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“Hello, oh margaret it's you!” (Iucy’s first aria)
My poster design for comic opera The Telephone (L 'Amour à trois) by Italian-American composer Gian Carlo Menotti.
The commission recently I’ve been working on from the school requires. The performance happens at the end of this month.
Lillian Russell's only known recording, from 1912
"Come Down Ma Evenin' Star" from John Stromberg's Twirly Whirly (1902), performed by Lillian Russell. During the production of Twirly Whirly, John Stromberg delayed giving Lillian Russell her solo for several days, saying it wasn't ready. When he committed suicide a few days before the first rehearsal, the sheet music for Come Down Ma Evenin' Star was found in his pocket. It became Lillian Russell's signature song, and is the only one she is known to have recorded.
Lillian Russel was one of the most famous actresses and singers of the late 19th and early 20th centuries, renowned for her beauty and style as well as her voice and acting. For many years, Russell was the foremost singer of operettas in America. Her voice, stage presence and beauty were the subject of a great deal of fanfare in the news media, and she was extremely popular with audiences. Actress Marie Dressler observed "I can still recall the rush of pure awe that marked her entrance on the stage. And then the thunderous applause that swept from orchestra to gallery, to the very roof.” When Alexander Graham Bell introduced long-distance telephone service on May 8, 1890, Russell's voice was the first carried over the line. From New York City, Russell sang the saber song from La Grande-Duchesse de Gérolstein to audiences in Boston and Washington, D.C.
Orpheus in the Underworld (Overture) (1980) Orphée aux Enfers (Ouverture) from: Offenbach: Overtures (1981) Karajan Festival (1984 Compilation)
Classical | Overture | Opera | Comic Opera
Tumblr (left click = play) (128kbps)
Conductor: Herbert von Karajan Orchestra: The Berlin Philharmonic Composer: Carl Binder*
*The best-known and much-recorded 'Orphée aux Enfers' overture is not by Jacques Offenbach, and is not part of either the 1858 or the 1874 scores. It was arranged by the Austrian musician Carl Binder for the first production of the opera in Vienna, in 1860.
Recorded: @ The Berliner Philharmonie in Berlin, Germany September, 1980
Produced by Michel Glotz
Offenbach: Overtures Released: 1981 Karajan Festival Released: 1984 Deutsche Grammophon
Found another old picture - me as one of the haunted portraits in a production of Ruddigore. It's normally an all-male ensemble, but they were short a first tenor and were happy to let a second alto step in; it's mostly the same range in this show. (I was also the ladies' costumer. This one was lurking in the back of my closet and just happened to fit the aesthetic.) I had one line: "There's something in that!" But I got a big laugh from carrying my evil villain mustache around on a little gold stick like opera glasses.
Do you know The Pirates of Penzance (1879) ?
Yes, I’ve been in it
Yes, I’ve seen it
Yes, I’ve listened to it
No, but I’ve heard of it
No, never heard of it
y’know, it really should not have taken that long for the entire British police force to figure out that the pirates of Penzance were, in fact, allegiant to Queen Victoria
all it took was ONE (1) policeman to tell them to yield in Queen Victoria’s name, so...how long did it take for that idea to occur to anyone?
Philippe Musard (1792-1859) - Valse de Lalla-Roukh (opéra-comique de F. David) for Piano (arr. E. Desgranges). Performed by Jean-Jacques Dünki, Érard piano.
Today in weird songs from my childhood: I am so proud
My grandmother knew the entire Gilbert and Sullivan repertoire and would bust out singing operas in the middle of whatever task she happened to find herself in. When she was particularly happy she would see how fast she could sing the second part of this song. It became something of a family competition.
These guys do a bang-up job of sing it :)
