DOCSLIB.ORG

Mira & Stella Disc Catalog (PDF)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Mira & Stella Tune List 7/25/2020 NOTE: Numbering is identical for all sizes of Mira & Stella discs, with some sizes of Stella discs having a prefix to these numbers. No. Title Song Type Composer 1 My Queen Waltz Waltz Coote, Jr. 2 Blue Danube Waltz Joh Strauss, Jr 3 Waves of the Danube Waltz Ivanovici 4 Faust Waltz Gounod 5 Wine Spirits Waltz (Le Petit Bleu) Lecocq 6 After the Ball Waltz Kiefert 7 Estudiantina Waltz Waldteufel 8 Wine, Women and Song Waltz Joh Strauss, Jr 9 I Am a Rover (from Chimes of Normandy or les Cloches de Corneville) Waltz Planquette 10 Nanon, valse d' Anne Genee 11 Invitation to the Dance Waltz Weber 12 Roses from the South Waltz Joh Strauss, Jr 13 The Daughter of Madame Angot Waltz Lecocq 14 The Wave Waltz Metra 15 Do I Love You? Waltz Rosenzweig 16 Jumping-Jack Waltz Foerster 17 Espana Waltz Waldteufel 18 Wiener Blut Waltz Joh Strauss, Jr 19 A Night in Venice Waltz Joh Strauss, Jr 20 Violetta Polka Joh Strauss, Jr 21 Carmen Polka Bizet 22 Polka des Fleurs Ziehrer 23 Always Gay Polka Faust 24 From Heart to Heart Mazurka Andree 25 Excelsior Mazurka Marenco 26 My Sweetheart Mazurka Komzak 27 La Czarina Mazurka L Ganne 28 A Life for the Czar Mazurka Glinka 29 Don Cesar March Dellinger 30 Boccaccio March Suppe 31 Gasparonne March Millocker 32 Under the Double Eagle March Wagner 33 Prayer (from William Tell) Rossini 34 Standchen Serenade (from Boccaccio) Suppe 35 Serenade (from Don Juan) Mozart 36 In unserer Heimat (from ll Troratore) Duet Verdi 37 The Last Rose of Summer (from Martha) Flotow 38 Bridal Chorus (from Lohengrin) Wagner 39 Intermezzo (from Cavalleria Rusticana) Mascagni 40 Knowest Thou That Fair Land (from Mignon) Thomas 41 Hunters' Chorus (from Der Freischutz) Weber 42 Flower Song (from Faust) Gounod 43 The Black Hussar March Millocker 44 Dort Vergiss (from The Marriage of Figaro) Aria Mozart 45 Entrance March (from Tannhauser) March Wagner 46 Treasure Waltz (from The Gypsy Baron) Waltz Joh Strauss, Jr 47 Stephanie Gavotte Czibulka 48 Air of Louis XIII Gavotte Ghys 49 The Carnival of Venice Paganini 50 Secret Love Gavotte Rosch 51 Search Through the Wide World (from The Daughter of the Regiment) Donizetti 52 Carlotta Waltz from "Gasparonne" Waltz Millocker 53 The Merry War Waltz Joh Strauss Jr 54 Laura Waltz (from The Beggar Student) Waltz Millocker 55 Lorelei Song Tedesco 56 Flower Song Large 57 The Washington Post March Sousa 58 Dixie's Land Song Emmett 59 Home Sweet Home Sinclair 60 The Blue Bells of Scotland Care v 61 I Dreamt I Dwelt (from The Bohemian Girl) Balfe 62 Poet and Peasant Overture Suppe 63 Die Stumme son Portici (La Muette de Portici) Barcarolle Auber 64 God Save the Queen or America (My Country, 'Tis of Thee) 65 Nightingale Song (from Der Vogelhandler) Zeller 66 Poor Johathan Waltz Mtllrxkcr 67 Coronation March (from The Prophet) March Meyerbeer 68 Far from the Ball (Loin du Bal) Waltz Gillet 69 Maryland My Maryland (O Tannenbaum) Christmas Song 70 King Cotton March Sousa 71 Come, Ye Disconsolate (Consolation) Hymn S. Webbe 72 Rock of Ages (Toplady) Hymn Thomas Hastings 73 Nearer My God to Thee (Bethany) Hymn Lowell Mason 74 Old Hundredth Hymn Frasse 75 From Greenland's Icy Mountains Missionary Hymn Lowell Maon 76 All Hail the Power of Jesus' Name (Coronation) Hymn Oliver Holden 77 Jesus Lover of My Soul (Martyn) Hymn S B Marsh 78 Jesus, Lover of My Soul (Refuge) Hymn Holbrook 79 Abide With Me (Eventide) Hymn W H Monk 80 It Is Well With My Soul Hymn Philip P Bliss 81 Ring the Bells of Heaven Hymn G F Root 82 Not All the Blood (Boylston) Hymn Lowell Mason 83 Blest Be the Tie (Dennis) Hymn H G Nagell 84 Tis Midnight, and on Olive's Brow (Gethsemane) Hymn Will B Bradbury 85 My Faith Looks Up to Thee (NeN Haven) Hymn Thomas Hastings 86 My Faith Looks Up (Olivet) Hymn Lowell Mason 87 The Home Over There Hvmn T C O'Kane 88 Come Thou Fount (Nettleton) Hymn John Wyeth 89 Savior Breathe (Evening Prayer) Hymn Geo C Stebbins 90 God Be With You Hymn W G Torner 91 Wonderful Words of Life Sing Them Over Again Hymn Philip P Bliss 92 Alas and Did My Savior (Dundee) Hymn G Branc 93 Ein Feste Burg Chorale Luther 94 Monastery Bells Lefebure-Wely 95 Quintet (from Martha) Flotovv 46 One Heart, One Soul Mazurka Joh Strauss, Jr 97 Gebet (Praver) (from Der Freischutz) Weber 98 My Pearl Is a Bowery Girl Song Mack 99 Henriette, Have You Met Her? Song W Bratton 100 Wedding March March Mendelssolin 101 The Trumpet of the Regiment Polka Ascher 102 I he Beggar Student Mazurka Millocker 103 The Black Hussar Galop Millocker 104 The Star-Spangled Banner (American National Anthem) 105 The Little Fisher Maiden Waltz Waldemann 106 Polonaise (from Mignon) Thomas 107 La Marseillaise (French National Anthem) Rouget de L'lsle 108 Austrian National Anthem Havdn 109 Old Folks at Home Song Foster 110 Spinn! Spinn! Swedish Song Jungst 111 Artist's Life Waltz Joh Strauss, Jr 112 Polka-rnarurka (from A Night in Venice) Joh Strauss Jr 113 Russian National Anthem Alexei Lvoff 114 Gigerl March Wakner 115 Marching Through Georgia March H C Work 116 The Red, White, and Blue (Columbia the Gem of the Ocean) March 117 Mocking Bird Song A Hanthorne 118 High School Cadets March Sousa 119 Katy Did Song Johnson 120 La Paloma (The Dove) Spanish Seranade Yradier 121 Monte Carlo (from Margarethe) March Kap 122 Kathleen Mavoureen Song Crouch 123 Marguerite Song White 124 Auld Lange Syne Scottish Sang Clrtton 125 Schubert's Serenade Schubert 126 Mamie, Come Kiss Your Honey Boy Song Irwin 127 Slumber So Gently (from Princess Bonnie) Spenser 128 The Libertv Bell March Sousa 129 My Old Kentucky Home Foster 130 Mary and Her Lamb Song Castling 131 Jolly Brothers Waltz Wollstaedt 132 Little Alabama Coon Song Starr 133 Directorate March Sousa 134 Manhattan Beach March Sousa 135 The Darkie's Dream Lansing 136 Old Oaken Bucket Dinsmore 137 Cujus Animam (from Stabat Mater) Rossini 138 Die Wacht am Rhein German National Anthem Karl Wilhelm 139 Turkish Patrol Mischaelis 140 The Heart Bowed Down (from Bohemian Girl) Balfe 141 Traumeri Reverie Schumann 142 Anvil Chorus (from ll Trovatore) Verdi 143 Love Comes Like (from Little Tycoon) Waltz Spenser 144 Robin Adair Song 145 I Don't Want to Play in Your Yard Song Petrie 146 The Honeymoon March March Rose y 147 Mandolina Mexican Serenade Langey 148 Coming Through the Rye 149 The Campbells Are Coming 150 Hear Me Norma (from Norma) Bellini 151 Isabella 1492 Waltz Pfleuer 152 The Beggar Student March Millocker 153 Soldiers' Chorus (from Faust) Gounod 154 The Benediction of the Swords (from Les Huguenots) Meyerbeer 155 The Vale of` Rest (from Les Huguenots) Meyerbeer 156 Drinking Song (from La Traviata) Verdi 157 Then You'll Remember Me (from Bohemian Girl) Balfe 158 Don't Be Cross Song Zeller 159 Cavatina (front Barber of Seville) Rossini 160 The Band Played On Song Ward 161 Sextet (from Lucia) Donizetti 162 On Yonder Rock (from Fra Diavolo) Auber 163 Barcarolle (f'rorn Oberon) Barcarolle Weber 164 Sabre Song (from Le Grande Duchesse) Offenbach 165 Yale March March Gillet 166 Tyrolean Chorus (from William Tell) Rossini 167 Bon Ton Two-Step Zimmerman 168 Coochi Coochi Polka Clark 169 Behut dish Gott (from The Trumpeter of Sackingen) Nessler 170 La Gitana Waltz Bucalosst 171 Grand March (from Aida) March Verdi 172 The Sunshine of Paradise Alley Song Bratton 173 Her E'yes Don't Shine Like Diamonds Song Marion 174 Ben Bolt (from Trilby) Song Kneass 175 Cachucha Dance (from The Gondoliers) Sullivan 176 Erminie March Jakobowsky 177 When the Swallows Homeward Fly Song Abt 178 Light Cavalry Overture Suppe 179 Annie Laurie Song Dunn 180 Bonnie Dundee Ballad 181 Pilgrims' Chorus (from Tannhauser) Wagner 182 Hail, Columbia 183 Kamarinskaia Russian Dance 184 Sur une Route Pavee Russian Song Gurilew 185 Ah! Mon Seuil Russian Song Gurilew 186 Vers Petite Mere Sur le Volga Russian Song Vilbois 187 La Tombe d'Ascold Rusian Ballad Werstowsky 188 Ah! Mon Bouleau Russian Song Prigoiago 189 Le Matelot Russian Romance Vilbois 190 Te Souviens-to Russian Romance Rigewskoi 191 Rossignol Mon Rossignol Russian Romance Aliabewa 192 Danse Russe Hilbert 193 Le Jeune Tigre (Tigrenok) Russian Dance 194 Finale (from La Vie Pour le Czar) Glinka 195 O, Dites-Lui Russian Romance 196 Marche Russe Russian March Ganne 197 Oriental Echoes Two-Step March Rosey 198 I Want Yer, Ma Honey Song Templeton 199 Espanita Spanish Waltz Rosey 200 Arran, Go On! March McGlennon 201 Handicap March Two-Step Rosey 202 Standing on the Corner Song Evans 203 Dance, Pickaninnies, Dance Davis 204 Put Me Off at Buffalo Song H W Dillon 205 Molly, (from In Gay New York) G Kerker 206 Star Light, Star Bright (from Wizard of the Nile) Herbert 207 The New Bully Song Johnson 208 Rastus on Parade March Mills 209 Trau, Schau (from Waldmeister) Waltz Joh Strauss, Jr 210 The Bee Hive March Ernesto 211 Calm Lies the Lake Song Pfeil 212 An Adventure in the Harem Lincke 213 When the Leaves Softly Whisper Lincke 214 A Tiny Wife Polka Aletter 215 The German Patrol (Die Wachtparade kommt) Quickstep Eilenberg 216 Gartenlaube Waltz Joh Strauss, Jr 217 Song an Aegir (Hymn to Aegir) Kaiser Wilhelm II 218 At Supper (Beim Souper) Waltz Song Chattau 219 On the Beautiful Rhine Waltz Song Foerster 220 Carmen Sylva Waltz Ivanovici 221 Hipp! Hipp! (also Hip! Hip! Hurrah!) March Keiper 222 Volubilis Mazurka Bruschi 223 My God, How Wonderful Thou Art Hymn Howard 224 Toreador Song (from Carmen) Bizet 225 La Donna a Mobile (from Rigoletto) Verdi 226 Quartet (from Rigoletto) Verdi 227 Miserere (from Il Trovatore) Verdi 228 Il Balen del Suo Sorriso (from Il Trovatore) Verdi 229 Involami (Rescue Me) (from Ernani) Verdi 230 Overture (from William Tell) Rossini 231 Halka Mazurka Moniuszki 232 Shadow Song (from Dinorah) Meyerbeer 233 How So Fair (from Martha) Flotow 234 Krakowiak Polish Dance Osmanski 235 Song of the Bells (from Chimes of Normandy or les Cloches de Corneville) Planquette 236 Servants' Chorus (from Chimes of Normandy or les Cloches de Corneville) Planquette 237 La Mandolinata (from Le Passant) Paladilhe 238 Les Alsaciennes Mazurka Tedesco 239 Dancing in the Barn Schottische Pratt 240 Helmet Song (from The Heart and the Hand) Lecocq 241 Shall We Gather at the River? R.
Recommended publications
  • Advance Program Notes New York Gilbert & Sullivan Players H.M.S

    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.
  • Theater Souvenir Programs Guide [1881-1979]

    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.
  • Názov Vysokej Školy

    Názov Vysokej Školy

    JANÁČKOVÁ AKADEMIE MÚZICKÝCH UMĚNÍ V BŘNE Hudební fakulta Katedra zpěvu Obor zpěv POSTAVA MARGARÉTY V OPERNEJ TVORBE Bakalářská práce Autor práce: Mária Havriľaková Vedoucí práce: prof. PhDr. Jindřiška Bártová Oponent práce: PhDr. Alena Borková Brno 2015 Bibliografický záznam HAVRIĽAKOVÁ, Mária. Postava Margaréty v opernej tvorbe [Character of Margaret in opera work ]. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra zpěvu, 2015. 41 s. Vedoucí bakalářské práce prof. PhDr. Jindřiška Bártová. Anotácia Bakalárska práca „Postava Margaréty v opernej tvorbe“ je zameraná na interpretačnú a charakterovú analýzu postavy Margaréty. Práca je rozdelená do piatich kapitol a obsahuje 18 obrázkov. Jednotlivé kapitoly pojednávajú o histórii Fausta, stručnej biografii Johanna Wolfganga Goetheho, Charlesa Gounoda, Arriga Boita, ich prínose v umeleckej sfére a konkrétnych dielach. V ďalších kapitolách sa autka práce snaží o bližšiu špecifikáciu postavy Margaréty z interpretačného a hudobno- dramatického aspektu. Anotacion The Bachelor thesis „Character of Margaret in opera work“ is focused on the interpretation and the character analysis role of Margaret. The work is diveded into five chapters, contains 18 pictures. Several chapters contain the history of Faust, a brief biography of Johann Wolfgang Goethe, Charles Gounod and Arrigo Boito, their contribution in the field of the art and specific works. In the following chapters, the author thesis tries to the further specification of the character of Margaret from the interpretative and musical-dramatic aspect. Kľúčové slová Faust, Margaréta, Johan Wolggang Goethe, Charles Gounod, Arrigo Boito, Mefistofeles, Šperková ária, intepretácia Key words Faust, Margaréta, Johan Wolfgang Goethe, Charles Gounod, Arrigo Boito, Mefistofeles, Jewel song, intepretation Čestné prehlásenie Týmto čestne prehlasujem, že som diplomovú prácu „Postava Margaréty v opernej tvorbe“ vypracovala sama na základe svojich znalostí a pomocou uvedenej literatúry.
  • German Operetta on Broadway and in the West End, 1900–1940

    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.
  • Neujahrskonzert 2012 Bläserphilharmonie Mozarteum

    Neujahrskonzert 2012 Bläserphilharmonie Mozarteum

    Neujahrskonzert 2012 Musikalische Schätze aus Russland und Wien Bläserphilharmonie Mozarteum Salzburg Dirigent: Hansjörg Angerer Freitag, 6. Jänner 2012 11.00 Uhr Großes Festspielhaus, Salzburg Musikalische Schätze aus Russland und Wien Das Neujahrskonzert 2012 der Bläserphilharmonie Mozarteum Salzburg unter der Leitung ihres Chefdirigenten Hansjörg Angerer stellt mit klangvollen Walzern, Ouvertüren, Tänzen und Märschen die Verbindung der Wiener Musik zu Russland in den Mittelpunkt. Johann Strauss Sohn, unbestrittener König der Wiener Tanzmusik des ausgehenden 19. Jahr- hunderts, verbrachte mit seinem Orchester in den Jahren 1856 bis 1865 eine ganze Reihe von Sommern in Russland, wo er auch eine ansehnliche Zahl seiner Werke komponierte und erstmals zur Aufführung brachte. Wenn das wienerische Kolorit in seinem Oeuvre auch stets präsent ist, so versteht Strauss es doch genauso meisterhaft, Anklänge anderer Kulturen – wie eben an ein oftmaliges russisches Gastland – oder auch Stimmungen von Natur, Wald und Jagd in seine Musik einfließen zu lassen. Russland verfügt über ein ungemein großes und reichhaltiges musikalisches Erbe. Russische Musik wird gerne mit den Attributen ‚schwermütig’, ‚traurig’ und ‚melancholisch’ verbunden, was zweifellos eine nicht haltbare Einengung des emotionalen Spektrums bedeutet. Die russischen Meister jedoch konnten wie kaum andere gerade diese Emotionen in großer Innigkeit spürbar machen. Über den Wiener Walzer wurde geschrieben, dass er niemals wirklich lustig sei, da auch stets melancholische Zwischentöne in ihm zu finden seien. Johann Strauss‘ Liebe zu Russland mit seinen langjährigen sommerlichen Engagements in St. Petersburg legten es somit nahe, diese musikalischen Welten in einem Konzert miteinander zu verschmelzen. Bekannte und neu zu entdeckende Meisterwerke von Komponisten wie Glinka, Mussorgski, Tschaikowski, Chatschaturjan und Schostakowitsch treffen im Neujahrskonzert der Bläserphilharmonie Mozarteum Salzburg auf Kostbarkeiten der leichten Muse von Johann Strauss und populären Zeitgenossen.
  • New York and London, May 10, 1890. Adding Insult To

    New York and London, May 10, 1890. Adding Insult To

    VOL. 13—No. 2. 10 Cents a Copy. Copyrighted 1890, by Texas Siftings Pub. Co. NEW YORK AND LONDON, MAY 10, 1890. $4 per year in Advance. \\ • qky ADDING INSULT TO INJURY, LITTLE WILLIE (WHO HAS BEEN REPULSED)—WHERE CAN I FIND SINCERITY ? MISS BORED—WHY, IN THE. DICTIONARY, OF COURSE! TEXAS siv"ININcls BISMARCK'S SUCCESSOR. and under his arm, and even catches occasional glimpses of it as the towel is being employed. He fidgets, and General Von Caprivi, the new President of the squirms, and mutters under his breath, if he don't growl Prussian Cabinet, in his initial speech to the Deputies, aloud : " Miss that engagement, sure." "Don't be so Fintered at the Lost office at New York, as Second Claes Mai 1l attar said he considered it a most favorable dispensation of particular." " Does it take all day to shave a man ?" Now, if the clock wasn't there he couldn't do that, and ALEX. E. SWEET, Providence that at the momenta Prince Bismarck's re- Editors. tirement " our august young monarch should be there it doesn't surprise me to learn that the barbers of New A. MINER GRISWOLD, c to fill the gap.' As it was " our august young mon- York have resolved to banish the clock during business arch " himself who hastened Bismarck's retirement, I can hours. They think that life by a barber's chair will be J. ARMOY KNOX, ,Manager. imagine that even the phlegmatic Prussian Deputies had less vexatious, A. A. B E R G E R, Ass't Mgr.
  • The Fortune Teller the OHIO LIGHT OPERA STEVEN BYESS STEVEN DAIGLE Conductor Artistic Director the Fortune Teller

    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
  • NEW on NAXOS the World’S Leading Classical Music Label MARCH 2020

    NEW on NAXOS the World’S Leading Classical Music Label MARCH 2020

    NEW ON NAXOS The World’s Leading Classical Music Label MARCH 2020 This Month’s Other Highlights EightNine titlestitles includeinclude WorldWorld PremierePremiere Recordings!Recordings! © 2020 Naxos Rights US, Inc. • Contact Us: [email protected] www.naxos.com • www.NaxosMusicGroup.com • www.naxosmusiclibrary.com • blog.naxos.com | WORLD PREMIERE NEW ON NAXOS MARCH 2020 RECORDING © Vasilka Balevska © Vasilka Performance of Johann Strauss II’s Blindekuh at Bulgaria Hall, Sofia, Bulgaria (January 2019) Click button to listen to an extract from Overture 8.660434-35 Playing Time: 1:45:11 Price Code: NXP Release Date: LISTEN 7 30099 04347 2 27 Mar 2020 Johann STRAUSS II (1825–1899) Key Features: ● Aside from his dance pieces, Johann Strauss II is also well- Blindekuh (‘Blind Man’s Buff’) known for his operettas particularly Die Fledermaus (‘The Bat’) Libretto by Rudolf Kneisel and Die Ziguenerbaron (‘The Gypsy Baron’). This new recording after his comedy of the same name continues our revival of Strauss’ stage works, which previously Kirsten C. Kunle, Martina Bortolotti and Andrea Chudak, Sopranos included Eine Nacht in Venedig (‘A Night in Venice’) on 8.660268-69, Emily K. Byrne, Mezzo-soprano • Roman Pichler, James Bowers, described by MusicWeb International as ‘a veritable string Daniel Schliewa and Julian Rohde, Tenors • Robert Davidson, of pearls of ear-catching melodies, lavishly orchestrated and Bass-baritone • Sofia Philharmonic Orchestra and Chorus grateful for the singers.’ Other releases include Fürstin Ninetta Dario Salvi (‘Princess Ninetta’) on 8.660227-28 and Jabuka (‘The Apple Festival’) on 8.660216-17. Of the rarely-heard Die Göttin der Blindekuh (‘Blind Man’s Buff’) was Johann Strauss II’s sixth operetta Vernunft (‘The Goddess of Reason’, 8.660280-81), Gramophone and his least known.
  • Too-Ra-Loo-Ra-Loo-Ral)

    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
  • Herbert's Songs: Designed for Classical Singers A

    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.
  • Social Discourse in the Savoy Theatre's

    Social Discourse in the Savoy Theatre's

    SOCIAL DISCOURSE IN THE SAVOY THEATRE’S PRODUCTIONS OF THE NAUTCH GIRL (1891) AND UTOPIA LIMITED (1893): EXOTICISM AND VICTORIAN SELF-REFLECTION William L. Hicks, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: John Michael Cooper, Major Professor Margaret Notley, Committee Member Mark McKnight, Committee Member James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Hicks, William L, Social Discourse in the Savoy Theatre’s Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection. Master of Music (Musicology), August 2003, 107 pp., 4 illustrations, 12 musical examples, references, 91 titles. As a consequence to Gilbert and Sullivan’s famed Carpet Quarrel, two operettas with decidedly “exotic” themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society. Copyright, 2003 by William L. Hicks ii ACKNOWLEDGEMENTS Because of the obscurity of The Nautch Girl and Utopia Limited, I am greatly indebted to the booksellers Christopher Browne and Wilfred M.
  • The Best of Operetta Vol. 1

    The Best of Operetta Vol. 1

    The Best of Operetta Vol. 1 Der Zigeunerbaron P'he Gypsy Baron) Das Land des Lachelns :The Land of Smiles) Die lustige Witwe me Merry Widow) and others The Best of Operetta Vol. 1 Operetta developed in the second half of the nineteenth century from very similar antecedents, the opQa comique of France and the more light-hearted Singspiel of German-speaking countries. In Paris Offenbach, son of a Cologne synagogue cantor, established himself with his series of operas bouffes and it was initally with performances of these in Vienna that the genre took root there, inspiring work by Supp6 and, at the earlier suggestion of Offenbach himself, Johann Strauss. Viennese operetta was inessence coterminouswith theHabsburg Empire. After 1918 Berlin assumed the position once held by Vienna in operetta, and as popular musical tastes diverged more and more with the passing of time, the genre became something of the past, displaced by the commercial produrk of Broadway and its imitators. The first volume of The Best of Operetta includes excerpts from operettas by Joham Strauss, Franz LeMr and Imre Mlmh. Strauss himself had followed his father's example, in spite of the latter's expressed desire, establishing his own dance-orchestra and later recruitinghistwo younger brothers, Josef and Eduard, into the family enterprise. The Strauss reputation extended far beyond the confines of Vienna and Straws orchestras appeared in different cities of Europe, providing an entertainment that suited very well the spirit of the time. Johann Strauss first turnedhisattention to operetta partly at the suggestionofOffenbach and more immediately at the urging of his first wife, the singer Henriette Chaputzky.