Quinta-feira, 21 de abril de 2011. O Panaca (1979) Legendado Ficha Tecnica.American Horror Story: Asylum is the second season of the American FX horror television series American Horror Story, created by Brad Falchuk. Blake Sheldon was cast in the dual role of Devon and Cooper, both described as. Download safe los miserables chileat TreeTorrent with new service. The Pirates of Penzance - Wikipedia, the free encyclopedia. Drawing of the Act I finale. The Pirates of Penzance; or, The Slave of Duty is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. The opera's official premiere was at the Fifth Avenue Theatre in New York City on 3. December 1. 87. 9, where the show was well received by both audiences and critics. He meets Mabel, the daughter of Major- General Stanley, and the two young people fall instantly in love. Frederic soon learns, however, that he was born on the 2. February, and so, technically, he has a birthday only once each leap year. His indenture specifies that he remain apprenticed to the pirates until his . The opera was performed for over a century by the D'Oyly Carte Opera Company in Britain and by many other opera companies and repertory companies worldwide. Modernized productions include Joseph Papp's 1. Broadway production, which ran for 7. Tony Award for Best Revival and the Drama Desk Award for Outstanding Musical, and spawning many imitations and a 1. Pirates remains popular today, taking its place along with The Mikado and H. M. S. Pinafore as one of the most frequently played Gilbert and Sullivan operas. Background. At the time, American law offered no copyright protection to foreigners. After the pair's previous opera, H. M. S. Pinafore, achieved success in London in 1. American companies quickly mounted unauthorised productions that often took considerable liberties with the text and paid no royalties to the creators. Sullivan had written a comic opera called The Contrabandista, in 1. British tourist who is captured by bandits and forced to become their chief. Gilbert had written several comic works that involved pirates or bandits. In Gilbert's 1. 87. Princess Toto, the title character is eager to be captured by a brigand chief. Gilbert had translated Jacques Offenbach's operetta Les brigands, in 1. Bang was mistakenly apprenticed to a pirate band as a child by his deaf nursemaid. Also, Bang, like Frederic in The Pirates of Penzance, had never seen a woman before and felt a keen sense of duty, as an apprenticed pirate, until the passage of his twenty- first birthday freed him from his articles of indenture. He then returned to London. Carte formed a new partnership with Gilbert and Sullivan to divide profits equally among themselves after the expenses of each of their shows. Ryley as Sir Joseph, Blanche Roosevelt as Josephine, Alice Barnett as Little Buttercup, Furneaux Cook as Dick Deadeye, Hugh Talbot as Ralph Rackstraw and Jessie Bond as Cousin Hebe, some of whom had been in the Pinafore cast in London. They then tailored their operas to the particular abilities of these performers. For until then no living soul had seen upon the stage such weird, eccentric, yet intensely human beings .. He sought naturalism in acting, which was unusual at the time, just as he strove for realistic visual elements. He deprecated self- conscious interaction with the audience and insisted on a style of portrayal in which the characters were never aware of their own absurdity but were coherent internal wholes. When he arrived in New York, however, he found that he had left the sketches behind, and he had to reconstruct the first act from memory. Tillett and Spencer, 2. Gilbert and Sullivan had planned all along to re- use . They argue that Sullivan's having the unpublished Thespis score in New York, when there were no plans to revive Thespis, might not have been accidental. In any case, on 1. December 1. 87. 9, Sullivan wrote a letter to his mother about the new opera, upon which he was hard at work in New York. After a reasonably strong first week, audiences quickly fell off, since most New Yorkers had already seen local productions of Pinafore. On the one hand, Penzance was a docile seaside resort in 1. The cast, which was performing Pinafore in the evenings in Torquay, received some of the music for Pirates only two days beforehand. Having had only one rehearsal, they travelled to nearby Paignton for the matinee, where they read their parts from scripts carried onto the stage, making do with whatever costumes they had on hand. The music is infinitely superior in every way to the Pinafore . I think that in time it will be very popular. After a strong run in New York and several American tours, Pirates opened in London on 3 April 1. The biographer Michael Ainger, however, doubts that Gilbert intended a caricature of Wolseley, identifying instead General Henry Turner, uncle of Gilbert's wife, as the pattern for the . Gilbert disliked Turner, who, unlike the progressive Wolseley, was of the old school of officers. Nevertheless, in the original London production, George Grossmith imitated Wolseley's mannerisms and appearance, particularly his large moustache, and the audience recognised the allusion. Wolseley himself, according to his biographer, took no offence at the caricature. The pirates' maid of all work, Ruth, appears and reveals that, as Frederic's nursemaid long ago, she made a mistake . The pirates know better and suggest that Frederic take Ruth with him when he returns to civilisation. Frederic announces that, although it pains him, so strong is his sense of duty that, once free from his apprenticeship, he will be forced to devote himself to the pirates' extermination. He also points out that they are not successful pirates: since they are all orphans, they allow their prey to go free if they too are orphans. Frederic notes that word of this has got about, so captured ships' companies routinely claim to be orphans. Frederic invites the pirates to give up piracy and go with him, so that he need not destroy them, but the Pirate King says that, compared with respectability, piracy is comparatively honest (! The pirates depart, leaving Frederic and Ruth. Frederic sees a group of beautiful young girls approaching the pirate lair, and realises that Ruth misled him about her appearance (! You have deceived me! Sending Ruth away, Frederic hides before the girls arrive. The girls burst exuberantly upon the secluded spot (. Frederic reveals himself (! One of them, Mabel, responds to his plea, chiding her sisters for their lack of charity (. She offers Frederic her pity (. The other girls discuss whether to eavesdrop or to leave the new couple alone (. Mabel warns the pirates that the girls' father is a Major- General (. He appeals to the pirates not to take his daughters, leaving him to face his old age alone. Having heard of the famous Pirates of Penzance, he pretends that he is an orphan to elicit their sympathy (. The soft- hearted pirates release the girls (. His conscience is tortured by the lie that he told the pirates, and the girls attempt to console him (. The Sergeant of Police and his corps arrive to announce their readiness to arrest the pirates (. The girls loudly express their admiration of the police for facing likely slaughter at the hands of fierce and merciless foes. The police are unnerved by this but finally leave. Left alone, Frederic, who is to lead the police, reflects on his opportunity to atone for a life of piracy (. They have realised that Frederic's apprenticeship was worded so as to bind him to them until his twenty- first birthday . Frederic is convinced by this logic and agrees to rejoin the pirates. He then sees it as his duty to inform the Pirate King of the Major- General's deception. The outraged outlaw declares that the pirates' . They agree to be faithful to each other until then, though to Mabel . Mabel steels herself (. They muse that an outlaw might be just like any other man, and it is a shame to deprive him of . The police hide on hearing the approach of the pirates (! The girls come looking for him (. The pirates leap to the attack, and the police rush to the defence; but the police are easily defeated, and the Pirate King urges the captured Major- General to prepare for death. The Sergeant has one stratagem left: he demands that the pirates yield . Ruth appears and reveals that the pirates are . The Major- General is impressed by this and all is forgiven. Frederic and Mabel are reunited, and the Major- General is happy to marry his daughters to the noble pirates after all. Musical numbers. Finale Act I (Mabel, Kate, Edith, Ruth, Frederic, Samuel, King, Major- General, and Chorus). Finale, Act II (Ensemble). The Herald took the view that . It demands a closer attention to the words . The music is fresh, bright, elegant and merry, and much of it belongs to a higher order of art than the most popular of the tunes of Pinafore. Sullivan's music we must speak in detail on some other occasion. Suffice it for the present to say that in the new style which he has marked out for himself it is the best he has written. Sullivan, and vice versa, is a fact universally admitted. One might fancy that verse and music were of simultaneous growth, so closely and firmly are they interwoven. Away from this consideration, the score of The Pirates of Penzance is one upon which Mr. Sullivan must have bestowed earnest consideration, for independently of its constant flow of melody, it is written throughout for voices and instruments with infinite care, and the issue is a cabinet miniature of exquisitely defined proportions. Pinafore, cannot be denied; it contains more variety, marked character, careful workmanship, and is in fact a more finished artistic achievement . Sullivan's music is sprightly, tuneful and full of 'go', although it is certainly lacking in originality. It follows the pattern of most Savoy opera overtures: a lively opening (the melody of . The critic Rodney Milnes describes the Major- General's Act II song, . Jacobs suggests that Berlioz's La damnation de Faust, a great favourite in Sullivan's formative years, may have been the model for Sullivan's trademark contrapuntal mingling of the rapid prattle of the women's chorus in Act I (. The Sullivan scholar Gervase Hughes wrote, .
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