Tonic Jukebox History
WEEK 29 - Showstoppers
Memorable moments from musical theatre and opera.
Monday September 28
All that jazz (from Chicago)
Chicago is an American musical with music by John Kander and lyrics by Fred Ebb.
The original Broadway production opened in 1975 and ran for 936 performances. Bob Fosse choreographed the original production, and his style is strongly identified with the show. (Wikipedia)
The show opens with this song and I chose this recording as, unlike the film, we can enjoy Bob Fosse's remarkable choreography.
https://www.youtube.com/watch?v=va8VDBGcKS4
Tuesday September 29
Celeste Aida
Aida is an opera in four acts by Giuseppe Verdi. Set in Egypt, it was commissioned by Cairo's Khedivial Opera House and had its première there on 24 December 1871. Radamès dreams both of gaining victory on the battlefield and of Aida, an Ethiopian slave, with whom he is secretly in love. He declares his feelings early in the opera in the aria, Celeste Aida (Heavenly Aida).
I have chosen this recording by Jussi Björling who is one of my favourites. Bear in mind the recording techniques available in the 1940s and 50s.
https://www.youtube.com/watch?v=Rzn30Xt-h8U&feature=emb_logo
This link gives you some more background and recordings from a number of tenors.
https://opera-inside.com/celeste-aida-an-aria-from-the-opera-aida/
If you do, note how Pavarotti grandstands the end while Tucker does something completely different.
And if you want to go one tenor further, try the ending Bocelli goes for at https://www.youtube.com/watch?v=AYfTZjRDaCI
Although not one of the great tenors, I rather like his diminuendo on the last note.
A different sort of showstopper
From the New York Times (13.12.2006)
"In the history of operatic hissy fits, what happened at Teatro Alla Scala in Milan during Aida on Sunday night was a bravura performance.
Boos from La Scala’s notoriously un-shy 'loggionisti', the upper-balcony aficionado crowd, greeted the tenor Roberto Alagna after 'Celeste Aida', his opening aria as Radames. He gave an unscripted military salute and promptly stalked off the stage. While the conductor Riccardo Chailly continued the performance, the stand-in, Antonello Palombi, was thrust on stage to finish the act in jeans. Two days later accusations of conspiracy, deception, violation of the theater’s traditions and insulting the audience are flying.
"La Scala’s president and artistic director, Stéphane Lissner, has banned Mr. Alagna from the rest of the run, which lasts until January 12, and said that his future at the house is in jeopardy. For his part Mr. Alagna has promised to sue the house for his fees, which he said are around $13,000 a performance."
Wednesday September 30
To Life (from Fiddler on the Roof)
Fiddler on the Roof is a musical with music by Jerry Bock, lyrics by Sheldon Harnick, set in the Pale of Settlement of Imperial Russia in or around 1905. It is based on Tevye and his Daughters (or Tevye the Dairyman) and other tales by Sholem Aleichem. The story centres on Tevye, the father of five daughters, and his attempts to maintain his Jewish religious and cultural traditions as outside influences encroach upon the family's lives. (Wikipedia)
After the Sabbath, Tevye meets Lazar for a drink at the village inn, assuming mistakenly that Lazar wants to buy his cow. Once the misunderstanding is cleared up, Tevye agrees to let Lazar marry Tzeitel – with a rich butcher, his daughter will never want for anything. All join in the celebration of Lazar's good fortune; even the Russian youths at the inn join in the celebration and show off their dancing skills. (Wikipedia)
www.youtube.com/watch?v=ss3qxSsdcyw
A special moment
Some years ago I was a member of a small concert party and we were singing at a care home, Nightingale House in South London. One of our party was friends with Miriam Karlin, whose mother was in the home, and she came along to watch us. Miriam was the original Golde in the London production of Fiddler. She was still angry at being passed over for the film in favour of Norma Crane. Her explanation was that the American producers wanted a name that meant something in the US. While we were waiting in the green room, Miriam suggested she and I sing Do You Love Me (from Fiddler). That duet was a very special moment.
Thursday October 1
Non, ne me tente plus (from The Tales of Hoffmann)
The Tales of Hoffmann (French: Les contes d"Hoffmann) is an opera by Jacques Offenbach. The French libretto was written by Jules Barbier, based on three short stories by E. T. A. Hoffmann, who is the protagonist of the story. It was Offenbach's final work; he died in October 1880, four months before the premiere. (Wikipedia)
At this point in the story, Hoffmann learns Antonia may die if she sings too much. He returns to her house and makes her promise to give up her artistic dreams. Antonia reluctantly accepts her lover's will. After she is alone, Dr Miracle enters to persuade her to sing and follow her late mother's path to glory, stating Hoffmann loves her only for her beauty. With mystic powers, Dr Miracle raises a singing vision of Antonia's dead mother who induces Antonia to sing, causing her death.
This extract is one of my favourite show stopping operatic trios. It always gives me the shivers. The music soars as Antonia's singing reaches new heights of emotion and she literally sings herself to death. Listen out for two delicious evil laughs from Dr Miracle. I have this same wonderful recording in my collection. The incomparable Joan Sutherland is joined by French baritone Gabriel Bacquier and Placido Domingo (not in this clip).
https://www.youtube.com/watch?v=WSxiV1NMphU
Friday October 2
Rhythm of Life (from Sweet Charity)
The film of Sweet Charity was released on 14 February 1969, and starred Shirley MacLaine, Ricardo Montalban, and Chita Rivera, among many others. Sammy Davis Jr. made an appearance in this film as the character Big Daddy and performed the song Rhythm of Life.
Sammy Davis Jr., was surely one of the most gifted performers of all time. I find his version of What Kind of Fool Am I? quite breathtaking.
Read about his extraordinary life at https://en.wikipedia.org/wiki/Sammy_Davis_Jr.
This song has always been a favourite for Tonic Choir to sing.
https://www.youtube.com/watch?v=xKSA049xkiU
Weekend October 3/4
Ah! mes amis, quel jour de fête (from La fille du régiment)
La fille du régiment (The Daughter of the Regiment) is an opéra comique in two acts by Gaetano Donizetti, set to a French libretto by Jules-Henri Vernoy de Saint-Georges and Jean-François Bayard. It was first performed on 11 February 1840 by the Paris Opéra-Comique at the Salle de la Bourse. The opera was written by Donizetti while he was living in Paris between 1838 and 1840. It quickly became a popular success partly because of the famous aria "Ah! mes amis, quel jour de fête!", which requires the tenor to sing no fewer than eight high Cs – a frequently sung ninth is not written. La figlia del reggimento, a slightly different Italian-language version was adapted to the tastes of the Italian public. (Wikipedia)
Tonio enters announcing that he has enlisted in the ranks of the regiment which has brought up Marie (aria: Ah! mes amis, quel jour de fête / "Ah, my friends, what an exciting day"). When he proclaims his love for Marie, the soldiers are horrified, but agree to his pleading for her hand.
This clip is the climax of the aria from the outstanding 2007 production, which I was lucky enough to see in its first run. The tenor, Juan Diego Florez, is at the height of his career and in my opinion simply wonderful.
https://www.youtube.com/watch?v=iIv_0Kj9Gfw
Here is the full aria (in concert but without the chorus) so you get to hear the top 'C's once again.
https://www.youtube.com/watch?v=o0zUksE5pVU
All that jazz (from Chicago)
Chicago is an American musical with music by John Kander and lyrics by Fred Ebb.
The original Broadway production opened in 1975 and ran for 936 performances. Bob Fosse choreographed the original production, and his style is strongly identified with the show. (Wikipedia)
The show opens with this song and I chose this recording as, unlike the film, we can enjoy Bob Fosse's remarkable choreography.
https://www.youtube.com/watch?v=va8VDBGcKS4
Tuesday September 29
Celeste Aida
Aida is an opera in four acts by Giuseppe Verdi. Set in Egypt, it was commissioned by Cairo's Khedivial Opera House and had its première there on 24 December 1871. Radamès dreams both of gaining victory on the battlefield and of Aida, an Ethiopian slave, with whom he is secretly in love. He declares his feelings early in the opera in the aria, Celeste Aida (Heavenly Aida).
I have chosen this recording by Jussi Björling who is one of my favourites. Bear in mind the recording techniques available in the 1940s and 50s.
https://www.youtube.com/watch?v=Rzn30Xt-h8U&feature=emb_logo
This link gives you some more background and recordings from a number of tenors.
https://opera-inside.com/celeste-aida-an-aria-from-the-opera-aida/
If you do, note how Pavarotti grandstands the end while Tucker does something completely different.
And if you want to go one tenor further, try the ending Bocelli goes for at https://www.youtube.com/watch?v=AYfTZjRDaCI
Although not one of the great tenors, I rather like his diminuendo on the last note.
A different sort of showstopper
From the New York Times (13.12.2006)
"In the history of operatic hissy fits, what happened at Teatro Alla Scala in Milan during Aida on Sunday night was a bravura performance.
Boos from La Scala’s notoriously un-shy 'loggionisti', the upper-balcony aficionado crowd, greeted the tenor Roberto Alagna after 'Celeste Aida', his opening aria as Radames. He gave an unscripted military salute and promptly stalked off the stage. While the conductor Riccardo Chailly continued the performance, the stand-in, Antonello Palombi, was thrust on stage to finish the act in jeans. Two days later accusations of conspiracy, deception, violation of the theater’s traditions and insulting the audience are flying.
"La Scala’s president and artistic director, Stéphane Lissner, has banned Mr. Alagna from the rest of the run, which lasts until January 12, and said that his future at the house is in jeopardy. For his part Mr. Alagna has promised to sue the house for his fees, which he said are around $13,000 a performance."
Wednesday September 30
To Life (from Fiddler on the Roof)
Fiddler on the Roof is a musical with music by Jerry Bock, lyrics by Sheldon Harnick, set in the Pale of Settlement of Imperial Russia in or around 1905. It is based on Tevye and his Daughters (or Tevye the Dairyman) and other tales by Sholem Aleichem. The story centres on Tevye, the father of five daughters, and his attempts to maintain his Jewish religious and cultural traditions as outside influences encroach upon the family's lives. (Wikipedia)
After the Sabbath, Tevye meets Lazar for a drink at the village inn, assuming mistakenly that Lazar wants to buy his cow. Once the misunderstanding is cleared up, Tevye agrees to let Lazar marry Tzeitel – with a rich butcher, his daughter will never want for anything. All join in the celebration of Lazar's good fortune; even the Russian youths at the inn join in the celebration and show off their dancing skills. (Wikipedia)
www.youtube.com/watch?v=ss3qxSsdcyw
A special moment
Some years ago I was a member of a small concert party and we were singing at a care home, Nightingale House in South London. One of our party was friends with Miriam Karlin, whose mother was in the home, and she came along to watch us. Miriam was the original Golde in the London production of Fiddler. She was still angry at being passed over for the film in favour of Norma Crane. Her explanation was that the American producers wanted a name that meant something in the US. While we were waiting in the green room, Miriam suggested she and I sing Do You Love Me (from Fiddler). That duet was a very special moment.
Thursday October 1
Non, ne me tente plus (from The Tales of Hoffmann)
The Tales of Hoffmann (French: Les contes d"Hoffmann) is an opera by Jacques Offenbach. The French libretto was written by Jules Barbier, based on three short stories by E. T. A. Hoffmann, who is the protagonist of the story. It was Offenbach's final work; he died in October 1880, four months before the premiere. (Wikipedia)
At this point in the story, Hoffmann learns Antonia may die if she sings too much. He returns to her house and makes her promise to give up her artistic dreams. Antonia reluctantly accepts her lover's will. After she is alone, Dr Miracle enters to persuade her to sing and follow her late mother's path to glory, stating Hoffmann loves her only for her beauty. With mystic powers, Dr Miracle raises a singing vision of Antonia's dead mother who induces Antonia to sing, causing her death.
This extract is one of my favourite show stopping operatic trios. It always gives me the shivers. The music soars as Antonia's singing reaches new heights of emotion and she literally sings herself to death. Listen out for two delicious evil laughs from Dr Miracle. I have this same wonderful recording in my collection. The incomparable Joan Sutherland is joined by French baritone Gabriel Bacquier and Placido Domingo (not in this clip).
https://www.youtube.com/watch?v=WSxiV1NMphU
Friday October 2
Rhythm of Life (from Sweet Charity)
The film of Sweet Charity was released on 14 February 1969, and starred Shirley MacLaine, Ricardo Montalban, and Chita Rivera, among many others. Sammy Davis Jr. made an appearance in this film as the character Big Daddy and performed the song Rhythm of Life.
Sammy Davis Jr., was surely one of the most gifted performers of all time. I find his version of What Kind of Fool Am I? quite breathtaking.
Read about his extraordinary life at https://en.wikipedia.org/wiki/Sammy_Davis_Jr.
This song has always been a favourite for Tonic Choir to sing.
https://www.youtube.com/watch?v=xKSA049xkiU
Weekend October 3/4
Ah! mes amis, quel jour de fête (from La fille du régiment)
La fille du régiment (The Daughter of the Regiment) is an opéra comique in two acts by Gaetano Donizetti, set to a French libretto by Jules-Henri Vernoy de Saint-Georges and Jean-François Bayard. It was first performed on 11 February 1840 by the Paris Opéra-Comique at the Salle de la Bourse. The opera was written by Donizetti while he was living in Paris between 1838 and 1840. It quickly became a popular success partly because of the famous aria "Ah! mes amis, quel jour de fête!", which requires the tenor to sing no fewer than eight high Cs – a frequently sung ninth is not written. La figlia del reggimento, a slightly different Italian-language version was adapted to the tastes of the Italian public. (Wikipedia)
Tonio enters announcing that he has enlisted in the ranks of the regiment which has brought up Marie (aria: Ah! mes amis, quel jour de fête / "Ah, my friends, what an exciting day"). When he proclaims his love for Marie, the soldiers are horrified, but agree to his pleading for her hand.
This clip is the climax of the aria from the outstanding 2007 production, which I was lucky enough to see in its first run. The tenor, Juan Diego Florez, is at the height of his career and in my opinion simply wonderful.
https://www.youtube.com/watch?v=iIv_0Kj9Gfw
Here is the full aria (in concert but without the chorus) so you get to hear the top 'C's once again.
https://www.youtube.com/watch?v=o0zUksE5pVU