Inventory Acc.12682 Southern Light Opera Company, Edinburgh
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Singing Syllabus 2014
Singing GRADE 6 from 2009 PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or any solo Jazz subject. For alternatives, see www.abrsm.org/prerequisite. FOUR ACCOMPANIED SONGS: from memory, one chosen by the candidate from each of the four Lists, A, B, C and D (listed below). See also pp. 5, 6 and 10. ONE UNACCOMPANIED TRADITIONAL SONG: from memory, of the candidate’s own choice. See also p. 7. SIGHT-SINGING*: see pp. 8–9 AURAL TESTS FOR THE GRADE*: see pp. 82 and 85 ACCOMPANIED SONG LISTS LIST A All Voices 1 C. P. E. Bach Weihnachtslied (Christmas Song). G (dЈ–gЉ) or Eb: No. 21 from Sing Solo Christmas (high or low) (OUP) (Ger/Eng) 2 J. S. Bach Come, let us all this day, BWV 479. F (cЈ–gЉ): publ. separately (Novello NOV290321) 3 Blow The Self Banished. G (dЈ–gЉ) or D: publ. separately (Schott ED 11939 or 11940) 4 Bononcini Per la gloria d’adorarvi: from Griselda. F (dЈ–f Љ) or D: No. 19 from 30 Italian Songs and Arias of the 17th & 18th Centuries (medium-high or medium-low) (Peters EP 7743a or 7743b) (Ital/Eng) F or D: A Selection of Italian Arias 1600–1800, Vol. 2 (high or low) (ABRSM) (Ital/Eng) 5 Caldara Alma del core: from La Costanza in amor vince l’inganno. # A (aЈ–g Љ) or F: A Selection of Italian Arias 1600–1800, Vol. 1 (high or low) (ABRSM) (Ital/Eng) A or E: No. 21 from 30 Italian Songs and Arias of the 17th & 18th Centuries (medium-high or medium- low) (Peters EP 7743a or 7743b) (Ital/Eng) G or D: No. -
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. -
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. -
Edinburgh International Festival Society Papers
Inventory Acc.11779 Edinburgh International Festival Society Papers National Library of Scotland Manuscripts Division George IV Bridge Edinburgh EH1 1EW Tel: 0131-466 2812 Fax: 0131-466 2811 E-mail: [email protected] © Trustees of the National Library of Scotland BOX 1 1984 1. Venue letting contracts. 2. Australian Youth Orchestra. 3. BBC Orchestra. 4. Beckett Clurman. 5. Black Theatre 6. Boston Symphony 7. Brussels Opera 8. Childrens Music Theatre 9. Coleridges Ancient Mariner 10. Hoffung Festival BOX 2 1984 11. Komische Opera 12. Cleo Laine 13. LSO 14. Malone Dies 15. Negro Ensemble 16. Philharmonia 17. Scottish National 18. Scottish Opera 19. Royal Philharmonic 20. Royal Thai Ballet 21. Teatro Di San Carlo 22. Theatre de L’oeuvre 23. Twice Around the World 24. Washington Opera 25. Welsh National Opera 26. Broadcasting 27. Radio Forth/Capital 28. STV BOX 2 1985 AFAA 29. Applications 30. Amsterdam Baroque Orchestra/Netherlands Chamber Orchestra 31. Balloon Festival. 32. BBC TV/Radio. 33. Le Misanthrope – Belgian National Theatre 34. John Carroll 35. Michael Clark. BOX 3 36. Cleveland Quartet 37. Jean Phillippe Collard 38. Compass 39. Connecticut Grand Opera 40. Curley 41. El Tricicle 42. EuroBaroque Orchestra 43. Fitzwilliam 44. Rikki Fulton 45. Goehr Commission 46. The Great Tuna 47. Haken Hagegard and Geoffery Parons 48. Japanese Macbeth 49. .Miss Julie 50. Karamazous 51. Kodo 52. Ernst Kovacic 53. Professor Krigbaum 54. Les Arts Florissants. 55. Louis de France BOX 4 56. London Philharmonic 57. Lo Jai 58. Love Amongst the Butterflies 59. Lyon Opera 60. L’Opera de Nice 61. Montreal Symphony Orchestra 62. -
Inventory Acc.13182 Edith Macarthur
Acc.13182 October 2010 Inventory Acc.13182 Edith Macarthur National Library of Scotland Manuscripts Division George IV Bridge Edinburgh EH1 1EW Tel: 0131-466 2812 Fax: 0131-466 2811 E-mail: [email protected] © Trustees of the National Library of Scotland Papers, circa 1942-2006, of Edith Macarthur, actor (b.1926). The collection includes scripts, photographs, press cuttings and other items of theatre and television memorabilia. Edith Macarthur’s stage career has taken her to most major producing theatres in Scotland, and to many in England. The variety of her range is demonstrated in the collection, from her early days with respected amateur company, the Ardrossan and Saltcoats Players, to acclaim with prestigious companies such as the Royal Lyceum, Citizens’, Gateway, Bristol Old Vic, Pitlochry Festival, Traverse and Royal Shakespeare. Leading roles in the canon of major plays by Arthur Miller, James Bridie, Anton Chekhov, Eugene O’Neill, Noel Coward and their like, and various acclaimed productions of ‘The Thrie Estaites’, established her stage reputation. Alongside runs a vein of comedy and variety, from the ‘Five Past Eight Shows’ of the 1950s at the Citizens’, to regularly playing Cinderella’s Fairy Godmother in pantomime during the 1980s and 1990s. There is also a considerable body of television work, from early series such as ‘The Borderers’ and ‘Sutherland’s Law’, and the renowned 1970s adaptation of ‘Sunset Song’, to the long-running Scottish Television soap, ‘High Road’. A milestone was the 1993 film ‘The Long Roads’ by John McGrath. At about this time Miss Macarthur was coming to the attention of less mainstream theatre-producers in Scotland. -
MERRIE ENGLAND Music by Edward German
Press Information The Finborough Theatre is now fully air conditioned Summer Season | April to July 2012 Part of the Finborough Theatre's Celebrating British Music Theatre series Citric Acid in association with Neil McPherson for the Finborough Theatre presents The first professional London production for 52 years MERRIE ENGLAND Music by Edward German. Libretto by Basil Hood. Directed by Alex Sutton. Musical Direction by Eamonn O’ Dwyer. Designed by Philip Lindley. Lighting by Miguel Vicente. Produced by Luke Holbrook. Costume Design by Sophia Anastasiou. Cast: Sammy Andrews. Alexander Beck. Jamie Birkett. Daniel Cane. Luke Courtier. Stephen Darcy. Virge Gilchrist. Tom Giles. Stuart Hickey. Rachel Holbrook. Nichola Jolley. Christopher Killik. Ruth Leavesley. Brendan Matthew. Michael Riseley. Jody Ellen Robinson. Gemma Sandzer. Rhys Saunders. Originally written for the Savoy Theatre in 1902 and a longtime British musical classic, this rediscovery celebrates both the Queen’s Diamond Jubilee as well as the 150th anniversary of the birth of composer Edward German. Merrie England plays at the Finborough Theatre for a limited run of nine Sunday and Monday evening performances and Tuesday matinees, opening on Sunday, 27 May 2012 (Press Night: Monday, 28 May 2012 at 7.30pm). Edward German's patriotic pageant deals with love and rivalries at the court of Queen Elizabeth I as the monarch visits the townsfolk of Windsor to celebrate May Day. With a plot that includes such historical personages as Sir Walter Raleigh and the Earl of Essex, murder plots and tales of witchcraft unravel to the background of the May Day revels... An English light opera in the style made famous by Gilbert and Sullivan, Merrie England features a prominent chorus and a range of principal numbers including ballads, patter songs, duets and quintets. -
2012 Shakespearean Authorship and More
Summer 2012 Shakespeare Matters page 1 12:1 “Let me not to the marriage of true minds admit impediments...” Winter 2013 Did Rudolf Steiner Name the Bard, 100 Years Ago? by Alan Stott ccompanying the general insecurity around us, there is a considerable interest in the beginnings of modern times. AWhat happened 400–500 years ago in the birth struggles of emerging Europe? Novels, studies, TV programs and films explore the events surrounding the throne of England. Several acclaimed films aim to capture the life and “glorious reign” of Elizabeth (1533-1603). Our picture of “merrie olde England” and the relative calm of Elizabeth’s reign, however, has to be modified Mark Rylance lecturing on John Dee’s Monas ����o������������ by the lasting impact of her father, the tyrant Henry VIII, together �ca at the 2012 SAT meetings (see p. 8). with the intrigues and quarrels amongst the aristocracy, religious persecutions, the realities of a police state, rigorous censorship, 2012 Shakespearean Authorship and more. But, we comfort ourselves, the age did produce Shake- Trust Conference Report speare. Of that, at least, we can be proud. (Continued on page 11) by Earl Showerman n May I received a most welcome invitation to the annual Shakespearean Authorship Trust (SAT) Conference in London. A Source for “Remembrance of IOxfordian Julia Cleave, who is a trustee of the SAT, wrote to Things Past” ask if I would make a presentation at the conference, which is held each November at Shakespeare’s Globe Theatre. The theme in Shakespeare’s Sonnet 30 of this year’s conference was “Shakespeare and the Mysteries,” a subject to which advocates of all the leading authorship candidates by Richard M. -
CARMEN DAAH Mezzo-Soprano with J. Hunter Macmillan, Piano Recorded London, January 1925 MC-6847 Kishmul's Galley (“Songs Of
1 CARMEN DAAH Mezzo-soprano with J. Hunter MacMillan, piano Recorded London, January 1925 MC-6847 Kishmul’s galley (“songs of the Hebrides”) (trad. arr. Marjorie Kennedy Fraser) Bel 705 MC-6848 The spinning wheel (Dunkler) Bel 705 MC-6849 Coming through the rye (Robert Burns; Robert Brenner) Bel 706 MC-6850 O rowan tree – ancient Scots song (trad. arr. J. H. MacMillan) Bel 707 MC-6851 Jock o’ Hazeldean (Walter Scott; trad. arr. J. Hunter MacMillan Bel 706 MC-6853 The herding song (trad. arr. Mrs. Kennedy Fraser) Bel 707 THE DAGENHAM GIRL PIPERS (formed 1930) Led by Pipe-Major Douglas Taylor. 12 pipers, 4 drummers Recorded Chelsea Town Hall, King’s Road, London, Saturday, 19th. November 1932 GB-5208-1/2 Lord Lovat’s lament; Bruce’s address – lament (both trad) Panachord 25365; Rex 9584 GB-5209-1/2 Earl of Mansfield – march (John McEwan); Lord Lovat’s – strathspey (trad); Mrs McLeod Of Raasay – reel (Alexander MacDonald) Panachord 25365; Rex 9584 GB-5210-1 Highland Laddie – march (trad); Lady Madelina Sinclair – strathspey (Niel Gow); Tail toddle reel (trad) Panachord 25370; Rex 9585 GB-5211-3 An old Highland air (trad) Panachord 25370; Rex 9585 Pipe Major Peggy Isis (solos); 15 pipers; 4 side drums; 1 bass drum. Recorded Studio No. 2, 3 Abbey Road, London, Tuesday, 26th. March 1957 Military marches – intro. Scotland the brave; Mairi’s wedding; Athole Highlanders (all trad) Par GEP-8634(EP); CapUS T-10125(LP) Pipes in harmony – intro. Maiden of Morven (trad); Green hills of Tyrol (Gioacchino Rossini. arr. P/M John MacLeod) Par GEP-8634(EP); CapUS T-10125(LP) Corn rigs – march (trad); Monymusk – strathspey (Daniel Dow); Reel o’ Tulloch (John MacGregor); Highland laddie (trad) Par GEP-8634(EP); CapUS T-10125(LP) Quick marches – intro. -
The Nautch Girl Or the Rajah of Chutneypore
THE NAUTCH GIRL OR THE RAJAH OF CHUTNEYPORE LIBRETTO BY GEORGE DANCE MUSIC BY EDWARD SOLOMON WITH LYRICS BY GEORGE DANCE & FRANK DESPREZ 1891 Edited 2012 by David Trutt Los Angeles, California, USA email: [email protected] Web Site: www.haddon-hall.com 2 INTRODUCTION The Nautch Girl, or, The Rajah of Chutneypore is a comic opera in two acts, with a book by George Dance, lyrics by Dance and Frank Desprez and music by Edward Solomon. It opened on June 30, 1891 at the Savoy Theatre managed by Richard D’Oyly Carte and ran until January 16, 1892 for a respectable 200 performances, and then toured the British provinces. The cast included several players familiar to the Savoy’s audiences: Courtice Pounds as INDRU, Frank Thornton as PYJAMA, W. H. Denny as BUMBO, Frank Wyatt as BABOO CURRIE, Rutland Barrington as PUNKA — replaced by W. S. Penley when Barrington left the company to tour in a series of “musical duologues” with Jessie Bond. The part of CHINNA LOOFA was the last role that Jessie Bond created at the Savoy. She wrote in her memoirs that it was one of her favorites. The title role of HOLLEE BEEBEE (the Nautch Girl), was played by Lenore Snyder, the last of a number of actresses who had played Gianetta in The Gondoliers. When the Gilbert and Sullivan partnership disbanded after the production of The Gondoliers in 1889, impresario Richard D’Oyly Carte was forced to find new works to present at the Savoy Theatre. This was the first non-Gilbert and Sullivan “Savoy Opera”, but it was designed to resemble its G&S predecessors, in particular The Mikado, with its exotic oriental setting. -
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. -
Class, Respectability and the D'oyly Carte Opera Company 1877-1909
THE UNIVERSITY OF WINCHESTER Faculty of Arts ‘Respectable Capers’ – Class, Respectability and the D’Oyly Carte Opera Company 1877-1909 Michael Stephen Goron Doctor of Philosophy June 2014 The Thesis has been completed as a requirement for a postgraduate research Degree of the University of Winchester The word count is: 98,856 (including abstract and declarations.) THE UNIVERSITY OF WINCHESTER ABSTRACT FOR THESIS ‘Respectable Capers’: Class, Respectability and the D’Oyly Carte Opera Company 1877-1909 Michael Stephen Goron This thesis will demonstrate ways in which late Victorian social and cultural attitudes influenced the development and work of the D’Oyly Carte Opera Company, and the early professional production and performance of the Gilbert and Sullivan operas. The underlying enquiry concerns the extent to which the D’Oyly Carte Opera organisation and its work relate to an ideology, or collective mentalité, maintained and advocated by the Victorian middle- classes. The thesis will argue that a need to reflect bourgeois notions of respectability, status and gender influenced the practices of a theatrical organisation whose success depended on making large-scale musical theatre palatable to ‘respectable’ Victorians. It will examine ways in which managerial regulation of employees was imposed to contribute to both a brand image and a commercial product which matched the ethical values and tastes of the target audience. The establishment of a company performance style will be shown to have evolved from behavioural practices derived from the absorption and representation of shared cultural outlooks. The working lives and professional preoccupations of authors, managers and performers will be investigated to demonstrate how the attitudes and working lives of Savoy personnel exemplified concerns typical to many West End theatre practitioners of the period, such as the drive towards social acceptability and the recognition of theatre work as a valid professional pursuit, particularly for women. -
A Masked Ball Programme
invites you to Giuseppe Verdi’s A Masked Ball By arrangement with Chester Music Limited trading as G. Schirmer on behalf of G. Schirmer Inc Friday 27th & Saturday 28th October at 7.30pm Queen Victoria Hall, Oundle (with orchestra) Saturday 4th November 2017 at 7.30pm St Thomas a Becket Church, Ramsey (with piano) Sunday 5th November at 4pm The Key Studio, Peterborough (with piano) www.peterboroughopera.co.uk Follow us on Facebook, Twitter & Instagram 1 A MASKED BALL (Un Ballo in Maschera) Music by Giuseppe Verdi Libretto by Antonio Somma English Version by Peter Paul Fuchs Arrangement for small orchestra by Eric Weatherell Musical Director - Kate Wishart Artistic Director - Mark Ellse Choreographer - Stephanie Tenneson 2 A warm welcome to our latest production, Verdi’s “Un Ballo in Maschera” or “A Masked Ball”. We do hope you will enjoy it as much as we have while rehearsing it! Peterborough Opera was formed in 1969 to bring opera in English to the city, the first production being Mozart’s Magic Flute given in July 1970. The first singers were largely recruited by the Musical Director Clive Fairbairn from local mostly semi-professional performers who were studying with the then cathedral Master of Music Dr Stanley Vann. Since then the flow of productions has included most of the popular operas and some more challenging, not so well-known works. “A Masked Ball” continues this tradition and contains all the essential elements of a good opera – power politics, intrigue, sorcery and treachery, mixed with love, lust and betrayal, whilst meanwhile the populace are blissfully unaware of such undercurrents, until, that is, it is ‘unmasked’! You could be forgiven if you say “nothing has changed in the 21st century”! We are very excited this year to spread our ‘performance wings’ beyond Peterborough, again - this time to Oundle where we have many supporters, members, soloists and linkages with Oundle G&S and Thrapston Opera.