![]() ![]() In ensembles she soared deliciously above the rest of the texture, and her big Act 2 aria was suitably “operatic.” But she looked out-of-character in some of the broader farcical bits, like the hip-hop neck-swivel in “Never Mind the Why or Wherefore.” Daniel Belcher made the role of Captain Corcoran into something resembling gay camp, with hyperactive comic touches that were sometimes elegant but painted in broad strokes. ![]() Vocally speaking he mopped up the stage.Īva Pine sang Josephine with a sweet, silvery soprano that was pleasing to the ear but lacked variety. But the nicest surprise came when he opened his mouth: Ball possesses a splendid bel canto tenor voice, clear and natural and with a dark sort of pathos beneath his brief arias piqued my curiosity to hear him in more serious roles. Jon-Michael Ball conveyed Ralph Rackstraw’s “high” birth the moment he set foot onstage, with a regal bearing that made us question, and quite rightly so, what he was doing in a sailor suit (though his unflattering costume with its half-length waistcoat looked too sloppy to be that of a gentleman). Of course Porter has the fortune of getting to sing the opera’s most winning satirical number, “When I was a Lad,” which Brand made into a surprisingly subtle comic tour de force. He found humor in details - a face drawn tightly at the right moment, a sissified wave, a stiffened gait that stopped just short of shtick. Robert Gibby Brand displayed to marvelous advantage his well-known comedic flair as Sir Joseph Porter, very nearly stealing the show from his younger, operatically trained colleagues. Nevertheless this was, in many respects, a highly accomplished Pinafore. If the physical comedy kept the eye busy and the funny-bone tickled - incessant dancing and slapstick gags pushed to vaudeville extremes - it rarely achieved the level of sophistication of the inherent humor, and grew contrived by the end. Gilbert’s peerless lyrics, set to music with blinding cleverness by Arthur Sullivan. The Lyric Opera of Kansas City’s production of HMS Pinafore, which opened November 6 at the Lyric Theatre, was most convincing when it stood back and let us listen to W.S. ** Single print order can either print or save as PDF.Gilbert & Sullivan’s operettas are so durable that directors succeed best when they go easy on shtick and focus on dead-on execution of the shows’ intrinsic rich humor. ![]() If the icon is greyed then these notes can not be transposed. Please check "notes" icon for transpose options. * Where transpose of Little Buttercup (HMS Pinafore) sheet music available ( not all our notes can be transposed) & prior to print. Be careful to transpose first then print (or save as PDF). If your desired notes are transposable, you will be able to transpose them after purchase. ![]() If you selected -1 Semitone for score originally in C, transposition into B would be made. This means if the composers started the song in original key of the score is C, 1 Semitone means transposition into C#. If it is completely white simply click on it and the following options will appear: Original, 1 Semitione, 2 Semitnoes, 3 Semitones, -1 Semitone, -2 Semitones, -3 Semitones. You can do this by checking the bottom of the viewer where a "notes" icon is presented. Most of our scores are traponsosable, but not all of them so we strongly advise that you check this prior to making your online purchase. If not, the notes icon will remain grayed. If transposition is available, then various semitones transposition options will appear. In order to transpose click the "notes" icon at the bottom of the viewer. After you complete your order, you will receive an order confirmation e-mail where a download link will be presented for you to obtain the notes. This week we are giving away Michael Buble 'It's a Wonderful Day' score completely free. ![]()
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