3 Results for : wooer

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    It's easy to play
    Gavotte|HE IS AN ENGLISHMAN|I have a song to sing (aus The yeomen of the guard)|LET'S GIVE THREE CHEERS|LITTLE BUTTERCUP (I'M CALLED)|NOTHING VENTURE NOTHING|PRITHEE PRETTY MAIDEN|SING HEY TO YOU GOOD DAY TO YOU|STRANGE ADVENTURE|TAKE A PAIR OF SPARKLING EYES|The flowers that bloom in the spring (aus Mikado) / Gilbert W S + Sullivan A|THE SUN WHOSE RAYS ARE ALL ABLAZE / Gilbert W S + Sullivan A|THERE GREW A LITTLE FLOWER|THREE LITTLE MAIDS FROM SCHOOL / Gilbert W S + Sullivan A|TIT WILLOW|WHEN A MERRY MAIDEN MARRIES / Gilbert W S + Sullivan A|WHEN A WOOER GOES A WOOING|WHEN BRITAIN REALLY RULED THE WAVES
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    The scottish songs of
    SCOTS WHA HAE WI WALLACE BLED|O WHISTLE AND I'LL COME TO YOU|CRAIGIEBURN WOOD|THE GLOOMY NIGHT|MY TOCHER'S THE JEWEL|To the weavers gin ye go|HIGHLAND MARY|MY LOVE SHE'S BUT A LASSIE YET|THE GALLANT WEAVER|LAST MAY A BRAW WOOER|GAE BRING TO ME A PINT O'WINE|YE BANKS AND BRAES|O THIS IS NO MY AIN LASSIE|THE BIRKS OF ABERFELDY|LORD GREGORY|O WILLIE BREW'D A PECK O'MAUT|MY LOVE IS LIKE A RED RED ROSE|SHE'S FAIR AND FAUSE|TAM GLEN|MY WIFE'S A WINSOME WEE THING|My heart's in the highlands|THE DEIL'S AWA'WI'TH'EXCISEMAN|WHAT CAN A YOUNG LASSIE DO|WI'AN AULD MAN|THERE WAS A LAD WAS BORN IN KYLE|THE HIGHLAND WIDOW'S LAMENT|WANDERING WILLIE|A HIGHLAND LAD MY LOVE WAS BORN|WHISTLE O'ER THE LAVE O'T|A ROSEBUD BY MY EARLY WALK|A MAN'S A MAN FOR A THAT|AE FOND KISS|BRAW BRAW LADS|BONNIE JEAN|AY WAUKIN' O|COMIN' THRO' THE RYE|CORN RIGS ARE BONNIE|GREEN GROW THE RASHES O|I'M OWRE YOUNG TO MARRY YET|FLOW GENTLY SWEET AFTON|Auld lang syne
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    Oh Joy! Oh Rapture!
    Oh, Joy! Oh, Rapture! New York Gilbert & Sullivan Players Albert Bergeret, conductor and music director 'Hail, hail, the gang's all here!' What better way to begin this sampling of our company's enthusiasm for G&S than with the original chorus from Pirates of Penzance whose melody was later borrowed for those familiar words? With cat-like tread TRACK 1 The Mikado the most popular of the G&S collaborations and only nominally Japanese, is one of several works for which Gilbert chose an exotic setting as a thin disguise for the English society of which he was making fun. Even Nanki-Poo's famed catalogue of song includes only standard English offerings, sentimental parlour ballads, martial music, and sea chanteys! A wand'ring minstrel I TRACK 2 Comes a train of little ladies TRACK 3 Three little maids from school TRACK 4 A more humane Mikado TRACK 5 Patience spoofs the Aesthetic movement (Whistler, Oscar Wilde) but, more broadly, the excesses of any fad or cult and it's mindless followers. In this piece, one of the idols gives a 'how to' recipe for posing successfully as a cult icon. Am I alone and unobserved? TRACK 6 H.M.S. Pinafore the 2nd full-length G&S collaboration (1878), is only half as long as The Mikado (1885). While later works became more subtle, complex, and elaborate, Pinafore has a palette of bright primary colors and needs no apology for it's relative simplicity, it is a model of brevity and clarity, and estabished the pattern of Gilbert's witty poking of fun at social and individual human foibles, perfectly set off by Sullivan's music. The more pretentious Titanic sank, but this saucy ship has proven virtually indestructible. Our selections are the pieces with which the characters introduce themselves. I am the Captain of the Pinafore TRACK 7 I'm called Little Buttercup TRACK 8 I am the monarch.. When I was a lad TRACK 9 The Yeomen of the Guard is the most 'operatic' of the Gilbet & Sullivan works, full of rich texture and subtle color. Sullivan's stirring overture is one of his finest orchestral settings. In the first chorus, a tough 16th century street crowd is brilliantly evoked by Gilbert's use of archaic vocabulary with alliteration and by Sullivans' use of hard driving rhythms with angular uneven meters, jarring dissonance and stark modal harmony. In 'I have a song to sing' each verse is longer than the last, it's structure finds many precedents in English folksong and was inspired by a sea chantey sung by the crewmen on Gilbert's yacht. The lyrics mirror the story of the opera's central love triangle the way Jack Point wishes it would turn out, the next selection, 'When a wooer goes a-wooing,' presents the reality of what actually happens. In between comes a paean to the grim glory of the Tower of London, where the story is set in a historical context. Overture TRACK 10 Here's a man...I have a song to sing, O TRACK 11 When our gallant Norman foes TRACK 12 When a wooer goes a-wooing TRACK 13 The Gondoliers presents a world where 'all is merry May.' It is as sunny and upbeat as Yeomen is shadowed. The first selection here is extracted from the ebullient 20-minute musical extravaganza that opens the work, rich in Italianate melodies and Italian lyrics to set the mood. The second selection poses a universal Gilbertian philosophic point: 'take life as it comes.' Buon giorno... We're called gondolieri TRACK 14 Try we lifelong TRACK 15 The Pirates of Penzance is the most 'child-friendly' of the G&S, with it's colorful pirates, comic police, and nearly non-stop action. It also contains the best-known and most often parodied pattersong and, in 'Poor Wand'ring One,' not only a splendid aria for a coloratura soprano but an example of one of Sullivan's deliberate and delicious borrowings from other composers, here, the classic 'Sempre libera' from La traviata. We leave you with the first, and still one of the best, of the G&S 'double choruses,' as the Victorian maidens rapturously romanticize 'death and glory' to the more realistically apprehensive policemen. Hail, Poetry TRACK 16 I am the very model TRACK 17 Poor wand'ring one TRACK 18 When the foeman bares his steel TRACK 19 New York Gilbert & Sullivan Players Albert Bergeret, Artistic Director Andrea Stryker-Rodda, Assistant Music Director and Rehearsal Accompanist Lucy Ito, Sally Small, Production Assistants Larry Tietze, Orchestra Manager NYGASP Ensemble SOPRANOS: Robin Bartunek, Meredith Borden, Kimilee Bryant, Susan Case, Charlotte Detrick, Lynelle Johnson, Margaretha Ohse, Laurelyn Watson, Lauren Wenegrat ALTOS: Lee Berman, Victoria Devany, Laura Koeneman, Melissa Parks, Ariane Reinhart, Angela Smith, Maariana Vikse, Lara Wilson TENORS: Michael Connolly, Thomas Donelan, Michael Galante, Michael Scott Harris, Alan Hill, Keith Jameson, Mark Montague, Larry Raiken, Paul Sigrist BARITONES/BASSES: Christopher Briggs, Louis Dall'Ava, Gary Dimon, Richard Holmes, Keith Jurosko, Lance Olds, Stephen Quint, Philip Reilly, Samuel Shaw, William Whitefield NYGASP Orchestra VIOLINS: Andrea Andros, concertmistress, Paula Flatow, Rachel Heineman, Valerie Levy, Maxim Moston, Eleanor Schiller, Svetoslav Slavov, Peter Van DeWater, William Zinn VIOLAS: Carol Benner, Carol Landon CELLOS: Daniele Doctorow, Amy Camus BASS: Deb Spohnheimer FLUTES: Laura George, Margaret Swinchoski, OBOE: Nancy Ranger CLARINETS: Larry Tietze, Joan Porter, Renee Rosen BASSOONS: Andrea Herr, James Jeter FRENCH HORNS: Heidi Garson, Peter Hirsch TRUMPETS: Terry Sizor, Richard Titone TROMBONES: Steve Shulman, Paul Geidel, Joseph Stanko PERCUSSION: Michael Osrowitz.
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