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The Lucky Star
''The Lucky Star'' is an English comic opera, in three acts, composed by Ivan Caryll, with dialogue by Charles H. Brookfield (revised by Helen Lenoir) and lyrics by Adrian Ross and Aubrey Hopwood. It was produced by the D'Oyly Carte Opera Company and opened at the Savoy Theatre on 7 January 1899 for a run of 143 performances. The opera starred the usual Savoy Theatre cast from that period, including Walter Passmore, Henry Lytton, Robert Evett, Ruth Vincent, Emmie Owen and Isabel Jay. Direction was by Richard Barker, choreography was by Willie Warde, and costumes were designed by Percy Anderson. Background The opera is based on '' L'étoile'', written in 1877 by Eugène Leterrier and Albert Vanloo, with additional material by Paul Verlaine and music by Emmanuel Chabrier. It is also based on ''The Merry Monarch'', an American translation of ''L'étoile'' by J. Cheever Goodwin with music by Woolson Morse, produced in 1890. Caryll used a small amount of Chabrier's music in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Isabel Jay
Isabel Emily Jay (17 October 1879 – 26 February 1927) was an English opera singer and actress, best known for her performances in soprano roles of the Savoy Operas with the D'Oyly Carte Opera Company and in Edwardian musical comedies. During Jay's career, picture postcards were immensely popular, and Jay was photographed for over 400 different postcards. After studying at the Royal Academy of Music, Jay joined the D'Oyly Carte Opera Company in 1897, with whom she began singing principal roles immediately, becoming the company's leading soprano in 1899, where she played leading roles in comic operas including ''The Rose of Persia, The Pirates of Penzance, Patience, The Emerald Isle'' and ''Iolanthe''. She married and left the company in 1902. She returned to the West End stage in 1903 and starred in eleven musicals over the ensuing years, including ''A Country Girl, The Cingalee, Véronique, The White Chrysanthemum, The Girl Behind the Counter, Miss Hook of Holland, King of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Coon Song
Coon songs were a genre of music that presented a stereotype of black people. They were popular in the United States and Australia from around 1880 to 1920, though the earliest such songs date from minstrel shows as far back as 1848, when they were not yet identified with "coon" epithet. The genre became extremely popular, with white and black men giving performances in blackface and making recordings. Women known as coon shouters also gained popularity in the genre. Rise and fall from popularity Although the word "coon" is now regarded as racist, according to Stuart Flexner, "coon" was short for "raccoon", and it meant a frontier rustic (someone who may wear a coonskin cap) by 1832. By 1840 it also meant a Whig as the Whig Party was keen to be associated with rural white common people. At that time, "coon" was typically used to refer someone white, and a coon song referred to a Whig song. it was only in 1848 when the first clear case of using "coon" to refer to a black person ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Edwardian Musical Comedy
Edwardian musical comedy was a form of British musical theatre that extended beyond the reign of King Edward VII in both directions, beginning in the early 1890s, when the Gilbert and Sullivan operas' dominance had ended, until the rise of the American musicals by Jerome Kern, Rodgers and Hart, George Gershwin and Cole Porter following the First World War. Between '' In Town'' in 1892 and ''The Maid of the Mountains'', premiering in 1917, this new style of musical theatre became dominant on the musical stage in Britain and the rest of the English-speaking world. The popularity of ''In Town'' and ''A Gaiety Girl'' (1893), led to an astonishing number of hits over the next three decades, the most successful of which included '' The Shop Girl'' (1894), '' The Geisha'' (1896), ''Florodora'' (1899), '' A Chinese Honeymoon'' (1901), '' The Earl and the Girl'' (1903), '' The Arcadians'' (1909), ''Our Miss Gibbs'' (1909), ''The Quaker Girl'' (1910), ''Betty'' (1914), ''Chu Chin Chow'' ( ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Savoy Opera
Savoy opera was a style of comic opera that developed in Victorian England in the late 19th century, with W. S. Gilbert and Arthur Sullivan as the original and most successful practitioners. The name is derived from the Savoy Theatre, which impresario Richard D'Oyly Carte built to house the Gilbert and Sullivan pieces, and later those by other composer–librettist teams. The great bulk of the non-G&S Savoy Operas either failed to achieve a foothold in the standard repertory, or have faded over the years, leaving the term "Savoy Opera" as practically synonymous with Gilbert and Sullivan. The Savoy operas (in both senses) were seminal influences on the creation of the modern musical. Gilbert, Sullivan, Carte and other Victorian era British composers, librettists and producers, as well as the contemporary British press and literature, called works of this kind "comic operas" to distinguish their content and style from that of the often risqué continental European operettas that th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Woolson Morse
Henry Woolson Morse (February 24, 1858 – May 3, 1897), usually credited as Woolson Morse, was an American composer of musical theatre. Often working with librettist J. Cheever Goodwin, he produced several scores for Broadway productions in the 1890s. Biography Woolson Morse was born February 24, 1856, in Charlestown, Boston, Massachusetts. His parents were Charles R. Morse (a relative of Samuel Morse) of Vermont, and Mary Ann Judkins of Charlestown, Massachusetts. He attended secondary school at the Noble School and studied harmony at Boston Conservatory. He attended the Massachusetts Institute of Technology, then went to Paris, France, to study art. After a few years he gave that up, returned to America and took up musical composition in earnest. Career For his first major work, ''Cinderella at School'', Morse borrowed scenery and convinced a group of amateurs to produce the show at Springfield, Massachusetts.Details of Morse's biography come from a three-page typescrip ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Merry Monarch (musical)
''The Merry Monarch'' is an 1890 comic opera that debuted at the Broadway Theatre in New York City. It is an English adaptation of the '' L'étoile'' with a book by J. Cheever Goodwin and new music by Woolson Morse.(14 July 1890)Notes ''New York Amusement Gazette'', p. 542Stubblebine, Donald JEarly Broadway Sheet Music p. 154 (2002) History Presented by actor-manager Francis Wilson and his company, which also featured Marie Jansen, ''The Merry Monarch'' debuted on August 18, 1890, and ran for 49 performances, through October 4. Though this was not considered a long run for the time, the show was turning large profits, and crowds were being turned away from every performance. ''The New York Times'' reported on September 29 that the play was sure to gross at least $87,000 during the run, "the largest amount by many thousands ever taken at the theatre in the same period at regular prices."(29 September 1890)"The Merry Monarch's" Reign ''The New York Times'' But the theatre had ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Emmanuel Chabrier
Alexis-Emmanuel Chabrier (; 18 January 184113 September 1894) was a French Romantic music, Romantic composer and pianist. His Bourgeoisie, bourgeois family did not approve of a musical career for him, and he studied law in Paris and then worked as a civil servant until the age of thirty-nine while immersing himself in the modernist artistic life of the French capital and composing in his spare time. From 1880 until his final illness he was a full-time composer. Although known primarily for two of his orchestral works, ''España (Chabrier), España'' and ''Joyeuse marche'', Chabrier left a List of operas and operettas by Emmanuel Chabrier, corpus of operas (including ''L'étoile (opera), L'étoile''), songs, and piano music, but no symphonies, concertos, quartets, sonatas, or religious or liturgical music. His lack of academic training left him free to create his own musical language, unaffected by established rules, and he was regarded by many later composers as an important inno ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paul Verlaine
Paul-Marie Verlaine (; ; 30 March 1844 – 8 January 1896) was a French poet associated with the Symbolist movement and the Decadent movement. He is considered one of the greatest representatives of the ''fin de siècle'' in international and French poetry. Biography Early life Born in Metz, Verlaine was educated at the ''Lycée Impérial Bonaparte'' (now the Lycée Condorcet) in Paris and then took up a post in the civil service. He began writing poetry at an early age, and was initially influenced by the Parnassien movement and its leader, Leconte de Lisle. Verlaine's first published poem was published in 1863 in ''La Revue du progrès'', a publication founded by poet Louis-Xavier de Ricard. Verlaine was a frequenter of the salon of the Marquise de Ricard (Louis-Xavier de Ricard's mother) at 10 Boulevard des Batignolles and other social venues, where he rubbed shoulders with prominent artistic figures of the day: Anatole France, Emmanuel Chabrier, inventor-poet and humoris ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Albert Vanloo
Albert Vanloo (; Brussels, 10 September 1846 – 1920, Paris) was a Belgium, Belgian librettist and playwright. Vanloo lived in Paris as a child and was attracted to the theatre. As a young student he began writing plays and opéra comique libretti, notably with Eugène Leterrier who remained his main collaborator until the latter's death in 1884. He also worked with the writers William Busnach, Henri Chivot and Georges Duval (journalist), Georges Duval. Libretti For Alexandre Charles Lecocq * ''Giroflé-Girofla'' (1874) - with Eugène Letterier * ''La petite mariée'' (1875) - with Letterier * ''La Marjolaine'' (1877) - with Letterier * ''La Camargo (opera), La Camargo'' (1879) - with Letterier * ''La jolie persane'' (1879) - with Letterier * ''Le jour et la nuit (opera), Le jour et la nuit'' (1881) - with Letterier * ''Ali-Baba'' (1887) - with William Busnach * ''La belle au bois dormant (Lecocq), La belle au bois dormant'' (1900) - with Georges Duval For Jacques Offenbach * ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eugène Leterrier
Eugène Leterrier (1843 – 22 December 1884 in Paris) was a French librettist. Leterrier worked at the Hôtel de Ville in Paris but then turned to the theatre. He mainly collaborated in writing libretti with Albert Vanloo. Their working relationship was productive and stress-free. In collaboration with Vanloo success first came with ''Giroflé-Girofla'' and ''La petite mariée'' for Lecocq. The pair went on to provide libretti for Potier, Jacob, de Villebichet, Offenbach, Chabrier, Lacome and Messager. Chabrier was particularly pleased with the honest and hard work he enjoyed with the librettists for his first staged works.Delage R. ''Emmanuel Chabrier''. Fayard, Paris, 1999. List of libretti With Albert Vanloo *''Giroflé-Girofla'' (1874) *'' La petite mariée'' for Lecocq (1875) *''Le voyage dans la lune'' (1875) *''La Marjolaine'' for Lecocq (1877) *'' L'étoile'' (1877) *'' La Camargo'' for Lecocq (1878) *'' Une éducation manquée'' (1879) *''La jolie Persane'' for Lecocq ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
L'étoile (opera)
''L'étoile'' is an opéra bouffe in three acts by Emmanuel Chabrier with a libretto by Eugène Leterrier and Albert Vanloo. Chabrier met his librettists at the home of a mutual friend, the painter Gaston Hirsh, in 1875. Chabrier played to them early versions of the romance "O petite étoile" and the ensemble "Le pal, est de tous les supplices..." (with words by Verlaine which Leterrier and Vanloo found too bold and toned down). They agreed to collaborate and Chabrier set about composition with enthusiasm. The story echoes some of the characters and situations of Chabrier's ''Fisch-Ton-Kan''.Delage, pp. ?? Performance history ''L'étoile'' premiered on 28 November 1877 at Offenbach's '' Théâtre des Bouffes Parisiens''. In its initial run the modest orchestra was appalled at the difficulty of Chabrier’s score, which was much more sophisticated than anything Offenbach wrote for the small boulevard theatre. It was first performed outside France in Berlin on 4 October 1878, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
