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OPERA, COMIC OPERA, MUSICAL Box 4/1
Enid Robertson Theatre Programme Collection MSS 792 T3743.R OPERA, COMIC OPERA, MUSICAL Box 4/1 Artist Date Venue, notes Melba, Dame Nellie, with Frederic Griffith 12.11.1902 Direction Mr George (Flute), Llewela Davies (Piano) M. (Second Musgrove Bensaude (Vocal) Signorina Sassoli Concert:15.11) Town Hall, Adelaide (Harp)Louis Arens, (Vocal)Dr. F. Matthew Ennis (Piano) Handel, Thomas, Arditi. Melba, Dame Nellie with, Tom Burke 15.6.1919 Royal Albert Hall, (Tenor), Bronislaw Huberman (Violin) London Frank St. Leger (Piano) Arthur Mason (Organ) Verdi, Puccini, etc. Melba, Dame Nellie 4.10.1921 Manager, John Lemmone, With Una Bourne (Piano), W.F.G.Steele (Second Concert Town Hall, Adelaide (Organ), John Lemmone (Flute) Mozart, 6.10.21) Verdi Melba, Dame Nellie & J.C. Williamson 26.9.1924 Direction, Nevin Tait Grand Opera Season , Aida (Verdi) Theatre Royal Adelaide Conductor Franco Paolantonio, with Augusta Concato, Phyllis Archibald, Nino Piccaluga, Edmondo Grandini, Gustave Huberdeau, Oreste Carozzi Melba, Dame Nellie & J.C. Williamson, 4.10.1924 Direction, Nevin Tait Grand Opera Season, Andrea Chenier, Theatre Royal Adelaide (Giordano) First Adelaide Performance, Franco Paolantonio (Conductor) Nino Piccaluga, Apollo Granforte, Doris McInnes, Antonio Laffi, Oreste Carozzi, Gaetano Azzolini, Luigi Cilla, Luigi Parodi, Antonio Venturi, Alfredo Muro, Vanni Cellini Melba, Dame Nellie & J.C. Williamson, 6.10.1924 Direction, Nevin Tait Grand Opera Season, DonPasquale, Theatre Royal, Adelaide (Donizetti) First Performance in Adelaide, Arnaldo -
Commencement Schedule
Commencement Schedule Saturday, May 5, 2018 6 Kansas State University Polytechnic Campus Student Life Center, Salina, 10 a.m. Friday, May 11, 2018 9 Graduate School Bramlage Coliseum, 1 p.m. 29 College of Veterinary Medicine McCain Auditorium, 3:30 p.m. Saturday, May 12, 2018 31 College of Arts and Sciences Bramlage Coliseum, 8:30 a.m. 39 College of Architecture, Planning & Design McCain Auditorium, 10 a.m. 41 College of Education Bramlage Coliseum, 11 a.m. 45 College of Business Administration Bramlage Coliseum, 12:30 p.m. 51 College of Agriculture Bramlage Coliseum, 2:30 p.m. 57 College of Human Ecology Bramlage Coliseum, 4:30 p.m. 63 College of Engineering Bramlage Coliseum, 6:30 p.m. 1 CelebratingOur Future Dear Graduates, On behalf of Kansas State University, we extend our sincerest congratulations and best wishes on your graduation. Your degree represents work and commitment on your part and on the part of those who have helped you along your way. Whether it is your family, friends, faculty, staff or fellow students, know that all are proud of your accomplishments. Commencement marks a milestone in your life and sets you on a journey toward a productive and fulfilling career. We hope you use the knowledge and preparation you received at K-State to move forward and make a difference throughout your life, whether in the career field, in the community or in other worthy pursuits. As you embark and progress in your career and life, know that Kansas State University will always encourage you along the way. -
2005 Printable Program
HONORS BACCALAUREATE Honors Baccalaureate and Celebration of Academic Excellence North Carolina State University May 12, 2005 McKimmon Conference and Training Center 2005 Honors Baccalaureate and Celebration of Academic Excellence Acknowledgements The following have contributed significantly to the success of the Honors Baccalaureate and Celebration The Alma Mater of Academic Excellence: University Honors Program Words by Alvin M. Fountain, ‘23 Music by Bonnie F. Norris, ‘23 Office of Professional Development, McKimmon Conference and Training Center NC State Alumni Association Where the winds of Dixie softly blow O’er the fields of Caroline, The Grains of Time Mike Adelman, Zach Barfield, David Brown, Nathaniel Harris, Mack Hedrick, There stands ever cherished NC State, Carson Swanek, James Wallace As thy honored shrine. The SaxPack Casey Byrum, Ryan Guerry, Ashleigh Nagel, Jeremy Smith, and Tony Sprinkle So lift your voices; loudly sing From hill to oceanside! Communication Services NCSU Bookstores Our hearts ever hold you, NC State, In the folds of our love and pride. University Graphics Registration and Records The College Awards Contacts who helped to compile the list of faculty awards: Barbara Kirby and Cheri Hitt (Agriculture & Life Sciences); Jacki Robertson, Carla Skuce, and Michael Pause (Design); Billy O’Steen (Education); Martha Brinson (Engineering); David Shafer and Todd Marcks (Graduate School); Marcella Simmons (Humanities & Social Sciences); Anna Rzewnicki (Management); Robin Hughes (Natural Resources); Winnie Ellis (Physical & Mathematical Sciences); Emily Parker (Textiles); Phyllis Edwards (Veterinary Medicine) This program is prepared for informational purposes only. The appearance of an indvidual’s name does not constitute the University’s acknowledgement, certification, or representation that the individual has fulfilled the requirements for a degree or actually received the indicated designations, awards, or recognitions. -
Wodehouse and the Baroque*1
Connotations Vol. 20.2-3 (2010/2011) Worcestershirewards: Wodehouse and the Baroque*1 LAWRENCE DUGAN I should define as baroque that style which deli- berately exhausts (or tries to exhaust) all its pos- sibilities and which borders on its own parody. (Jorge Luis Borges, The Universal History of Infamy 11) Unfortunately, however, if there was one thing circumstances weren’t, it was different from what they were, and there was no suspicion of a song on the lips. The more I thought of what lay before me at these bally Towers, the bowed- downer did the heart become. (P. G. Wodehouse, The Code of the Woosters 31) A good way to understand the achievement of P. G. Wodehouse is to look closely at the style in which he wrote his Jeeves and Wooster novels, which began in the 1920s, and to realise how different it is from that used in the dozens of other books he wrote, some of them as much admired as the famous master-and-servant stories. Indeed, those other novels and stories, including the Psmith books of the 1910s and the later Blandings Castle series, are useful in showing just how distinct a style it is. It is a unique, vernacular, contorted, slangy idiom which I have labeled baroque because it is in such sharp con- trast to the almost bland classical sentences of the other Wodehouse books. The Merriam Webster’s Collegiate Dictionary describes the ba- roque style as “marked generally by use of complex forms, bold or- *For debates inspired by this article, please check the Connotations website at <http://www.connotations.de/debdugan02023.htm>. -
The Newsletter Number Fourteen 2010
Thomas Lovell Beddoes Society Woodcut of The Dance of Death, from the Nuremberg Chronicle, 1493 The Newsletter Number Fourteen 2010 Beddoes to his Critic ‘Tell the students I obsess, Tell them something’s wrong with me. That medicine will help. Impress Them with your sage psychiatry. ‘Tell them that I’m manic, that These phases alternate with gloom. When others stood for Life, I sat. Let these statements fill the room. ‘And if perhaps you find one doubt, Resist your observations, then, Let the final clincher out: Tell them that I favored men. ‘But when you’ve thus disposed of me, And kept yourself from facing death, Do not think we’re finished. See, I await your dying breath.’ Richard Geyer aris 1856 Alphabet of Death ’s , repro P Frame from Hans Holbein Editorial Welcome to Newsletter 14. It’s two years since the last issue – poor form for an annual! – but here’s evidence that something’s still astir on the Ship of Fools. Members will know that following John Beddoes’ resignation as chairman the Society is in a period of transition. The meeting on 13th March resolved that we will continue to pursue our original aim to publicise and promote the work of Thomas Lovell Beddoes. But there are still difficulties to overcome, the most urgent being to appoint a new chairman and secretary. This must be done at the AGM on 25th September (1 pm at The Devereux, 20 Devereux Court, Essex Street, The Strand, London WC2R 3JJ). We hope that by holding the meeting in London as many members as possible will be able to attend and join the discussion: the Society needs you. -
Conservation, Gender, and the Tennessee Valley Authority During the New Deal
ABSTRACT BRADSHAW, LAURA HEPP. Naturalized Citizens: Conservation, Gender, and the Tennessee Valley Authority during the New Deal. (Under the direction of Katherine Mellen Charron and Matthew Morse Booker). Broadly, this thesis is an examination of the conservation movement and the Tennessee Valley Authority from the Progressive Era through the New Deal. The creation of the Tennessee Valley Authority in 1933 had been premised upon earlier efforts to capture the river’s power and harness it to meet social needs. Harnessing hydroelectricity to remedy social and economic conditions in the South required both environmental engineering techniques and social engineering methods. By placing women at the center of the story, both in terms of their activism in bringing a conservation plan in the Tennessee River Valley into fruition, and in terms of the gendered implications of the Tennessee Valley Authority’s power policy, this thesis seeks to reexamine the invisible role that the construction of power politics had on the South, and the nation as a whole. Naturalized Citizens: Conservation, Gender, and the Tennessee Valley Authority during the New Deal by Laura Hepp Bradshaw A thesis submitted to the Graduate Faculty of North Carolina State University in partial fulfillment of the requirements for the degree of Master of Arts History Raleigh, North Carolina 2010 APPROVED BY: _______________________________ ______________________________ Matthew Morse Booker Katherine Mellen Charron Committee Co-Chair Committee Co-Chair ________________________________ David Gilmartin ii DEDICATION To my family, but especially to Karl Hepp Sr., whose own journey inspires me to open new doors, even when they appear locked. Papa, a dal van a lelkemben. -
Program Notes by Joshua S
PROGRAM NOTES BY JOSHUA S. RITTER Cole Porter, the composer and lyricist of Do It, Let’s Fall in Love,” was a smash, and its Anything Goes, honed his distinctive style success helped propel him to a new level of during the 1920s while living the gilded notoriety and acclaim. The following year life of a bon vivant and socialite abroad. brought the panic of the stock market crash Porter was part of the “lost generation” of and the subsequent Great Depression. expatriate artistic and literary minds who Yet, Porter’s songs during the trying 1930s fled the austere materialism of American served to lift the spirits of the downtrodden cities for the more permissive artistic and and affluent alike. In fact, of all the shows intellectual scene, which flourished in during this tumultuous and challenging places such as Paris and Venice. Porter’s period, none proved to be more closely travels and opulent experiences enriched associated with the decade than Anything his work and helped set the stage for shows Goes. that would establish him in the upper echelon of musical-comedy writers. In 1933, the year before Anything Goes opened on Broadway, Franklin D. Roosevelt For example, he was cruising down the was inaugurated as president, and Rhine River in Germany in 1934 while Prohibition ended. These monumental he wrote the classic music and iconic events brought glimmers of hope to a lyrics to the song “You’re the Top” from people reeling from economic catastrophe Anything Goes. Purportedly, he asked fellow and failed government policies. Theatre passengers to name their favorite objects historian Miles Kreuger described and places to help him pen the topical lyrics Anything Goes as “the bright and cheerful to the song. -
Spring 1998 P G
Plum Lines The quarterly journal o f The Wodehouse Society Vol. 18 No 1 Spring 1998 p G. w ODEHOUSE: 1YiU(IST By W. E Richardson A talk delivered at the Chicago convention of die Wodehouse Society, October, 1997- Will Richardson, a new acquaintance for most of us at the convention, is a New Zealand classical scholar who is co-audioring a book with President Dan Garrison. Most of us know that Plum was a prominent musical comedy lyricist in die early part of die century. Fewer of us know how excellent he was. Pm indebted to David Jasen for die rare theatrical ephemera that illustrate this article. They are copied from hisThe Theatre ofP.G. Wodehouse, Batsford, London, 1979. Lara Cazalet, the soloist for several of the songs discussed here, is, of course, Plum’s great-granddaughter. She is an accomplished performer and was a very welcome guest at the convention. — OM first encountered the name P. G. Wodehouse, not on did not stop then, for in 1971 at the age of 90 he was still the title page of a novel, but at the top of the published enthusiastically composing lyrics and writing to Guy words and music of a song. Bolton about them. This It was one of the songs from was an activity which he ■: • :is:®: O'SSSSi v/i 7 M ; w m £ m3KWAW £ £ U CC E $ S ,::: :¥:KW:*i • > : .j' •':!!;::: I i! i j j j j:!! the 1927 musical Showboat. The m? t. a.shale.. enjoyed and which was an music for this show was writ ...— —. -
ABSTRACT the Story of Anastasia Nikolaevna Romanova Has Been
ABSTRACT Title of Thesis: “THE BIGGEST CON IN HISTORY”: AMERICAN MYTH-MAKING IN THE STAGE AND SCREEN ADAPTATIONS OF ANASTASIA Jennifer E. Weyman, Master of Arts, 2018 Thesis Directed By: Associate Professor Olga Haldey, Division of Musicology and Ethnomusicology The story of Anastasia Nikolaevna Romanova has been engrained in the American imagination for nearly a century. This tale has often been told on stage and screen, depicting Anastasia and her most famous impersonator: Anna Anderson. The adaptation of Anna and Anastasia’s tale that has made the most lasting impact is the 1951 French play, Anastasia, by Marcelle Maurette, and its 1954 English translation by Guy Bolton. Four more adaptations have followed that progenitor play: the 1956 film, Anastasia; the 1965 operetta, Anya; the 1997 animated film, Anastasia; and the 2017 musical, Anastasia. These five artistic adaptations evolved from one another, navigating their own history alongside changing American values. This thesis situates each production within American sociopolitics of the twentieth and twenty-first centuries, revealing how each production is far more indicative of American ideals than Russian history, particularly with regards to immigration, foreign policy, and feminism. “THE BIGGEST CON IN HISTORY”: AMERICAN MYTH-MAKING IN THE STAGE AND SCREEN ADAPTATIONS OF ANASTASIA by Jennifer E. Weyman Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2018 Advisory Committee: Associate Professor Olga Haldey, Chair Associate Professor Patrick Warfield Assistant Professor William Robin © Copyright by Jennifer E. Weyman 2018 Acknowledgements This project would not have been possible without the constant support and understanding of Dr. -
THE GERSHWINS' TIP-TOES Music and Lyrics by GEORGE
THE GERSHWINS’ TIP-TOES Music and Lyrics by GEORGE GERSHWIN and IRA GERSHWIN Book by GUY BOLTON and FRED THOMPSON Starring EMILY LOESSER LEWIS J. STADLEN ANDY TAYLOR LEE WILKOF MARK BAKER CYNTHIA SOPHIEA RACHEL COLOFF ALET OURY With JOSEPH THALKEN and JOHN MUSTO At the Pianos And THE CAST AND ORCHESTRA From the CARNEGIE HALL CONCERT PRODUCTION Directed for the Stage by Associate Music Director SCOTT BARON JOSEPH THALKEN Recorded and Mixed by Executive Producer CYNTHIA DANIELS MARK TRENT GOLDBERG Music Direction Restored and Produced by ROB FISHER CAST OF CHARACTERS Sylvia Metcalf Cynthia Sophiea Rollo Metcalf (Her Husband) Mark Baker Al Kaye * Lewis J. Stadlen * Hen Kaye * The Three Kayes Lee Wilkof * Tip-Toes Kaye * Emily Loesser Steve Burton (Sylvia’s Brother) Andy Taylor Binnie Chester * Rachel Coloff * Steve’s Teachers Denise Miller * Alet Oury Professor Rob Fisher Girls Anna Bergman Karyn Overstreet Margaret Shafer Marguerite Shannon Boys Bryan Donovan Peter Flynn Damon Kirsche Jesse Means II ORCHESTRA Flute Keith Underwood Oboe Rob Ingliss Clarinet Les Scott Bill Blount Bassoon John Campo Horn Russ Rizner Daniel Culpepper Trumpet Lowell Hershey Darryl Shaw Trombone Bruce Bonvissuto Piano Joseph Thalken John Musto Percussion/Drums Arnie Kinsella Violin Marilyn Reynolds, Concertmistress Barry Finclair Christoph Franzgrote Martin Agee Belinda Whitney Mineko Yajima Viola Richard Brice David Blinn Cello Lanny Paykin Bass Richard Sarpola Music Coordinator Seymour Red Press TIP-TOES RESTORATION Score Restored by Rob Fisher Score Reconstruction Coordinator Aaron Gandy Reconstruction of existing parts and score preparation James Stenborg, assisted by Robert Lamont Missing orchestra parts completed by Russell Warner Missing duo piano parts restored by Joseph Thalken Disc 1 (Total Time 56:39) SELECTIONS 1. -
BYU-Utah Game 3 Notes
@BYUBASEBALL BYU BASEBALL Duff Tittle [email protected] 801-372-4401 2 COLLEGE WORLD SERIES | 14 NCAA TOURNAMENTS | 18 CONFERENCE CHAMPIONSHIPS | 61 ALL-AMERICANS | 118 MLB DRAFT PICKS 2021 SCHEDULE 2021 STAT COMPARISON H 3-5 | A 7-13 | N 0-0 FEBRUARY BYU 20 at Texas State L 4-5 12 pm 20 at Texas State W 9-4 4 pm VS .207 BA .248 22 at Texas State L 6-11 6 pm 894 AB 838 23 at Texas State W 7-6 (10) 4 pm UTAH 113 R 120 24 at Texas L 1-3 7:00 pm April 13, 2021 185 H 208 25 at Texas L 6-12 6:30 pm 10-17 6-6 8-17 4-8 26 at Texas L 1-11 6:30 pm OVERALL WCC Miller Park, Provo, UT OVERALL PAC 12 46 2B 38 27 at Texas W 5-4 3:00 pm 4 3B 4 14 HR 8 MARCH 4 at Oregon St. L 0-1 5:35 pm GAME NOTES — QUICK HITS 91 RBI 105 5 at Oregon St. L 3-5 5:35 pm .314 SLG% .332 6 at Oregon St. L 3-4 1:05 pm BYU and Utah will play the third of four scheduled games this season on April 136 BB 104 11 at Utah L 3-6 3 pm 13, at 6 p.m. MT at Miller Park. 12 HBP 36 12 at Utah L 1-7 3 pm 237 SO 242 16 at Dixie State L 4-5 6:05 pm The Cougars are at 10-17 on the year and 6-6 in West Coast Conference play, 18 at LMU W 5-4 6 pm good for sixth place. -
SHUBERT THEATER, 221-233 West 44Th Street, Manhattan
Landmarks Preservation Commission December 15, 1987; Designation List 198 LP-1378 SHUBERT THEATER, 221-233 West 44th Street, Manhattan. Built 1912-13; architect, Henry B. Herts. Landmark Site: Borough of Manhattan Tax Map Block 1016, Lot 15 in part consisting of the land on which the described building is situated. On June 14 and 15, 1982, the Landmarks Preservation Commission held a pub 1 ic hearing on the proposed designation as a Landmark of the Shubert Theater and the proposed designation of the related Landmark Site (Item No. 74). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-one witnesses spoke or had statements read into the record in favor of designation. One witness spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many 1 etters and other express ions of support in favor of this designation. DESCRIPTION AND ANALYSIS The Shubert Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in 1912-13, shortly before World War I, to the designs of Henry B. Herts, the Shubert was one of a pair with the Booth, and was among the numerous theaters constructed by the Shuberts, one of the most active and influential families in American theater history. The Shubert was built as a memorial to Sam S. Shubert, leader of the family's theatrical enterprises until his untimely death in a train wreck.