Great Operetta Recordings GILBERT and SULLIVAN the Yeomen of The
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The Yeomen of the Guard
THE YEOMEN OF THE GUARD or The Merryman and His Maid Written by W.S. GILBERT Composed by ARTHUR SULLIVAN First produced at the Savoy Theatre, 3rd October 1888. DRAMATIS PERSONÆ SIR RICHARD CHOLMONDELEY ( Lieutenant of the Tower ) COLONEL FAIRFAX ( under sentence of death ) SERGEANT MERYLL (of the Yeomen of the Guard ) LEONARD MERYLL (his son ) JACK POINT ( a Strolling Jester ) WILFRED SHADBOLT . (Head Jailer and Assistant Tormentor ) THE HEADSMAN FIRST YEOMAN SECOND YEOMAN FIRST CITIZEN SECOND CITIZEN ELSIE MAYNARD (a Strolling Singer ) PHŒBE MERYLL (Sergeant Meryll's Daughter ) DAME CARRUTHERS (Housekeeper to the Tower ) KATE (her Niece ) Chorus of YEOMEN OF THE GUARD , GENTLEMEN , C ITIZENS , etc. SCENE : Tower Green TIME : 16th Century ACT I SCENE . – Tower Green. Phœbe discovered spinning . SONG – PHŒBE When maiden loves, she sits and sighs, She wanders to and fro; Unbidden tear-drops fill her eyes, And to all questions she replies, With a sad ‘heighho!’ ’Tis but a little word – ‘heighho!’ So soft, ’tis scarcely heard – ‘heighho!’ An idle breath – Yet life and death May hang upon a maid’s ‘heighho!’ When maiden loves, she mopes apart, As owl mopes on a tree; Although she keenly feels the smart, She cannot tell what ails her heart, With its sad ‘Ah, me!’ ’Tis but a foolish sigh – ‘Ah, me!’ Born but to droop and die – ‘Ah, me!’ Yet all the sense Of eloquence Lies hidden in a maid’s ‘Ah, me!’ ( weeps ) Enter WILFRED . WILFRED . Mistress Meryll! PHŒBE . (looking up ) Eh! Oh! It’s you, is it? You may go away, if you like. -
The Pirates of Penzance
HOT Season for Young People 2014-15 Teacher Guidebook NASHVILLE OPERA SEASON SPONSOR From our Season Sponsor For over 130 years Regions has been proud to be a part of the Middle Tennessee community, growing and thriving as our area has. From the opening of our doors on September 1, 1883, we have committed to this community and our customers. One area that we are strongly committed to is the education of our students. We are proud to support TPAC’s Humanities Outreach in Tennessee Program. What an important sponsorship this is – reaching over 25,000 students and teachers – some students would never see a performing arts production without this program. Regions continues to reinforce its commitment to the communities it serves and in addition to supporting programs such as HOT, we have close to 200 associates teaching financial literacy in classrooms this year. , for giving your students this wonderful opportunity. They will certainly enjoy Thankthe experience. you, Youteachers are creating memories of a lifetime, and Regions is proud to be able to help make this opportunity possible. ExecutiveJim Schmitz Vice President, Area Executive Middle Tennessee Area 2014-15 HOT Season for Young People CONTENTS Dear Teachers~ We are so pleased to be able Opera rehearsal information page 2 to partner with Nashville Opera to bring students to Opera 101 page 3 the invited dress rehearsal Short Explorations page 4 of The Pirates of Penzance. Cast list and We thank Nashville Opera Opera Information NOG-1 for the use of their extensive The Story NOG-2,3 study guide for adults. -
Program from the Production
STC Board of Trustees Board of Trustees Stephen A. Hopkins Emeritus Trustees Michael R. Klein, Chair Lawrence A. Hough R. Robert Linowes*, Robert E. Falb, Vice Chair W. Mike House Founding Chairman John Hill, Treasurer Jerry J. Jasinowski James B. Adler Pauline Schneider, Secretary Norman D. Jemal Heidi L. Berry* Michael Kahn, Artistic Director Scott Kaufmann David A. Brody* Kevin Kolevar Melvin S. Cohen* Trustees Abbe D. Lowell Ralph P. Davidson Nicholas W. Allard Bernard F. McKay James F. Fitzpatrick Ashley M. Allen Eleanor Merrill Dr. Sidney Harman* Stephen E. Allis Melissa A. Moss Lady Manning Anita M. Antenucci Robert S. Osborne Kathleen Matthews Jeffrey D. Bauman Stephen M. Ryan William F. McSweeny Afsaneh Beschloss K. Stuart Shea V. Sue Molina William C. Bodie George P. Stamas Walter Pincus Landon Butler Lady Westmacott Eden Rafshoon Dr. Paul Carter Rob Wilder Emily Malino Scheuer* Chelsea Clinton Suzanne S. Youngkin Lady Sheinwald Dr. Mark Epstein Mrs. Louis Sullivan Andrew C. Florance Ex-Officio Daniel W. Toohey Dr. Natwar Gandhi Chris Jennings, Sarah Valente Miles Gilburne Managing Director Lady Wright Barbara Harman John R. Hauge * Deceased 3 Dear Friend, Table of Contents I am often asked to choose my favorite Shakespeare play, and Henry IV, Parts 1 and 2 Title Page 5 it is very easy for me to answer immediately Henry IV, Parts 1 The Play of History and 2. In my opinion, there is by Drew Lichtenberg 6 no other play in the English Synopsis: Henry IV, Part 1 9 language which so completely captures the complexity and Synopsis: Henry IV, Part 2 10 diversity of an entire world. -
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. -
Trial by Jury [Operetta, in One Act; Text by Gilbert. First Produced at The
Trial by Jury [Operetta, in one act; text by Gilbert. First produced at the Royalty Theatre, London, March 25, 1875.] PERSONAGES. Learned Judge. Plaintiff. Defendant. Counsel for the Plaintiff. Usher. Foreman of the Jury. Associate. First Bridesmaid. [Barristers, attorneys, journeymen, and bridesmaids.] The scene is laid in a London Court of Justice; time, the nineteenth century. The little operetta, "Trial by Jury," was the first result of the successful collaboration of Gilbert and Sullivan, though it gave little hint of the extraordinary excellence as well as popularity of the long list which followed it. "The words and music were written and all the rehearsals completed within three weeks, and all London went to see it," says Sullivan's biographer. It was produced March 25, 1875, and had quite a run, Frederick Sullivan, Sir Arthur's brother, appearing in the rôle of the judge and contributing much to its success. The story is a satire upon the English courts, the incident being a breach of promise case. Edwin is sued by Angelina. The usher impresses upon the jury its duty to divest itself of prejudice in one breath, and in the next seeks to prejudice it against the defendant by most violent denunciations of him. When Edwin enters he is at once requested by the jury to "dread our damages." He tells them how he became "the lovesick boy" first of one and then of another. The jurymen in chorus, while admitting that they were fickle when young, declare that they are now respectable and have no sympathy with him. The judge enters, and after informing the audience how he came to the bench, announces he is ready to try the breach of promise case. -
Krantz [email protected] Phi Mu Alpha Sinfonia + Delta Omicron = Sinfonicron G&S Works, with Date and Length of Original London Run • Thespis 1871 (63)
Sinfonicron Light Opera presents Ruddigore, or The Witch’s Curse January 23-26, 2020 Kimball Theatre Osher Lifelong Learning Institute November 15, 2019 Ken Krantz [email protected] Phi Mu Alpha Sinfonia + Delta Omicron = Sinfonicron G&S Works, with date and length of original London run • Thespis 1871 (63) • Trial by Jury 1875 (131) • The Sorcerer 1877 (178) • HMS Pinafore 1878 (571) • The Pirates of Penzance 1879 (363) • Patience 1881 (578) • Iolanthe 1882 (398) G&S Works, Continued • Princess Ida 1884 (246) • The Mikado 1885 (672) • Ruddigore 1887 (288) • The Yeomen of the Guard 1888 (423) • The Gondoliers 1889 (554) • Utopia, Limited 1893 (245) • The Grand Duke 1896 (123) Elements of Gilbert’s stagecraft • Topsy-Turvydom (a/k/a Gilbertian logic) • Firm directorial control • The typical issue: Who will marry the soprano? • The typical competition: tenor vs. patter baritone • The Lozenge Plot • Literal lozenge: Used in The Sorcerer and never again • Virtual Lozenge: Used almost constantly Ruddigore: A “problem” opera • The horror show plot • The original spelling of the title: “Ruddygore” • Whatever opera followed The Mikado was likely to suffer by comparison Ruddigore Time: Early 19th Century Place: Cornwall, England Act 1: The village of Rederring Act 2: The picture gallery of Ruddigore Castle, one week later Ruddigore Dramatis Personae Mortals: •Sir Ruthven Murgatroyd, Baronet, disguised as Robin Oakapple (Patter Baritone) •Richard Dauntless, his foster brother, a sailor (Tenor) •Sir Despard Murgatroyd, Sir Ruthven’s younger brother -
Asides Magazine for SALOMÉ
2015|2016 SEASON Issue 1 TABLE OF Dear Friend, CONTENTS A few years ago in New York, I had an unforgettable theatrical experience. It was Mies Julie, ® 1 Title page Yäel Farber’s adaptation of Recipient of the 2012 Regional Theatre Tony Award 3 Cast Strindberg’s play, transferring Artistic Director Michael Kahn from its acclaimed run at the Executive Director Chris Jennings 5 About STC Edinburgh Fringe Festival. Setting the text in post- Apartheid South Africa, Yaël managed to miraculously 5 About ACA re-create the visceral shock of the original play while daringly mapping its exploration of gender and social 6 The Stories Not Told class inequalities onto an unmistakably contemporary by Drew Lichtenberg landscape. I was captivated and excited. Most importantly, I admired Yaël’s ability to transform 10 Director’s Word classical texts to speak to some of the most pressing issues of our time. I was not surprised to see Yaël by Yaël Farber quickly become one of the most sought-after directors 14 Salomé as History in international theatre. Her recent production of The adapted and directed by Yaël Farber Crucible at the Old Vic in London was nominated for and Fetish an Olivier Award, the highest honor in British theatre, by Gail P. Streete and her documentary piece, Nirbhaya, on the subject of a brutal sexual assault in India, has toured the world to Performances begin October 6, 2015 20 Creating Salomé critical acclaim. Opening Night October 13, 2015 21 Cast Biographies We presented Mies Julie to Washington audiences in our Lansburgh Theatre 2013–2014 season, where it was nominated for a Helen 27 Play in Process Hayes Award for Outstanding Visiting Production. -
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. -
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. -
Group Sales Tickets
SHAKESPEARE THEATRE COMPANY 21st Annual Table of Contents D.C.’s favorite Feature Letter from Michael Kahn 5 The Two Faces of Capital summer by Drew Lichtenberg 6 Program Synopsis 11 theatre event About the Playwright 13 Title Page 15 Cast 17 is back! Cast Biographies 18 PRESENTED BY Direction and Design Biographies 22 Shakespeare Theatre Company Tickets will be available Board of Trustees 8 online and in line! Shakespeare Theatre Company 26 Individual Support 28 Visit ShakespeareTheatre.org/FFA for more details on how to get your tickets via lottery Corporate Support 40 or at Sidney Harman Hall on the day of the Foundation and performance. Tickets for 2011–2012 Season Government Support 41 subscribers available through the Box Office Academy for Classical Acting 41 beginning July 5, 2011, at 10 a.m. For the Shakespeare Theatre Company 42 Join the Friends of Free Staff 44 JULIUS For All for tickets! Audience Services 50 Free For All would not be possible without Creative Conversations 50 CAESAR the hundreds of individuals who generously donate to support the program each year. “ Only with the help of the Friends of Free For All is STC able to offer free performances, All hail Julius Caesar! making Shakespeare accessible to … One of the best productions of this or any season.” Washington, D.C., area residents every summer. The Washingtonian In appreciation for this support, Friends of Free For All receive exclusive benefits during This Year's Production: the festival such as reserved Free For All tickets, the option to have tickets mailed in August 18–September 4 advance, special event invitations, program recognition and more. -
Recitative in the Savoy Operas
Recitative in the Savoy Operas James Brooks Kuykendall In the early 1870s, London music publisher Boosey & Co. launched a new venture to widen its potential market. Boosey’s repertoire had been domestic music for amateur vocalists and pianists: drawing-room ballads and both piano/vocal and solo piano scores across the range of standard Downloaded from operatic repertory of the day, published always with a singing translation in English and often substituting Italian texts for works originally in French or German. Rossini, Donizetti, Bellini, and Verdi, Auber, Meyerbeer, Gounod, and Lecocq, Mozart, Beethoven, Weber, and Wagner all appeared in Boosey’s Royal Edition of Operas series, together http://mq.oxfordjournals.org/ with a handful of “English” operas by Michael William Balfe and Julius Benedict. The new effort supplemented this domestic repertory with one aimed at amateur theatricals: “Boosey & Co.’s Comic Operas and Musical Farces.” The cartouche for this series is reproduced in figure 1, shown here on the title page of Arthur Sullivan’s 1867 collaboration with Francis C. Burnand, The Contrabandista. Seven works are listed as part of the new imprint, although three by guest on May 11, 2013 of these (Gounod, Lecocq, and Offenbach’s Grand Duchess) had been issued as part of the Royal Edition. Albert Lortzing’s 1837 Zar und Zimmermann masquerades as Peter the Shipwright, and it appeared with an English text only. The new series may well have been the idea of Sullivan himself. He had been retained by Boosey since the late 1860s as one of the general editors for the Royal Edition.