DOCSLIB.ORG

21201Booklet.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
21201Booklet.Pdf HADDON HALL An Original Light Opera in Three Acts Written by Sydney Grundy Composed by Arthur Sullivan Originally produced at the Savoy Theatre, London, under the management of Mr. Richard D’Oyly Carte, on Saturday 24th September 1892 - - - - - - - - - - - - - - - - - DRAMATIS PERSONAE Royalists: Sir John Manners Steven Griffin Major Domo David Faulds Sir George Vernon Peter Thomson Dorothy Vernon Mary Timmons Oswald Alan Borthwick Lady Vernon Heather Boyd Roundhead: Dorcas Fiona Main Rupert Vernon Ian Lawson Nance Pat McKerrow Gertrude Caroline Kerr Puritans: Deborah Liz Landsman The McCrankie Maxwell Smart Sing-Song Simeon Ross Main Nicodemus Knock-Knee Harry Payne Barnabas Bellows-to-Mend Roland York Kill-Joy Candlemas (non-singing) Chorus of Simples, Gentles, Retainers, etc. The Prince Consort Chorus and Orchestra conducted by David Lyle. TRACK LISTING CD1. Total playing time [55:13] ACT 1 1. Introduction (Chorus) Ye stately homes of England [2:43] 2. Chorus To-day, it is a festal time [2:13] 3. Song (Dorcas) with Chorus But midst our jubilation - 'Twas a dear little dormouse [3:22] 4. Chorus with Solos (Dorothy, Hail to the Lord of Haddon Lady Vernon, Sir George) [3:24] 5. Madrigal (Dorothy, Lady Vernon, Sir George, Chorus) Welcome, I bid ye welcome - When the budding bloom of May [4:14] 6. Trio (Dorothy, Lady Vernon, Sir George) Nay, father dear [2:20] 7. Duet (Dorothy, Lady Vernon) Mother, dearest mother [3:20] 8. Song (Oswald) with Chorus Ribbons to sell - Come, simples and gentles [3:21] 9. Duet (Dorcas, Oswald) The sun's in the sky [2:43] 10. Recit (Dorothy, Dorcas, Oswald) My mistress comes [0:55] 11. Trio (Dorothy, Dorcas, Oswald) Oh, tell me what is a maid to say [2:51] 12. Recit & Song (Dorothy) Why weep and wait? - Red of the rosebud [3:26] 13. Entrance of Puritans Down with Princes [1:14] 14. Song (Rupert) I've heard it said [2:40] Finale Act 1 15. Scene (Company) The bonny bridegroom cometh When [3:56] 16. Song (Rupert) and Chorus I was but a little lad [1:50] 17. Scene (Company) Hail, cousin Rupert [2:11] 18. Solo (Dorothy & Company) When, yestereve, I knelt to pray [1:58] 19. Ensemble (Company) Father, forgive! [1:30] APPENDIX TO ACT 1. 20. Solo (Manners) The earth is fair [2.20] 21. Duet (Dorothy, Manners) Sweetly the morn doth break [2.05] CD2. Total playing time ACT 2- Scene 1 1. Introduction & Chorus of Puritans Hoarsely the wind is howling [1.47] 2. Song (McCrankie) My name it is McCrankie [2.24] 3. Duet (Rupert, McCrankie) There's no one by [3.04] [3:04] 4. Trio (Dorcas, Rupert, McCrankie) Hoity-toity, what's a kiss? [2.08] [2:08] Finale Act 2 5. Quartette (Dorothy, Dorcas, Manners, Oswald) The west wind howls [7.52] [7:52] 6. Storm [3.03] ACT 2- Scene 2 7. Recit & Song (Major Domo, Sir George) Silence all! Attend your host! - In days of old [3.02] 8. Scene (Company) Eloped, eloped! [1.11] [1:11] 9. Duet (Rupert, McCrankie) and Chorus We were sheltering all ' [3.34] [3:34] 10. Scene (Lady Vernon & Company) In vain they will blunder [2.51] [2:51] ACT 3 11. Opening Chorus Our heads we bow [1.54] [1:54] 12. Song (Lady Vernon) and Chorus Queen of the garden [4.27] [4:27] 13. Recit (Lady Vernon, Sir George) Alone-alone! [1.11] [1:11] 14. Duet (Lady Vernon, Sir George) Bride of my youth [2.35] [2:35] 15. Scene (Dorcas, Rupert, three Girls) and Chorus In frill and feather [1.31] [1:31] 16. Ensemble (Oswald & Company) Good General Monk . [2.24] [2:24] 17. Song, Chorus and Dance (Dorcas, Rupert, Puritans) We have thought the matter out [2.06] [2:06] 18. Song and Scotch Dance (McCrankie)and Chorus Hech, mon! Hech, mon! It gars me greet [3.12] [3:12] Finale Act 3 19. Ensemble (Company) Hark! The cannon! [5.17] SYNOPSIS dear little dormouse) [3]. Dorothy now To thine own self be true, arrives on the scene, accompanied by her And it must follow as the night the day, parents Sir George and Lady Vernon (Hail to Thou canst not then be false to any man. the Lord of Haddon) [4] and the assembled (Shakespeare) company all join in a merry madrigal (Welcome, I bid ye welcome - When the NOTE: The clock of Time has been put budding bloom of May) [5]. Sir George is a forward a century, and other liberties have Royalist but, dreading the vengeance of been taken with history. Parliament, he has decreed that Dorothy must CD 1. marry her cousin Rupert Vernon, a Roundhead who is claiming the Haddon Act 1: The Lovers - Scene: The Terrace. estates as his own. Despite her father's wishes Dorothy will have none of her "The green old turrets, all ivy thatch, Above Roundhead cousin for she is in love with the cedars that girdle them rise, The pleasant John Manners, a younger son of the Duke of glow of the sunshine catch, And outline sharp Rutland and a proscribed Royalist. She on the bluest of skies" pleads with her father (Nay, father dear) [6] During a brief musical introduction [1] and as he leaves she is comforted by her offstage voices can be heard extolling the mother who assures her of her support virtues of the English stately homes. The (Mother, dearest mother) [7]. curtain then rises to reveal the chorus of Manners' servant, Oswald, now arrives on the simples and gentles singing and dancing on scene disguised as a travelling salesman the terrace of Haddon Hall as they prepare for the arrival of Dorothy, the daughter of the (Ribbons to sell - Come, simples and gentles) house, who is about to "plight her troth" to [8]. He has with him a letter from his master, her cousin, Rupert (To-day, it is a festal time) addressed to Dorothy, and when he meets [2]. Dorcas, Dorothy's faithful maid, is Dorcas he entrusts the letter to her care. The apprehensive about the outcome of such a two are immediately attracted to each other wedding and she tells the assembled and sing of the joys of youth (The sun's in the company the allegory of the dormouse and sky) [9]. Dorothy now arrives (My mistress the snail (But midst our jubilation - 'Twas a comes) [10] and is given the letter (Oh, tell me, what is a maid to say) [11]. {APPENDIX: In the original version of Act Oswald and Dorcas now withdraw so that 1, item 12 above was not performed. At that Dorothy can read the letter in private and she stage in the action Dorothy, Oswald and rhapsodises about her sweetheart, John Dorcas exited and John Manners appeared Manners (Why weep and wait? - Red of the and soliloquised on his love for Dorothy (The rosebud) [12]. earth is fair) [20]. Dorothy then joined him in a rapturous duet (Sweetly the morn doth As Dorothy leaves, the stage is suddenly break) [21] before the lovers left to make filled by a lugubrious group of plain-chant way for the entrance of the Puritans. Sullivan Puritans who accompany the arrival of was unhappy with this arrangement and Rupert Vernon (Down with princes) [13]. wrote the solo for Dorothy to replace these Rupert is already tiring of the Puritan cause, two items} as he makes clear to the assembled crew (I've heard it said) [14]. The villagers now reassemble to meet the bridegroom (Finale: The bonny bridegroom cometh) [15] but when they see Rupert and his miserable colleagues they are somewhat taken aback. Rupert assures them that they should not be deceived by first impressions (When I was but a little lad) [16]. The bridal party now arrives (Hail, cousin Rupert) [17] but it is immediately obvious that all is not well when Dorothy falls on her knees and pleads with her father not to insist that she goes through with such a sham marriage (When, yestereve, I knelt to pray) [18]. Sir George furiously spurns his daughter and the act ends in general turmoil (Father, forgive!) [19]. CD 2. with Dorcas before Manners himself arrives (Finale: The west wind howls) [5]. Dorothy Act II: The Elopement - Scene 1: Dorothy then arrives and the two lovers run off into Vernon's Door. the night, escorted by Oswald, as the storm "It is a night with never a star, And the hall breaks in all its fury [6]. with revelry throbs and gleams; There grates As the storm dies away the scene changes: a hinge - the door is ajar -And a shaft of light in the darkness streams." Scene 2: The Long Gallery. Rupert and his Puritan friends are found Sir George and Lady Vernon are discovered, sheltering from a storm (Hoarsely the wind is with the assembled company, and a Major howling) [1] as they await the arrival of their Domo demands attention for Sir George as he Scottish colleague, The McCrankie, whose proposes a toast to "the grand old days of late arrival is to be expected as he has been yore" (Silence all! Attend your host! - In days travelling all the way from the Isle of Rum. of old) [7]. Rupert, The McCrankie and some When he arrives, he accompanies himself on other Puritans now rush in, dragging Dorcas his national instrument, the bagpipes (My with them. Rupert informs Sir George that his name it is McCrankie) [2]. Rupert and The daughter has eloped with her lover (Eloped, McCrankie tell the others to leave them alone as they propound the "Puritan programme of eloped) [8] and they proceed to tell everyone posterity" (There's no one by) [3].
Load more

Recommended publications
  • Haddon Hall's Poems
    HADDON HALL’S POEMS NINETEENTH CENTURY SENTIMENTS DAVID TRUTT Copyright © David Trutt 2007 All rights reserved. Haddon Hall’s Dorothy Vernon - The Story Of The Legend was published in 2006. The following people were very helpful during the formation of this book: Sandra Trutt provided much needed help and support. Kendra Spear digitized various engravings. Alastair Scrivener pointed out the use of the Haddon Hall illustration for the poem In The Olden Time. His Buxton bookshop has been the source of many hard-to-find books on Derbyshire and its environs. Revised October 2010: Pages 4, 6, 124 to reflect that the author of “A Legend of Haddon Hall” was John James Robert Manners 7th Duke of Rutland, and not as indicated, John Henry Manners 5th Duke of Rutland, his father. Both were alive in 1850 when English Ballads and Other Poems was published. Published by David Trutt Los Angeles, California USA [email protected] CONTENTS 3 Contents 3 Introduction 7 The Seven Foresters Of Chatsworth (1822) Allan Cunningham 11 The King Of The Peak, A Derbyshire Tale (1822) Allan Cunningham 21 The King Of The Peak, A Romance (1823) William Bennet 25 Haddon Hall, A Poetical Sketch (1823) John Holland 27 Haddon Hall, Bijou (1828) H. B. (Mary Hudson Balmanno) 37 Haddon Hall At The Present Day (1841) Benjamin Fenton 40 Haddon Hall Before 1840 Henry Alford (1836) 49 Henry Glassford Bell (1832) 50 Delta (David Moir) (1834) 52 George Bayldon (1838) 54 F. R. C. (1831) 55 Haddon, Reliquary (1863) Llewellynn Jewitt 56 The Elopement Door (1869) William Kingston Sawyer 57 Visiting Chatsworth and Haddon Hall (1860) E.
    [Show full text]
  • W. S. Gilbert & a Classic in Humour
    W. S. GILBERT A MID-VICTORIAN ARISTOPHANES BY EDITH HAMILTON & THE ENGLISH ARISTOPHANES BY WALTER SICHEL & A CLASSIC IN HUMOUR BY MAX BEERBOHM Edited 2011 by David Trutt Los Angeles, California, USA email: [email protected] Web Site: www.haddon-hall.com 2 INTRODUCTION Included herein are two lengthy essays which seek to relate the Victorian comic playwright W. S. Gilbert to the Greek comic poet Aristophanes. Aristophanes lived from about 450 BC to 385 BC, mostly under the shadow of the Peloponnesian War between Greece and Sparta, which eventually led to the downfall of Greece. He was the most celebrated writer of what is known as Old Comedy and the only one whose plays have survived in more than fragmentary form. Aristophanes is credited with writing at least forty plays, of which eleven have survived to the present. One critic states that “Savoy opera captures some of Aristophanes’ mingling of topsy- turvy fantasy and tripping rhythm. But in sheer poetic invention Aristophanes’ lacks a real successor.” This critic considers Aristophanes a master satirist, but the two authors, Edith Hamilton and Walter Sichel make a distinction between satire and irony. They claim that the plays of Aristophanes and Gilbert were displays of masterful irony; further they claim that in this genre Gilbert is on the same high level as Aristophanes. As Sichel writes, “Both Aristophanes and Gilbert were pure ironists. Direct satire maps out the country which it invades, but irony is always on the confines of ambiguous territory. As we survey its inhabitants they seem to be in perpetual somersaults — and yet they are always standing on their feet.” AND “That is Gilbert’s irony.
    [Show full text]
  • Precious Nonsense
    Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY October 1992 -- Issue 35 -------------------------- If such symptoms you find In your body or head, They're not easy to quell-- You may make up your mind You are better in bed, For you're not at all well! Well, S/A Cole bummed it again. She noticed in the conclusion of the last Nosnense she said a lot of things would happen, barring any disasters. She should stop saying that, because, when she does, she invariably gets disasters. This summer has probably been the most busy, and the most annoying summer of her life, and she is only now starting to go through the boxes of things to put in the Nonsense. In August, every expensive thing she owned that started with a "C" broke (the computer lost its memory, the cat got sick, and the car needed a bypass operation) except her CD player (which had broken in June), and by the time they were all fixed, she broke. She started September off by getting the flu, and has only now seemed to have shaken it. But so much for excuses. We'll certainly try to do better in the future. In the meantime, she still has to go through the responses to the Big Quiz and the drawing from the returned address corrections, and there are no Iolanthe analyses this time around, but the Big Quiz answers are here, along with what has gone on in G&S lately, and what is expected to happen, plus Carol Cole's report of what took place at the Annual Outing.
    [Show full text]
  • 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.
    [Show full text]
  • GILBERT and SULLIVAN: Part 1
    GILBERT AND SULLIVAN: Part 1 GILBERT AND SULLIVAN Part 1: The Correspondence, Diaries, Literary Manuscripts and Prompt Copies of W. S. Gilbert (1836-1911) from the British Library, London Contents listing PUBLISHER'S NOTE CONTENTS OF REELS CHRONOLOGY 1836-1911 DETAILED LISTING GILBERT AND SULLIVAN: Part 1 Publisher's Note "The world will be a long while forgetting Gilbert and Sullivan. Every Spring their great works will be revived. … They made enormous contributions to the pleasure of the race. They left the world merrier than they found it. They were men whose lives were rich with honest striving and high achievement and useful service." H L Mencken Baltimore Evening Sun, 30 May 1911 If you want to understand Victorian culture and society, then the Gilbert and Sullivan operas are an obvious starting point. They simultaneously epitomised and lampooned the spirit of the age. Their productions were massively successful in their own day, filling theatres all over Britain. They were also a major Victorian cultural export. A new show in New York raised a frenzy at the box office and Harper's New Monthly Magazine (Feb 1886) stated that the "two men have the power of attracting thousands and thousands of people daily for months to be entertained”. H L Mencken's comments of 1911 have proved true. Gilbert & Sullivan societies thrive all over the world and new productions continue to spring up in the West End and on Broadway, in Buxton and Harrogate, in Cape Town and Sydney, in Tokyo and Hong Kong, in Ottawa and Philadelphia. Some of the topical references may now be lost, but the basis of the stories in universal myths and the attack of broad targets such as class, bureaucracy, the legal system, horror and the abuse of power are as relevant today as they ever were.
    [Show full text]
  • Front Matter
    Cambridge University Press 978-0-521-88849-3 - The Cambridge Companion to Gilbert and Sullivan Edited by David Eden and Meinhard Saremba Frontmatter More information The Cambridge Companion to Gilbert and Sullivan Memorable melodies and fanciful worlds – the comic operas of Gilbert and Sullivan remain as popular today as when they were first performed. This Companion provides a timely guide to the history and development of the collaboration between the two men, including a fresh examination of the many myths and half-truths surrounding their relationship. Written by an international team of specialists, the volume features a personal account from film director Mike Leigh on his connection with the Savoy operas and the creation of his film Topsy-Turvy. Starting with the early history of the operatic stage in Britain, the Companion places the operas in their theatrical and musical context, investigating the amateur performing tradition, providing new perspectives on the famous patter songs and analysing their dramatic and operatic potential. Perfect for enthusiasts, performers and students of Gilbert and Sullivan’s enduring work, the book examines their legacy and looks forward to the future. David Eden is a former Chairman of the Sir Arthur Sullivan Society and is currently editor of its Magazine. Meinhard Saremba is a freelance author, translator and broadcaster. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88849-3 - The Cambridge Companion to Gilbert and Sullivan Edited by David Eden and Meinhard Saremba Frontmatter More information © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88849-3 - The Cambridge Companion to Gilbert and Sullivan Edited by David Eden and Meinhard Saremba Frontmatter More information The Cambridge Companion to GILBERT AND SULLIVAN ...........
    [Show full text]
  • Front Matter
    Cambridge University Press 978-0-521-71659-8 - The Cambridge Companion to Gilbert and Sullivan Edited by David Eden and Meinhard Saremba Frontmatter More information The Cambridge Companion to Gilbert and Sullivan Memorable melodies and fanciful worlds – the comic operas of Gilbert and Sullivan remain as popular today as when they were first performed. This Companion provides a timely guide to the history and development of the collaboration between the two men, including a fresh examination of the many myths and half-truths surrounding their relationship. Written by an international team of specialists, the volume features a personal account from film director Mike Leigh on his connection with the Savoy operas and the creation of his film Topsy-Turvy. Starting with the early history of the operatic stage in Britain, the Companion places the operas in their theatrical and musical context, investigating the amateur performing tradition, providing new perspectives on the famous patter songs and analysing their dramatic and operatic potential. Perfect for enthusiasts, performers and students of Gilbert and Sullivan’s enduring work, the book examines their legacy and looks forward to the future. David Eden is a former Chairman of the Sir Arthur Sullivan Society and is currently editor of its Magazine. Meinhard Saremba is a freelance author, translator and broadcaster. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-71659-8 - The Cambridge Companion to Gilbert and Sullivan Edited by David Eden and Meinhard Saremba Frontmatter More information © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-71659-8 - The Cambridge Companion to Gilbert and Sullivan Edited by David Eden and Meinhard Saremba Frontmatter More information The Cambridge Companion to GILBERT AND SULLIVAN ...........
    [Show full text]
  • Haddon Hall, an Original Light English Opera, in Three Acts
    THE LIBRARY OF THE UNIVERSITY OF NORTH CAROLINA ENDOWED BY THE DIALECTIC AND PHILANTHROPIC SOCIETIES M1503 .S9h9 H3 MUSIC LIBRARY UNIVERSITY OF N C AT CHAPEL MILL 00010982591 Th- h ,• h ,,h MUSIC LIBRARY This book is due at the »»» Qn last the date stamped under "Date Due." If not on hold, it may be renewed by bringing it to the library. E RETURNED DUE D^JE RETURNED ._-. J . '*' ltf k tfADDON HALL WRITTEN BY SYDNEY GRUNDY. COMPOSED BY ARTHUR S ULLIVAN. Vocal Score (complete) . Price, net 12s. 6d. CHAPPELL & CO., Ltd., 50, NEW BOND ST., LONDON, W. 1. AND SYDNEY. FOR THE COUNTRIES OF NORTH AMERICA: CHAPPELL—HARMS Inc., 185, Madison Ave., NEW YORK. All Rights under the Copyright Act, 1911, and the International Copyright Conventions are reserved. Applications for the right of performing the above Opera, including the use of band parts, must be made to Miss Bridget D'Oyly Carte, No. 1 Savoy Hill, London, W.C.2. " J COPYRIGHT, MDCCCXCII, BV CHAPPELL & CO. rBlNTSD IN ENGLAND. I m-- gin ©riflinal Jfijjfti (Enjglislt ©pra, /TV THREE ACTS, ENTITLED HADDON HALL - WRITTEN BY SYDNEY QRUNDY. COMPOSED BY A RTHUR SULLIVAN * . it > ARRANGED FROM THE FULL SCORE BV KING HALL. Vocal Score (complete) Price, net 12s. 6d. CHAPPELL & CO,, Ltd,, 50, NEW BOND ST., LONDON, W.l. AND SYDNEY. All Rights under the Copyright Act, 1911, and the International Copyright Conventions are resen-ed. Applications for the right of performing the above Opera, including the use of band parts, must be made to Bridget D'Oyly Carte, No.
    [Show full text]
  • The Christmas Revels in Celebration of the Winter Solstice
    Washington Revels 30th annual The Christmas Revels in celebration of the winter solstice December 8–9 and 14–16, 2012 gw lisner auditorium, washington, dc Washington Revels presents the 30th annual production of In Celebration of the Winter Solstice Traditional and Early Music, Dance and Drama of Britain and Europe Featuring With Piffaro, The Renaissance Band Mark Jaster as The Fool The Washington Revels Brass Sabrina Mandell, Joan The Haddon Hall Wassailers Oran Sandel, Sir John Manners The Bakewell Teens The Manners Family The Derbyshire Children Morgan Duncan, Sir John Henry Cutting Edge Sword Dancers Katrina Van Duyn, Lady Kathleen Foggy Bottom Morris Men Mattias Lundberg, Charles Mira Cohen, Ursula 3 Roberta Gasbarre, Artistic and Stage Director Elizabeth Fulford Miller, Music Director Greg Magee, Production Manager Water for the It is expressly forbidden to use photographic or 2012 Christmas Revels sound equipment in the auditorium. Unauthorized persons found using such equipment in the theater provided by will be asked to leave. Revels® is a registered service Drink More Water. mark of Revels, Inc. of Watertown, Massachusetts, and is used by permission. drinkmorewater.com About Revels What is Revels? A nonprofit cultural institution in the Greater Washington area for almost 30 years, Washington Revels creates community celebrations and other events based on traditional music, dance, and drama, and from different times and cultures. Revels programs involve adults and children, professionals and nonprofessionals, and opportunities for audience participation. By engaging audiences as participants in traditional material, Revels seeks to provide a sense of the comfort and the joy that people can obtain from community celebrations that reflect universal themes.
    [Show full text]
  • Iolanthe & Orpheus in the Underworld (March 2004)
    TheGilbert & Sullivan Society of Edinburgh presents Iolanthe or The Peer And The Peri Libretto By Music By W.S. Gilbert Arthur Sullivan and Orpheus In The Underworld By J. Offenbach Director Alan Borthwick Musical Director David Lyle Assistant Director Liz Landsman CHARITY NUMBER: SC027486 http://www.edgas.org/ W e l c o m e ood evening, Ladies and Gentlemen, and a warm welcome to the King's Theatre and to our week of musical extravaganza. GTwo complete shows on alternate nights! Whether you are settling down to a 'spell' in Fairyland with Iolanthe, or getting ready to party the night away with Orpheus in Hades, you are certainly in for a musical treat. After our resounding success with Ruddygore in 2003, we decided that a double production would be appropriate in 2004. Consequently, after a year of very hard work under our talented production team, we have both shows in one week at the King's. Alongside our rehearsals, Society members have been busy with our programme of concerts in aid of good causes, and these are tak- ing us from Stranraer to Dunkeld this season, with many places in between. 2003 drew to a close with the huge success of our Usher Hall concert with the Band of HM Royal Marines in aid of the King George's Fund for Sailors, and we hope to join the Band there again in November 2004. By that time, we will also be well into rehearsals for our next production, The Yeomen of the Guard, due at the King's in March 2005.
    [Show full text]
  • Playbill Editor Sue Ricket Caldwell Performers Patricia Combs Reagan Murdock Taylor Rawley Amy Selby Julius Young Pianist: Jeanne Dayton Sasaki 3 Mr
    Artistic & Stage Director: Ralph MacPhail, Jr. Music Director: Jeffrey Jones-Ragona Worley Barton Theater at Brentwood Christian School Austin, Texas March 7 and 8, 2020 The Production Team Ralph MacPhail, Jr. Jeffrey Jones-Ragona (Artistic & Stage Director) (Music Director) is Professor of Theatre began working with GSA emeritus, Bridgewater in 1994 as Music Director College, Virginia, where for H.M.S. Pinafore, and he taught and directed for received the first of several 33 years. He has directed eighteen summer B. Iden Payne nominations. In 2003, productions and all seven of the March he received the B. Iden Payne Award for mid-season shows for Gilbert & Sullivan Outstanding Musical Direction for The Austin, which appointed him Artistic Pirates of Penzance, and was named to Director in 2005 and named him to their GSA’s Hall of Fame in 2011. Jeffrey regularly Hall of Fame in 2011. “Rafe” enjoys his performs with La Follia Baroque Orchestra busy retirement, much of it devoted to and the Texas Early Music Project, and G&S: directing, researching, collecting, is a featured soloist with the Texas Bach writing, editing, and speaking hither and Festival and Local Opera Local Artists yon. He and his wife Alice recently moved (LOLA). He is Director of Music for the three blocks in Bridgewater to a cottage in Cathedral of Saint Mary and a co-founder the retirement community there, and they of Celtic Christmas at the Cathedral. This treasure their Austin friendships! is Jeffrey’s 31st production with the Society. Bill Hatcher Andy Heilveil (Production Manager) (Stage Manager) has been a member of has worked on the sets GSA since 1985 and the GSA Production Manager and props for Gilbert & since 2009.
    [Show full text]
  • Sir Arthur Sullivan Songs Tennyson Shakespeare Burns • Scott Byron • Shelley Eichendorff Hugo • Gilbert
    SIR ARTHUR SULLIVAN Songs TENNYSON SHAKESPEARE BURNS • SCOTT BYRON • SHELLEY EICHENDORFF HUGO • GILBERT MARY BEVAN • BEN JOHNSON • ASHLEY RICHES • DaVID OWEN NORRIS soprano tenor bass-baritone piano Sir Arthur Sullivan, c.1885 Arthur Sir Peter Joslin / ArenaPAL Sir Arthur Sullivan (1842 – 1900) Songs COMPACT DISC ONE Five Shakespeare Songs (1863 – 64) 13:41 Words by William Shakespeare (1564 – 1616) 1 Sigh no more, ladies (dedicated to Sims Reeves)* 2:39 Risoluto 2 Orpheus with his lute (dedicated to Louisa Crampton)† 3:37 Allegro moderato 3 O mistress mine (dedicated to Charles Santley)‡ 2:06 Allegretto 4 The Willow Song (dedicated to Mme Sainton-Dolby)† 2:55 Andante 5 Rosalind (dedicated to W.H. Cummings)* 2:23 Andante non troppo lento 3 6 Love laid his sleepless head (1874)† 2:57 from incidental music to The Merry Wives of Windsor Words by Algernon Charles Swinburne (1837 – 1909) Dedicated to his friend, the Honourable Eliot Yorke Andante 7 Nel ciel seren (1871)* 3:56 (Venetian Serenade) from incidental music to The Merchant of Venice Words by Francesco Rizzelli (dates unknown) Andante con moto 8 Where the bee sucks (1861)† 1:49 from incidental music to The Tempest Words by William Shakespeare Allegro vivace e gioioso 4 9 I wish to tune my quivering lyre (1868)‡ 6:38 Ode Words by Anacreon (c. 582 – c. 485 BC) Translated by George Gordon, Lord Byron (1788 – 1824) Composed for Charles Santley Allegro moderato e maestoso – Tranquillo – Animato. Tempo I – Quasi recitativo – Tranquillo – Andante – Allegro. Tempo I – Tempo I. Moderato 10 Sweet Day (1864)† 3:26 Words altered from George Herbert (1593 – 1633) Dedicated to Mrs Goldschmidt [Jenny Lind] Andante tranquillo 11 Arabian Love Song (1866)* 2:35 Words by Percy Bysshe Shelley (1792 – 1822) Dedicated to Frederic Clay Allegretto – Lento – Tempo I 5 12 Birds in the Night (1869)† 4:00 A Lullaby Tune from the comic opera Cox and Box (1866) New words by Lionel H.
    [Show full text]