Majestic Theatre Rose-Marie Program
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THE CZECH SONGS of RUDOLF FRIML, 1901-1911 by Daniel
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The Student Prince in Old Heidelberg (1927) Performing Live: Neil Brand Friday Night Gala: 23 March 2018
The Student Prince in Old Heidelberg (1927) Performing live: Neil Brand Friday Night Gala: 23 March 2018 In 1899 Wilhelm Meyer-Forster published his novel Karl Heinrich about the impossible love between a crown prince and an innkeeper's daughter. He made it into a play Alt- Heidelberg in 1901. Two years later the play opened in New York in a translation by Rudolf Bleichmann, Old Heidelberg. A film adaptation directed by John Emerson and starring Wallace Reid and Dorothy Gish came out in 1915. A German film version was made in 1923 by Hans Behrendt, with Paul Hartmann and Eva May. An operetta version by Dorothy Donnelly and Sigmund Romberg, The Student Prince, opened in New York in 1924, breaking all box-office records. Noting its success, in 1926 MGM decided to make a film of it directed by Ernst Lubitsch. MGM secured Hans Kraly, Lubitsch's regular scenarist, to make the screen adaptation and chose two of their biggest stars for the principal roles. The romantic Ramon Novarro, who had just played the lead in Ben-Hur, was ideally cast as the Crown Prince. But the casting of Norma Shearer, wife of MGM's 'boy wonder' Irving Thalberg, proved troublesome. The usually genial Lubitsch protested saying she was too grandly mannered for the part. An extract from Sam Marx's book Mayer and Thalberg describes what happened when Thalberg and Shearer returned from honeymoon and Shearer began work on the set: “Mein Gott,” Lubitsch shouted. “I can get a waitress from the commissary who will do better than you!” The tearful star asked that Thalberg be called to the set. -
Oscar Hammerstein II Collection
Oscar Hammerstein II Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2018 Contact information: http://hdl.loc.gov/loc.music/perform.contact Catalog Record: https://lccn.loc.gov/2014565649 Additional search options available at: https://hdl.loc.gov/loc.music/eadmus.mu018003 Processed by the Music Division of the Library of Congress Finding aid encoded by Library of Congress Music Division, 2018 Collection Summary Title: Oscar Hammerstein II Collection Span Dates: 1847-2000 Bulk Dates: (bulk 1920-1960) Call No.: ML31.H364 Creator: Hammerstein, Oscar, II, 1895-1960 Extent: 35,051 items Extent: 160 containers Extent: 72.65 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. LC Catalog record: https://lccn.loc.gov/2014565649 Summary: Oscar Hammerstein II was an American librettist, lyricist, theatrical producer and director, and grandson of the impresario Oscar Hammerstein I. The collection, which contains materials relating to Hammerstein's life and career, includes correspondence, lyric sheets and sketches, music, scripts and screenplays, production materials, speeches and writings, photographs, programs, promotional materials, printed matter, scrapbooks, clippings, memorabilia, business and financial papers, awards, and realia. Selected Search Terms The following terms have been used to index the description of this collection in the LC Catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically. People Brill, Leighton K.--Correspondence. Buck, Pearl S. (Pearl Sydenstricker), 1892-1973--Correspondence. Buck, Pearl S. (Pearl Sydenstricker), 1892-1973. Crouse, Russel, 1893-1966. -
Bruce Walker Musical Theater Recording Collection
Bruce Walker Musical Theater Recording Collection Bruce Walker Musical Theater Recording Collection Recordings are on vinyl unless marked otherwise marked (* = Cassette or # = Compact Disc) KEY OC - Original Cast TV - Television Soundtrack OBC - Original Broadway Cast ST - Film Soundtrack OLC - Original London Cast SC - Studio Cast RC - Revival Cast ## 2 (OC) 3 GUYS NAKED FROM THE WAIST DOWN (OC) 4 TO THE BAR 13 DAUGHTERS 20'S AND ALL THAT JAZZ, THE 40 YEARS ON (OC) 42ND STREET (OC) 70, GIRLS, 70 (OC) 81 PROOF 110 IN THE SHADE (OC) 1776 (OC) A A5678 - A MUSICAL FABLE ABSENT-MINDED DRAGON, THE ACE OF CLUBS (SEE NOEL COWARD) ACROSS AMERICA ACT, THE (OC) ADVENTURES OF BARON MUNCHHAUSEN, THE ADVENTURES OF COLORED MAN ADVENTURES OF MARCO POLO (TV) AFTER THE BALL (OLC) AIDA AIN'T MISBEHAVIN' (OC) AIN'T SUPPOSED TO DIE A NATURAL DEATH ALADD/THE DRAGON (BAG-A-TALE) Bruce Walker Musical Theater Recording Collection ALADDIN (OLC) ALADDIN (OC Wilson) ALI BABBA & THE FORTY THIEVES ALICE IN WONDERLAND (JANE POWELL) ALICE IN WONDERLAND (ANN STEPHENS) ALIVE AND WELL (EARL ROBINSON) ALLADIN AND HIS WONDERFUL LAMP ALL ABOUT LIFE ALL AMERICAN (OC) ALL FACES WEST (10") THE ALL NIGHT STRUT! ALICE THROUGH THE LOOKING GLASS (TV) ALL IN LOVE (OC) ALLEGRO (0C) THE AMAZING SPIDER-MAN AMBASSADOR AMERICAN HEROES AN AMERICAN POEM AMERICANS OR LAST TANGO IN HUAHUATENANGO .....................(SF MIME TROUPE) (See FACTWINO) AMY THE ANASTASIA AFFAIRE (CD) AND SO TO BED (SEE VIVIAN ELLIS) AND THE WORLD GOES 'ROUND (CD) AND THEN WE WROTE... (FLANDERS & SWANN) AMERICAN -
South Pacific
THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods. -
Shubert Theatre Rose-Marie Program
Shubert Theatre Shubert Hoidmg Co., Lessees MESSPIS. LEE and J. J. SHUBERT Managing Directors Matinees Wednesday and Saturday ARTHUR HAMMERSTEIN Presents “ROSE-MARIE” A Musical Play with DESIREE ELLINGER And a Brilliant Cast, Including SAM ASH Book and Lyrics by Otto Harbach and -Oscar Hammerstein, 2nd Music by Rudolf Friml and Herbert Stothart Book Staged by Paul Dickey Dances Arranged by David Bennett Gowns and Costumes Designed by Charles Le Maire Settings by Gates and Morange Production Under Personal Supervision of Arthur Hammerstein Orchestra Under Direction of Charles Ruddy THE CAST (Characters as They Appear) Sergeant Malone Charles Meakins Lady Jane Beatrice Kay Black Eagle William 0. Skavlan Edward Hawley Byron Russell Emile La Flamme Paul Donah Wanda Phebe Brune Hard-Boiled Herman Houston Richards Jim Kenyon Sam Ash Rose-Marie La Flamme Desiree Ellinger Ethel Brander Cora Frye Ladies of the Ensemble—Olive Bond, Ann Ju Rika, Lillian Lyndon, Carol Andrews, Ellen de Vany, Lillian Arnold, Dorothy M. Sipley, Irene Mayo, Beatrice Fox, Ruth Scofield, Gertrude Waldon, Betty Weber, Lovey Silver, Rose W. Gray, Sophia Ross, Ursula Murray, Laurie Green, Rita Miles, Pauline Maxwell, Thea Thompson, Phoebe Hughes, Peggy McCarthy, Maude Neul, Sylvia Seville, Dolores Suarez, Vlora Fay, Dorothy Forbes, Rose Miles, Winnie Dunn, Trilby Grenet. Gentlemen of the Ensemble—Tom Chadwick, Charles Angle, Russell Griswold, John Duncan, Homer D. Wallen, Frank Dobert, Clinton Corwin, Ernest Ehler, Edward Williams, Stanley Johnson, Thomas Rider, Thomas Brady. SYNOPSIS OF SCENES Act 1. Scene 1—Lady Jane’s Hotel, Fond du Lac, Saskatchewan, Canada. Scene 2—Black Eagle’s Cabin, one hour later. -
The Student Prince Program 2018
Light Opera of Portland presents THE STUDENT PRINCE A Spectacular Light Opera Book and Lyrics by Dorothy Donnelly Music by Sigmund Romberg THANK YOU SPECIAL THANKS TO Home Depot for discounts on supplies for building the set MKTX for marketing and promotion support Dennis Freeze for photography Gallery Theater for lending costumes City of Beaverton for rehearsal space TVFR for use of Firestation 65 community room for rehearsals Brother’s Bookkeeping for setting up and managing our books Set Design and Construction Joe Rosenthal, David Ridley, Dennis Britten, Dennis Freeze, David Smith, Gabrielle Widman, Jacob Mott, Linda Smith, Pat Lach, Ron Swingen Costume Design and Construction Lucy Tait, Barbara Berger, Elaine Dinsel, Phyllis Fort, Cynthia Mintun, Marguerite Kendall, Sandra King Donors Dennis Britten, Paul Crable, Phyllis Fort, Helens Pacific Costumes, Catherine Huard, Jilane and David Onasch, Wanda Silverman, David & Linda Smith YOUR DONATION The Light Opera of Portland is a 501c3 organization. Please donate to help us continue providing excellent light opera. LOoP depends on the generous donations of our friends and patrons to support our ongoing efforts of providing high-quality, entertaining light opera productions. Whether you made the suggested donation upon entering or choose to add to your donation upon exiting, be assured your contribution is helping this young theatre company bring you more of the fun of treasured theatre works in the future. Please let us know particularly if you are able to help by donating space to store our sets, rehearsal space or performance space. Thank you for your help. Sponsored by Jilane and David Onasch THE STUDENT PRINCE A Spectacular Light Opera Book and Lyrics by Dorothy Donnelly Music by Sigmund Romberg Directed by Dennis Britten Music directed by Linda Smith Costumes by Lucy Tait Set by Joe Rosenthal Produced by David Smith March 16 7:30 PM | March 17 2:00 PM | March 18 6:30 PM March 23 7:30 PM | March 24 7:30 PM | March 25 2:00 PM Alpenrose Opera House 6149 Shattuck Rd. -
Biography: 850 Words)
Sara Davis Buechner (long biography: 850 words) Sara Davis Buechner is one of the leading concert pianists of our time. She has been praised worldwide as a musician of “intelligence, integrity and all- encompassing technical prowess” (New York Times); lauded for her “fascinating and astounding virtuosity” (Philippine Star), and her “thoughtful artistry in the full service of music” (Washington Post); and celebrated for her performances which are “never less than 100% committed and breathtaking” (Pianoforte Magazine, London). Japan’s InTune magazine says: “When it comes to clarity, flawless tempo selection, phrasing and precise control of timbre, Buechner has no superior.” In her twenties, Ms. Buechner was the winner of a bouquet of prizes at the world’s première piano competitions -- Queen Elisabeth of Belgium, Leeds, Salzburg, Sydney and Vienna. She won the Gold Medal at the 1984 Gina Bachauer International Piano Competition, and was a Bronze Medalist of the 1986 Tschaikowsky International Piano Competition in Moscow. With an active repertoire of more than 100 piano concertos ranging from A (Albeníz) to Z (Zimbalist) -- one of the largest of any concert pianist today -- she has appeared as soloist with many of the world’s prominent orchestras: New York, Philadelphia, Cleveland, Saint Louis, San Francisco, Montréal, Edmonton, Vancouver, Victoria, Honolulu, Qingdao and Tokyo; the CBC Radio Orchestra, Japan Philharmonic, City of Birmingham (U.K.) Symphony Orchestra, BBC Philharmonic, Moscow Radio Symphony, Kuopio (Finland) Philharmonic, Slovak Philharmonic and the Orquesta Sinfónica de Castilla y León (Spain). Audiences throughout North America have applauded Ms. Buechner’s recitals in venues such as Carnegie Hall, Lincoln Center, Kennedy Center and the Hollywood Bowl; and she enjoys wide success throughout Asia where she tours annually. -
“Can't Help Singing”: the “Modern” Opera Diva In
“CAN’T HELP SINGING”: THE “MODERN” OPERA DIVA IN HOLLYWOOD FILM, 1930–1950 Gina Bombola A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2017 Approved by: Annegret Fauser Tim Carter Mark Katz Chérie Rivers Ndaliko Jocelyn Neal ©2017 Gina Bombola ALL RIGHTS RESERVED ii ABSTRACT Gina Bombola: “Can’t Help Singing”: The “Modern” Opera Diva in Hollywood Film, 1930–1950 (Under the direction of Annegret Fauser) Following the release of Columbia Pictures’ surprise smash hit, One Night of Love (1934), major Hollywood studios sought to cash in on the public’s burgeoning interest in films featuring opera singers. For a brief period thereafter, renowned Metropolitan Opera artists such as Grace Moore and Lily Pons fared well at the box office, bringing “elite” musical culture to general audiences for a relatively inexpensive price. By the 1940s, however, the studios began grooming their own operatic actresses instead of transplanting celebrities from the stage. Stars such as Deanna Durbin, Kathryn Grayson, and Jane Powell thereby became ambassadors of opera from the highly commercial studio lot. My dissertation traces the shifts in film production and marketing of operatic singers in association with the rise of such cultural phenomena as the music-appreciation movement, all contextualized within the changing social and political landscapes of the United States spanning the Great Depression to the Cold War. Drawing on a variety of methodologies—including, among others, archival research, film analysis, feminist criticisms, and social theory—I argue that Hollywood framed opera as less of a European theatrical art performed in elite venues and more of a democratic, albeit still white, musical tradition that could be sung by talented individuals in any location. -
"A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas. -
Czech Music in Nebraska
Czech Music in Nebraska Ceska Hudba v Nebrasce OUR COVER PICTURE The Pavlik Band of Verdigre, Nebraska, was organized in 1878 by the five Pavlik brothers: Matej, John, Albert, Charles and Vaclav. Mr. Vaclav Tomek also played in the band. (Photo courtesy of Edward S. Pavlik, Verdigre, Neraska). Editor Vladimir Kucera Co-editor DeLores Kucera Copyright 1980 by Vladimir Kucera DeLores Kucera Published 1980 Bohemians (Czechs) as a whole are extremely fond of dramatic performances. One of their sayings is “The stage is the school of life.” A very large percentage are good musicians, so that wherever even a small group lives, they are sure to have a very good band. Ruzena Rosicka They love their native music, with its pronounced and unusual rhythm especially when played by their somewhat martial bands. A Guide to the Cornhusker State Czechs—A Nation of Musicians An importantCzechoslovakian folklore is music. Song and music at all times used to accompany man from the cradle to the grave and were a necessary accompaniment of all important family events. The most popular of the musical instruments were bagpipes, usually with violin, clarinet and cembalo accompaniment. Typical for pastoral soloist music were different types of fifes and horns, the latter often monstrous contraptions, several feet long. Traditional folk music has been at present superseded by modern forms, but old rural musical instruments and popular tunes have been revived in amateur groups of folklore music or during folklore festivals. ZLATE CESKE VZPOMINKY GOLDEN CZECH MEMORIES There is an old proverb which says that every Czech is born, not with a silver spoon in his mouth, but with a violin under his pillow. -
Sara Davis Buechner
Sara Davis Buechner Pianist Sara Davis Buechner is one of the leading keyboard artists of our time. She has been praised on four continents for her “intelligence, integrity and all-encompassing technical prowess”(New York Times), “fascinating and astounding virtuosity”(Philippine Star), and “thoughtful artistry in the full service of music”(Washington Post).“Buechner has no superior” says Japan’s InTunemagazine. Winner of a bouquet of prizes at the world’s great piano competitions -- Reine Elisabeth of Belgium, Leeds, Salzburg, Sydney and Vienna -- she established her early career with the Gold Medal of the 1984 Gina Bachauer International Piano Competition, and a Bronze Medal in the 1986 Tschaikowsky International Piano Competition in Moscow. Now residing in Canada, Ms. Buechner enjoys a vibrant international performance and recording career. With an active repertoire of over 100 piano concertos ranging from A (Albeníz) to Z (Zimbalist), she has appeared as soloist with the world’s prominent orchestras: New York, Philadelphia, Cleveland, Saint Louis, San Francisco, Montréal, Vancouver, Victoria; the CBC Radio Orchestra, Japan Philharmonic, City of Birmingham (U.K.) Symphony Orchestra, BBC Philharmonic, Kuopio (Finland) Philharmonic, Slovak Philharmonic and the Orquesta Sinfónica de Castilla y León (Spain). Audiences throughout the world have applauded Ms. Buechner’s recitals in venues such as Carnegie Hall, Lincoln Center, Kennedy Center, the Hollywood Bowl, Prague’s Dvorák Hall and Kyoto’s Alti Hall; and she enjoys a special following throughout Asia where she tours annually. Ms. Buechner’s numerous recordings have received prominent critical appraisal. The New York Times greeted her Koch International CD of piano music by Rudolf Friml as a “revelation,” and devoted the front page of its Sunday Arts & Leisure section to her world première recording of the Bach-Busoni “Goldberg” Variations.