Mr. D'oyly Carte's “E” (Iolanthe No. 2) Company
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November 2004 Newsletter
THE G ILBERT & S ULLIVAN SOCIETY OF AUSTIN OCTOBER/NOVEMBER 2004 NEWSLETTER Letter from Your President Dear Friends: Patience Who will make the memories? Your Society feels or, Bunthorne’s Bride strongly about the musical education of our young (Concert Version, adapted by Brad Merrell) people. And most particularly I think we can agree that the music and lyrics of Gilbert & Sullivan are an Producer/Director: Brad Merrell Music Director: Mel Witcher ideal form to advance their appreciation. There are Piano: Gloria Kim such lovely arias and such intricate trios. There are such humorous situations and silly plays on words. Colonel Calverley (Officers of Randall McIntyre It really is great stuff and is perfect for our young Major Murgatroyd Dragoon Trey Deason people. Lieut. The Duke of Dunstable} Guards) Brad Merrell But what Iʼm getting at here is that we need to Reginald Bunthorne (a Fleshly Poet) Arthur DiBianca revitalize our program of performing in schools. What Archibald Grosvenor (an Idyllic Poet) Derek Smootz Iʼm asking for is a volunteer to coordinate the program. Mr. Bunthorneʼs Solicitor To be Announced It would involve coordinating our singers and the host The Lady Angela Kristina Horacek schools. There is a great degree of flexibility because The Lady Saphir (Rapturous Amanda Hatfield it doesnʼt have to be done just exactly as it was in the The Lady Ella Maidens) Chelsea Manasseri } past. The goal is so worthy that I expect my note here The Lady Jane Mandy Summers in the newsletter will strike a chord. Will you please Patience (a Dairy Maid) Meredith Groeschel ring my bell (I mean phone)? Will you call me and we Chorus of Rapturous Maidens and can talk? My home phone number is 892-3722. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
The Mikado Program
GENEVA CONCERTS presents TheThe MikadoMikado Albert Bergeret, Artistic Director Saturday, September 24, 2011 • 7:30 p.m. Smith Opera House 1 GENEVA CONCERTS, INC. 2011-2012 SEASON Saturday, 24 September 2011, 7:30 p.m. New York Gilbert & Sullivan Players The Mikado Sunday, 11 December 2011, 3:00 p.m. Imani Winds A Christmas Concert This tour engagement of Imani Winds is funded through the Mid Atlantic Tours program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts. Friday, 2 March 2012, 7:30 p.m. Rochester Philharmonic Orchestra Christoph Campestrini, conductor Juliana Athayde, violin Music of Barber and Brahms Friday, 30 March 2012, 7:30 p.m. Brian Sanders’ JUNK Patio Plastico Plus Saturday, 28 April 2012, 7:30 p.m. Cantus On the Shoulders of Giants Performed at the Smith Opera House, 82 Seneca Street, Geneva, New York These concerts are made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and a continuing subscription from Hobart and William Smith Colleges. 2 GENEVA CONCERTS, INC. Saturday, September 24, 2011 at 7:30 p.m. The Mikado or, The Town of Titipu Libretto by Sir William S. Gilbert Music by Sir Arthur Sullivan First Performed at the Savoy Theatre, London, England, March 14, 1885 Stage Direction: Albert Bergeret & David Auxier Music Director: Albert Bergeret; Asst. Music Director: Andrea Stryker-Rodda Conductor: Albert Bergeret Scenic Design: Albère Costume Design: Gail J. Wofford & Kayko Nakamura Lighting Design: Brian Presti Production Stage Manager: David Sigafoose* Assistant Stage Manager: Annette Dieli DRAMATIS PERSONAE The Mikado of Japan .....................................................................Quinto Ott* Nanki-Poo (His son, disguised as a wandering minstrel) . -
Auditions and Also Concerning the Hilariously Funny and Incredibly Tuneful Show We Will Present This Summer
Audition Notes for The Gilbert & Sullivan Society of Austin’s June 2012 production of Patience by Artistic Director Ralph MacPhail, Jr. INTRODUCTION: Patience is a high-spirited send-up of artistic affectation. Originally it poked fun at the pre- Raphaelite “brotherhood” in London of the 1870s and ‘80s, but Gilbert’s wit transcends the original target and Sullivan’s tunes have remained ever funny, martial, sentimental, poignant—whatever the moment in the plot demands. My purpose here is to provide information for auditionees concerning the auditions and also concerning the hilariously funny and incredibly tuneful show we will present this summer. If you’re planning to audition, please read this in its entirety. INFORMATION ON AUDITIONS: Auditions will be held on Saturday and Sunday, March 3rd and 4th. Music Director and Conductor Jeffrey Jones-Ragona and I request that each auditionee memorize a song from Gilbert & Sullivan or something similar that will show their voice and range to best advantage. It is also mandatory to provide a copy of the music for the auditions accompanist. No a cappella auditions will be heard. An accompanist will be provided, but singers will be welcome to bring their own if they wish. If Patience is not in your library, you can download the libretto from The Gilbert & Sullivan Archive (math.boisestate.edu/gas). You can also download some printed music from the opera from this website, read a plot synopsis, or download audio files. And there’s more, too! THE ROLES: Patience is filled with fun-to-act roles, incredible singing opportunities, and requires actors who can sing well as well as singers who can act well. -
A European Singspiel
Columbus State University CSU ePress Theses and Dissertations Student Publications 2012 Die Zauberflöte: A urE opean Singspiel Zachary Bryant Columbus State University, [email protected] Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Bryant, Zachary, "Die Zauberflöte: A urE opean Singspiel" (2012). Theses and Dissertations. 116. https://csuepress.columbusstate.edu/theses_dissertations/116 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. r DIE ZAUBEFL5TE: A EUROPEAN SINGSPIEL Zachary Bryant Die Zauberflote: A European Singspiel by Zachary Bryant A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the Bachelor of Arts in Music College of the Arts Columbus State University Thesis Advisor JfAAlj LtKMrkZny Date TttZfQjQ/Aj Committee Member /1^^^^^^^C^ZL^>>^AUJJ^AJ (?YUI£^"QdJu**)^-) Date ^- /-/<£ Director, Honors Program^fSs^^/O ^J- 7^—^ Date W3//±- Through modern-day globalization, the cultures of the world are shared on a daily basis and are integrated into the lives of nearly every person. This reality seems to go unnoticed by most, but the fact remains that many individuals and their societies have formed a cultural identity from the combination of many foreign influences. Such a multicultural identity can be seen particularly in music. Composers, artists, and performers alike frequently seek to incorporate separate elements of style in their own identity. One of the earliest examples of this tradition is the German Singspiel. -
I Have a Song to Sing O! Program.Pdf
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 and Sarah Caldwell Smith Am I Alone and Unobserved? (Patience)............................................... James Mills A British Tar (H.M.S. Pinafore) ................................Alex Corson, Albert Bergeret, Artistic Director Matthew Wages, David Wannen I’m Called Little Buttercup Wand’ring Minstrels (H.M.S. Pinafore) .............. Angela Christine Smith in We’re Called Gondolieri (The Gondoliers) ...................................Alex Corson and 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 Director: James Mills When All Night Long a Chap Remains (Iolanthe) ..........................................David Wannen Music Director & Conductor: Albert Bergeret Executive Producer: David Wannen Three Little Maids From School are We (The Mikado) .............................Rebecca Hargrove, Editor: Danny Bristoll Angela Christine Smith, Sarah Caldwell Smith Sarah Caldwell Smith, Soprano The Sun, Whose Rays are All Ablaze Rebecca Hargrove, Soprano (The Mikado) ..............................Rebecca Hargrove Angela Christine Smith, Contralto Here’s a How-de-do! Alex Corson, Tenor (The Mikado) ......................................Alex Corson, James Mills, Comic Baritone James -
Krantz [email protected] Phi Mu Alpha Sinfonia + Delta Omicron = Sinfonicron G&S Works, with Date and Length of Original London Run • Thespis 1871 (63)
Sinfonicron Light Opera presents Ruddigore, or The Witch’s Curse January 23-26, 2020 Kimball Theatre Osher Lifelong Learning Institute November 15, 2019 Ken Krantz [email protected] Phi Mu Alpha Sinfonia + Delta Omicron = Sinfonicron G&S Works, with date and length of original London run • Thespis 1871 (63) • Trial by Jury 1875 (131) • The Sorcerer 1877 (178) • HMS Pinafore 1878 (571) • The Pirates of Penzance 1879 (363) • Patience 1881 (578) • Iolanthe 1882 (398) G&S Works, Continued • Princess Ida 1884 (246) • The Mikado 1885 (672) • Ruddigore 1887 (288) • The Yeomen of the Guard 1888 (423) • The Gondoliers 1889 (554) • Utopia, Limited 1893 (245) • The Grand Duke 1896 (123) Elements of Gilbert’s stagecraft • Topsy-Turvydom (a/k/a Gilbertian logic) • Firm directorial control • The typical issue: Who will marry the soprano? • The typical competition: tenor vs. patter baritone • The Lozenge Plot • Literal lozenge: Used in The Sorcerer and never again • Virtual Lozenge: Used almost constantly Ruddigore: A “problem” opera • The horror show plot • The original spelling of the title: “Ruddygore” • Whatever opera followed The Mikado was likely to suffer by comparison Ruddigore Time: Early 19th Century Place: Cornwall, England Act 1: The village of Rederring Act 2: The picture gallery of Ruddigore Castle, one week later Ruddigore Dramatis Personae Mortals: •Sir Ruthven Murgatroyd, Baronet, disguised as Robin Oakapple (Patter Baritone) •Richard Dauntless, his foster brother, a sailor (Tenor) •Sir Despard Murgatroyd, Sir Ruthven’s younger brother -
The Early American Musical Theater Collection, 1720-1989 an Inventory of Holdings at the American Music Research Center
The early American musical theater collection, 1720-1989 An inventory of holdings at the American Music Research Center American Music Research Center, University of Colorado at Boulder The early American musical theater collection, 1720-1989 Descriptive summary Title Early American musical theater collection Date(s) 1720-1989 Identification COU-AMRC-32 Creator(s) Repository The American Music Research Center University of Colorado at Boulder 288 UCB Boulder, CO 80309 Location Housed in the American Music Research Center Physical Description 8 linear feet Scope and Contents Ballad operas collected by AMRC founder Sister Mary Dominic Ray, including research and teaching materials about actors and operas, articles about cominc operas in the United States, and an index of opera titles. Administrative Information Arrangement Arranged alphabetically by title. Individual operas are catalogued separately and available in the Howard Waltz Music Library. Access Open. Publication Rights All requests for permission to publish or quote from manuscripts must be submitted in writing to the American Music Research Center. Preferred Citation [Identification of item], Early American musical theater collection, University of Colorado, Boulder - Page 2 - The early American musical theater collection, 1720-1989 Index Terms Access points related to this collection: Corporate names American Music Research Center Subject headings Music -- United States Ballad operas Ballad opera Opera Operas Brief History of Early American Musical Theater (Ballad or Comic Operas) (Material from “Drums, Wigs & Six Wax Lights by Sister Mary Dominic Ray) A ballad opera is a comic play interspersed with music which consists of ballad (popular) tunes of the day and they are usually sprinkled with music from well-known Italian operas, even Handel operas. -
Showstoppers! Soprano
LIGHT OPERA SHOWSTOPPERS – SHOWSTOPPERS! The list below is a guide to arias from the realm of light opera that are bound to get attention, as they require not only exquisite singing, but also provide opportunities for acting, so necessary in the HAROLD HAUGH LIGHT OPERA VOCAL COMPETITION. Some, although from serious works, are light in nature, and are included. The links below the title, go to performances on YouTube, so you can audition the song. An asterisk (*) indicates the Guild has the score in English. SOPRANO ENGLISH Poor Wand’ring One – Pirates of Penzance (Gilbert and Sullivan)* http://www.youtube.com/watch?v=5QRnwT2EYD8 The Hours Creep On Apace - HMS Pinafore (Gilbert and Sullivan)* http://www.youtube.com/watch?v=lGMnr7tPKKU The Moon and I – The Mikado (Gilbert and Sullivan)* http://www.youtube.com/watch?v=EcNtTm5XEfY I Built Upon a Rock – Princess Ida (Gilbert and Sullivan)* http://www.youtube.com/watch?v=aF_MHyXPui8 I Live, I Breathe – Ages Ago (Gilbert and Clay)* http://www.youtube.com/watch?v=b-HalKwnNd8 Light As Thistledown – Rosina (Shield) http://www.youtube.com/watch?v=9yrQ2boAb50 When William at Eve – Rosina (Shield) http://www.youtube.com/watch?v=-Vc50GGV_SA I Dreamt I Dwelt In Marble Halls – Bohemian Girl (Balfe)* http://www.youtube.com/watch?v=IoM1hYqpRSI At Last I’m Sovereign Here – The Rose Of Castile (Balfe)* http://www.youtube.com/watch?v=hswFzeqY8PY Hark the Ech’ing Air – The Fairy Queen (Purcell)* http://www.youtube.com/watch?v=NeQMxI1S84U VIENNESE Meine Lippen Sie Kussen So Heiss – Giuditta (Lehar) http://www.youtube.com/watch?v=p_kaOYC_Fww -
Galatea's Daughters: Dolls, Female Identity and the Material Imagination
Galatea‘s Daughters: Dolls, Female Identity and the Material Imagination in Victorian Literature and Culture Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Maria Eugenia Gonzalez-Posse, M.A. Graduate Program in English The Ohio State University 2012 Dissertation Committee: David G. Riede, Advisor Jill Galvan Clare A. Simmons Copyright by Maria Eugenia Gonzalez-Posse 2012 Abstract The doll, as we conceive of it today, is the product of a Victorian cultural phenomenon. It was not until the middle of the nineteenth century that a dedicated doll industry was developed and that dolls began to find their way into children‘s literature, the rhetoric of femininity, periodical publications and canonical texts. Surprisingly, the Victorian fascination with the doll has largely gone unexamined and critics and readers have tended to dismiss dolls as mere agents of female acculturation. Guided by the recent material turn in Victorian studies and drawing extensively from texts only recently made available through digitization projects and periodical databases, my dissertation seeks to provide a richer account of the way this most fraught and symbolic of objects figured in the lives and imaginations of the Victorians. By studying the treatment of dolls in canonical literature alongside hitherto neglected texts and genres and framing these readings in their larger cultural contexts, the doll emerges not as a symbol of female passivity but as an object celebrated for its remarkable imaginative potential. The doll, I argue, is therefore best understood as a descendant of Galatea – as a woman turned object, but also as an object that Victorians constantly and variously brought to life through the imagination. -
Classic Terms
Classic Terms Alberti Bass: "Broken" arpeggiated triads in a bass line, common in many types of Classic keyboard music; named after Domenico Alberti (1710-1740) who used it extensively but did not invent it. Aria: A lyrical type of singing with a steady beat, accompanied by orchestra; a songful monologue or duet in an opera or other dramatic vocal work. Bel Canto: (Italian for "beautiful singing") An Italian singing tradition primarily in opera seria and opera buffa in the late17th- to early-19th century. Characterized by seamless phrasing (legato), great breath control, flexibility, tone, and agility. Most often associated with singing done in the early-Romantic operas of Rossini, Bellini and Donizetti. Cadenza: An improvised or written-out ornamental virtuosic passage played by a soloist in a concerto. In Classic concertos, a cadenza occurs at a dramatic moment before the end of a movement, when the orchestra stops so the soloist can play in free time, and then after the cadenza is finished the orchestra reenters to bring the movement to its conclusion. Castrato The term for a male singer who was castrated before puberty to preserve his high soprano range (this practice in Italy lasted until the late 1800s). Today, the rendering of castrato roles is problematic because it requires either a male singing falsetto (weak) or a mezzo-soprano (strong, but woman must impersonate a man). Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Empindsam: (German for "sensitive") The term used to describe a highly-expressive style of German pre- Classic/early Classic instrumental music, that was intended to intensely express true and natural feelings, featuring sudden contrasts of mood. -
The Baritone to Tenor Transition
The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 2018 The Baritone to Tenor Transition John White University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Pedagogy Commons, and the Music Performance Commons Recommended Citation White, John, "The Baritone to Tenor Transition" (2018). Dissertations. 1586. https://aquila.usm.edu/dissertations/1586 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. THE TENOR TO BARITONE TRANSITION by John Charles White A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. J. Taylor Hightower, Committee Chair Dr. Kimberley Davis Dr. Jonathan Yarrington Dr. Edward Hafer Dr. Joseph Brumbeloe ____________________ ____________________ ____________________ Dr. J. Taylor Hightower Dr. Richard Kravchak Dr. Karen S. Coats Committee Chair Director of School Dean of the Graduate School December 2018 COPYRIGHT BY John Charles White 2018 Published by the Graduate School ABSTRACT Many notable opera singers have been virtuosic tenors; Franco Corelli, Plácido Domingo, James King, José Carreras, Ramón Vinay, Jon Vickers, and Carlo Bergonzi. Besides being great tenors, each of these singers share the fact that they transitioned from baritone to tenor. Perhaps nothing is more destructive to the confidence of a singer than to have his vocal identity or voice type challenged.