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| P.D.Q. Bach - Abduction of Figaro [ ÉLŐ ] |
| P.D.Q. Bach (1807-1742) |
| Lisbeth Lloyd (szoprán), Marilyn Brustadt (szoprán), Dana Kruger (mezzoszoprán), Bruce Ford (tenor), John Ferrante (kontratenor), Jack Walsh (bariton), Leroy Lehr (basszus), Michael Burt (basszus), Will Roy (basszus), Chorus of the Minnesota Opera (vegyeskórus), Professor Schickele (rendező), Corpse [sic] de Ballet of the Minnesota Opera (balettegyüttes), Larry Hayden (koreográfia), Orchestra of the Minnesota Opera (zenekar), Professor Peter Schickele (karmester) |
amerikai
első megjelenés éve: 1984
144 perc |
| Opera / Paródia |
| (2006)
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DVD video |
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| 1. | Abduction of Figaro
Lisbeth Lloyd (szoprán), Marilyn Brustadt (szoprán), Dana Kruger (mezzoszoprán), Bruce Ford (tenor), John Ferrante (kontratenor), Jack Walsh (bariton), Leroy Lehr (basszus), Michael Burt (basszus), Will Roy (basszus), Chorus of the Minnesota Opera (vegyeskórus), Corpse [sic] de Ballet of the Minnesota Opera (balettegyüttes), Larry Hayden (koreográfia), Professor Schickele (rendező), Orchestra of the Minnesota Opera (zenekar), Professor Peter Schickele (karmester)
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Opera in 3 acts
World premiere performances presented by The Minnesota Opera
The Abduction Of Figaro: A simply grand opera in three acts and by far the largest work by P.D.Q. Bach so far discovered, in the premiere performances by the Minnesota Opera, April 27 and 28, 1984, at the Orpheum Theatre in Minneapolis, Minnesota. This DVD features bonus selections containing selections from Gross Concerto and an interview from "Hourglass" originally telecast November 8, 1972 in Vancouver.
The master of musical parody, Professor Peter Schickele, brings us a complete opera by P.D.Q. Bach, a man who has been called a "pimple on the face of music", "the worst musician ever to have trod organ pedals", and "the most dangerous musician since Nero".
"A wonderfully funny show" - Musical America.
"A crazed pastiche . . . gags - millions of them." - The New York Times
Main program: 144 minutes
P.D.Q. Bach
In 1954 Professor Peter Schickele, rummaging around a Bavarian castle in search of rare musical gems, happened instead upon the original manuscript of a Sanka Cantata by one P.D.Q. Bach, being employed as a strainer in the caretaker's percolator. A cursory examination of the music immediately revealed the reason for the atrocious taste of the coffee; and when the work was finally performed at the University of Southern North Dakota at Hoople, the Professor realized too late that he had released a monster on the musical world. Unable to restrain himself, and with the misguided support of the U. of S.N.D. at H. and otherwise reputable recording and publishing companies, Prof. Schickele has since discovered more than four score of P.D.Q. Bach scores, each one more jaw-dropping than the last, each one another brick in the wall which will someday seal the doom of Musical Culture.
The conspiracy of silence that has surrounded P.D.Q. Bach (1807-1742)? for two centuries began with his own parents. He was the last and the least of the great Johann Sebastian Bach's twenty-odd children, and he was certainly the oddest. His father ignored him completely, setting an example for the rest of the family (and indeed for posterity), with the result that P.D.Q. was virtually unknown during his own lifetime; in fact, the more he wrote, the more unknown he became. He finally attained total obscurity at the time of his death, and his musical output would probably have followed him into oblivion had it not been for the zealous efforts of Prof. Schickele. These efforts have even extended themselves to mastering some of the rather unusual instruments for which P.D.Q. liked to compose, such as the left-handed sewer flute, the windbreaker, and the bicycle.
Since 1965 the tireless Professor has kept audiences in stitches with his presentation of P.D.Q. Bach's uniquely typical music. In addition to his annual concerts in New York City, he has appeared with over fifty orchestras, ranging from the Boston Symphony Orchestra, the Chicago Symphony, the Cleveland Orchestra, the New York Philharmonic, the London Symphony Orchestra and the Los Angeles Philharmonic to the New York Pick-Up Ensemble; and his self-contained show The Intimate P.D.Q. Bach (featuring the Semi-Pro Musica Antiqua) has played in cities and on campuses from Maine to California.
Performers:
Professor Peter Schickele, conductor of Chorus, Corpse de Ballet, Orchestra of the Minnesota Opera, the Whole Schmeer
Leroy Lehr, bass (Al Donfonso, Pasha Shaboom, Papa Geno)
Dana Kruger, mezzo soprano (Susanna Susannadanna, Mama Geno)
Bruce Edwin Ford, tenor (Pecadillo)
Marilyn Brustadt, soprano (Donna Donna)
Lisbeth Lloyd, soprano (Blondie)
Michael Burt, bass baritone (Donald Giovanni)
Jack Walsh, almost-a-baritone (Schlepporello)
Will Roy, basso (Caption Kadd)
John Ferrante, bargain counter tenor (Opec)
Michael Montel, Stage Director
Larry Hayden, Choreographer
John Lee Beatty, Set Designer
Gail Bakkom, Costume Coordinator
Richard Stead, Wig & Make-up Master
Ruth Roberts, Lighting Designer
Kaye S. Lavine, Television Director
Stephen Schmidt, Television Producer
The theme to Culture On Parade is performed by the London Serpent Trio
Synopsis of Scenes
[1] Introductory remarks by Prof. Peter Schickele
[2] Opening Credits
[3] Overture
Act One: A town on the seacoast of Spain or Italy or somewhere
Scene One: Figaro’s bedroom in the palace of Count Almamater
[4] Introduction: Found a peanut!
[5] Recit: Ah, dear husband
Aria: Stay with me
[6] Recit: Suzanna
[7] Recit: Dog!
Aria: Perfidy, thy name is Donald
[8] Recit: I am distraught
[9] Quartet: Love is gone
Scene Two: A courtyard of the palace
[10] Recit: Well, here we are
[11] Aria: Behold, fair maiden
[12] Recit: Just a moment
Duet: The lofty tree
Scene Three: Figaro’s bedroom
[13] Recit: And here is my husband
[14] Recit: Hold it!
Aria: My name is Captain Kadd
[15] Recit: Now that you’ve heard
[16] Sextet: What a downer!
Scene Four: The courtyard
[17] Recit: Schlepporello
Aria: No man
Scene Five: At the dock
[18] Recit: What a strange turn of events
[19] Quintet and Chorus: Ah, though we must part
[20] Act I Finale
[21] Introduction to Act II
Act Two: Somewhere in the Turkish Empire
Scene One: At the seashore
[22] Duet: God be praised
Scene Two: In front of the Pasha’s palace
[23] Aria: Fish gotta swim
[24] Chorus: Hey, make way
[25] Dance of the Seven Pails
[26] Recit: Your immenseness
[27] Duet, Chorus, and Dialogue: Who is the highest
[28] Quartet: May I introduce
Scene Three: A courtyard of the palace
[29] Dialogue and Recit: Why?
Aria and Dialogue: Macho, macho
[30] Cavatina and Dialogue: You can beat me
[31] Act II Finale
Act Three: A tropical forest
[32] Ballet
[33] Trio and Dialogue: A magic forest
[34] Duet and Dialogue: I am a swineherd
[35] Finale (Part I) and Dialogue
[36] Aria and Dialogue: Why, oh why
[37] Finale (Part II)
[38] Curtain Calls and Closing Credits
[39] Closing remarks by Prof. Peter Schickele
DVD Bonus Selections
Excerpts from the "Gross" Concerto for Divers Flutes, S. -2
Professor Peter Schickele in conversation with Gordon Hunt
Audio Samples
Listen to The Abduction of Figaro: The Hearer's Digest Condensed Version. This Condensed Version gives you the intangible essence of the original recording in one small, easy-to-swallow capsule summary. The hyper folks at Hearer's Digest have created this sample by slicing, dicing, and splicing, until it somewhat resembles excerpts of the original recording that are "severely truncated, but shorter."
The Abduction of Figaro: The Hearer's Digest Condensed Version
This Hearer's Digest Condensed Version is made of excerpts from the following: Introduction to Act II-Now that you've heard-What a downer!-And here is my husband-No man-Schlepporello-Behold, fair maiden-Stay with me-I am distraught-No man-Act I Finale-Finale (Part I) and Dialogue. |
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