DOCSLIB.ORG

The Fortune Teller the OHIO LIGHT OPERA STEVEN BYESS STEVEN DAIGLE Conductor Artistic Director the Fortune Teller

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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 by an overwhelming desire Stanislas...................................Stephen Faulk to become a professional cellist. Mlle. Pompom........................Elisa Matthews Young Herbert began playing Victor Herbert (1859-1924) Fresco.............................................Gary Moss with concert orchestras throughout Count.........................................Logan Walsh Europe, eventually securing a position in Vienna with the orchestra of Eduard Strauss, the youngest brother of Waltz Boris...............................................Max Nolin King, Johann Strauss Jr. Vaninka.........................................Sarah Best In 1886, he married opera soprano Therese Förster (1862- Rafael..............................................Lori Birrer 1927) who soon thereafter was engaged by New York’s General Korbay.......................Geoffrey Penar Metropolitan Opera Company to open the 1886-87 season Lieutenant....................Geoffrey Kannenberg in the title role of Goldmark’s The Queen of Sheba. She Wanda.................................Natalie Ballenger accepted, but only under the condition that her husband be Vera....................................Madeline Piscetta engaged as cellist in the opera orchestra. Once in America, Matosin........................................Jacob Allen Herbert pursued conducting and composing in addition to his ❦ 2 ❦ Metropolitan Opera duties. By draw, Nielsen had starred in score which is rich in all varieties of 1893, with two children and a Herbert’s The Serenade the delightful operetta music. There wife who had given up her own previous season in New York and are numbers grave and gay, light career to support his, Herbert had then toured the work with her and serious, catchy in the most turned his hand to composing for own company. She brought The popular manner and musicianly in the musical stage. Fortune Teller to London in 1901. a thoroughly praise-worthy style.” The Fortune Teller, the eighth At the premiere, The Times The first-act csardas “Romany life” of more than 50 Herbert stage noted, “Herbert has written a and the second-act “Gypsy love works, opened in Toronto, in a pre- song” both became instant hits. Broadway tryout in September In 1929 The Fortune Teller 1898. The New York Times re- returned to Broadway as part of ported “a remarkably smooth first an operetta revival series that also night performance,” with “the showcased Herbert’s Mlle. Modiste ensembles and finales being so and Naughty Marietta (both avail- strong as to closely resemble grand able in complete recordings on the opera.” Twelve days later, the work Albany label). The leading role was premiered at Wallack’s Theater on assumed by operetta star Tessa Broadway. The Times was un- Kosta in her last Broadway appear- qualified in its praise for the show, ance. In the opening night audi- its composer and its star, Alice Soprano Alice Nielsen (1872-1943) ence was Alice Nielsen, long re- Nielsen. An enormous box office starring in The Fortune Teller tired from the stage. FROM THE ARTISTIC DIRECTOR For more than 30 years little of everything: a well-known Wooster, its community and The Ohio Light Opera has been and lesser-known Gilbert and nearly 500,000 patrons who dedicated to producing, promo- Sullivan, a Viennese operetta, a have championed the company's ting and preserving the best of French operetta, an American dedication to operetta have given the traditional operetta reper- operetta and a revival of a long- OLO a reputation that reaches toire. In any summer season, forgotten work that is given a internationally. In no small way, 20,000 patrons come to hear much-deserved rebirth for an Albany Records has added to the and see more than sixty perfor- appreciative audience. This CD company’s success. The company mances of seven productions on set will hopefully give the oper- and the operetta art form are the beautiful campus of The Col- etta aficionado a taste of what indebted to John Ostendorf and lege of Wooster in Ohio. These makes this company unique. Albany for their commitment. shows offer the operetta fan a The support of the College of Steven Daigle ❦ 3 ❦ PLOT SYNOPSIS teller, so closely resembles Irma Irma’s brother Fedor. Mlle. ACT I. The Ballet School at that Fresco buys her from her Pompom, Fedor’s girlfriend, the Budapest Opera. Count father, intending to represent arrives, further complicating Berezowski, an impoverished her to the Count as the fugitive matters. A messenger arrives Polish composer, has discovered Irma. Musette’s lover, Sandor, announcing war has broken that a pupil in the ballet class at objects and convinces her to out. All go off to fight for the the opera is the heiress to a escape after the wedding. The homeland. great estate. He visits the school Count is distraught at Irma’s to find and wed her. Fresco, the suicide until Musette enters in ACT III. The camp of the ballet-master, insists the Count one of Irma’s dresses. He is Hungarian forces. The real Fedor split the profits of the potential fooled by the resemblance, and has not yet returned, and sister match. It is discovered that the all depart for the chateau for Irma must continue to take his heiress is Irma. She is chosen as the wedding. place. The Count and Fresco the Count’s bride. cannot claim Irma’s inheritance: Alone with her lover, Cap- ACT II. The Count’s chateau. as she has “disappeared,” tain Ladislas, Irma dreads the Preparations are being made everything will go to Fedor. Mlle. impending marriage and deter- for the wedding. Meanwhile, Pompom enters. Still taking Irma mines to run away. Ladislas tells Musette has fled. Irma now re- for Fedor, she accuses him of her that her twin brother Fedor appears on the scene in her deserting her, and involves has deserted from his regiment brother Fedor’s uniform, having Fedor/Irma in a duel. Just as to elope with a French opera heard that another bride was matters reach their most con- singer. If discovered, Fedor will about to take her place. fused state, an officer appears to be shot. Irma proposes that she Fresco, who has discovered the reveal that, instead of deserting, dress in her brother’s uniform flight of Musette, persuades the real Fedor has in fact led a and take Fedor’s place, thereby Irma, whom he recognizes, to detachment on a secret expedi- escaping marriage with the stay. She goes off and dons the tion resulting in an important Count while saving Fedor. She wedding dress. Sandor takes her Hungarian victory. Fedor is the runs off, leaving a letter for for Musette and Ladislas takes hero of the hour. Irma can now Fresco: overwhelmed at the her for Irma. The Count also marry Ladislas, Musette can prospect of marrying, she claims claims her as his bride, and a marry Sandor, and Fedor can to have been driven to suicide. three-way fight is imminent, so wed Mlle. Pompom—much to A band of gypsies arrives. Irma declares herself to be the chagrin of the Count One of them, Musette, a fortune neither Musette nor Irma, but and Fresco. ❦ 4 ❦ Mesdemoiselles, commençons! Watch me, and you can’t miss, The Fortune Teller Vite! Adagio! With ease and grace, like this! Girls (striking his poses) One, two, one, two... Overture Track 1 Languidly, as odalisques or houris Caramba, no! It is not so. ACT ONE Pass the idle hours of summer day... This way. You’re doing better now! Opening Track 2 Fresco (correcting them) Careful, do not spoil it. Good. Courtyard of the conservatory of No!!! Confound it, no! Now, Finale! Presto con brio. the Budapest Opera. Matosin, stage Forty thousand furies! Watch me! Girls manager at the opera, and the Imitate me! See—this way. Twirling, whirling, sliding, gliding balletmaster Fresco enter.) (He demonstrates again.) Dancing with a grace entrancing. Fresco Now the allegretto grazioso! Hi... Round in circles swinging What do I hear? ‘Tis striking ten! Girls Like gazelles a-springing, Those rogues of mine are late again. La-la-la with pirouetting Scarcely have we breath for The little minxes, always late, With smile enduring singing... Clear the way! The rascals! Tardiness I hate. And yet alluring, In a maze wild and gay... La-la-la! (Bell of the gate rings.) We are coquetting so statuesquely, Fresco What’s that? A ring! Ola! ’Tis they! So picturesquely... Right foot, left foot Girls (outside) Graceful pose, enduring smile That’s not like it, not a bit! Ha! ha! ha! ha! ha! In the real ballet style, Left foot, deft foot, Matosin Languidly we sway... Every bar of music fit. I’ll let them in without delay. Fresco You must do better now. (Pupils of the ballet school of the That was it! Cospetto! Here, I will show you how. Opera rush in, laughing, talking.) You spoil my allegretto. I will give an imitation.
Load more

Recommended publications
  • Advance Program Notes New York Gilbert & Sullivan Players H.M.S
    Advance Program Notes New York Gilbert & Sullivan Players H.M.S. Pinafore Friday, May 5, 2017, 7:30 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. Albert Bergeret, artistic director in H.M.S. Pinafore or The Lass that Loved a Sailor Libretto by Sir William S. Gilbert | Music by Sir Arthur Sullivan First performed at the Opera Comique, London, on May 25, 1878 Directed and conducted by Albert Bergeret Choreography by Bill Fabis Scenic design by Albère | Costume design by Gail Wofford Lighting design by Benjamin Weill Production Stage Manager: Emily C. Rolston* Assistant Stage Manager: Annette Dieli DRAMATIS PERSONAE The Rt. Hon. Sir Joseph Porter, K.C.B. (First Lord of the Admiralty) James Mills* Captain Corcoran (Commanding H.M.S. Pinafore) David Auxier* Ralph Rackstraw (Able Seaman) Daniel Greenwood* Dick Deadeye (Able Seaman) Louis Dall’Ava* Bill Bobstay (Boatswain’s Mate) David Wannen* Bob Becket (Carpenter’s Mate) Jason Whitfield Josephine (The Captain’s Daughter) Kate Bass* Cousin Hebe Victoria Devany* Little Buttercup (Mrs. Cripps, a Portsmouth Bumboat Woman) Angela Christine Smith* Sergeant of Marines Michael Connolly* ENSEMBLE OF SAILORS, FIRST LORD’S SISTERS, COUSINS, AND AUNTS Brooke Collins*, Michael Galante, Merrill Grant*, Andy Herr*, Sarah Hutchison*, Hannah Kurth*, Lance Olds*, Jennifer Piacenti*, Chris-Ian Sanchez*, Cameron Smith, Sarah Caldwell Smith*, Laura Sudduth*, and Matthew Wages* Scene: Quarterdeck of H.M.S. Pinafore *The actors and stage managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
    [Show full text]
  • I Hotel Westminster SMULLEN &
    4 BOSTON, MASS., MONDAY, MAY 6, 1907 4I BOSONI MASS. M M 6 19 -, I HOLLIS STREET THEATRE. DON'T EAT T., E,MOSELEY & 00, There will be only one more UNTIL YOU VISIT Established 1847 week of the stay of "The Rogers TH A V NUE C AFE; Brothers in Ireland" at the Hollis For Steaks and Chops we Lead them all. For Street Theatre, and then these Everything First-Class at Moderate Prices. Tech merry comedians will take their 471, OLUMBUS AVE. leave of the Boston stage with the WM. PINK & GO. ' ' NEAR WEST NEWTON ST. Men jolliest vaudeville farce that they 14 have ever brought here. Ireland C. A. FATTEN & CO. is an ideal spot for the droll Ger- man comedians to visit, and the Merchant Tailors land of jigs and pretty colleens ap- DM 1. MFMC> SU ITS peals to everybody. The come- FIJL D SCsE SUIrS OUR SPECIAL OFFER $45 dians have hosts of new things this season, and the company which 43 TREMONT ST., Carney Bldg. they have in their support is better Slippers and Ithan any of its predecessors. DR. W. J. CURRIER PARK THEATRE. Pumps OFFICE HOURS 9 TO 4 ER'S I LAN Moccasins, Skates Boston is to have a week of 90 HUNTINGTON AVENUE and Snow Shoes Lu grand opera with Italian celebri- Refers by permission to Prof. T. H. Bartlett unch and Coffee House 145 Tremont Street ties at the Park Theatre, the at- traction being the San Carlo Opera Drawing-Inks Eternal Writing-Ink Company. Alice Nielsen, the .......
    [Show full text]
  • THE CZECH SONGS of RUDOLF FRIML, 1901-1911 by Daniel
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
    [Show full text]
  • The Red Mill Music by Victor Herbert Book and Lyrics by Henry Blossom
    The Red Mill Music by Victor Herbert Book and Lyrics by Henry Blossom Performing version edited by James Cooper Cast of characters “Con” Kidder “Kid” Conner } Two Americans “doing” Europe Burgomaster Burgomaster of Katwyk-aan-Zee Franz Sheriff of Katwyk-aan-Zee Willem Keeper of The Red Mill Inn Capt Davis Van Damm In love with Gretchen Governor of Zealand Engaged to Gretchen Gretchen The Burgomaster’s daughter Bertha The Burgomaster’s sister Tina Barmaid at The Red Mill Inn, Willem’s daughter Hon. Dudley (pronounced “Fanshaw”) Solicitor from London touring Holland by Featherstonhaugh car with his daughters Countess de la Pere Touring Holland by car with her sons Giselle and Brigitte Dudley’s daughters Hans and Peter Countess’s sons or villagers Rose and Daisy Flower Girls Gaston Burgomaster’s servant Chorus of peasants, artists, burghers and other townspeople Time: 1906 Place: Katwyk-aan-Zee Act I: At the sign of The Red Mill Act II: The Burgomaster’s Mansion 1 Musical Numbers Overture 4 Act I 1. By the Side of the Mill 12 2. Mignonette (Tina and Girls) 27 3. You can Never Tell About a Woman (Burgomaster and Willem) 34 4. Whistle It (Con, Kid, Tina) 41 5. A Widow Has Ways (Bertha) 47 6. The Isle of Our Dreams (Davis and Gretchen) 51 7. The Streets of New York (Con and Kid and Chorus) 58 8. The Accident (Ensemble) 68 8b. When You’re Pretty and the World is Fair (Ensemble) 81 9. Finale I – Moonbeams (Gretchen, Davis and Chorus) 92 Act II 10. Gossip Chorus (Ensemble) 107 11.
    [Show full text]
  • San Franciscans Soon to Hear "The Secret of Suzanne" "STELLAR MEMBERS of the MUSICAL PROFESSION WHO ARE APPEARING BEFORE SAN FRANCISCO AUDIENCES
    THE SAN FRANCISCO CALL, SUNDAY, NOVEMBER 10, 1912. 31 San Franciscans Soon to Hear "The Secret of Suzanne" "STELLAR MEMBERS OF THE MUSICAL PROFESSION WHO ARE APPEARING BEFORE SAN FRANCISCO AUDIENCES. certs early In December. The noted con^ tralto comes here under Greenbaum'i Wolf Ferrari's Opera to Be Played management and will be remembered for her success of last season. She wll appear before the St. Francis Muslca Afternoon of November 17 Art society Tuesday night, December 3 tenor, promises much of musical enter- tainment. Miss Turner is one of the Powell,* * violinist,* comes t( pianists, program Miss Maud By WALTER ANTHONY best of local and the conoertize for us during the first wee! has been selected carefully, as the fol- opportunity a change the concert in December. Among her selections sh< FRANCISCO'S first I complete in pro- lowing wll. show: is featuring a composition by the lat< to hear Wolf Ferrari's opera, i gram. By special request Miss Niel- Sonata, op. 18 (piano and riollnl Rubinstein Coleridge-Taylor, who dedicated his las j Two movements ?Moderate, con moto, SAN"The Secret of Susanne." will sen and Miss Swartz will sing the moderato var. 1. 11. concerto to the American violinist. "Mme. Butterfly." which (a) "From Out Thine Eyes My Songs Are1 . occur Sunday afternoon. November j duet from in Flowing" '...'. Ries IT. when the band of singers they created a sensation last year at i*b) "Time Enough". Nevln SUITOR PROVES FALSE: (C> gathered the production of "Molly Bawn" Lover WOMAN SEEKS DEATH together by Andreas Dip- Boston Puccini's Ballade, op.
    [Show full text]
  • 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
    [Show full text]
  • The Journal of San Diego History
    Volume 51 Winter/Spring 2005 Numbers 1 and 2 • The Journal of San Diego History The Jour na l of San Diego History SD JouranalCover.indd 1 2/24/06 1:33:24 PM Publication of The Journal of San Diego History has been partially funded by a generous grant from Quest for Truth Foundation of Seattle, Washington, established by the late James G. Scripps; and Peter Janopaul, Anthony Block and their family of companies, working together to preserve San Diego’s history and architectural heritage. Publication of this issue of The Journal of San Diego History has been supported by a grant from “The Journal of San Diego History Fund” of the San Diego Foundation. The San Diego Historical Society is able to share the resources of four museums and its extensive collections with the community through the generous support of the following: City of San Diego Commission for Art and Culture; County of San Diego; foundation and government grants; individual and corporate memberships; corporate sponsorship and donation bequests; sales from museum stores and reproduction prints from the Booth Historical Photograph Archives; admissions; and proceeds from fund-raising events. Articles appearing in The Journal of San Diego History are abstracted and indexed in Historical Abstracts and America: History and Life. The paper in the publication meets the minimum requirements of American National Standard for Information Science-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984. Front cover: Detail from ©SDHS 1998:40 Anne Bricknell/F. E. Patterson Photograph Collection. Back cover: Fallen statue of Swiss Scientist Louis Agassiz, Stanford University, April 1906.
    [Show full text]
  • PINAFORE BOOK.Pmd
    GILBERT SULLIVAN H.M.S. Pinafore THE OHIO LIGHT OPERA J. Lynn Thompson Steven Daigle CONDUCTOR ARTISTIC DIRECTOR H.M.S. PINAFORE Music...............................Sir Arthur Sullivan PROGRAM NOTES ...................Raymond McCall Libretto.....................................W.S. Gilbert H.M.S. Pinafore has been the most frequently OHIO LIGHT OPERA performed work at The Ohio Light Opera and an audience favorite on both sides of the Atlantic Artistic Director....................Steven A. Daigle Conductor.........................J. Lynn Thompson since 1878. Its initial run in London prompted Stage Director..................Julie Wright Costa numerous unauthorized productions in this Choreographer.................... Carol Hageman country where Sullivan’s melodies were played by Costume Designer................Adrienne Jones organ grinders and Gilbert’s lyrics became tag lines Scenic Designer...............Kimberly V. Powers for would-be comedians. Meanwhile, the creators Lighting Designer...................Michael Banks earned not one penny in royalties! Sound Designer..........................Andy Kauff To counter this piracy and to demonstrate Production Stage Manager..Katie Humphrey the superiority of the authentic version, London CAST: producer Richard D’Oyly Carte decided to bring a Sir Joseph Porter..................Ted Christopher company to New York. On December 1, 1879, at Ralph Rackstraw.....................Stephen Faulk the Fifth Avenue Theatre, Sullivan conducted the Josephine...........................Natalie Ballenger score
    [Show full text]
  • THE CULVER CITIZEN. Reorders Offj C« Hav06 L a K E : Maxinkuckee
    THE CULVER CITIZEN. Reorders Offj c« Hav06 l a k e : maxinkuckee VOL. IV. CULVER, INDIANA, THURSDAY, MARCH 7f 1907. NO. 45 such excellent tables. It was more C H U R C H NEWS. than the visitors expected. The IN BEHALF association tries to prevent the AT THE WEEK DOINGS ACADEMY Itrmo Pertaining to the Work of the meeting from being a burden aud cafe to the people where it is held Loval Organizations. OF YOUTH and they were not looking for such Rev. Mr. Klopfenstein was un­ IN CULVER entertainment. Happenings of Interest and Personal Paragraphs able to preach last Sunday. For The assooiation was able to turn the i>ust three weeks he has beeu Sunday School Workers of Mar­ over to Mr. Halpcnny the couuty’s Gathered at the School the Past Week. confined to his bed with a severe Little Items of Local happenings of shall County Mold Annual apportionment of 350 to the state cold on his lungs. Interest to People in Town | work, and had a balance on band Rev. J. S. Crowder of Plymouth Convention in Culver 'sufficient to pay for advertising is assisting Rev. Mr. Nicely iu the and Country . and other expenses Tho track team continues to win. W. Renfranz and Ray Oarnfield, official meetings this week. He is a T o Mrs Mary Hume moro than On Saturday it was Wendell Phil­ South Bend, Ind.; Willard Smith. live man and is giving tbe people LIVE ISSUES AND PRACTICAL to any other ono person is duo the lip s high school of Chicago who Orange.
    [Show full text]
  • Herbert's Songs: Designed for Classical Singers A
    HERBERT’S SONGS: DESIGNED FOR CLASSICAL SINGERS A CREATIVE PROJECT PAPER SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE MASTERS OF MUSIC BY LAURA R. KRELL DR. MEI ZHONG-ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA JULY, 2012 Herbert’s Songs: Designed for Classical Singers Introduction Victor Herbert has undoubtedly provided America some of its greatest, most tender, romantic, invigorating, and challenging songs for soprano. Today, Herbert’s masterworks appear simultaneously in both Musical Theater Anthologies and Operatic Collections. Many students encounter questions as to performance practice: can these songs be sung as “musical theater,” with young, immature voices, or should they be studied by classical singers? Despite the pool of speculation swirling around this issue, there has not been any significant research on this particular topic. This study will detail the vocal abilities of Herbert’s most prolific sopranos (Alice Nielsen, Fritzi Scheff, and Emma Trentini), and identify compositional elements of three of Herbert’s most famous arias (“The Song of the Danube,” “Kiss Me Again,” and “Italian Street Song”), using historical data to demonstrate that each composition was tailored specifically for the versatility and profound vocal ability of each opera singer, and is poorly mishandled by those without proper classical training. The writer will offer observations from three amateur online recordings of “Art Is Calling For Me.” The writer will use the recordings to highlight specific pitfalls untrained singers may encounter while singing Herbert, such as maneuvering coloratura passages, breath control, singing large intervallic leaps, and the repeated use of the upper tessitura.
    [Show full text]
  • Precious Nonsense
    Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY June 2002 -- Issue 64 When but a maid of fifteen year, Unsought -- unplighted-- Short-petticoated -- and, I fear, Still shorter--sighted My, that sounds ominous! It isn't meant to be, any more than the use of plain return address labels, instead of the usual M GS heading. (I just w ound up with a stack of them, and hated to let them go to waste. We'll probably have another mailing with them: there's still a big stack!) No, it just means that seventeen years ago, when the Midwestern Gilbert and Sullivan Society started, I didn't realize putting together a newsletter could take so long. (It also means that about twelve years of yard work and house repair are catching up with me: thank you, as always, for your patience! And does anyone know any quick and effective way to clean a wooden deck that doesn't require renting a pressure sprayer? I shou ldn't be sorry to learn it!) Let me know if you're interested: I'll be glad to write you a Christmas letter about what all's been going on (a Christmas-in-July letter, maybe). And if you aren't, I don't blame you. But before we go further, have we (or more accurately, The American Concert Band / Detroit Concert Band) got something for you (if you have a record player)! Several months ago, Mary Lou Hornberger of the Concert Band sent the MGS a boxful of LP recordings of their album Through the Years with Sousa, Volume 10 of their series of recordings of all the marches of John Philip Sousa.
    [Show full text]
  • 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
    [Show full text]