Adaptations of Notre-Dame De Paris
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Pre Competitve Classical Top 15
PRE COMPETITVE CLASSICAL TOP 15 1. BRADY FARRAR VARIATION FROM SATANELLA - Stars Dance Company 2. CATHERINE ROWLAND DULCINEA VARIATION DON QUIXOTE - Magda Aunon School of Classical Ballet 3. ASHLEY VALLEJO KITRI VARIATION FROM DON QUIXOTE - Stars Dance Company 4. SCARLETT BARONE BLACK SWAN VARIATION - Impac Youth Ensemble 5. ROMI BRITTON VARIATION FROM LA ESMERALDA - Meg Segreto's Dance Center 6. ERICA AVILA VARIATION FROM LA ESMERALDA - Meg Segreto's Dance Center 7. PABLO MANZO THE NUTCRACKER MALE VARIATION - Vladimir Issaev School of Classical Ballet 8. DESTANYE DIAZ VARIATION FROM GRADUATION BALL - Stars Dance Company 9. MONIQUE MADURO LA FILLE MAL GARDEE – Pointe Centro de Danzas 10. MADISON BROWN PRINCESS FLORINE VARIATION SLEEPING BEAUTY – Lents Dance Company 11. VERONICA MERINO LA FILLE MAL GARDEE - Pointe Centro de Danzas 12. KACI WILKINSON SILVER FAIRY VARIATION SLEEPING BEAUTY – Backstage Dance Academy 13. KAITLYN SILOT DON QUIXOTE VARIATION - Artistic Dance Center 14. SORA TERAMOTO BLUE BIRD VARIATION - Baller Elite Dance Studio 15. RACHEL LEON LA FILLE MAL GARDEE - Stars Dance Company PRE COMPETITVE CONTEMPORARY TOP 15 1. DIANA POMBO BECOMING - TPS (The Pombo Sisters) 2. BRADY FARRAR RESILIENT - Stars Dance Company 3. DESTANYE DIAZ IMPACT - Stars Dance Company 4. ASHLEY VALLEJO TAKE ME - Stars Dance Company 5. RACHEL LEON MOONLIGHT SONATA - Stars Dance Company 6. MADISON BROWN NOUVEAU TANGO - Lents Dance Company 7. ERICA AVILA MIND HEIST - Meg Segreto's Dance Center 8. SCARLETT BARONE HAND IN HAND - Impac Youth Center 9. MONIQUE MADURO CONFUSED - Pointe Centro de Danzas 10. CATHERINE ROWLAND THE GENIE - Magda Aunon School of Classical Ballet 11. ANGELINA SIERRA EVERYTHING MUST CHANGE - Ballet East 12. -
Cesare Pugni: Esmeralda and Le Violon Du Diable
Cesare Pugni: Esmeralda and Le Violon du diable Cesare Pugni: Esmeralda and Le Violon du diable Edited and Introduced by Robert Ignatius Letellier Cesare Pugni: Esmeralda and Le Violon du diable, Edited by Edited and Introducted by Robert Ignatius Letellier This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by Edited and Introducted by Robert Ignatius Letellier and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-3608-7, ISBN (13): 978-1-4438-3608-1 Cesare Pugni in London (c. 1845) TABLE OF CONTENTS Introduction ............................................................................................................................... ix Esmeralda Italian Version La corte del miracoli (Introduzione) .......................................................................................... 2 Allegro giusto............................................................................................................................. 5 Sposalizio di Esmeralda ............................................................................................................. 6 Allegro giusto............................................................................................................................ -
Hunchback LIBVB.Pdf
THE HUNCHBACK OF NOTRE DAME Character List (in order of appearance) DOM CLAUDE FROLLO , Archdeacon of Notre Dame Cathedral JEHAN FROLLO , Claude’s reckless younger brother FLORIKA , a Gypsy FATHER DUPIN , a priest of Notre Dame and guardian of Claude and Jehan QUASIMODO , the deformed bell-ringer of Notre Dame and Claude Frollo’s charge CLOPIN TROUILLEFOU , King of the Gypsies PHOEBUS DE MARTIN , Captain of the Cathedral Guard FREDERIC CHARLUS , Lieutenant of the Cathedral Guard ESMERALDA , a beautiful and free-spirited Gypsy KING LOUIS XI , King of France, nicknamed the Prudent OFFICIAL , an officer of the court of King Louis XI MADAME , owner of a brothel and safe haven for Gypsies SAINT APHRODISIUS , a stained-glass image that comes to life CONGREGATION , an ensemble of storytellers who portray various GYPSIES, GARGOYLES, STATUES, SOLDIERS, REVELERS, PARISHIONERS, PRIESTS, PROSTITUTES and CITIZENS of Paris CHOIR CASTING NOTE A congregation of storytellers narrates The Hunchback of Notre Dame. The designations CONGREGANT, CONGREGANTS, and CONGREGATION are used when the ensemble is narrating individually, in succession or groups, or in unison, respectively. As the play progresses, the ensemble also takes on various roles within the tale, such as GYPSIES, GARGOYLES, and SOLDIERS and moves fluidly among them. Lines or lyrics in these generic roles should be assigned to ensemble members based on your production’s unique cast and staging. — i— The Hunchback of Notre Dame Scenes and Musical Numbers ACT ONE P. BARE STAGE . 1 (#1) Olim . CONGREGATION, CHOIR . 1 (#2) The Bells of Notre Dame (Part 1) . CONGREGATION, CHOIR . 1 (#2A) The Bells of Notre Dame (Part 2) . -
Actes Et Paroles – Volume IV
Victor Hugo Actes et paroles – Volume IV 2003 - Reservados todos los derechos Permitido el uso sin fines comerciales Victor Hugo Actes et paroles – Volume IV Depuis l'Exil 1876-1885 DEPUIS L'EXIL 1876-1885 1876 I POUR LA SERBIE Il devient nécessaire d'appeler l'attention des gouvernements européens sur un fait tellement petit, à ce qu'il paraît, que les gouvernements semblent ne point l'apercevoir. Ce fait, le voici: on assassine un peuple. Où? En Europe. Ce fait a-t-il des témoins? Un témoin, le monde entier. Les gouvernements le voient-ils? Non. Les nations ont au-dessus d'elles quelque chose qui est au-dessous d'elles les gouvernements. A de certains moments, ce contre-sens éclate: la civilisation est dans les peuples, la barbarie est dans les gouvernants. Cette barbarie est-elle voulue? Non; elle est simplement professionnelle. Ce que le genre humain sait, les gouvernements l'ignorent. Cela tient à ce que les gouvernements ne voient rien qu'à travers cette myopie, la raison d'état; le genre humain regarde avec un autre oeil, la conscience. Nous allons étonner les gouvernements européens en leur apprenant une chose, c'est que les crimes sont des crimes, c'est qu'il n'est pas plus permis à un gouvernement qu'à un individu d'être un assassin, c'est que l'Europe est solidaire, c'est que tout ce qui se fait en Europe est fait par l'Europe, c'est que, s'il existe un gouvernement bête fauve, il doit être traité en bête fauve; c'est qu'à l'heure qu'il est, tout près de nous, là, sous nos yeux, on massacre, on incendie, on pille, on extermine, -
The Hunchback of Notre Dame – the Musical”
Vol. 20 No. 2, Agustus 2019: 61-69 Mary, Esmeralda, and Frollo: A Hermeneutic Reading of “The Hunchback of Notre Dame – The Musical” Chrysogonus Siddha Malilang1 Malmö Universitet ABSTRACT This essay aims to analyze the multimodal storytelling involving songs inThe Hunchback of Notre Dame – The Musical. Two songs, “God Helps the Outcasts” and “Hellfire”, are chosen to be analyzed hermeneutically. The primary analysis is done through the scrutiny over the juxtaposition of different musical styles in the said songs. Comparisons to Victor Hugo’s original text and the Disney animated version – in which the musical is based on – is also done to shed more light on the new layers of interpretation. Keywords: musical juxtaposition; musical theater; liturgical music; multimodal storytelling ABSTRAK Mary, Esmeralda, dan Frollo: Pembacaan Hermeneutik tentang “The Hunchback of Notre Dame – The Musical”. Artikel ini bertujuan untuk mempelajari dan menganalisis multimodal story telling dalam rangkaian lagu-lagu pada The Hunchback of Notre Dame – the Musical. Dua lagu, “God Helps the Outcasts” dan “Hellfire” dipilih sebagai fokus penelitian hermeneutik. Analisis utama dilakukan melalui studi jukstaposisi gaya musik yang berbeda dalam lagu-lagu tersebut. Perbandingan dengan text asli karangan Victor Hugo dan versi animasi Disney – yang menjadi dasar naskah drama musikal ini – juga dilakukan untuk menggali interpretasi baru yang dihasilkan lebih dalam. Kata kunci: jukstaposisi musik; teater musikal; musik liturgis; multimodal storytelling Introduction When Disney re-wrote “The Hunchback of Notre Dame” into a musical performance, several As the writer began writing this essay, the news other songs from the animated version received the outlet from every corner of the world reported same treatment as “Hellfire”. -
7. Advocating the Poetics of Sound in the Cycle Les Nuits D´Été by Hector Berlioz
DOI: 10.2478/RAE-2018-0007 Review of Artistic Education no. 15 2018 59–73 7. ADVOCATING THE POETICS OF SOUND IN THE CYCLE LES NUITS D´ÉTÉ BY HECTOR BERLIOZ Loredana Viorica Iațeșen52 Abstract: By consulting monographies, musicological studies, specialty articles about the personality of romantic musician Hector Berlioz and implicitly linked to the relevance of his significant opera, one discovers researchers’ constant preoccupation for historical, stylistic, analytical, hermeneutical comments upon aspects related to established scores (the Fantastic, Harold in Italy symphonies, dramatic legend The Damnation of Faust, dramatic symphony Romeo and Juliet, the Requiem, etc.). Out of his compositions, it is remarkable that the cycle Les nuits d´été was rarely approached from a musicological point of view, despite the fact that it is an important opus, which inaugurates the genre of the orchestral lied at the end of the 19th century and the beginning of last century. In this study, we set out to compose as complete as possible an image of this work, both from an analytic-stylistic point of view by stressing the text-sound correspondences and, above all, from the perspective of its reception at a didactic level, by promoting the score in the framework of listening sessions commented upon as part of the discipline of the history of music. In what follows, I shall argue that the cycle of orchestral lieder Les nuits d´été by Hector Berlioz represents a work of equal importance to established opera. Key words: romantic composer, orchestral lied, text-sound relationship, critical reception 1. Introduction 1.1. Les Nuits d'été, Possible Meanings of the Title Unlike other works by Hector Berlioz, there is little documentary information about this ensemble of six poems on music entitled Les Nuits d'été, on the lyrics of Théophile Gautier. -
66Adreamioftwoa
THE SUNDAY OREGOXUX, PORTIAND, JANUARY 2S. 1917. called upon to do many startling I he succeeds, and incidentally wins the stunts. I band of the victim s daughter. Des- - A Christie comedy. Mutual Weekly I mond also appears in another role in and musical programme -- will also be I the same play, as the early part of the presented today. I action shows htm as an aspirins scenario writer seeking: to Dlace his THREE STARS OX StTNSET BILL play, -- The Iced Bullet." at the Thomas xi. ince studios. In this he is wholly unsuccessful, and the theme of his 'The Closed Road" Is Powerful Tale story takes place only in a dream which comes to him in an ungruarded office With Pleasing Climax. after he has been buffeted about the She's here but only 4 days starting this morning House Peters, Barbara Tennant and studios. This earlier portion of the for Mack Swain are head liners on the Sun- play renders possible the showing: of programme both exteriors and interiors of the set Theater today, the first great Thomas H. Ince plant at. Culver two appearing; in "The Closed Road," City, which are said to be extremely a powerful story of sacrifice and love, interesting. and Swain dominating a two-re- el Key- A. comedy and scenic will be other stone comedy, "Vampire Ambrose." subjects of entertainment. Ti "The Closed Road" tells the story of M Hugh Annersley, a young doctor who 7 ac- TP has discovered a cancer cure. He is Film Flickers. (El cused of murdering a former patient to whom he had written demanding im- mediate payment of a bill. -
Factsheet Penguin Kids Factsheetpenguin Kids
FACTSHEET PENGUIN KIDS FACTSHEETPENGUIN KIDS Level 5 Suitable for: young learners who have completed around 250 hours of study in English Type of English: American Headwords: 1000 Key words: 20 (see pages 2 and 5 of this Factsheet) Key grammar: will for offers, requests and with future meaning, when and so as conjunctions, zero conditional, infinitive of purpose he is going to find the gypsies’ hiding place and kill everyone there. Summary of the story Quasimodo and Phoebus try to warn Esmeralda Judge Frollo causes the death of a gypsy woman and her people about the attack, but they at Notre Dame Cathedral in Paris. Frollo wants to are too late and Frollo finds them. Esmeralda kill her deformed baby boy when a priest stops him chooses to burn at the stake rather than be with and insists that he save the child. Frollo agrees on Frollo. Quasimodo saves her and takes her to the condition that the boy lives in the cathedral. the cathedral. Frollo tries to kill Quasimodo, but The boy, Quasimodo, grows up a hunchback, Phoebus arrives just in time to save him. Frollo ringing the bells in the cathedral bell tower. He falls from the cathedral to his death. longs to escape and one day, against Frollo’s Phoebus and Esmeralda are together at last and orders, goes to a festival in the square. There, Quasimodo is welcomed as a hero. Quasimodo is chosen as the “King of Fools” and the people mock him. A beautiful gypsy girl, Background information Esmeralda, defends him. This angers Frollo, who The Hunchback of Notre Dame is the 34th Disney hates gypsies and people who are different. -
Disney's the Hunchback of Notre Dame
DISNEY'S THE HUNCHBACK OF NOTRE DAME Transcribed by Ben Scripps ([email protected]) ([email protected]) NOTE: The following script is Copyright (c) 1996 The Walt Disney Company. The purpose of this transcription is for research and reference purposes only. In no case should this script be sold or charges be made for it. EDITION NOTE: In the following script, any words in capital letters are sung as lyrics in songs. All spoken dialogue (even lines *spoken* within a song) are in normal type. All Latin lyrics from the score have been omitted from this version. (As the Walt Disney Pictures logo fades off the screen, the chorus heard in the background mixes with the bells of Notre Dame cathedral ringing. A long zoom in through the city until we reach the Clopin singing to a group of children watching his puppet show.) Clopin: MORNING IN PARIS, THE CITY AWAKES TO THE BELLS OF NOTRE DAME THE FISHERMAN FISHES, THE BAKERMAN BAKES TO THE BELLS OF NOTRE DAME TO THE BIG BELLS AS LOUD AS THE THUNDER TO THE LITTLE BELLS SOFT AS A PSALM AND SOME SAY THE SOUL OF THE CITY'S THE TOLL OF THE BELLS THE BELLS OF NOTRE DAME Listen, they're beautiful, no? So many colours of sounds, so many changing moods. Because, you know, they don't ring all by themselves. Puppet: They don't?!? Clopin: No, silly boy. Up there, high, high in the dark bell tower, lives the mysterious bell ringer. Who is this creature? Puppet: Who? Clopin: What is he? Puppet: What? Clopin: How did he come to be there? Puppet: How? Clopin: Hush! HTTP://COPIONI.CORRIERESPETTACOLO.IT Puppet: Ohhh.. -
Louise Bertin (1805-1877)
1/6 Data Louise Bertin (1805-1877) Pays : France Langue : Français Sexe : Féminin Naissance : Bièvres (Essonne), 15-01-1805 Mort : Paris, 6e arrondissement (France), 26-04-1877 Note : Musicienne, compositeur d'opéras et poète ISNI : ISNI 0000 0001 2138 2579 (Informations sur l'ISNI) Louise Bertin (1805-1877) : œuvres (53 ressources dans data.bnf.fr) Œuvres musicales (53) "Si la mort est le but. CG 439" La Esmeralda (1866) (1836) de Charles Gounod avec Louise Bertin (1805-1877) comme Auteur du texte Le loup-garou Reviens !. Piano (1827) Ah, dors en paix, mon bel enfant Voir plus de documents de ce genre data.bnf.fr 2/6 Data Documents sur Louise Bertin (1805-1877) (8 ressources dans data.bnf.fr) Livres (5) Louise Bertin, , Pierrette Germain-David, Louise Bertin and opera in , Denise Lynn Boneau, compositrice, amie de Michèle Friang, Sampzon : Paris in the 1820s and [Chicago (Ill.)] : [D. L. Victor Hugo Éditions Delatour France , 1830s Boneau] , [1990] (2019) DL 2019 (1990) Catalogue des livres de , Paris : M. A. Aubry , 1877 [Recueil. Dossiers , Antoine de Latour littérature et d'histoire la biographiques Boutillier du (1808-1881), Paris : Le plupart bien reliés par Retail. Documentation sur Correspondant : Les Débats Simier, Koehler, etc. Louise Bertin] , 1876-1936 composant la bibliothèque (1876) de feu Mlle Louise Bertin... (1877) [Recueil. Dossiers , Gaëtan Picon biographiques Boutillier du (1915-1976), Édouard Retail. Documentation sur Grenier (1819-1901), Jean Victor Hugo] Monfisse [et autre(s)], Paris (1840) : Au bureau -
Clopin Trouillefou
SOCIAL STORY GOING TO COMMUNITY PLAYERS Welcome to Community Players! We look forward to having you as our guest! COMMUNITY PLAYERS THEATRE I am going to Community Players to see a show. GOING TO THE THEATRE If I drive or ride in a car to the theatre, I will park on the street in front of the theatre or in the parking lot across the street. LOBBY When I enter the building, I will be in the lobby. At the front desk someone will be there to greet me and help me get my tickets. SNACKS AND DRINKS If I get hungry or thirsty, I can visit the concession stand for popcorn, cookies, candy, and Coke products. If I just want a drink of water, I can use the drinking fountain by Concessions stand Drinking fountain the merchandise stand. BATHROOMS There are bathrooms in the lobby down the hallway. I can use the bathroom at any time during the performance SEATS When I’m ready, I can find my seat inside the theatre. If I need help finding a seat, I can ask an usher. THE STAGE The play will happen on the stage. Only people who work at the theatre are allowed on the stage. If I need to leave the theatre, I can go out the same way I entered but I should walk slowly. LIGHTS AND SOUNDS There may be different colored lights and the lights might flash during the play. There might be music and sounds that could sometimes be loud. I can always leave if I feel uncomfortable. -
The Missing Saxophone Recovered(Updated)
THE MISSING SAXOPHONE: Why the Saxophone Is Not a Permanent Member of the Orchestra by Mathew C. Ferraro Submitted to The Dana School of Music in Partial Fulfillment of the Requirements for the Degree of Master of Music in History and Literature YOUNGSTOWN STATE UNIVERSITY May 2012 The Missing Saxophone Mathew C. Ferraro I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: ____________________________________________________________ Mathew C. Ferraro, Student Date Approvals: ____________________________________________________________ Ewelina Boczkowska, Thesis Advisor Date ____________________________________________________________ Kent Engelhardt, Committee Member Date ____________________________________________________________ Stephen L. Gage, Committee Member Date ____________________________________________________________ Randall Goldberg, Committee Member Date ____________________________________________________________ James C. Umble, Committee Member Date ____________________________________________________________ Peter J. Kasvinsky, Dean of School of Graduate Studies Date Abstract From the time Adolphe Sax took out his first patent in 1846, the saxophone has found its way into nearly every style of music with one notable exception: the orchestra. Composers of serious orchestral music have not only disregarded the saxophone but have actually developed an aversion to the instrument, despite the fact that it was created at a time when the orchestra was expanding at its most rapid pace. This thesis is intended to identify historical reasons why the saxophone never became a permanent member of the orchestra or acquired a reputation as a serious classical instrument in the twentieth century. iii Dedicated to Isabella, Olivia & Sophia And to my father Michael C.