23 ❑ DREAM CITY/MAGIC KNIGHT ❑ $23 ❑ $23 ❑ RAINBOW GIRL HIRSCH ❑ $18 ❑ ALGERIA ❑ $23 ❑ APPLE BLOSSOMS KREISLER ❑ $18 ❑ $23 ❑ WONDERLAND ❑ $23 ❑ THE THREE TWINS HOSCHNA ❑ $23 ❑ THE VELVET LADY ❑ $18 ❑ MADAME SHERRY HOSCHNA ❑ $18 ❑ $23 ❑ THE TATOOED MAN ❑ $23 ❑ HIGH JINKS FRIML ❑ $23 ❑ $23 ❑ ❑ ❑ ❑ OLD DUTCH ❑ $18 KATINKA FRIML $23 $23 ❑ THE CHARLATAN SOUSA ❑ $18 ❑ $23 ❑ ANGEL FACE ❑ $18 ❑ EL CAPITAN SOUSA ❑ $18 ❑ $23 ❑ ❑ ❑ THE VICEROY $23 $23 ❑ CHRIS & THE W. LAMP SOUSA ❑ $18 ❑ $23 ❑ MISS DOLLY DOLLARS ❑ $23 ❑ $23 ❑ THE FREE LANCE SOUSA ❑ $23 ❑ $23 ❑ THE MADCAP DUCHESS ❑ $18 ❑ $23 ❑ THE ROSE OF CASTILE BALFE ❑ $23 ❑ HER REGIMENT ❑ $18 ❑ $23 ❑ THE PRINCE OF PILSEN LUDERS ❑ $18 ❑ $23 ❑ MLLE. -
Mlle. Modiste
VICTOR HERBERT Mlle. Modiste The Ohio Light Opera Michael Borowitz Conductor Steven Daigle Director Mlle. Modiste Music.....................................Victor Herbert BACKGROUND NOTES...............Michael Miller Lyrics.....................................Henry Blossom By the time composer Victor Herbert began work Orchestral Restoration...........Bruce Herman in 1905 on his comic opera Mlle. Modiste, he already Conductor........................Michael Borowitz had fourteen Broadway shows to his credit and a Stage Director.........................Steven Daigle reputation as America’s most prominent composer of stage music. Long frustrated with the demands of The Ohio Light Opera Broadway publishers and producers that he simply Steven Daigle, Artistic Director crank out a bunch of songs and leave the rest to them, CAST: he and librettist Henry Blossom set out on the Modiste Fifi....................................Sara Ann Mitchell project with the goal of creating a new musical/ Étienne....................................Todd Strange dramatic paradigm for American operetta. In his words, Conte de St. Mar.....................Boyd Mackus “A comic opera with any pretense at artistic merit has Hiram Bent...............................Dennis Jesse the two forces [music and drama] so closely related and inter-woven that the audience senses them as one and Gaston.......................................Jacob Allen the same thing. Every situation requires some definite Mme. Cecily..............................Julie Wright sort of music and the