Precious Nonsense
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AUDITION PIECES – “THE MIKADO” Role Audition Piece Chappell Pg
AUDITION PIECES – “THE MIKADO” Role Audition Piece Chappell Pg.# Kalmus / Schirmer Pg.# THE MIKADO Solo: “A more humane Mikado” (to chorus entrance) 149 Act 2 #6 172 Act 2 # 17 bass or bass/baritone Ens.: “See how the fates their gifts allot” 162 Act 2 #8 190 Act 2 #19 Dialogue: “Obliged… -> theatrical performances” NANKI-POO Solo: ”A wand’ring minstrel, I” (to chorus entrance) 27 Act 1 #2 23 Act 1 #2 tenor Ens. “Were you not to Ko-Ko plighted” 80 Act 1 #9 88 Act 1 #9 Ens.: “Brightly dawns our wedding day” 133 Act 2 #3 151 Act 2 #14 Dialogue: “This is simply appalling” (whole scene) Dialogue: “Yum-Yum, at last we are alone” (whole scene) KO-KO Solo: “On a tree by a river…” 175 Act 2 #11 208 Act 2 #22 baritone Ens.: “I am so proud” 84 Act 1 #10 93 Act 1 #10 Ens.: “See how the fates their gifts allot” 162 Act 2 #8 190 Act 2 #19 Ens.: “There is beauty …” 179 Act 2 #12 213 Act 2 #23 Dialogue: “This is simply appalling” (whole scene) POOH-BAH Solo: “Young man, despair” 41 Act 1 #4 42 Act 1 #4 baritone Ens.: “I am so proud” 84 Act 1 #10 93 Act 1 #10 Ens.: “See how the fates their gifts allot” 162 Act 2 #8 190 Act 2 #19 Dialogue: “It is. -> sneering” PISH-TUSH Solo: “Our great Mikado, virtuous man” 34 Act 1 #3 32 Act 1 #3 baritone Ens.: “I am so proud” 84 Act 1 #10 93 Act 1 #10 Ens.: “Brightly dawns our wedding day” 133 Act 2 #3 151 Act 2 #14 Dialogue: “Obliged… -> theatrical performances” (reads The Mikado’s lines) GO-TO (A NOBLE) Solo: “Why, who are you who ask this question?” 26 Act 1 #1 Recit. -
L DTAT Alexandra Theatre, Hull Programmes and Playbills 26 Dec 1902-1937
Hull History Centre: Alexandra Theatre, Hull Programmes and Playbills L DTAT Alexandra Theatre, Hull Programmes and Playbills 26 Dec 1902-1937 Historical Background: The Alexandra Theatre opened in 1902 on the corner of George Street and Charlotte Street. It was owned by William Morton and designed by T Guest. A brick corner-tower was its main feature. The theatre was refurbished in 1930 but then destroyed by heavy bombing in 1941. Extent: 43 items Related material: Plans of the Alexandra Theatre can be found at C TAB/CB3 Access conditions: Access will be granted to any accredited reader L DTAT/1 Alexandra Theatre, Hull, Programmes 26 Dec 1902- 42 items 1937 L DTAT/1/1 The Original Royal Divorce Company, Princess Dec 1902- Theatre, London presents ''A Royal Divorce.'' Jan 1903 Performers: Miss Edith Cole, Frederick Moyes, William Dexter, Charles A. Doran, Herbert H. Young, Mr H.P. Owen This is a photocopy, the original programme at L DTAT/1/1a is not fit for production. 1 item L DTAT/1/1a The Original Royal Divorce Company, Princess Dec 1902- Theatre, London presents ''A Royal Divorce.'' Jan 1903 Performers: Miss Edith Cole, Frederick Moyes, William Dexter, Charles A. Doran, Herbert H. Young, Mr H.P. Owen Original programme. Not fit for production. See L DTAT/1/1 for photocopy. 1 item L DTAT/1/2 Walter Howard presents ''The Story of the 17 Nov 1917 Rosary.'' Performers: Alfred Farrell, Charles Calvert, Reginald Hancock, Sidney A. Monckton, Christopher Hodge, Frank Stevens, Anne Crankshaw, Robert Monteigle, Cyril Harcourt, April Merle, Esme Lewis and Vera French 1 item L DTAT/1/3 A list of performances for the week - Romeo & 8 Jan 1923 Juliet, Aida, Il Trovatore, Maritana, Lohengrin, Carmen. -
Melody Baggech, Fruit Bag, Babel, Credo for Plastical Score, Etc
Melody Baggech 2100 Fullview Drive, Ada, Oklahoma 74820 | (580) 235-5822 | [email protected] TEACHING EXPERIENCE Professor of Voice – East Central University, 2018-present Private Studio Voice, Music Theatre Voice, Opera Workshop, Diction I and II, Vocal Pedagogy, Music Appreciation, Beginning Italian. Actively recruit and perform. Assist with production of departmental vocal events. Associate Professor of Voice - East Central University, 2010-2018 Private Studio Voice, Music Theatre Voice, Opera/Musical Theatre Workshop, Diction I and II, Vocal Pedagogy, Music Appreciation, Beginning Italian. Actively recruit and perform. Assist with production of departmental vocal events. Assistant Professor of Voice - East Central University, 2001-2010 Private Studio Voice, Opera Theatre, Diction, Vocal Literature, Beginning Italian, Gospel Singers. Actively recruit and perform. Expanded existing opera program to include full-length performances and collaboration with ECU’s Theatre Department, local theatre companies and professional regional opera company. Assist with production of departmental vocal events. Faculty, StartTalk Russian Language Camp, ECU 2012. Subjects taught: Russian folk song, Russian opera, Russian art song/poetry Adjunct Instructor of Voice, Panhandle State University, 1991-1993 Taught private studio voice, accompanied student juries. Performed in faculty recital series. Instructor of Voice, University of Oklahoma, March 20-April 27, 2000 Taught private studio voice to majors and non-majors. Private Studio Voice, Suburban Washington D.C., 2000-2001 Graduate Teaching Assistant, West Texas A&M University, 1988-1990 Voice Instructor, Moore High School, Moore, Oklahoma, 1998-1999 Voice Instructor, Travis Middle School, Amarillo, Texas, 1990-1991 EDUCATION DMA Vocal Performance, University of Oklahoma, 1998 Dissertation – An English Translation of Olivier Messiaen’s Traité de Rythme, de Couleur, et d’Ornithologie vol. -
The Mikado Program
GENEVA CONCERTS presents TheThe MikadoMikado Albert Bergeret, Artistic Director Saturday, September 24, 2011 • 7:30 p.m. Smith Opera House 1 GENEVA CONCERTS, INC. 2011-2012 SEASON Saturday, 24 September 2011, 7:30 p.m. New York Gilbert & Sullivan Players The Mikado Sunday, 11 December 2011, 3:00 p.m. Imani Winds A Christmas Concert This tour engagement of Imani Winds is funded through the Mid Atlantic Tours program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts. Friday, 2 March 2012, 7:30 p.m. Rochester Philharmonic Orchestra Christoph Campestrini, conductor Juliana Athayde, violin Music of Barber and Brahms Friday, 30 March 2012, 7:30 p.m. Brian Sanders’ JUNK Patio Plastico Plus Saturday, 28 April 2012, 7:30 p.m. Cantus On the Shoulders of Giants Performed at the Smith Opera House, 82 Seneca Street, Geneva, New York These concerts are made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and a continuing subscription from Hobart and William Smith Colleges. 2 GENEVA CONCERTS, INC. Saturday, September 24, 2011 at 7:30 p.m. The Mikado or, The Town of Titipu Libretto by Sir William S. Gilbert Music by Sir Arthur Sullivan First Performed at the Savoy Theatre, London, England, March 14, 1885 Stage Direction: Albert Bergeret & David Auxier Music Director: Albert Bergeret; Asst. Music Director: Andrea Stryker-Rodda Conductor: Albert Bergeret Scenic Design: Albère Costume Design: Gail J. Wofford & Kayko Nakamura Lighting Design: Brian Presti Production Stage Manager: David Sigafoose* Assistant Stage Manager: Annette Dieli DRAMATIS PERSONAE The Mikado of Japan .....................................................................Quinto Ott* Nanki-Poo (His son, disguised as a wandering minstrel) . -
The Mikado the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival The Mikado The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Erin Annarella (top), Carol Johnson, and Sarah Dammann in The Mikado, 1996 Contents Information on the Play Synopsis 4 CharactersThe Mikado 5 About the Playwright 6 Scholarly Articles on the Play Mere Pish-Posh 8 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: The Mikado Nanki-Poo, the son of the royal mikado, arrives in Titipu disguised as a peasant and looking for Yum- Yum. Without telling the truth about who he is, Nanki-Poo explains that several months earlier he had fallen in love with Yum-Yum; however she was already betrothed to Ko-Ko, a cheap tailor, and he saw that his suit was hopeless. -
Eastman Notes July 2006
Attention has been paid! Playing inside Eastman Opera Theatre & outside takes aim at Assassins New books by two faculty members Eastman 90 Nine decades of Eastman milestones Winter 2012 FOr ALUMni, PArentS, AnD FrienDS OF tHe eAStMAn SCHOOL OF MUSiC FROM THE DEAN A splendid urgency Every now and then I have the good fortune of hearing a concert that is so riveting, I am reminded why I got into music in the first place. The Eastman Philharmonia’s recent performance of Stravinsky’s Rite of Spring, under the guest baton of Brad Lubman, was just such an occasion. Prepared and conducted su- perbly by Brad, and exuberantly performed by students clearly amped up by the music and the occasion, the raw beauty of one of Stravinsky’s greatest works came to stunning life. The power of this experience had nothing to do with outcomes, technologi- cal expertise, assessment, metrics of excellence, or gainful employment upon graduation. This was pure energy funneled into an art form. It was exotically NOTES irrational. It was about the rigorous pursuit of beauty, Volume 30, number 1 pure and simple. Winter 2012 As the national “music movement” grapples with the perception that it has lost precious ground in the fight Editor to keep music in our schools, I was reminded of our na- David raymond tional obsession with practical outcomes, and the chal- Contributing writers lenge of making a case for subjective artistic value in the John Beck Steven Daigle face of such an objectivity-based national agenda. Matthew evans Although we tend to focus on the virtues of music it- Douglas Lowry self, what we are really talking about is the act of learning robert Morris music. -
The Great American Songbook in the Classical Voice Studio
THE GREAT AMERICAN SONGBOOK IN THE CLASSICAL VOICE STUDIO BY KATHERINE POLIT Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Patricia Wise, Research Director and Chair __________________________________ Gary Arvin __________________________________ Raymond Fellman __________________________________ Marietta Simpson ii For My Grandmothers, Patricia Phillips and Leah Polit iii ACKNOWLEDGMENTS I wish to express my sincerest thanks to the members of my committee—Professor Patricia Wise, Professor Gary Arvin, Professor Marietta Simpson and Professor Raymond Fellman—whose time and help on this project has been invaluable. I would like to especially thank Professor Wise for guiding me through my education at Indiana University. I am honored to have her as a teacher, mentor and friend. I am also grateful to Professor Arvin for helping me in variety of roles. He has been an exemplary vocal coach and mentor throughout my studies. I would like to give special thanks to Mary Ann Hart, who stepped in to help throughout my qualifying examinations, as well as Dr. Ayana Smith, who served as my minor field advisor. Finally, I would like to thank my family for their love and support throughout my many degrees. Your unwavering encouragement is the reason I have been -
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity. -
La-Traviata-Extract.Pdf
OVERTURE OPERA GUIDES in association with We are delighted to have the opportunity to work with Overture Publishing on this series of opera guides and to build on the work English National Opera did over twenty years ago with the Calder Opera Guide Series. As well as reworking and updating existing titles, Overture and ENO have commissioned new titles for the series and all of the guides will be published to coincide with the repertory being staged by the company. We hope that these guides will prove an invaluable resource now and for years to come, and that by delving deeper into the history of an opera, the libretto and the nuances of the score, readers’ understanding and appreciation of the opera and the art form in general will be enhanced. Daniel Kramer Artistic Director, ENO The publisher John Calder began the Opera Guides series under the editorship of the late Nicholas John in association with English National Opera in 1980. It ran until 1994 and eventually included forty-eight titles, covering fifty-eight operas. The books in the series were intended to be companions to the works that make up the core of the operatic repertory. They contained articles, illustrations, musical examples and a complete libretto and singing translation of each opera in the series, as well as bibliographies and discographies. The aim of the present relaunched series is to make available again the guides already published in a redesigned format with new illustrations, revised and newly commissioned articles, updated reference sections and a literal translation of the libretto that will enable the reader to get closer to the meaning of the original. -
The Best of Gilbert & Sullivan
The Best of Gilbert & Sullivan Beecham Choral Society and Royal Philharmonic Orchestra conducted by James Walker The Mikado If You Want To Know Who We Are A Wand'ring Minstrel I [Nanki-poo] – Edgar Fleet Behold the Lord High Executioner [Ko-ko] – Donald Adams I've Got a Little List [Ko-ko] – Donald Adams Comes a Train of Little Ladies Three Little Maids from School are we [Peep-bo] – Cynthia Glover [Pitti-sing] – Jean Allister [Yum-yum] – Patricia Clarke The Moon and I [Yum-yum] – Patricia Clarke Mi-ya Sa-ma, Mi-ya Sa-ma [Katisha] – Jean Allister [Mikado] – Anthony Raffell My Object All Sublime [Mikado] – Anthony Raffell For He's Gone and Married Yum-Yum The Pirates of Penzance Pour, Oh Pour the Pirate Sherry [Samuel] – Neil Howlett Oh Better Far to Live And Die [Pirate King] – Kenneth Sandford Climbing Over Rocky Mountain Oh, Is There Not One Maiden Breast [Frederic] – Edgar Fleet [Mabel] – Cynthia Glover Poor Wand'ring One [Mabel] – Cynthia Glover I Am the Very Model of a Modern Major-General [Major-general] – John Cartier When the Foeman Bares His Steel [Mabel] – Cynthia Glover [Samuel] – Neil Howlett [Sergeant] – Donald Adams A Policeman's Lot Is not a Happy One [Sergeant] – Donald Adams With Cat-Like Tread [Samuel] – Neil Howlett H. M. S. Pinafore We Sail the Ocean Blue I'm Called Little Buttercup [Mrs. Cripps (Buttercup)] – Jean Allister The Nightingale [Ralph] – Edgar Fleet A Maiden Fair to See [Ralph] – Edgar Fleet I am the Captain of the Pinafore [Captain Corcoran] – Neil Howlett Over the Bright Blue Sea Sir Joseph's Barge is Seen I Am the Monarch of the Sea [Captain Corcoran] – Neil Howlett [Cousin Hebe] – Jean Allister [Sir Joseph Porter] – Stanley Riley When I Was a Lad [Sir Joseph Porter] – Stanley Riley Things Are Seldom What They Seem [Captain Corcoran] – Neil Howlett [Mrs. -
Masarykova Univerzita Fenomén Gilbert
MASARYKOVA UNIVERZITA FILOZOFICKÁ FAKULTA FENOMÉN GILBERT & SULLIVAN – VZNIK ANGLICKÉ OPERETY Disertační práce Monika Bártová Vedoucí práce: prof. PhDr. Julius Gajdoš, Ph.D. Ústav pro studium divadla a interaktivních médií Brno 2006 Prohlašuji, že jsem tuto práci vypracovala samostatně, pouze s použitím uvedených pramenů a literatury. Monika Bártová 2 OBSAH ÚVODEM 5 I. OPERETA – VYMEZENÍ POJMU A VZNIK ŽÁNRU 11 I. 1. Opereta jako svébytný umělecký žánr 11 I. 2. Opereta jako společenská satira 13 I. 3. Pojem opereta 18 I. 4. Inspirační zdroje operety: opéra comique, café concert, tančírny 21 I. 5. Počátky nového žánru: J. Offenbach 28 I. 6. Témata operet a jejich postavy 30 I. 7. Opereta a vernacular 34 I. 8. Opereta versus muzikál 36 II. HUDEBNĚ-ZÁBAVNÉ DIVADLO V BRITÁNII: OD MASQUES K MUSIC HALLU 40 II.1. Počátky hudebně-zábavného divadla v Británii 40 II. 2. Masques 40 II. 3. Ballad opera 42 II. 4. Pantomima 45 II. 5. Extravaganza 50 II. 6. Burleska 52 II. 7. Music-hall 55 III. GILBERT&SULLIVAN: ANGLICKÁ OPERETA 60 III. 1. Gilbert před Sullivanem 64 III. 2. Sullivan před Gilbertem 72 III. 3. První společná opereta: Thespis 79 III. 4. Trial by Jury 85 III. 5. The Sorcerer 91 III. 6. H.M.S. Pinafore 99 III. 7. The Pirates of Penzance 113 3 III. 8. Patience 124 III. 9. Iolanthe 134 III.10. Princess Ida 142 III.11. The Mikado 150 III.12. Ruddigore 160 III.13. The Yeomen of the Guard 167 III.14. The Gondoliers 173 III.15. Utopia Limited 180 III.16. The Grand Duke 188 III.17. -
Precious Nonsense
Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY June 2001 -- Issue 63 Of course, you will understand that, as Chancellor of the Exchequer, I am bound to see that due economy is observed. There's nothing like a bargain. W ith the postal rate on letters weighing more than an ounce going up on July 1, it seemed like a good idea to try to get a "fat" newsletter out before the change. So here we are. Although we're lacking any play synopses this time around, we do have the answers to last year's Big Quiz, plenty of news of G&S productions, and some interesting insights from Arthur Robinson. So let's see how it goes. Oh, Members, How Say You, What is it You've Light Opera at (330) 263-2345 / www.wooster.edu/OHIOLIGHTOPERA/ . Or e-mail Done? [email protected]. And their address is The We were saddened and pleased to learn that MGS College of Wooster, Wooster, OH 44691. member and frequent G&S lead performer David Michaels is leaving the Chicago area for Seattle. Sad because he’s Although Light Opera Works isn't presenting any G&S going, and glad because he’ll be seeing more of his family this season, they do have an interesting program for youth, (and able to report on G&S activity in Washington State)! featuring, among other things, an opportunity to work on a Best wishes for his move and his future! production of The Pirates of Penzance. Their Musical Theater Summer Workshops (“for kids 8 to 18") this year By the way, someone asked what our membership include Annie (July 9-14, 2001), Pirates of Penzance (July statistics are, after the renewals were returned.