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"entr'acte" Definitions
  1. the interval between two consecutive acts of a theatrical or operatic performance.
  2. a performance, as of music or dancing, given during such an interval.
  3. a piece of music or the like for such performance.
"entr'acte" Synonyms
interlude intermezzo intermission interval break pause respite hiatus interruption recess rest downtime lull breather gap interregnum interim stoppage suspension halt
"entr'acte" Antonyms
advancement continuance progression action activity advance continuation continuity go persistence start beginning closure juncture closing misfortune

164 Sentences With "entr'acte"

How to use entr'acte in a sentence? Find typical usage patterns (collocations)/phrases/context for "entr'acte" and check conjugation/comparative form for "entr'acte". Mastering all the usages of "entr'acte" from sentence examples published by news publications.

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In Ms. Tanowitz's other creation, "Entr'acte," she played games with gender.
Next came a five-year entr'acte at Chloé, still under Mr. Lagerfeld's wing.
" Ms. Tharp has sometimes talked dancers and audiences through a staged rehearsal sequence in the past; she does so again in "Entr'acte.
The company's two resident solo violinists are both old hands at the Act I solo (an entr'acte interpolated from "The Sleeping Beauty").
She and her troupe are all such good movers, so full-bodied and so abounding in dynamic contrasts that "Entr'acte" is certainly entertaining.
Opening the album is a terrific new take on Caroline Shaw's "Entr'acte," which offers a mini object lesson on the consuming power of influence.
Those interested in hearing them live are in luck, however: Solera is slated to present "Entr'acte" at the group's Carnegie Hall debut on Oct. 23.
It includes "Entr'acte," the avant-garde film he made in 21970 with René Clair, and his contentious series of figurative paintings from the '280s, '21927s and '230s.
The first composer-in-residence is the Pulitzer Prize-winning composer Caroline Shaw, whose work "Entr'acte" will be the score for a new work by the choreographer Pam Tanowitz.
The best part of the evening, though, is the Entr'acte, when only the orchestra is onstage, and the lighting (by Ken Billington) changes color with the colors of the music.
Titled Our Heads Are Round so Our Thoughts Can Change Direction, the exhibition features 22016 works, including 2391 paintings, works on paper, illustrated letters, printed matter and periodicals, as well as the film Entr'acte.
Opinion Columnist A little over a week ago, in the brief historical entr'acte between the Brett Kavanaugh nomination and our president's Helsinki rendezvous, I was in Las Vegas for the annual libertarian convention known as FreedomFest.
The scores for "Entr'acte" (string quartet) and Ms. Lovette's "Angels of the Get-Through" (solo violin and spoken poetry) were by Caroline Shaw, another returning Vail artist, who is to be next year's composer in residence.
Though her "Angels" score resembles Arvo Pärt too much for comfort, her "Entr'acte" music has a marvelous range of sonorities: One whole section is played pizzicato; another keeps the violin in the highest section of its register.
The pleasurable image "Aux sources de l'énergie, Enseignes lumineuses, Paris" (1931) has a delightful Dada flavor to it, recalling some of the best moments of dazzling superimposition in the Dada masterpiece film "Entr'acte" (83), directed by René Clair.
As "Bright Star" struggled at the box office, Mr. Martin and Ms. Brickell, among others, lent the production more money to keep it running, and on about a dozen occasions Mr. Martin joined the band onstage for an instrumental entr'acte, but it was not enough to save the show.
They might drop some lesser-known names like Kurt Schwitters, Tristan Tzara, and Hugo Ball, but it's far less likely that they'll recall the name of a multimedia artist with a multitude of talents and guises—Francis Picabia, the man who fires the cannon in René Clair's early surrealist film Entr'acte.
This devotion has blossomed in two releases of Fairon's own music this year: one LP of new music on the European label Entr'acte, Musique Isotype (it dropped in early July); and a coming reissue of a 20163 cassette, Réalisme Electronique, on the Parisian label Charivari (the term for a French folk custom where communities perform noisy, discordant, mocking serenades).
Entr'acte nach dem II. Aufzug :: 3b. Romanze: Der Vollmond strahlt auf Bergeshöh’n :: 4. Geisterchor: In der Tiefe wohnt das Licht :: 5. Entr'acte nach dem III.
Passepied from the opera-entr'acte The Shagreen Bone The Shagreen Bone (, ) Op. 37-38 (1990) is a full-length ballet in three acts and an opera entr'acte in one act by Yuri Khanon, to a libretto by the composer based on Balzac's 1831 novel The Shagreen Skin.
8 Despite the weak start (which Lloyd blamed on nerves), the pantomime received glowing reviews from the theatrical press.Gillies, p. 55 The London Entr'acte thought that she "delivere[d] her text quite pungently, and sings and dances with spirit too.""Humpty Dumpty Triumph", London Entr'acte, 2 January 1892, p.
11 – Chorus of Maidens :No.12 – Scene :No.12a – Onegin's Aria Act 2 :No.13 – Entr'acte & Waltz :No.
News of her success reached home, and the London Entr'acte reported that "Miss Marie Lloyd made the biggest hit ever known at Koster and Bial's variety hall, New York.""Success in New York", London Entr'acte, 23 May 1893, p. 2 Upon her return to London, Lloyd introduced "Listen With the Right Ear", which was an intended follow-up to "Oh You Wink the Other Eye".
1–2 The Entr'acte and Limelight commented that the opera was reminiscent of Trial by Jury and Sorcerer but found it diverting and called the music "very charming. To hear so-called grand opera imitated through the medium of the most trifling lyrics, is funny"."London Theatres. Opera Comique", The Entr'acte and Limelight: Theatrical and Musical Critic and Advertiser, 1 June 1878, 466: p.
Entr'acte is a 1924 French short film directed by René Clair, which premiered as an entr'acte for the Ballets Suédois production Relâche at the Théâtre des Champs-Élysées in Paris. Relâche is based on a book and with settings by Francis Picabia, produced by Rolf de Maré, and with choreography by Jean Börlin. The music for both the ballet and the film was composed by Erik Satie.
Jácaras are Spanish songs which are accompanied with instruments and are performed during the entr'acte of a theatrical performance and also as an accompaniment to many types of dance.
170–179 He also rewrote several passages, notably the climaxes in the first, third and fourth movements. The suite at first consisted of the Prélude, Fileuse (entr'acte to Act 3) and La mort de Mélisande (entr'acte to Act 4). In this form it was premiered at the Concerts Lamoureux in February 1901. Fauré was not happy with the performance, telling his wife that the conductor, Camille Chevillard did not really understand the music.
3; and "Palace Theatre as Cinema. Stage Plays also to be Given", The Times, 31 January 1921, p. 8 The Entr'acte expresses its pleasure that Gilbert and Sullivan are reunited.
Max Ernst did design work, Balanchine an entr'acte. "It seemed to me that this ballet was far in advance of its time," Massine later wrote.Massine (1968), pp. 169–170, quotes.
Hale, Philip (1908). "Entr'acte, Views of Opera Land". Boston Symphony Orchestra, Programme of the Eleventh Rehearsal and Concert, pp. 848–858. EllisFleischmann, Hector (1913). Napoléon III et les femmes, pp. 295–299.
It was scored for baritone solo voices, a chorus of tenors and baritones (in two parts each), and orchestra. The complete incidental music is lengthy (about 1 hour and 45 minutes) and is not often performed. Vaughan Williams later arranged parts of the music into an orchestral suite (about 26 minutes), in five parts: # Overture # Entr'acte # March Past of the Kitchen Utensils # Entr'acte # Ballet and Final Tableau. The Overture is quite concise (about 10 minutes) and is a popular independent concert piece today.
"Closet Scene" A chamber in the Queen's apartments. At the back are two full- length portraits of the two kings. A prie-Dieu. A lamp burns on a table (set by Édouard Desplechin). Entr'acte.
In films that were meant to be shown with an intermission, there was frequently a specially recorded entr'acte on the soundtrack between the first and second half of the film, although this practice died.
The ballet (Op.37) and the entr'acte (Op.38) were written in 1990 on commission from the Mikhaylovsky Theatre in Leningrad. The libretto is based entirely on the dialogues between the two characters – Pauline and Raphael. In 1992, an avant-garde film-opera The Shagreen Bone was shot at the Saint Petersburg Documentary Film Studio, with Yuri Khanon in the main role. The soundtrack contained the entr'acte and some of his other works: The Song about Death No.1 and Mechanics of Thought Movement (from the cycle Public Songs, Op. 34).
The ten numbers of the Rosamunde incidental music, 797, are: # Entr'acte No. 1, in B minor (Allegro molto moderato), which may have been originally intended as the finale to Schubert's "Unfinished" Symphony.Carl Rosman, Liner Notes for Decca 466 677-2, performance of this work by Karl Münchinger conducting the Vienna Philharmonic Orchestra & State Opera Chorus, 1975. # Ballet music No. 1, really two pieces in one. The first is a march in B minor (Allegro moderato) beginning with a modified version of the opening theme of the first entr'acte.
It had a strong cast including Louisa Swanborough as the Earl of Leicester, H. J. Turner as Mike Lambourne, Mrs. Charles Selby as Queen Elizabeth, Marie Wilton as Sir Walter Raleigh, Patty Oliver as Amy Robsart, Charlotte Saunders as Tressillian, John Clarke as Varney and James Bland as Wayland Smith; Bland was reputed to be the king of the burlesque actors. Leicester was later played by Maria Ternan.Obituary, London and Provincial Entr'acte, 7 January 1899, p. 6Merry-go-Round, London and Provincial Entr'acte, 24 October 1891, p. 4.
In an entr'acte, four porters philosophically declare that "Life Is Like a Train." Owen, Oliver and Oscar congratulate themselves on obtaining Mrs. Primrose's check for $200,000 ("Five Zeros"). Lily's maid, Agnes, brings Oscar a message: Lily wants to see him immediately.
Ainger, p. 140 The Era wrote: "we may again compliment Miss Alice May upon her graceful impersonation of Aline and her artistic singing"."The Opera Comique", The Era, 25 November 1877, p. 5 The Entr'acte and Limelight noted on 24 November 1877, "Miss Alice May vocalises with very good effect, and although she is known more as a vocalist than as a histrion, her acting seems as good as her singing.""Opera Comique" The Entr'acte and Limelight: Theatrical and Musical Critic and Advertiser, 24 November 1877, p. 11 The Observer commented, "Miss Alice May carries off the main honours among the ladies".
After an orchestral entr'acte the tableau begins in the garden of Chrysanthème, with Prune paying devotions to Buddha. She parts the screens behind which Chrysanthème and Pierre still sleep. Chrysanthème arranges flowers around the house. Pierre declares his love but Chrysanthème chides him.
' (or ', ;Since 1932–35 the French Academy recommends this spelling, with no apostrophe, so historical, ceremonial and traditional uses (such as the 1924 René Clair film title) are still spelled Entr'acte. German: ' and ', Italian: intermezzo, Spanish: ') means "between the acts". It can mean a pause between two parts of a stage production, synonymous to an intermission (this is nowadays the more common meaning in French), but it more often (in English) indicates a piece of music performed between acts of a theatrical production. In the case of stage musicals, the entr'acte serves as the overture of act 2 (and sometimes acts 3 and 4, as in Carmen).
With Voyces. Lachlan Skipworth The Eternal (2016) with Akiko Miyazawa, Kate Sullivan, Ben Caddy, Jon Tooby and Lachlan Skipworth. Lachlan Skipworth Clarinet Concerto (2016) (with West Australian Symphony Orchestra) Ashley W. Smith Shifrin for Solo Clarinet (2019) Christopher Tonkin Entr'acte for Solo Bass Clarinet and Electronics.
The work consists of five movements. ;Allegro moderato: After a short introduction by the orchestra, the violin plays material from the Aragonaise, the entr'acte to act 4. Techniques include glissando, flageolet and pizzicato. ;Moderato: This movement uses material, extensively ornamented, from the Habanera from act 1 ("").
Although he initially thought that a symphonic suite of 12 movements would be too long, in 1922-23 Prokofiev arranged such a suite from the ballet, which was premiered in Brussels on 15 January 1924 under Frans Rühlmann. The suite consists of: # The Buffoon and His Wife # Dance of the Wives # Fugue. The Buffoons Kill Their Wives # The Buffoon as a Young Woman # Third Entr'acte # Dance of the Buffoons' Daughters # Entry of the Merchant and His Welcome # In the Merchant's Bedroom # The Young Woman Becomes a Goat # Fifth Entr'acte and the Goat's Burial # The Buffoon and the Merchant Quarrel # Final Dance. The 12 movements take 35–40 minutes to play (as compared to an hour for the full ballet).
The descent of Wotan and Loge into Nibelheim is represented musically in the second entr'acte, which begins with the "Renunciation" and Spear motifs but is quickly overwhelmed with the insistent, rhythmic 9/8 beat of the Nibelung motif in B♭, briefly foreshadowed in Loge's Scene 2 soliloquy. In the climax to the entr'acte this rhythm is hammered out on eighteen anvils. This motif is thereafter used, not just to represent the Nibelungs but also their enslavement in a state of relentless misery. During the scene's opening interaction between Alberich and Mime, the soft, mysterious "Tarnhelm" motif is heard on muted horns; this is later combined with the "Serpent" motif as, at Loge's behest, Alberich uses the Tarnhelm to transform himself into a giant snake.
D 797, Music for Schauspiel Rosamunde, Fürstin von Zypern for alto, mixed choir and orchestra (1823, Overture and nine numbers; first published as Op. 26) :: Ouvertüre (from D 644) :: 1. Entr'acte nach dem I. Aufzug (possibly the fourth movement of the Symphony (No. 8) in B minor, D 759) :: 2. Ballettmusik Nr. 1 :: 3a.
"Li'l Liza Jane" was first published in 1916 by Sherman, Clay & Co of San Francisco, California as a composition by Ada de Lachau. It was described as a "Southern dialect song". The tune was featured as entr'acte entertainment during the 1916-1917 Broadway show Come Out of the Kitchen. The song's origins, however, seem to go back even earlier.
Opera composers sometimes wrote instrumental intermezzi as connecting pieces between acts of operas. In this sense, an intermezzo is similar to the entr'acte. The most famous of this type of intermezzo is probably the intermezzo from Mascagni's Cavalleria rusticana. Puccini also wrote intermezzi for Manon Lescaut and Madama Butterfly, and examples exist by Wolf-Ferrari, Delius and others.
Secondly, dialogue was replaced by recitative. Thirdly, Lothario's Act 1 aria acquired an extra verse. Fourthly, Philine was given an extra aria, inserted after the Act 2 entr'acte. And finally, Frédéric was changed from a buffo tenor into a contralto, and was awarded his Act 2 Gavotte to appease the singer who was to perform the regendered role.
Handel's Associates , Handel House Museum, London. Accessed 27 April 2008 Handel patiently taught her parts note by note as she could not read music.Susannah Cibber , National Museum of the Performing Arts (UK). Accessed 27 April 2008 Also that year, Cibber's name appeared in the playbills offering entr'acte songs ‘by popular demand' at the Haymarket, performances which became very popular.
It is unclear if Léger contributed anything else, but he got to distribute the film in Europe and took sole credit for the film. Ray had backed out of the project before completion and did not want his name to be used. Murphy had gone back tot the U.S.A. shortly after editing the final version, with the deal that he could distribute the film there. Avant-garde artist Francis Picabia and composer Erik Satie asked René Clair to make a short film to be shown as the entr'acte of their Dadaist ballet Relâche for Ballets suédois. The result became known as Entr'acte (1924) and featured cameo appearances by Francis Picabia, Erik Satie, Man Ray, Marcel Duchamp, composer Georges Auric, Jean Borlin (director of the Ballets Suédois) and Clair himself.
The cast recording has 18 tracks and features the entire original score minus the Act II entr'acte."Dolly Partons Score For '9 TO 5' Released" broadwayworld.com, June 10, 2009 On December 4, 2009, when the Grammy Award nominees were announced, the cast recording was nominated for Best Musical Show Album. A West End Cast Recording was released on February 7 2020.
The Entr'acte expresses its pleasure that Gilbert and Sullivan are reunited After The Grand Duke, the partners saw no reason to work together again. A last unpleasant misunderstanding occurred in 1898. At the premiere of Sullivan’s opera The Beauty Stone on 28 May, Gilbert arrived at the Savoy Theatre with friends, assuming that Sullivan had reserved some seats for him.
Romance, Consolation (Proms premiere 24 September 1902), Gavotte Sentimentale, L'Adieu (Proms premiere 16 October 1897 with Squire playing cello), Larghetto in D, Old Swedish Air, Tzig-Tzig (Proms premiere 13 October 1898 with Squire playing cello), Prière, Slumber Song / Entr'acte (Proms premiere 16 September 1899 with Squire playing cello), Rêve D'Amour (Proms premiere 13 October 1898 with Squire playing cello), Madrigal in G.
She sang in the music halls for only a few months. In 1899, Lind is believed to have made her only appearance at the Palace Theatre, London, in a programme celebrating Charles Morton's 80th birthday.The Entr'acte, 15 July 1899, p. 5 That same year, she again performed the princess in the pantomime Puss in Boots, this time at the Garrick Theatre.
After a quick introduction ("Entr'acte"), Lawrence as Shuffhausen performs several torturous tests on Freddy ("Ruffhousin' Mit Shuffhausen"), who has to endure them without complaint. In the side show Muriel meets Andre and the two fall in love ("Like Zis/Like Zat"). Lawrence makes every effort to get close to Christine ("The More We Dance"). When he realizes that Christine is not as rich as they thought.
A room in Géronte's house In the entr'acte, Léandre sings a serenade for Lucinde (Sérénade "Est-on sage"). Géronte complains to Lucinde's nurse Jacqueline's that he has got a rich husband in line for Lucinde as Léandre is too poor (Couplet "D'un bout du monde"). Sganarelle puts on an act as a doctor with nonsense words and false treatments (Sextet "Eh bien, charmante demoiselle"; Finale "Sans nous").
Amadeus Press, Portland, 1997. The orchestral Entr'acte to Act 3, entitled 'Sévillana', was in 1895 adapted as a showpiece for solo coloratura soprano, to words specially written by Jules Ruelle ("À Séville, Belles Señoras"). Though this song is still regularly performed, it does not form part of the operatic score.Demar Irvine, Massenet: A Chronicle of his Life and Times, Amadeus Press, Oregon, 1994, p.
Rushing to the casino, Alexei has a run of good luck, winning twenty times in a row and breaking the bank. After an entr'acte, the other patrons continue to talk about Alexei's run. Alexei returns to his room, yet he continues to hear the voices of the croupiers and the other gamblers. He then becomes aware of Polina who has been waiting for him.
Mamma Mia! at Broadway On Broadway (Entr'acte) Sophie's having a nightmare, involving her three possible fathers all fighting for the right to walk her down the aisle and wakes up despairing ("Under Attack"). Sophie's upset, and Donna assumes that Sophie wants to cancel the wedding and offers to handle all the details. Sophie's offended and vows that her children won't grow up not knowing who their father is.
Battle of Neretva is the most expensive motion picture made in the SFR Yugoslavia.Bitka na Neretvi It was nominated for the Academy Award for Best Foreign Language Film, the year after Sergei Bondarchuk (playing the role of Martin in Neretva) won the honour for War and Peace. The score for the English-speaking versions was composed by Bernard Herrmann. Its soundtrack was released by Entr'acte Recording Society in 1974.
In a musical context, an ' (literally a person or thing from Aragon, a region in Spain) is a "dance of Aragon". This is a driving triple metre dance which is traditionally accompanied by guitars, castanets and hand clapping. There are two famous musical compositions named "Aragonaise", one by Jules Massenet from his opera Le Cid, the other from the entr'acte to act 4 of the opera Carmen by Georges Bizet.
On October 25, 1967, Camelot premiered at the Warner Theatre on Broadway and 47th Street. A benefit premiere was held on November 1 at the Cinerama Dome in Los Angeles. While the official running time was 180 minutes plus overture, entr'acte and exit music, only the 70mm blow up prints and 35mm magnetic stereo prints contained that running time. For general wide release, the film was truncated to 150 minutes.
René Clair's Entr'acte (1924) featuring Francis Picabia, Marcel Duchamp, and Man Ray, and with music by Erik Satie, took madcap comedy into nonsequitur. Artists Hans Richter, Jean Cocteau, Marcel Duchamp, Germaine Dulac, and Viking Eggeling all contributed Dadaist/Surrealist shorts. Fernand Léger, Dudley Murphy, and Man Ray created the film Ballet Mécanique (1924), sometimes described as Dadaist, Cubist, or Futurist. Duchamp created the abstract film Anémic Cinéma (1926).
He offers to keep the Pilgrim company on his journey, but Pilgrim replies that those who would travel with him must be willing to stand "against the wind and tide". Mister and Madam By- Ends refuse, preferring creature comforts and their "old principles" to poverty. They leave, and Pilgrim resumes his journey. Entr'acte Scene 2: The Shepherds of the Delectable Mountains At the Delectable Mountains, three Shepherds are at evening prayer.
Encores of his now famous song, "I'm Selling up the 'Appy 'Ome", were often accompanied with a hornpipe dance, which Champion performed. Champion followed this up with "When the Old Dun Cow Caught Fire", which he introduced into his act in 1893. By the mid-1890s, he had many songs in his repertory, and he was in demand from audiences. The Entr'Acte wrote, "Champion is a comic singer who is endowed with genuine humour, which is revealed in his several songs, of which the audience never seems to get enough".Entr'Acte, 13 January 1894 His earliest known recording success was in 1896 with "In the World Turned Upside Down", followed by "Down Fell the Pony in a Fit" in 1897.Earliest mention of a Harry Champion record accessed 20 August 2011 In 1898 Champion ceased his style of alternating songs and patter and instead adopted a quick fire delivery in order for him to perform as many songs as he could during his act.
This version was given in Italian with recitatives (instead of spoken dialogue). The role of Mignon, originally for mezzo-soprano, was sung by a soprano (Christina Nilsson), and the role of Frédéric, originally a tenor, was sung by a contralto (Zelia Trebelli-Bettini). A second verse was added to Lothario's aria in the first act ("Fugitif et tremblant" in the French version), and in the second act, a rondo-gavotte for Frédéric ("Me voici dans son boudoir") was devised using the music of the entr'acte preceding that act, to satisfy Mme Trebelli-Bettini, who was discomfited by having to take on a role originally written for buffo tenor. Apparently the coloratura soprano Elisa Volpini, who was to sing Philine, felt that her aria at the end of the second act ("Je suis Titania") was insufficient, and another florid aria ("Alerte, alerte, Philine!") was inserted after the second act entr'acte and before Laerte's 6/8 Allegretto ("Rien ne vaut").
Rózsa also received recognition for his choral works. His collaboration with conductor Maurice Skones and The Choir of the West at Pacific Lutheran University in Tacoma, Washington, resulted in a commercial recording of his sacred choral works—To Everything There is a Season, Op. 20; The Vanities of Life, Op. 30; and The Twenty-Third Psalm, Op. 34—produced by John Steven Lasher and recorded by Allen Giles for the Entr'acte Recording Society in 1978.
In early 1880, Parry, recovering from a severe attack of paralysis, started planning his next theatre, to be called The Royal Avenue, at the corner of Craven Street and Northumberland Avenue, facing the Thames.London and Provincial Entr'acte, 27 March 1880 p. 4 This opened on 11 March 1882, with Jacques Offenbach's opera Madame Favart, in which Florence St. John took the title rôle. The lessee was Mr. Edmund Burke and the manager, M. Marius.
Experimentation with nonlinear structure in film dates back to the silent film era, including D. W. Griffith's Intolerance (1916) and Abel Gance's Napoléon (1927).Debruge, Peter (December 7, 2007). "More scripts take nonlinear route". Variety. Retrieved on February 3, 2008. Nonlinear film emerged from the French avant-garde[5] in 1924 with René Clair’s Entr'acte, Dadaïst film and then in 1929 with Luis Buñuel and Salvador Dalí's Un Chien Andalou (English: An Andalusian Dog).
The Entr'acte expresses its pleasure that Gilbert and Sullivan are reunited. Brownlow and Moore as Luiz and Casilda Gilbert's aggressive, though successful, legal action had embittered Sullivan and Carte. But the partnership had been so profitable that Carte eventually sought to reunite the dramatist and composer. After many failed attempts by Carte and his wife, Gilbert and Sullivan reunited through the efforts of Tom Chappell, who published the sheet music to their operas.
Leigh Bowery Verwandlungskünstler ed. Angela Stief (Piet Meyer Verlag, Vienna, 2015) Photographs of McQueen are acquired by Central Saint Martins Museum and Study Collection. Collaborative short films and a live video are made with Dale Cornish for the musician's 2014 Xeric recordings (Entr'acte Records). Hanson curates a studios project which first shows as Studio Life Lines in a Docklands atrium as part of Photo Month Festival 2016, with emerging and established artists, film makers and photographers.
The revival was fairly faithful to the original 1982 production. Changes included the expanded version of the title song heard in the 1986 film, and expanded "You Never Know" with a "WSKID" radio introduction, and a revised Act I Finale and added Entr'acte before "Call Back in the Morning." The orchestrations were beefed up for the bigger theatre to add reeds, trumpets and percussion to the original 5-piece combo. The cast album was released on October 21, 2003.
The Overture was used for a ballet sequence in the 1952 Samuel Goldwyn film Hans Christian Andersen, starring Danny Kaye.IMDB entry for Hans Christian Andersen film, accessed 30 October 2014 The ballet sequence was danced by Zizi Jeanmaire. A fragment of Entr'acte #2 was used in many episodes of Wings of the Red Star. Another excerpt was incorporated into the Christmas carol Mille cherubini in coro, a song made popular by Luciano Pavarotti in a 1980 TV Christmas programme.
While all three films had no official overture, entr'acte or exit music, cinemas choose to show the films accompanied with the commercially available film soundtracks playing as the audience entered and exited theaters. Gettysburg and Hamlet were screened with two screenings a day while Gods and Generals was not. The 1997 film Titanic was 195 minutes long, prompting some cinemas to add a short mid-film break or to screen it without commercials for health and safety reasons.
Corney Grain (left) and Alfred German Reed (right) portrayed in Entr'acte in 1895, the year they both died Born at Teversham in Cambridgeshire, Grain was the youngest son of John Grain, a farmer, and his wife, Mary Anne. His sister, Harriet Ann, was the mother of the barrister and judge Sir Travers Humphreys. Grain received what he referred to as "an average middle-class education". In 1858, at the age of 14, he attended school in Germany.
The gala screening reunited many cast members with the Director Robert Wise, Producer Saul Chaplin, Choreographer Michael Kidd, Dance Assistant Shelah Hackett Kidd, and Julie Andrews, who was welcomed by a standing ovation from a packed house. While the initial US video release (on VHS and Laserdisc) featured a transfer of the entire 176 minute film (from the original 65mm camera negative and six-channel magnetic soundtrack), the DVD, mastered from 35mm elements, runs only 173 minutes, because Fox cut the intermission/entr'acte sequence. The laserdisc received a very favorable review from Laserdisc Newsletter, however fans have since written in online reviews and home theatre forums criticizing the DVD for, among other things, loss of the intermission/entr'acte, inaccurate framing, sound mix, and color (particularly the sepia tint the DVD added to the B&W; sequences not being the original filmmakers' choice). Long after laserdiscs stopped being a current format, fans have stated in some forums that they still preferred to watch the laserdisc rather than the DVD.
Cernat, p. 222; Răileanu & Carassou, p. 167; Sandqvist, p. 355 He was assigned a permanent column, known as Fenêtres sur l'Europe/Ferestre spre Europa (French and Romanian for "Windows on Europe").Cernat, p. 222 With Barbu Florian, Fondane became a leading film reviewer for the magazine, pursuing his agenda in favor of non-commercial and "pure" films (such as René Clair's Entr'acte), and praising Charlie Chaplin for his lyricism, but later making some concessions to talkies and the regular Hollywood films.Cernat, p.
Félix-Henri Duquesnel produced a revival of the play in 1876 at the Théâtre du Gaité.. He commissioned his friend Jules Massenet to write an overture, intermezzo, and incidental music (respectively a Prélude, Entr'acte, and two Mélodrames). The music (Opus number 10) was conducted at the première by Édouard Colonne. It was an early boost to Massenet's career. He wrote in his memoirs: :Dusquesnel placed forty musicians at my disposal, which, under the circumstances, was a considerable expense and a great favor.
Entr'acte. The second act begins with a musical interlude of about two minutes, which sets the scene in the garden. After some emphatic introductory orchestral chords and horn calls, harp arpeggios lead into the main section which employs the Theme of Hamlet's Love, initially played by horn and strings, followed by solo horn accompanied with clarinet and flute figures reminiscent of bird calls.Piano-vocal score, pp. 85-86; DVD with Simon Keenlyside as Hamlet, Disc 1, Chapter 10 (48:23-50:20).
Entr'acte: Géronte's house (Air "Vive la médicine") After Sganarelle has been introduced to the 'patient' Lucinde, her lover Léandre obtains an interview with him, and under the disguise of an apothecary, arranges an elopement with Lucinde while the mock doctor distracts the father. (Scene and chorus "Sarviteur Monsieur le Docteur") (Change of scenery) Sganarelle and Jacqueline flirt (Duo "Ah! que j'en suis, belle nourrice"). When the mock doctor and his apothecary return, Lucinde sees her lover and instantly regains the power of speech.
The film as originally released ran 189 minutes (including overture, intermission, entr'acte, and exit music). This roadshow version would be issued on VHS and LaserDisc from the best available elements. For general release, this was then subsequently cut by United Artists to 161 minutes and is the version seen on the 2005 DVD release from MGM Home Video (as the best elements suitable for DVD came from the general release). Both versions have been broadcast on Turner Classic Movies and This TV Network.
This is a chronological partial list of films which include a musical Overture at the beginning, against a blank screen or still pictures. Not included are films where an overture is used to present the credits, or underscored scenes that are already part of the plot. Often, but not necessarily, these films also include an intermission with entr'acte, followed by exit music (after the credits). This list documents the rise and fall of the Overture/Roadshow practice over film history.
Its famous Méditation, the entr'acte for violin and orchestra played between the scenes of act 2, is an oft-performed concert music piece; it has been arranged for many different instruments. The role of Thaïs, similar to another Massenet heroine also written for Sibyl Sanderson, Esclarmonde, is notoriously difficult to sing and is reserved for only the most gifted of performers. Modern interpreters have included Carol Neblett, Anna Moffo, Beverly Sills, Leontyne Price, Renée Fleming, and Elizabeth Futral.Occhietti, Serge (10 January 2009).
" Throughout the text one feels how Balzac was in a hurry to finish on time. Under the pressure of his creditors, he worked himself to the point of exhaustion.p.48-49 in: The magazine Soviet Ballet No. 1 – 1991 Menuet from the opera-entr'acte The Shagreen Bone As composer and librettist in one, Khanon created a complete spectacle, a compressed version, a sort of extract of the formal ballet language. His aim was to stage not only a ballet but a "ballet about ballet.
Austria, Belgium, Spain, Russia, Germany, England) with great success. His success was so great in Spain, matchboxes were sold bearing his portrait. His portrait (with political and social significance) appeared in well-known papers all across Europe, including Journal Illustre, Illustrationa Spana y America, Der Wostellung Zeitung, La Campana de Gracia, La Bombe, Le Jeune Garde, La Caricature, The Entr'acte, The Looking Glass, and The Northern Review. In 1889, when Trewey was around 40 years of age, he joined Alexander Herrmann in New York.
For unexplained reasons the original UK DVD release is a pan and scan version from a noticeably grainy CinemaScope print, even though the companion DVD of South Pacific was taken from a pristine Todd-AO master and presented in widescreen. The 50th Anniversary US DVD release of Oklahoma! by partial rights holder 20th Century Fox is a double-disc release that includes both the CinemaScope and original 70 mm Todd-AO versions in widescreen. The Todd-AO version has an Overture, intermission with Entr'acte, and Exit Music.
Robert Donne (born 1967) is a musician and film composer from Richmond, Virginia. He has recorded works with a variety of groups and individuals including Labradford (Kranky), Aix Em Klemm (Kranky), Spokane (Jagjaguwar), Gregor Samsa, Cristal (Flingco Sound System, Entr'acte), Pan.American (Kranky), Stephen Vitiello (Geographic North), and most recently Anjou (Kranky). His work as a composer includes Rick Alverson's Entertainment, which premiered at the 2015 Sundance Film Festival, and New Jerusalem (2011 Film Festival Rotterdam), as well as Daniel Carbone's Hide Your Smiling Faces (2013 Berlinale).
In 1942, he composed the score for the film Chetniks! The Fighting Guerrillas. In 1946, at the behest of Alfred Newman, Friedhofer was hired to compose the score for the 1946 William Wyler directed film, The Best Years of Our Lives, which earned him an Oscar for Best Original Score at the 1947 Academy Awards, beating Bernard Herrmann, Miklós Rózsa, William Walton and Franz Waxman. A new recording of the score, released in 1979 by Entr'acte Recording Society, was favorably received at the time.
Relâche is a 1924 ballet by Francis Picabia with music composed by Erik Satie. The title was thought to be a Dadaist practical joke, as relâche is the French word used on posters to indicate that a show is canceled, or the theater is closed. The first performance was indeed canceled, due to the illness of Jean Börlin, the principal dancer, choreographer, and artistic director of the Ballets suédois. Picabia commissioned filmmaker René Clair to create a cinematic entr'acte to be shown during the ballet's intermission.
In the same period as the cycle Images of Chaos (from 1989) he started to compose music for theatre and film. Both types of Eric's production, theatre and film music and the "classical" works (from the Chaos cycle as well as his music after 2000 – Six Scenes – Comments, Con suono pieno, Who shot a Seagull? Don’t you remember, you shot a seagull! (A. Chekhov), Seven Glances at the Sky, Entr'acte, B’n’R (Blues & Rhythm)), are specifically amalgamated and mutually imbued by common compositional-technical moves.
The role of the female servant was originally that of an entr'acte dancer. Women were not allowed to be part of the story that was being played out on stage, but they were allowed to have a dance in-between the action. Eventually these women became the buxom and gossipy servants of characters that were already allowed on stage, and then, later, the counterparts to the Zanni characters. She was very down to earth and could always see the situation for what it actually was.
For example, reprises, or minor songs might not be included. By the 1980s, the rise of the compact disc with its 74-minute recording capacity (which was increased to 80 minutes in the 1990s) resulted in improvements in cast recordings, which were now usually capable of including all songs, the full overture and entr'acte, and, when appropriate, lead-in dialogue to the songs. In recent years, some cast recordings have been recorded live, in recording studios incorporated into the theater concerned. Otherwise, live recordings tend to trade sound quality for freshness and immediacy.
Picabia, the provocateur, was back home. Francis Picabia, Réveil Matin (Alarm Clock), Dada 4-5, Number 5, 15May 1919 Picabia continued his involvement in the Dada movement through 1919 in Zürich and Paris, before breaking away from it after developing an interest in Surrealist art. (See Cannibale, 1921.) He denounced Dada in 1921, and issued a personal attack against Breton in the final issue of 391, in 1924. The same year, he put in an appearance in the René Clair surrealist film Entr'acte, firing a cannon from a rooftop.
Clair's reputation as a film-maker underwent a considerable reevaluation during the course of his own lifetime: in the 1930s he was widely seen as one of France's greatest directors, alongside Renoir and Carné, but thereafter his work's artifice and detachment from the realities of life fell increasingly from favour.David Thomson, A New Biographical Dictionary of Film. (London: Little, Brown, 2002). p.160. The avant-gardism of his first films, and especially Entr'acte, had given him a temporary notoriety, and a grounding in surrealism continued to underlie much of his comedy work.
During the preview period in London, the musical had the song "Summer Night City" just after the prologue. The "Summer Night City" scene was a wedding rehearsal and during the song, Ali, Lisa, Tanya, and Rosie arrived on the island. The song was removed, although a small instrumental part of it remains as underscoring to connect the end of "The Winner Takes It All" and "Take a Chance on Me". Several lines of "Summer Night City" are also heard in the "Entr'acte" (the most noticeable line is "Time to breathe and time to live").
This caused concern for the group given that it was their first release after a seven-month break; the single however reached a new peak of No.5 the following week. Nevertheless, it remained ABBA's lowest-charting single in the UK for the period 1976-1980.. "Summer Night City" makes small appearances in the musical Mamma Mia!. Samples from the song appear in scrambled "nightmare" form during the entr'acte, and is also scene change music between the songs "The Winner Takes It All" and "Take a Chance on Me".
Instead, his main interest was chess, which he studied for the rest of his life to the exclusion of most other activities. Duchamp is seen, briefly, playing chess with Man Ray in the short film Entr'acte (1924) by René Clair. He designed the 1925 Poster for the Third French Chess Championship, and as a competitor in the event, finished at fifty percent (3–3, with two draws), earning the title of chess master. During this period his fascination with chess so distressed his first wife that she glued his pieces to the chessboard.
The film debuted on American television in a truncated form, but with its original title. Within a week, it was broadcast in the United Kingdom at its original length, with only the overture and entr'acte eliminated. One unusual feature about the uncut original version of the film was that, like many released today, it had no opening credits. The only credits seen at the beginning were fictitious – those of the newsreel film within the film – about Gertrude Lawrence, which, after an onscreen overture, is the first thing the audience viewing the film sees.
He took up the violin at an early age and won a scholarship to the Guildhall School of Music. Firman’s first job, at the age of thirteen, was at the Playhouse Theatre, London, where he was part of a quintet playing entr'acte music. A year later his father negotiated a position for him in the orchestra at the Victoria Hotel in Northumberland Avenue. After only three months in this job he secured the part of Sascha, a gypsy violinist in the musical Sally at the Winter Garden Theatre, Drury Lane.
For instrumentation details, see Percussion Ensemble Music 1910–1940. The first entr'acte in Dmitri Shostakovich's opera The Nose (1928) is scored for percussion ensemble. During this era, Cowell also spread the ultra-modernists' experimental creed as a highly regarded teacher of composition and theory—among his many students were George Gershwin, Lou Harrison, who said he thought of Cowell as "the mentor of mentors,""An interview with Lou Harrison" interview by Alan Baker, June 2002; part of the American Public Media/American Mavericks website. Retrieved 4/14/07.
The original New York run of the English-language film Cyrano de Bergerac (1950), starring Jose Ferrer and based on Edmond Rostand's 1897 French play, was likewise presented in a roadshow format (that is, one or two performances a day), although the film is only two hours long, was not produced on a large budget, and does not contain an intermission. The 1951 Show Boat was also shown in a roadshow format in some theaters, despite being less than two hours long, and not having an overture, intermission, entr'acte, or exit music.
The company's last production was the Dadaist ballet Relâche (1924), whose title means a cancelled performance. There was no recognizable classical dancing in this ballet, the cast of which included a fireman, an elegant lady, and nine men who at one point doffed their evening clothes to reveal their long underwear. The backdrop, designed by Picabia (who also wrote the scenario), consisted of row upon row of automobile headlamps, which were brightened and dimmed during the performance. René Clair's film Entr'acte, the first to be used in a ballet, was played during the intermission.
Emphasis was put on fire safety. An area-way demanded by the Department of Public Safety ran from street to street on either side of the theatre, affording ample space for substantial steel stairways leading down from the emergency exits. An automatic asbestos safety curtain fronted the entr'acte drop, which was decorated with a damask valance separated into three sections, fringed with galloons. The centre of each section was embroidered with an embossed wreath, giving them a rich effect, materially enhanced by a highlight gold border running the full width of the curtain.
Désormière's early conducting experience was largely with the Ballets suédois and Sergei Diaghilev's Ballets Russes. He was conductor of the Ballets suédois's premiere of Relâche (1924), a film and music presentation by Francis Picabia and Erik Satie, with the film segment, Entr'acte, directed by René Clair. He then worked for the Diaghilev company from 1925 until the impresario's death, conducting the premieres of Barabau by Vittorio Rieti, The Prodigal Son and Le pas d'acier by Sergei Prokofiev, and La Chatte by Henri Sauguet.R. Buckle: Diaghilev (London, Weidenfeld & Nicolson, 1979).
He also composed dozens of short genre pieces, often styled 'intermezzo' or 'entr'acte', several songs and ingeniously titled suites such as Below Bridges. which had the titles Wapping Old Stairs, Poplar and Stepney Church, -- all London bridges. Around the time of the First World War Ancliffe composed many waltzes, and it is mainly for these that he is remembered. These included Hesitation, Alpine Echoes, and Smiles Then Kisses, the titles reflecting the age in which they were written. Several of these enjoyed renewed popularity with the fashion for ‘olde-tyme dancing’ after World War II.
Entr'acte cartoon: Bobby Abel to W. G. Grace: "Look here, we players intend to be sufficiently paid, as well as the so-called gentlemen!" Whatever criticisms may be made of Grace for making money for himself out of cricket, he was "punctilious in his aid when (professional players) were the beneficiaries".Midwinter, pp.73–74. For example, when Alfred Shaw's benefit match in 1879 was ruined by rain, Grace insisted on donating to Shaw the proceeds of another match that had been arranged to support Grace's own testimonial fund.
Alfred Bryan in 1898 Alfred Bryan (1852–1899) (born as Charles Grineau)Bryan de Grineau in Motoring Art was a popular English illustrator, best known for his many contributions to the London-based weekly theatrical review Entr'acte. Bryan's first professional sketches were published in The Hornsey Hornet. He also produced sketches for The London Figaro.Forbes, Frank 'A Chat with Alfred Bryan The Temple Magazine (1898) Bryan worked for the Illustrated Sporting and Dramatic News for most of his career and was also published in periodicals such as Judy magazine.
Nikolai Rimsky-Korsakov wrote that soon after the premiere, the Mariinsky management made cuts to the opera, which angered Taneyev. The best-known excerpt from Oresteia is the entr'acte played before the second tableau of Part III, "The Temple of Apollo at Delphi." This passage, as well as other themes from the opera, figured into one of Taneyev's other works, namely, his orchestral overture entitled Oresteia (1889). This overture—not included in the printed score of this opera—constitutes a separate 18-minute-long symphonic poem based on themes from the trilogy.
The show featured a burlesque centrepiece which required Little Tich to dress as a ballerina and gave him the opportunity to perform two of his earliest songs, "Smiles" and "I Could Do, Could Do, Could Do with a Bit", both written for him by Walter Tilbury.Findlater & Tich, p. 45 In 1890 Little Tich continued to impress his London music hall audiences and appeared on the front covers of both the Entr'acte and the Music Hall magazines, with the latter being widely available in the majority of London music hall auditoriums.Findlater & Tich, p.
In the woods, Belle is attacked by wolves and is only rescued when the Beast comes to her aid, but he is injured during the fight and collapses ("Entr'acte/Wolf Chase"). Instead of taking the chance to run home, Belle helps him back to the castle. She cleans his injuries, and after a brief argument about whose fault this is, the Beast thanks her for her kindness, and thus, their friendship is born. Wanting to give her a thank-you gift, the Beast gives Belle his huge library, which excites her.
In 1947 he joined the Intimate Opera Company: as Ashton recalled, "in the old days of Grand Opera they used to have Entr'Acte – 'in-between-the-acts' short pieces. In the interval, two or three people would come on and do some other little opera by Mozart, Dibden [sic] and Purcell. ... We would travel all around the country touring for a week doing three operas a night." In December 1947, Ashton joined Benjamin Britten's English Opera Group, understudying Peter Pears and creating the role of the Mayor in Albert Herring.
The Triangle Club archives begin in 1883 with a production of the Princeton College Dramatic Association; during the next five years the Association presented a number of plays. In keeping with the practice of British and American all-male institutions at the time, women's roles were played by men. Entr'acte music, provided by the Instrumental or Banjo Clubs, consisted of popular dance tunes or operatic excerpts. Student theatricals were performed for the benefit of financially ailing athletic associations, and the sporadic activity of the Dramatic Association can be explained by the fluctuating fortunes of the sports teams.
The strings present the dense sonorities of the melodic material of "A Spring in the Park," which is followed by the "Three Blind Sisters," in which another cor anglais solo is answered by monolithic orchestral harmonies. The sixth movement, "Pastorale," is scored for woodwind and string instruments and exhibits the subtlety of chamber music. The seventh, "Mélisande at the Spinning Wheel," presents the largest and most dramatic image heard so far, which is followed by an Entr'acte. This immense movement could serve as a symphonic finale in its own right but the pace of the drama demands an epilogue.
The full-scale classical orchestra, deployed at the end of the century for the largest-scale symphonies, has the standard string ensemble mentioned above, pairs of winds (flutes, oboes, clarinets, bassoons), a pair of horns, and timpani. A keyboard continuo instrument (harpsichord or piano) remained an option. The "Italian" style of symphony, often used as overture and entr'acte in opera houses, became a standard three-movement form: a fast movement, a slow movement, and another fast movement. Over the course of the 18th century it became the custom to write four-movement symphonies, along the lines described in the next paragraph.
All compositions by Pyotr Ilyich Tchaikovsky # "Overture" - 3:22 # "Toot Toot Tootie Toot (Dance of the Reed-Pipes)" - 2:30 # "Peanut Brittle Brigade (March)" - 4:37 # "Sugar Rum Cherry (Dance of the Sugar-Plum Fairy)" - 3:05 # "Entr'acte" - 1:53 # "Volga Vouty (Russian Dance)" - 2:52 # "Chinoiserie (Chinese Dance)" - 2:50 # "Danse of the Floreadores (Waltz of the Flowers)" - 4:04 # "Arabesque Cookie (Arabian Dance)" - 5:44 Recorded on May 26 (tracks 1 and 5), May 31 (track 2), June 3 (tracks 4 and 8), 21 (tracks 3 and 7) and 22 (tracks 6 and 9), 1960.
Also, the Greek millionaire's solo, "When I'm Being Born Again" is given completely different lyrics ("When I Come Around Again") and sung instead by Daisy's friends. The overture recorded on the cast album combines the "overture" and "entr'acte" printed in the vocal score. The 1970 film version departed from the musical significantly, adding a character for Jack Nicholson (an ex-stepbrother named "Tad"), and changing details of other characters, moving the period of Melinda's life ahead by a decade or two (into the early 19th century), removing several songs, changing lyrics and adding two new songs.
The Méditation is an instrumental entr'acte performed between the scenes of Act II in the opera Thaïs. In the first scene of Act II, Athanaël, a Cenobite monk, confronts Thaïs, a beautiful and hedonistic courtesan and devotée of Venus, and attempts to persuade her to leave her life of luxury and pleasure and find salvation through God. It is during a time of reflection following the encounter that the Méditation is played by the orchestra. In the second scene of Act II, following the Méditation, Thaïs tells Athanaël that she will follow him to the desert.
In December 2012, the song "Arrival of the Birds" from the soundtrack for The Crimson Wing: Mystery of the Flamingos appears in a commercial for the women's perfume Acqua di Gioia by Giorgio Armani. The song also appears at the end of the 2014 film The Theory of Everything and in the short film Together Apart from the Cornetto Cupidity Series. An excerpt near the 16 minute mark of the "In Motion #1" track "Entr'acte" was used in part two of Top Gear's Africa Special that originally aired on 10 March 2013. The song closed the documentary Noma My Perfect Storm in 2015.
There are three printed scores of Don Procopio, a vocal score published in 1905 before the premiere, a full score and a second vocal score, all of which are misleading by failing to distinguish genuine Bizet from fake (entr'acte and recitatives). The second and third scores contain two airs for Don Procopio adapted from Bizet's songs; additional instruments were added to the scoring. The autograph score of Don Procopio was discovered in the papers left by Daniel Auber at his death in 1871 and it was acquired from the Auber family by the Paris Conservatoire in 1894.Dean W. Bizet.
Stravinsky re-scored the piece in a few days and, according to fellow composer Robert Craft, he enjoyed his work. Given the fact that only portions of the score had gotten to the United States by this time, and were only available in the form of piano reductions, this was a re-orchestration on the part of Stravinsky, which is why it is often entitled a "re-scoring" by other Stravinsky experts. This was not the first time Stravinsky orchestrated a segment from The Sleeping Beauty, as he also orchestrated a very brief solo variation in Act II (No. 15b) and the Entr'acte that opened the following scene (No. 18).
Williamson, p. 63 Gilbert's Illustration of "A British tar" (1906) The best-known songs from the operaShepherd, Marc. "G&S; Compilations from the D'Oyly Carte Sets", the Gilbert and Sullivan Discography, 24 December 2003, accessed 10 June 2016Shepherd Marc. "G&S; Compilations: Miscellaneous", the Gilbert and Sullivan Discography, 7 November 2001, accessed 10 June 2016 include "I'm called Little Buttercup", a waltz tune introducing the character, which Sullivan repeats in the entr'acte and in the Act II finale to imprint the melody on the mind of the audience;Jacobs, p. 119. Gilbert had introduced this character in his 1870 Bab Ballad "The Bumboat Woman's Story".
In November 1924 Eggeling was able to present his new finished film Symphonie diagonale in a private screening. On 3 May 1925 the Sunday matinee program Der absolute Film took place in the UFA-Palast theater at the Kurfurstendamm in Berlin. Its 900 seats soon sold out and the program was repeated a week later. Eggeling's Symphonie diagonale, Richter's Rhythmus 21 and Rhythmus 23, Walter Ruttmann's Opus II, Opus III and Opus IV were all shown publicly for the first time in Germany, along with the two French dadaist cinéma pur films Ballet Mécanique and René Clair's Entr'acte, and Ludwig Hirschfeld-Mack's performance with a type of color organ.
The gods begin to lose their youth on Freia's departure During the first entr'acte, the Ring motif is transformed into the multipart and oft- reiterated "Valhalla" music – four intertwined motifs which represent the majesty of the gods and the extent of Wotan's power. Scene two begins on the mountaintop, in sight of the newly-completed castle, where Fricka and Wotan bicker over Wotan's contract with the giants. This duologue is characterised by Fricka's "Love's longing" motif, in which she sighs for a home that will satisfy Wotan and halt his infidelities. Freia's distressed entrance is illustrated by "Love", a fragment that will recur and develop as the Ring cycle unfolds.
Originally entr'actes resulted from stage curtains being closed for set or costume changes: to fill time as not to halt the dramatic action, to make a transition from the mood of one act to the next, or to prevent the public from becoming restless. In front of the closed curtains, the action could be continued during these entr'actes, albeit involving only players with no scenery other than the curtain, and a minimum of props. An entr'acte can take the action from one part of a large-scale drama to the next by completing the missing links. The Spanish Sainete often performed a similar function.
In December 2019, NYO-China announced plans for a 2020 Sinfonietta Series that would bring students to Moscow, Russia among various other destinations in mainland China. In celebration of the 250th anniversary of Beethoven's birth, the ensemble will be performing his Coriolan Overture and Symphony No. 7 in A minor; other pieces on the program include Felix Mendelssohn's Violin Concerto in E minor and Caroline Shaw's Entr'acte. The ensemble will feature violinist Simone Porter and once again be led by Ludovic Morlot. NYO-China's Managing Director Vincent Accettola has indicated plans to take the orchestra to a different continent or geographic locus every season.
Traubner, pp. 89–90 Caryll, known as a very expressive conductor, conducted W. S. Gilbert and Alfred Cellier's The Mountebanks at the Lyric in 1892. Cellier died during rehearsals for the piece, and Caryll wrote the overture, the entr'acte, and finished some of the orchestration. His work on the piece received critical praise.Walker, Raymond J. "Alfred Cellier (1844-1891): The Mountebanks, comic opera (1892); and Suite Symphonique (1878)", Music Web International, 2018 Also in 1892, with George Dance, Caryll adapted an opéra comique called Ma mie Rosette, based on a French piece by Paul Lacôme, starring Jessie Bond and Courtice Pounds at the Globe Theatre.
After the Entr'acte, in Hart's office, the three women are pondering on how they can keep the office in the dark about Hart's disappearance when Doralee's skill of being able to forge Hart's signature comes into play. Judy and Doralee both point out to Violet that she is, in a sense, the new Operating Officer of the company. Violet then lapses in fantasy and sings a song about she is now a hard-hitter like the rest of the male employees (who seems to rank above the women) ("One of the Boys"). Roz begins to get nosy and wonders where Hart actually is, which creates a new obstacle for the ladies to rid.
Thomas Dartmouth Rice's successful song-and-dance number, "Jump Jim Crow", brought blackface performance to a new level of prominence in the early 1830s. At the height of Rice's success, The Boston Post wrote, "The two most popular characters in the world at the present are [Queen] Victoria and Jim Crow.". As early as the 1820s, blackface performers called themselves "Ethiopian delineators"; from then into the early 1840s, unlike the later heyday of minstrelsy, they performed either solo or in small teams. Blackface soon found a home in the taverns of New York's less respectable precincts of Lower Broadway, the Bowery, and Chatham Street.. It also appeared on more respectable stages, most often as an entr'acte.
Richard May, VP Film Preservation at Warner Bros., sent an email to Robert Morris, co-author of a book on Lawrence of Arabia, in which he noted that Gone With the Wind was never edited after its premiere and is 19,884 ft of 35 mm film (without leaders, overture, intermission, entr'acte, or walkout music), corresponding to 220.93 min. Thus, Lawrence of Arabia is slightly more than 1 minute longer than Gone With the Wind and is, therefore, the longest movie ever to win a Best Picture Oscar. In January 1963, Lawrence was released in a version edited by 20 minutes; when it was re-released in 1971, an even shorter cut of 187 minutes was presented.
However, sources are at variances as to the identity of that person. According to some of them, it was composer Antonio Sacchini, who quickly trained her and introduced to the Opéra Comique, while other sources suggest that she caught the attention of , the shortly to-be Director of the Académie Royale de Musique, and the Opéra ought to have been the theatre she was engaged for. Details about her Parisian sojourn are scant and uncertain.According to Carr and Staccioli, she might even have already made her debut at the Opéra in 1776 in an entr'acte in Gluck's Iphigénie en Aulide; this version is also supported by , which specifies also the role performed by Banti (Diana).
The Cinemascope version of the film was first telecast as a Thanksgiving Day special by CBS, on the evening of November 26, 1970. Unlike some later telecasts of the film, this one was presented complete and uncut, except for the Overture, Entr'acte, and Exit Music. As with its 1960s telecasts of The Wizard of Oz, CBS felt that the film needed a host to introduce it, so they brought in Sebastian Cabot, Anissa Jones, Johnny Whitaker, and Kathy Garver, all from the long-running CBS sitcom Family Affair, to serve as hosts. The four of them, rather than appearing as themselves, spoke their lines in character, as if they were still playing their roles from the series.
In a roadshow release, a large-scale epic film would open in larger cities in an engagement much like a theatrical play or musical, often with components such as an overture, the first act, the intermission, the entr'acte, the second act, and the exit music. The overture should not be confused with the main title music. The overture, recorded on film without a picture (and years later, on tape), was always played before the beginning of the film, while the lights were still up and the curtains were still closed. As the lights dimmed, the overture ended, the curtains opened, and the film began with its main title music and opening credits.
An early example of this was Gone with the Wind (1939). Running almost four hours in length, the film was divided into the above components, so that the film patron can experience the film as if they were seeing an actual play in a theater. The original theatrical release of Walt Disney's Fantasia, presented in Fantasound in selected large cities in the United States, never had an overture, entr'acte, or exit music. Still, Fantasia was first released in the roadshow format, included an intermission in its first run, and was originally presented without on-screen credits to perpetuate a concert-going experience—the printed souvenir program, given out to patrons as they entered the theater, presented the film's credits.
The Entr'acte cartoon of 1882 captioned, "Now, Mr Booth, let us know what you are going to do with all this money!" During its early years The Salvation Army faced a great deal of opposition, especially from those in the alcohol-selling industry who were concerned that the activities of Booth and his followers would persuade the poorer classes to stop drinking. One group opposed to Booth and The Salvation Army was the Skeleton Army, a diffuse group, particularly in Southern England, that opposed and disrupted The Salvation Army's marches against alcohol from the early 1880s until about 1892. Clashes between the two groups lead to the deaths of several Salvationists and injuries to many others.
Following an entr'acte in which Persephone introduces herself and the band ("Our Lady Of The Underground"), we see Eurydice realize that in giving her life to Hadestown, all her memories will soon be lost in exchange for mindless work and she can never go back unless Hades says otherwise ("Way Down Hadestown (Reprise)"). She sings of her regrets as her memories of the aboveground slowly begin to fade ("Flowers"). Orpheus, having made his way to Hadestown following Hermes' directions, finds Eurydice and begs her to come home with him ("Come Home With Me (Reprise)"). Hades arrives and reveals to Orpheus that Eurydice went to Hadestown willingly and attempts to chase him off his property ("Papers").
Early Russian filmmakers such as Lev Kuleshov (already mentioned) further explored and theorized about editing and its ideological nature. Sergei Eisenstein developed a system of editing that was unconcerned with the rules of the continuity system of classical Hollywood that he called Intellectual montage. Alternatives to traditional editing were also explored by early surrealist and Dada filmmakers such as Luis Buñuel (director of the 1929 Un Chien Andalou) and René Clair (director of 1924's Entr'acte which starred famous Dada artists Marcel Duchamp and Man Ray). The French New Wave filmmakers such as Jean-Luc Godard and François Truffaut and their American counterparts such as Andy Warhol and John Cassavetes also pushed the limits of editing technique during the late 1950s and throughout the 1960s.
Marguerite Bonnet (Œuvres Paris: Gallimard, 1988), 51-105. is often considered to be the first Surrealist work, but it was only once Breton had completed his Surrealist Manifesto in 1924 that ‘Surrealism drafted itself an official birth certificate.’As agreed by interviewer and interviewee. Breton and Parinaud, 71 Surrealist films of the twenties include Rene Clair's Entr'acte (1924), Fernand Leger's Ballet Mechanique (1924), Jean Renoir's La Fille de L'eau (1924), Marcel Duchamp's Anemic Cinema (1926), Jean Epstein's Fall of the House of Usher (1928) (with Luis Buñuel assisting), Watson and Webber's Fall of the House of Usher (1928)Em Gee Film Library, Catalog 83 (no date) Murray Glass,Editorial assistant Rhoda Friedman and Germaine Dulac's The Seashell and the Clergyman (1928) (from a screenplay by Antonin Artaud).
Franz Schubert's Symphony No. 8 in B minor, D 759 (sometimes renumbered as Symphony No. 7, in accordance with the revised Deutsch catalogue and the Neue Schubert-Ausgabe), commonly known as the Unfinished Symphony (), is a musical composition that Schubert started in 1822 but left with only two movements—though he lived for another six years. A scherzo, nearly completed in piano score but with only two pages orchestrated, also survives. It has been theorized by some musicologists, including Brian Newbould, that Schubert may have sketched a finale that instead became the big B minor entr'acte from his incidental music to Rosamunde, but all evidence for this is circumstantial. One possible reason for Schubert's leaving the symphony incomplete is the predominance of the same meter (triple meter).
An entr'acte at Nicolet's theatre About 1767 one of the Nicolet's star attractions was a monkey named Turco who would lead parades along the boulevard to the theatre, then take the stage and enact current events. Nicolet once dressed the monkey in a dressing gown, nightcap, and slippers, similar to the costume worn by the Comédie-Française comic actor , and trained the animal to imitate the actor's gestures. To the further delight of the audience Turco frequently scampered up to the ladies' boxes to sit on the railing and beg for candies. Another attraction was a group of Spanish acrobats, one of whose members danced blindfolded, spinning and dashing about on a stage strewn with eggs, none of which were disturbed.
When the insert was intended only to shift the mood before returning to the main action, without a change of scene being necessary, authors could revert to a "play within a play" technique, or have some accidental guests in a ballroom perform a dance, etc. In this case the insert is a divertimento (the term is Italian; the French divertissement is also used) rather than an entr'acte. In the French opera tradition of the end of the 17th century and early 18th century (Jean-Philippe Rameau, for example) such divertissements would become compulsory in the form of an inserted ballet passage, a tradition that continued until well into the 19th century. This was eventually parodied by Jacques Offenbach: for example, the cancan ending Orpheus in the Underworld.
Dr. Nechvatal has also contributed to digital audio work with his noise music viral symphOny, a collaborative sound symphony created by using his computer virus software at the Institute for Electronic Arts at Alfred University. viral symphOny was presented as a part of nOise anusmOs in New York in 2012. In 2016, a limited edition CD recording of his sex farce poetry book Destroyer of Naivetés was released on Entr'acte label under the name of Cave Bacchus. Cave Bacchus is Nechvatal, Black Sifichi and Rhys Chatham.Cave Bacchus: Joseph Nechvatal, Black Sifichi, Rhys Chatham Destroyer of Naivetés Entr’acte CD (E207) In 2013, Nechvatal showed work in Noise, an official collateral show of the 55th Venice Biennale of Art, that was based on his book Immersion Into Noise.
Rudd was born in London and made his first professional stage appearance at the age of 22 at Deacons Music Hall in Clerkenwell, where a reviewer called him a "comedian of decidedly modern stamp".London and Provincial Entr'acte, 4 January 1890 For the next forty years Rudd performed with success in all the major London music halls and in the British provinces as well as undertaking a number of tours abroad to the United States, South Africa, Australia and New Zealand. He had a large repertoire of songs, many of which he wrote and composed himself, including "Sailors Don’t Care", "Here We Suffer Grief and Pain" and "She Was In My Class". Rudd continued to work right up to his death in 1929, aged 60.
During the course of the show's run, several changes were made to the show's script and musical numbers. "Something Kinda Funny" was replaced with a reprise of "Wannabe", "The Lady Is a Vamp" was reinstated into the show after being removed, and "Say You'll Be There" was re-orchestrated into an up-tempo number more similar to the original version of the song. The Entr'acte was shortened, "Time Goes By" was replaced with a reprise of "Mama", A few lines of "Never Give Up on the Good Times" were added and sung a cappella into the second act of the show, "I Turn to You" was removed from the show as well as the reprise of "Saturday Night Divas", and "Headlines (Friendship Never Ends)" was shortened.
Cesare Pugni wrote extensively for the harp as well—his ballet Éoline, ou La Dryade included music written for harp to accompany the ballerina's numerous variations and enhance the atmosphere of the ballet's many fantastical scenes. Ludwig Minkus was celebrated for his harp cadenzas, most notably the Variation de la Reine du jour from his ballet La Nuit et le Jour (1881), the elaborate entr'acte composed for Albert Zabel from his ballet Roxana (1878), and numerous passages found in his score for the ballet La Bayadère, which in some passages were used to represent a veena, which was used on stage as a prop. French ballet composers such as Delibes, Gounod, and Massenet made use of the harp in their music.
The style was set by the first production, Jupiter Translated, an adaptation of Molière's Amphitryon by Walter James Turner with a ballet by Rupert Doone as entr'acte. The theatre's reputation was established in 1935 by the first London productions of T. S. Eliot's Murder in the Cathedral, transferred from Canterbury, and two years later by W. H. Auden and Christopher Isherwood's collaborative poetic play The Ascent of F6. 1943 saw the production of Eugene O'Neill's Days Without End. The Pilgrim Players' seasons in 1945–1947, under the direction of E. Martin Browne, consolidated the position of poetic drama at the Mercury with such productions as Norman Nicholson's The Old Man of the Mountains, Ronald Duncan's This Way to the Tomb and Anne Ridler's The Shadow Factory.
Cellier suffered from tuberculosis for most of his adult life,Stedman, p. 279 but during the composition of The Mountebanks he deteriorated rapidly and died, at the age of 47, while the opera was still in rehearsals. All of the melodies and vocal lines in the opera were composed by Cellier, but the orchestration was incomplete when he died. The score was completed by the Lyric Theatre's musical director, Ivan Caryll, a successful composer who became one of the best-known composers of Edwardian Musical Comedy.Gänzl, Kurt, "Caryll, Ivan (1861–1921)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 12 January 2011 Caryll composed the entr'acte, using the melody from Number 16, and he wrote or modified the orchestration for more than half a dozen of the songs.
At this juncture, the sculptor would > commence stirring, whereupon both statue and 'reflection' would leap back > and, resuming their original poses, thus satisfying the now awakened > chiseller of marble that all which had transpired was actually nothing but a > dream. Monte Saldo was one of the few men who have enhanced a reputation > made on the stage as a strongman by feats performed away from its atmosphere > of glamour and make-believe. The first man in the world to 'swing' over his > own bodyweight with one hand, and one of the most successful trainers of > strong men ever known..."Zass, Alexander The Amazing Samson, As Told by > Himself, London, 1926, pp. 66-68 The Entr'acte said of this new routine, "An absolutely original athletic act is given by the Montague Brothers.
It has been noted that this play started a trend with cross-dressing in plays of this era. "Between 1660 and 1700, eighty-nine of the three-hundred and twenty-five plays produced in London featured at least on female actor in male guise, and women frequently made cross-dressed appearances in entr'acte entertainment in all female productions." While it can be assumed that many plays at this time only involved the cross dressing because their young male actors were no longer young enough to pass for females, we can also look at this through a feminist lens. Charlotte is not only asserting her own rights by dressing as a man and taking control of her own destiny, but also puts Charlotte as a primary character and main source of plot development.
The Salle Ventadour was reopened on 10 June 1834 as the Théâtre Nautique — "nautique" since some of the main attractions were works performed in a basin of water on the stage. The programs included the ballet-pantomime Les ondines, which was based on Fouqué's novella Undine, about a water sprite who marries a knight in order to save her soul, and used music from E. T. A. Hoffmann's opera of the same name; a full-length ballet William Tell with music by the German composer Jacques Strunz; a one-act ballet Le nouveau Robinson which also utilized the water; and a chinoiserie entitled Chao-Kang. These were interspersed with choruses by Carl Maria von Weber and others, sung by the members of a German company that was being formed in Paris at that time. The entr'acte was the overture to Weber's opera Oberon.
Christoph Willibald von Gluck by Joseph Duplessis (1775) Don Juan ou Le Festin de Pierre (Don Juan, or the Stone Guest's Banquet) is a ballet with a libretto by Ranieri de' Calzabigi, music by Christoph Willibald von Gluck, and choreography by Gasparo Angiolini. The ballet's first performance was in Vienna, Austria on Saturday, 17 October 1761, at the Theater am Kärntnertor. Its innovation in the history of ballet, coming a year before Gluck's radical reform of opera seria with his Orfeo ed Euridice (1762), was its coherent narrative element, though the series of conventional divertissement dances in the second act lies within the well-established ballet tradition of an entr'acte effecting a pause in the story-telling. The ballet follows the legend of Don Juan and his descent into Hell after killing his inamorata's father in a duel.
The movements were derived from the following numbers: # At the Castle Gate (Prelude from Act I, scene 1) # Mélisande (Prelude from Act I, scene 2) # At the Seashore (Melodrama from Act I, scene 4) # A Spring in the Park (Prelude from Act II, scene 1) # The Three Blind Sisters (Mélisande's Song from Act III, scene 2) # Pastorale (Melodrama from Act III, scene 4) # Mélisande at the Spinning Wheel (Prelude from Act III, scene 1) # Entr'acte (Prelude from Act IV, scene 1) # The Death of Mélisande (Prelude from Act V, scene 2). Excluded from the suite is Prelude to Act IV, scene 2, as well as the vocal version of No. 5, Mélisande's Song. The opening movement of the suite for orchestra is called "At the Castle Gate". The strings introduce an atmospheric, brief theme, which is then restated with help from the woodwind.
As Frank leant back to be supported on Monte's palm, the lifter would > interpose a revolving disc on which his brother's back rested. Thus when > Frank had been pressed aloft, it enabled Monte to spin him. > At this juncture, the sculptor would commence to stir, whereupon both > statue and 'reflection' would leap back and, resuming their original poses, > thus satisfying the now awakened chiseller of marble that all which had > transpired was actually nothing but a dream..."Zass, Alexander The Amazing > Samson, As Told by Himself London (1926) pp 66–68] The Entr'acte said of this routine, "An absolutely original athletic act is given by the Montague Brothers. Their performance is entitled 'The Sculptor's Dream' and provides the most original setting we have ever seen, being athletic and at the same time effective when it comes to feats of strength pure and simple.
During most of its run on NBC, the film was heavily edited to fit a three-hour time slot—approximately 140 minutes without commercials. The thirty minutes edited out of the original film included portions of the "Morning Hymn and Alleluia" sung by the nuns, part of the dialogue between Mother Abbess and Maria in the abbey, part of Liesl and Rolfe's dialogue preceding "Sixteen Going on Seventeen", Liesl's verse of "Edelweiss" sung with the Captain, the Captain and Baroness waltzing at the party, and minor dialogue cuts within existing scenes. The film aired in its uncut form (minus the entr'acte) on April 9, 1995, on NBC. Julie Andrews hosted the four-hour telecast which presented the musical numbers in a letterbox format. As the film's home video availability cut into its television ratings, NBC let their contract lapse in 2001.
Crystal Palace playbill, 26 December 1889 Other later Gaiety burlesques choreographed by D'Auban included Ruy Blas and the Blasé Roué (1889) and Carmen Up to Data (1890). D'Auban continued to choreograph most of the Gilbert and Sullivan and other Savoy Theatre pieces throughout the 1880s and 1890s. These included Iolanthe (1882),Savoy Theatre playbill, Iolanthe, 25 November 1882Princess Ida (1884), The Mikado (1885)The Mikado , review in The Entr'acte, London, 28 March 1885, p.6a, accessed at the Footlight Notes website, 21 December 2009 (D'Auban is played by Andy Serkis in the 1999 film Topsy-Turvy concerning the making of The Mikado), Ruddigore (1887),Ruddigore cast information at The Gilbert and Sullivan Archive, accessed 15 December 2009 The Yeomen of the Guard (1888),The Era, 6 October 1888, p. 9 The Vicar of Bray (1892), Captain Billy (1892), Haddon Hall (1892),Trutt, David.
Scott in the Entr'acte in 1898, when he accused Ibsen and Shaw of being harmful to society Early in his career, he wrote approvingly of the "cup and saucer" realism movement, led by T. W. Robertson, whose plays were notable for treating contemporary British subjects in realistic settings. Later, he favoured the grand and spectacular type of London theatrical production which had developed with new types of theatre building, electric lighting and technologies allowed more and more adventurous staging. As time went on, he became strongly conservative and opposed to the new drama of Ibsen and Shaw, arguing that domestic intrigue, sexual situations and wordy philosophising were inappropriate for an evening at the theatre, and even harmful to society, especially young women. Scott especially became embroiled in legal claims through his outspoken criticism of various actors and actresses.
An intermission, also known as an interval in British and Indian English, is a recess between parts of a performance or production, such as for a theatrical play, opera, concert, or film screening. It should not be confused with an entr'acte (French: "between acts"), which, in the 18th century, was a sung, danced, spoken, or musical performance that occurs between any two acts, that is unrelated to the main performance, and that thus in the world of opera and musical theater became an orchestral performance that spans an intermission and leads, without a break, into the next act. Jean-François Marmontel and Denis Diderot both viewed the intermission as a period in which the action did not in fact stop, but continued off-stage. "The interval is a rest for the spectators; not for the action," wrote Marmontel in 1763.
There were some notable exceptions to the standard roadshow release format, three of them Shakespeare productions. One was Othello (1965), which was essentially a filmed visual record of the already famous Laurence Olivier 1964 London stage production, shot in a movie studio, but on enlarged stage settings. The nearly three-hour color film, made in Panavision and shown in 35MM and mono sound in many areas, was shown in 70MM and six-track stereophonic sound in exactly one engagement - in London in 1966, Being a film that lay somewhere between a photographed play and a true motion picture, the film did not make sufficient use of the spectacular vistas that 1960s widescreen epics usually boasted. In addition, while it had no overture, entr'acte music, or exit music, it was still shown on a two-performance-a-day basis with an intermission, as nearly all roadshow releases were.
The following day the Herald reported that the troupe would be appearing at the Bowery Amphitheatre, and an advertisement in February 6 issue refers to their first performance that evening. Photograph of Dan Emmett in blackface, probably early 1860s. Although blackface performance, in which white men painted their faces and hands black and impersonated caricatures of African-American men and women, was already an established performance mode at that time--Thomas D. Rice had created the character of Jim Crow nearly a decade earlier, and blackface had been widely popular ever since--Emmett's group is said to be the first to "black up" an entire band rather than one or two performers. The group's full-length blackface performance is generally considered to have been the first true minstrel show: previous blackface acts were usually either an entr'acte for a play or one of many acts in a comic variety show.
In the new genre a complete story was told through characters, and in addition to choruses and ensembles, the vocal parts included recitative, aria and arioso. This was a development from various older forms of musical theatre that had existed since the earliest years of the Italian Renaissance; such forms included the maschera ("masque"), the ballo (a dance entertainment, often with sung passages), and particularly the intermedio or intermezzo, a short dramatic musical episode inserted as a prologue or entr'acte between the acts of straight plays. Another format in the later renaissance period was the torneo, or "tournament", a stylised dramatic spectacle in which the main singing was performed by a narrator. Sub-operatic forms of dramatic music continued to thrive as opera itself developed; the blurred boundaries that existed for many years between these forms and "opera" has led to debate about how to categorise some works.
The original cast recording was released in 2001 through BMG Australia. Track list: # Overture #Over the Rainbow # Cyclone # Come Out Come Out # It Really Was No Miracle # We Thank You Very Sweetly #Ding Dong! The Witch Is Dead # As Mayor of the Munchkin City # As Coroner I Must Aver # Ding Dong! The Witch Is Dead (Reprise) # Lullaby League # Lollipop Guild # We Welcome You to Munchkinland # Follow the Yellow Brick Road - You're Off To See The Wizard #If I Only Had a Brain # We're Off To See The Wizard (Duo) # If I Only Had a Heart # We're Off To See The Wizard (Trio) # Lions, Tigers And Bears # If I Only Had the Nerve # We're Off To See The Wizard (Quartet) # Out Of The Woods # Entr'acte # Merry Old Land Of Oz #If I Were King of the Forest #Jitterbug # Witchmelt # Curtain Calls # Over The Rainbow (Reprise) Webster released "Over the Rainbow" as a single along with another song, "The Best Days".
Quoted and translated by Ashbrook 1982, p. 146. It received a highly negative review from the French critic and composer Hector Berlioz (Journal des débats, 16 February 1840), who claimed it could not be taken seriously by either the public or its composer, although Berlioz did concede that some of the music, "the little waltz that serves as the entr'acte and the trio dialogué ... lack neither vivacity nor freshness." The source of Berlioz's hostility is revealed later in his review: > What, two major scores for the Opéra, Les martyrs and Le duc d'Albe, two > others at the Théâtre de la Renaissance, Lucie de Lammermoor and L'ange de > Nisida, two at the Opéra-Comique, La fille du régiment and another whose > title is still unknown, and yet another for the Théâtre-Italien, will have > been written or transcribed in one year by the same composer! M[onsieur] > Donizetti seems to treat us like a conquered country; it is a veritable > invasion.
Ekaterina Geltzer and Vassily Tikhomirov with corps de ballet in Alexander Gorsky's revival of the Minkus/Saint-Léon Le Poisson doré; Moscow, circa 1905 Soloists and corps de ballet in Alexander Gorsky's revival of the Minkus/Saint-Léon Le Poisson doré; Moscow, circa 1905 In late 1862 Minkus was called upon to compose an additional entr'acte featuring a solo for violin that was inserted into Adolphe Adam's score for Jean Coralli's ballet Orfa. The ballet was staged for the Imperial Bolshoi Theatre of Moscow by Arthur Saint-Léon, who at that time was one of the most celebrated Ballet Masters in Europe. Since 1860 Saint-Léon was engaged as Premier Maître de Ballet of the St. Petersburg Imperial Theatres, a position which also required him to stage the occasional work for the Moscow ballet troupe. It was Saint-Léon who commissioned Minkus's first score for a full-length Grand Ballet, the three-act La Flamme d′amour, ou La Salamandre (The Flame of Love, or The Salamander), which the Ballet Master produced especially for the renowned Russian Prima ballerina Marfa Muravieva.
In 1924, with the support of the producer Henri Diamant- Berger, Clair got the opportunity to direct his own first film, Paris qui dort (The Crazy Ray), a short comic fantasy. Before it had been shown however, Clair was asked by Francis Picabia and Erik Satie to make a short film to be shown as part of their Dadaist ballet Relâche; he made Entr'acte (1924), and it established Clair as a leading member of the Parisian avant- garde.Dictionnaire du cinéma français: sous la direction de Jean-Loup Passek. (Paris: Larousse, 1987). p.81. Fantasy and dreams were also components of his next two films, but in 1926 Clair took a new direction when he joined Alexandre Kamenka's Films Albatros company to film a dramatic story, La Proie du vent (The Prey of the Wind), which met with commercial success. He remained at Albatros for his last two silent films, Un chapeau de paille d'Italie (An Italian Straw Hat) and Les Deux Timides (Two Timid Souls) (both 1928), in which he sought to translate the essentially verbal comedy of two plays by Labiche into works of silent cinema.
62 Portsmouth Point by Thomas Rowlandson inspired Walton's overture of the same name. Walton's works of the 1920s, while he was living in the Sitwells' attic, include the overture Portsmouth Point, dedicated to Sassoon and inspired by the well-known painting of the same name by Thomas Rowlandson. It was first heard as an entr'acte at a performance in Diaghilev's 1926 ballet season, where The Times complained, "It is a little difficult to make much of new music when it is heard through the hum of conversation.""The Russian Ballet", The Times, 29 June 1926, p. 14 Sir Henry Wood programmed the work at the Proms the following year, where it made more of an impression."Promenade Concert", The Times, 13 September 1927, p. 14 The composer conducted this performance; he did not enjoy conducting, but he had firm views on how his works should be interpreted, and orchestral players appreciated his "easy nonchalance" and "complete absence of fuss."Shore, p. 145 and Kennedy, p. 44 Walton's other works of the 1920s included a short orchestral piece, Siesta (1926) and a Sinfonia Concertante for piano and orchestra (1928), which was well received at its premiere at a Royal Philharmonic Society concert, but has not entered the regular repertory.

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