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Vocal Promotions | Hal Leonard Current Promotions 2018-2019 Vocal Music Recent Releases and Highlights Music for the Beginning Classical Voice Student Singer's Musical Theatre Anthology Songfinders Joan Frey Boytim Complete Publications Keys in Five Editions Reference The Vocal Library At a Glance The First Book of Solos/The Second Book of Solos Songlist (alphabetical by composer) The Vocal Library Alpha by Title The Vocal Library Songtitle by Composer The First Book of Solos/The Second Book of Solos Songlist (alphabetical by song) Opera Aria Finder - Soprano Opera Aria Finder - Mezzo-Soprano Opera Aria Finder - Tenor Opera Aria Finder - Baritone Opera Aria Finder - Bass Teen's Musical Theatre Children's Vocal Songfinder Publications with Companion CDs Index Recorded Diction Lessons Reference Hal Leonard Classical Current Promotions 2019-2020 Vocal Music Recent Releases and Highlights Music for the Beginning Classical Voice Student Singer's Musical Theatre Anthology Songfinders Joan Frey Boytim Complete Publications Keys in Five Editions Reference The Vocal Library At a Glance The First Book of Solos/The Second Book of Solos Songlist (alphabetical by composer) The Vocal Library Alpha by Title The Vocal Library Songtitle by Composer The First Book of Solos/The Second Book of Solos Songlist (alphabetical by song) Opera Aria Finder - Soprano Opera Aria Finder - Mezzo-Soprano Opera Aria Finder - Tenor Opera Aria Finder - Baritone Opera Aria Finder - Bass Teen's Musical Theatre Children's Vocal Songfinder Publications with Companion CDs Index Recorded Diction Lessons Reference Hal Leonard Online - Vocal Promotions
Curtains - Young @ Part | Hal Leonard Menu LEARN MORE About Young @ Part Showbox/Added Resources Order a Perusal Pack Online License Request 60-Min.ute Musicals [Young@Part] 60-Minute Musicals Addams Family All Shook Up Curtains Monty Python's Spamalot We Will Rock You Wind In The Willows 30-Min.ute Musicals [Younger@Part] 30-Minute Musicals Addams Family All Shook Up How I Became A Pirate Miss Nelson Is Missing Product Information Musical Numbers Cast of Characters Credits Book and Additional Lyrics: Rupert Holmes Music and Additional Lyrics: John Kander Lyrics: Fred Ebb Original Book and Concept: Peter Stone Overview / Synopsis It's the brassy, bright, and promising year of 1959. Boston's Colonial Theatre is host to the opening night performance of a new musical. When the leading lady mysteriously dies on stage the entire cast & crew are suspects. Enter a local detective, who just happens to be a musical theatre fan! Packed with glorious tunes and a witty, charming script filled with delightful characters, CURTAINS Young@Part® is a hilarious journey for both performers and the audience. Print Perusal - HL00237281 $19.95 ShowBox - HL00237276 $675.00 This ShowBox includes: 30 Cast Script/Vocal Books Director's Script 2 Piano/Vocal Scores Guide Vocals CD Performance Tracks CD Logo Pack CD Young @ Part Request Individual Components 00251192 - Director's Script $50.00 00251193 - Cast Script/Vocal Book $10.00 00251201 - Piano/Vocal Score $40.00 00251202 - Guide Vocals CD $50.00 00251203 - Performance Tracks CD $100.00 Hear A Sample Wide Open Spaces What Kind of Man? Show People In the Same Boat Thataway! He Did It Kansasland A Tough Act to Follow Transition to Stage A Tough Act (Finale) Lieutenant Frank Cioffi Sweetly endearing local Boston detective who idolizes the world of musical theatre and has reveled in the thrill of performing in community theatre. Called upon to solve the murder of the star of "Robbin' Hood" (a musical intended for Broadway that is currently out of town in Boston), Cioffi is very good at his job and, lamentably, married to his work. He is instantly smitten with ingénue Niki Harris. The undisputed central character of the musical. Requires deft and charming comedy, good singing, solid dancing in one extended "Fred and Ginger" number. Gender: Male Vocal Range: Ab3-G5 Niki Harris Pretty, almost too innocent ingénue, a local performer in a small role hoping "Robbin' Hood" will be the Boston production that at last takes her to Broadway. Love interest for Lieutenant Cioffi, apparently reciprocated. Requires a legit soprano and strong dancing in an extended "Fred and Ginger" number. Gender: Female Vocal Range: C4-E5 Georgia Hendricks Female half of our show-within-a-show's songwriting team on the lyric-writing side. Ends up taking on the leading lady role. Must sing and dance extremely well. Gender: Female Vocal Range: G3-E5 Carmen Bernstein Brash and brassy Broadway producer. Terrific comedic actress with a belt. Gender: Female Vocal Range: Bb3-E5 Aaron Fox The composer of the show-within-the-show. His songwriting partner, Georgia, is also his wife, from whom he's separated but for whom he still pines. He's a handsome, intense, somewhat tortured artist-type. Requires a strong vocalist with comedy. Gender: Male Vocal Range: Bb3-E5 Christopher Belling English director. Very camp. Very droll. Noel Coward meets Addison DeWitt meets Clifton Webb. Requires a superb comic actor. Gender: May be cast male or female Vocal Range: B3-E5 Bambi "Bernét" Performer in the chorus, daughter of Carmen, step-daughter of Sidney. Genuinely brassy and artificially blonde. Hungry to work her way out of the chorus; many think she was only hired because of her mother. She surprises everyone, however, when she shows genuine dancing and singing talent when at last called upon. Requires great dancing, strong "street-smart dumb blonde" comedy, and singing. Gender: Female Vocal Range: C4-E5 Oscar Shapiro From the garment district and sole investor in "Robbin' Hood." A likeably gruff man who knows nothing about theatre and frets over every dime of his that's spent. Requires good "rough around the edges" comedy and singing. Gender: Male Vocal Range: Bb3-E5 Bobby Pepper The Gene Kelly of "Robbin' Hood," its choreographer and male star, and a handsome rival to Aaron for Georgia's affection. Requires strong dancing, singing, comedy. Gender: Male Vocal Range: A3-E5 Johnny Harmon Stage Manager of the show-within-the-show, and both drill sergeant and mother hen to the cast. Barks orders but has a pleasant side as well, he keeps the company in line and on their toes throughout the rehearsal process. Comic actor who can sing. Gender: May be cast male or female (using the name Jenny Harmon) Vocal Range: E4-Eb5 Jessica Crenshaw Faded Hollywood star, a grand diva with no right to be one, and a plague to the show-with-the-show and to her cast. An absolutely dreadful singer and inept actress who stars in the show-within-a-show and gets murdered on its opening night in Boston. Must be skillful enough to sing hilariously out-of-tune and ineptly, and adroit enough to dance perfectly out of step with the rest of the cast. Appears only in the first minutes of the musical; on Broadway, this performer then adopted a different look and became part of the ensemble. Gender: Female Vocal Range: G4-D5 Randy Dexter A member of the singing & dancing ensemble featured in "Kansasland," pleasant but with a sensitive side. Gender: Male Vocal Range: A3-E5 Harv Fremont A member of the singing & dancing ensemble who bears a bouquet. Gender: Male Vocal Range: A3-E5 Ensemble
Fiddler On The Roof Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music by Jerry Bock Book by Joseph Stein Lyrics by Sheldon Harnick Based on Sholem Aleichem's stories by special permission of Arnold Perl Overview / Synopsis Fiddler On The Roof Junior is a special adaptation of the classic Broadway musical, which tackles the universal theme of tradition in ways that reach across barriers of race, class, nationality, and religion. Set in the little village of Anatevka, the story centers on Tevye, a poor dairyman, and his five daughters. With the help of a colorful and tight-knit Jewish community, Tevye tries to protect his daughters and instill them with tradition in the face of changing social mores and the growing anti-Semitism of Czarist Russia. The show features a star turn in Tevye, among the most memorable roles in the musical theatre canon. Its celebrated score, by Jerry Bock and Sheldon Harnick, features songs loved the world over, including "Tradition," "If I Were A Rich Man," and "Sunrise, Sunset." Fiddler On The Roof Junior is a great introduction to the world of musical theatre. Young performers will love its humor, warmth, and honesty. Directors will love the opportunity to direct a large cast with a good balance of male and female roles. Audio Sampler - HL00147642 $10.00 ShowKit - HL00147640 $695.00 This ShowKit includes: Production Guide Director's Guide P/V Vocal Score 30 Actor's Scripts 2 Rehearsal CDs 2 Accompaniment CDs Media Disc Choreographic DVD Cross-curricular Guide 30 Family Matters Booklets 60-Minute JR. Request Individual Components 00147631 - Director's Guide $100.00 00147632 - Piano/Vocal Score $40.00 00147633 - Actor's Script $10.00 00147634 - Actor's Script 10-pak $75.00 00147635 - Perf/Accomp CD pack $75.00 00147636 - Student Rehearsal CD $10.00 00147637 - Student Rehearsal CD 20-pak $100.00 00147638 - Choreography DVD $50.00 00147639 - Media Disc $10.00 00147642 - Audio Sampler $10.00 Hear A Sample Prologue Tradition [Tevye, Golde,Villagers] SCENE 1 Matchmaker [Hodel, Chava, Tzeitel] SCENE 2 If I Were a Rich Man [Tevye] SCENE 3 Sabbath Prayer [Tevye, Golde, Villagers] SCENE 4 To Life [Tevye, Lazar Wolf, Men] SCENE 8 Sunrise, Sunset [Tevye, Golde, Perchik, Hodel, Villagers] Wedding Dance [Villagers] SCENE 10 Do You Love Me? [Tevye, Golde] SCENE 11 Far from the Home I Love [Hodel] SCENE 13 Chava Sequence [Villagers] SCENE 14 Anatevka [Golde, Yente, Lazar Wolf, Mendel, Avram, Tevye] Tevye Tevye is the heart and conscience of Fiddler on the Roof. Tevye is generally cast as a larger young man, but his stature really comes from his integrity and zest for life. Tevye's emotional range runs from strong patriarch to gentle father. He should be robust. He understands his role as leader of the family, but knows his place as his wife's husband. Your Tevye should be able to show the wide range of conflict, joy and pain that his character feels throughout the story. The actor playing Tevye needs to be comfortable speaking directly to the audience, and being the spiritual leader of your production. He does not necessarily need to have a great singing voice, but he must have a strong, easily projected voice that can fill your performance space. Tevye must develop an easy-going, comfortable rapport with the audience. Vocal Range: Ab3 - D Golde Golde is the backbone of the family. She has a rather gruff exterior, but in her heart is sheer dedication to her family. When casting Golde, remember that she must be able to frighten Tevye. She runs the household and keeps Tevye's more emotional side in check. Conversely, she should be able to show a softer side when dealing with Chava and Tevye's rift. Golde lives that her daughters will be married. She, like Tevye, need not be the greatest singer in the world, but she should have a commanding voice. Vocal Range: G3 - Db5 Tzeitel Tzeitel is the oldest daughter of Tevye and Golde. She is the first to be matched by Yente and sets the plot of Fiddler into action by pleading with her father to let her marry Motel the Tailor, to whom she has pledged her love. When casting Tzeitel, keep in mind that she is the oldest daughter. She is determined to marry Motel and knows how to manipulate her father. Vocal Range: Bb3 - Cb5 Hodel Hodel is a strong, independent middle child of the three older daughters. She is outspoken, but respectful. She has her eye on the Rabbi's son at the outset of the story, but she is taken with the revolutionary Perchik from the moment she meets him. Hodel proves that her dedication to and love for Perchik is real as she follows him to Siberia after his arrest. Hodel's melancholy lament, "Far From the Home I Love," demands a good singer/actor. Vocal Range: Bb3 - Db5 Chava Chava is the third youngest daughter. She is an introspective, rather shy young woman who seems to favor books over other pursuits. Her love for the young Russian, Fyedka, tests her father's love to the limit and provides the largest conflict in the story. The actor playing Chava must be able to display a wide emotional range. Vocal Range: Bb3 - Cb5 Motel Motel is the young tailor enamored of Tzeitel. He is an endearing sort of Woody Allen type. He needn't be a great singer, but should be able to dance at his wedding. A young man with good comic timing and a vulnerable quality is ideal. Perchik Perchik is a young student who leans toward a revolutionary, or as Tevye calls him, "A radical." Your Perchik should be able to hold his own with Tevye. Being a strong character, he clashes with Tevye idealistically, but is likable, charming, and ultimately, a member of the family. Vocal Range: Bb3 - Bb5 Lazar Wolf Lazar Wolf is, by trade, a butcher. Lazar should probably be a large boy, but, frequently, opposites are funny. A kid of any size can pull off this part, but must be a little bit repugnant. Tzeitel is frightened to marry Lazar Wolf and she should have reason to be so. Lazar Wolf has featured singing in, "To Life" and must be able to sell the song. Vocal Range: A3 - C5 Constable The Constable is the local sheriff representing the anti-Semitic Russian government. Take care to cast an actor who can provide a sense of threat, foreboding, and conflict. The Constable is a complex character who is conflicted over his relative goodwill toward individuals in the Jewish community and his duty to harass them. This is a non-singing role that requires a good, strong actor. Fyedka Fyedka is a young Russian soldier who falls in love with Chava. Look for a young man who might look distinctly Russian, trying to contrast his look as a Gentile who enters the Jewish world as an outsider. He should be a strong actor, but needn't be a singer. Shprintze and Bielke Shprintze and Bielke are the youngest daughters of Tevye and Golde. They are considerably younger than the three "matchmaker" daughters. They have only a few lines, but are featured in quite a few scenes. They need to be able to carry a tune in the group songs. The Fiddler The Fiddler must be a young person who can hold the attention of an entire audience with movement, facial expression, and dance. As the title character, the Fiddler must be the physical embodiment of the theme of the show. Freedom of movement and expression are the keys to casting your Fiddler. The Fiddler is a silent, lead role. Yente Yente is your matchmaker. Try to cast a young woman who can capture the quintessential feel of the Jewish matchmaker, without necessarily making her a stereotype. She should be able to play older. She's not elderly, but mature. The Villagers The Villagers group can be as large as your stage can safely accommodate. They are the faces of Anatevka. This character group insures that you can cast any young person who auditions, regardless of their talent level or experience. The Russians The Russians are soldiers under the command of the Constable. This is a good group to case your least experienced auditioners. One, Sasha, has two lines. They needn't be singers, but can sing in a group numbers from offstage if they are able.
The Drowsy Chaperone Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music and Lyrics by Lisa Lambert Greg Morrison Book by Bob Martin Don McKellar Overview / Synopsis A Broadway Junior adaptation of the Tony-winning musical comedy, The Drowsy Chaperone JR. is a loving satire of the Golden Age musical, featuring hysterical numbers and colorful characters. It is the perfect show for young performers with a knack for musical comedy. A man shares with the audience his favorite record - the 1928 musical The Drowsy Chaperone. As he plays the record, the show comes to life in his apartment. Mix in two lovebirds on the eve of their wedding, a bumbling best man, a desperate theatre producer, a not-so-bright hostess, gangsters posing as pastry chefs, a misguided Don Juan and a sleepy chaperone, and you have the ingredients for a show that will have everyone laughing. With plenty of hilarious roles, The Drowsy Chaperone JR. is a fun, delightful show for both performers and their audience. Audio Sampler - HL01138106 $10.00 ShowKit - HL01138109 $695.00 This ShowKit includes: 30 Libretto/Vocal Books Piano/Vocal Score Director's Guide Choreography Videos Guide Vocal Tracks Performance Accompaniment Tracks Logo Pack (Coming Soon!) 60-Minute JR. Request Individual Components 01138109 - ShowKit $695.00 01138101 - Piano/Vocal Score $40.00 01138100 - Director's Guide $100.00 01138103 - Libretto/Vocal Score $10.00 01138105 - Libretto/Vocal Score (10 Pack) $75.00 01138106 - Audio Sampler $10.00 MUSICAL NUMBERS Fancy Dress Cold Feets (Part 1) Cold Feets (Part 2) Show Off Show Off Encore As We Stumble Along Aldolpho Toledo Surprise (Part 1) Toledo Surprise (Part 2) Act One Finale Bride's Lament Love Is Always Lovely Wedding Bells #2 (Part 1) Wedding Bells #2 (Part 2) I Do, I Do In The Sky (Part 1) I Do, I Do In The Sky (Part 2) Finale Ultimo Cast of Characters Cast Size: Large (21 or more performers) Cast Type: Ensemble Cast Dance Requirements: Standard Drowsy Chaperone Played by the famous Beatrice Stockwell, is a diva leading lady who takes pride in chewing the scenery. Though Ms. Stockwell is a bit too old to play an ingénue, she remembers those days well and is bitter that she now plays supporting roles. That is until she finds love, which she latches onto with the all her might. Gender: Female Vocal range top: E5 Vocal range bottom: C2 Man in Chair The narrator of this story. It's his passion and enthusiasm for this musical that brings the story into existence. He is a bit lonely, a definite homebody, and very particular about his privacy and his space. He has strong opinions about the musical and a strong emotional connection to its characters. Gender: Male Vocal range top: C5 Vocal range bottom: C3 Underling Mrs. Tottendale's much-putupon right hand man. He tries to do the best job he can for Mrs. Tottendale - though he often gets exasperated. No one is more surprised than he when she confesses her love for him, and also when he realizes he loves her too. Cast a fantastic comedic actor who can play understated in this role. Gender: Male Vocal range top: Gb3 Vocal range bottom: Gb5 Mrs. Tottendale The befuddled hostess for Janet and Robert's wedding. She is always happy, always looking on the bright side, andoften confused about what is happening. Gender: Female Vocal range top: Db5 Vocal range bottom: C3 Robert Martin Janet's fiancé. Though he has the air of a debonair leading man, he wrestles with insecurities over his upcoming wedding. Gender: Female Vocal range top: D5 Vocal range bottom: C4 George Robert's stressed-out best man. He is happy to take on the role of best man, but is having to really work to keep the wedding on track. Though George spends a good amount of the show in a tizzy, he knows how to pull it together to get things done. Gender: Male Vocal range top: G5 Vocal range bottom: D4 Victor Feldzieg Producer who has a lot of people putting pressure on him, including a gang boss, his pseudo-girlfriend Kitty, and Janet, the leading lady who is leaving his show. He is always seems a bit on edge as he schemes to stop the wedding and save his own life. Gender: Male Vocal range top: D5 Vocal range bottom: Gb3 Kitty A chorus girl who is gunning to take over Janet's role. Though Kitty has a lot of heart, she isn't very bright, and has trouble convincing Feldzieg that she would be able to carry the show. Gender: Female Vocal range top: Db5 Vocal range bottom: Eb3 Janet Van De Graff A glamorous showgirl who plans to give up her career to wed Robert Martin. She presents herself as confident and powerful, but underneath she wonders if she is doing the right thing. Cast a true triple-threat performer in this role. She must be an excellent singer, actor, and dancer, especially for her signature number "Show Off". Gender: Female Vocal range top: D#5 Vocal range bottom: Db4 Gangster 1, Gangster 2, and Gangsters Have been sent by Feldzieg's largest investor to ensure that Janet re-joins the show. Vocal range top: Db5 Vocal range bottom: Ab2 Aldolpho A famously charming man who believes he is a true gift to women and will do anything to uphold his honor. He is secure in his actions and goes after what things he must. Gender: Male Vocal range top: F5 Vocal range bottom: C3 Trix Trix the Aviatrix is one spunky pilot! She saves the day at the end of the show by officiating all the weddings. Gender: Female Vocal range top: D5 Vocal range bottom: Ab3 Ensemble The SUPERINTENDENT is a hilarious cameo for an actor who makes a great foil for Man In Chair. The Superintendent does not come onstage until nearly the end of the show, but feel free to use this actor in the ensemble before their big scene. GUESTS STAFF REPORTER 1, 2, 3, 4, and REPORTERS are great roles for anyone who would like to be involved in your production. Gender: Any
The Pirates of Penzance Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by Sir William Schwenck Gilbert Music by Sir Arthur Seymour Sullivan Lyrics by Sir William Schwenck Gilbert Overview / Synopsis Set sail with this classic comedy that boasts one of the most famous patter songs in musical theatre history. The wit and whimsy of Gilbert and Sullivan's classic score is suffused with a modern sensibility in The Pirates of Penzance JR, a swashbuckling musical journey! Set on the rocky coast of Cornwall, England, The Pirates of Penzance JR begins with a group of pirates who are celebrating the birthday of one of their own, Frederic, who has reached his 21st year. Finally having served the full length of his required time with the pirates, he decides to strike off on his own and become an upstanding citizen - which may even mean bringing the pirates to justice. Thus turns out to be a tricky prospect indeed, especially when Frederic's freedom is called into question! The Pirates of Penzance JR is a light, comic introduction to the work of Gilbert and Sullivan, featuring opportunities for singing as an ensemble or in small groups, with vocal parts written in unison or simple two-part harmony. Audio Sampler - HL00160203 $10.00 ShowKit - HL9971456 $695.00 This ShowKit includes: 30 Student Books Director's Guide Piano/Vocal Score 2 Accompaniment CDs Media Disc Choreography DVD 60-Minute JR. Request Individual Components 9971459 - Director's Guide $100.00 9971458 - Piano/Vocal Score $40.00 9971457 - Student Book $10.00 9971461 - Student Book 10-pak $75.00 9971408 - Performance/Accomp CD pack $75.00 9971463 - Student Rehearsal CD $10.00 9971464 - Student Rehearsal CDs 20-Pak $100.00 9971460 - Choreography DVD $50.00 9971462 - Media Disc $10.00 00160203 - Audio Sampler $10.00 Hear A Sample Pour, O Pour the Pirate Sherry [Pirates, Samuel] When Frederic Was a Little Lad [Ruth] Oh, Better Far to Live and Die [Pirate King, Pirates] Oh, False One, You Have Deceived Me [Frederic, Ruth] Climbing Over Rocky Mountain [Daughters, Edith, Kate] Stop, Ladies, Pray! [Frederic, Edith, Kate, Daughters] Oh, Is There Not One Maiden [Frederic, Daughters, Mabel] Poor Wandering One [Mabel, Daughters] Stay, We Must Not Lose Our Senses [Frederic, Daughters, Pirates] I Am the Very Model of a Modern Major-General [Major-General, Chorus] Oh, Men of Dark and Dismal Fate [Major-General, Samuel, Pirate King, Pirates, Mabel, Daughters] Oh, Dry the Glistening Tear [Daughters] When the Foeman Bares His Steel (Tarantara!) [Peter, Tiger Lily, Brave Girls, Lost Boys, Children] When You Had Left Our Pirate Fold (Part 1) [Ruth, Frederic, Pirate King] When You Had Left Our Pirate Fold (Part 2) [Ruth, Frederic, Pirate King] Tarantara! (Reprise) [Sergeant, Police] A Rollicking Band of Pirates We [Pirates] With Cat-like Tread, Upon Our Prey We Steal [Pirates, Police] Now What Is This, and What Is That [Daughters, Pirates, Major-General, Mabel, Frederic] Finale [Sergeant, Pirate King, Police, Daughters, Major-General, Ruth, Pirate King, Mabel, Frederic, Edith] Samuel Samuel is a pirate and serves as the second in command to the Pirate King. Where the Pirate King is self-assured, assertive, and strong, Samuel is more bookish. Think of him as the accountant to the Pirates. Samuel has some featured solos and it is a good role for a performer who is showing good promise, but needs to nurture their skills a bit. Vocal range: Bb3-Eb3 Pirate King The Pirate King is a great comic lead for a boy who is self assured, a bit of a ham, and great at physical comedy. Cast someone who is inventive, fearless and willing to take positive risks. The Pirate King should sing reasonably well, but he doesn't need to be a polished singer. Consider casting someone who is athletically inclined and a natural leader-this is a great role for the star soccer player, or captain of the football team. Vocal range: B3-Eb5 Frederic Frederic is the male ing�nue of the show. He should have a great voice that is polished. Frederic should also have looks that qualify as "dreamy" if at all possible. Think Davy Jones, Luke Perry or anyone who may be worthy of the cover of Teen Beat or Teen People. Frederic can be a better singer than an actor, but it's great if he can be both. Vocal range: B3-F5 Ruth Ruth is a humoristic tour-de-force for a young comedian. She should be able to play matronly but still be vibrant and full of energy. An actress who is physically different from Frederic is a great choice. For example, if your Frederic is tall and thin, consider a short and stocky Ruth. Ruth transforms from old matronly, to a knock-out beauty when she returns with the Pirate King in "When Fred'ric Was a Little Lad", so it's great to cast an actress who is versatile. Ruth has a featured solo, but doesn't have to be a polished singer. Cast a comedian who is naturally funny, and can be bigger than life. Someone who played Miss Hannigan in Annie Junior, or Mrs. Paroo in The Music Man Junior would make a great Ruth. Vocal range: G3-Eb5 Kate, Edith, and Isabel Kate, Edith and Isabel are the leaders of General Stanley's wards, with Edith serving as the leader among the three. Of the three, Kate and Edith have solos, although you could break-up their solos to provide Isabel with a solo as well. These three should be good singers, good dancers, and reasonable actresses. Traditionally, Edith wears glasses and is more bookish, Kate is aggressive and tomboyish, while Isabel is younger and more na�ve. However, these three roles are open to interpretation. Consider having your actresses create their own character types as long as the characters are specific and can be sustained throughout the entire production. These are great roles for actresses you are nurturing for future lead parts. Vocal range: G3-F5 Mabel Mabel is the female ing�nue to Frederic's male ing�nue. She must have a polished, operatic or legitimate voice. Mabel should be attractive and a reasonable actress, but doesn't need to be an accomplished actress. She's the female star of the show, and the character who takes the biggest risk. Vocal range: G3-G5 Major-General Stanley Major-General Stanely is one of the signature character types in any Gilbert and Sullivan show. For Pirates the Major-General is the character who delivers the rapid fire patter song. An excellent part for a young performer who may not have great pitch, but has great rhythm. Cast that kid who listens to hip-hop and rap; they'll be a natural as the Major-General. Personality is primary in this part; acting, singing, and dancing are a definite second thought. Vocal range: A3-Eb5 Sergeant The Sergeant of Police should be a good singer and a great dancer. Don't hesitate to cast a girl in this role; simply slap on a handlebar moustache and you'll be good to go! Think "Key Stone Cops" as your inspiration. Vocal range: C4-E5 Police Chorus For this chorus, you can cast your best dancers and singers and mix boys and girls, or just girls if that's your best option. The police are traditionally portrayed as "Key Stone Cops"; so performers who are physically adept will be a great addition to your show. Vocal range: E3-F#5 Daughter Chorus These are the wards of Major General Stanley and can range in type and talent as broadly as required. Consider casting Daughters who are accomplished dancers and letting them take the lead in the dances. Cast singing Daughters to lead the singing; throw in some kids who can neither sing nor dance but are great character actresses and encourage them to be funny. Mix it up and your Daughter chorus will be an outstanding addition to your Pirates company. Vocal range: F3-G5 Pirate Chorus If you didn't read the Daughter chorus description, do so now. Everything that applies to casting the Daughters, applies to the Pirates. Don't hesitate to mix boys and girls as Pirates. (In fact sometimes girls make the best pirates!) You can have your chorus of Police play Pirates in the early numbers to give everyone more to do. Vocal range: Bb3-F#5
The Phantom Tollbooth Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits An adaptation for the Musical Theatre of Norton Juster's novel The Phantom Tollbooth Music by Arnold Black Lyrics by Sheldon Harnick Book by Norton Juster and Sheldon Harnick Overview / Synopsis Norton Juster's beloved children's book is given full musical treatment in this Broadway Junior version of the modern tale of a boy who must save the princesses Rhyme and Reason and reunite the brother Kings who rule over the cities of Dictionopolis and Digitopolis. Aided by a trusty time-keeping dog, Tock, Milo successfully brings harmony to the Land of Wisdom and learns many things about words and numbers along his journey. Audio Sampler - HL08753361 $10.00 ShowKit - HL09971585 $695.00 This ShowKit includes: 30 Actor's Scripts Piano/Vocal Score Director's Guide 2 Performance/Accompaniment CDs Choreography DVD Media Disc 30 Family Matters Booklets 60-Minute JR. Request Individual Components 09971586 - Piano/Vocal Score $40.00 09971587 - Director's Guide $100.00 09971588 - Actor's Script $10.00 09971589 - Actor's Script 10 Pak $75.00 09971590 - Performance/Accompaniment CD $75.00 09971591 - Choreography DVD $50.00 09971592 - Student Rehearsal CD $10.00 09971593 - Student Rehearsal CD 20 Pak $100.00 09971594 - Media Disc $10.00 08753361 - Audio Sampler $10.00 Hear A Sample Another Boring Afternoon Gotcha The Birth of the Booth The Whether Man (Part 1) The Whether Man (Part 2) The Lethargarian Shuffle Tock's Narrative (Part 1) Tock's Narrative (Part 2) At the Market Do I Dare? Hail, Digitopolis (The Number Miners' Number) Subtraction Stew Gotcha (Reprise) Milo Finale Milo Milo is a boy who is completely understimulated by everything around him. Cast an extremely likeable actor who has a solid voice and acting chops. This actor should be able to remain focused over a long period of time as the character almost never leaves the stage. The Toolbooth The Tollbooth is the perfect role for an excellent singer who has solid musical skills. The role can be performed equally successfully by a male or female performer. Select a performer who has a powerful and confident voice. The role is usually performed offstage and unseen by the audience, but it does have two large feature moments in the show. This is a great place to feature a student who is studying opera. Demons Demons: (The Terrible Trivium, The Senses Taker, The Demon of Insincerity) are dark and scary entities that persuade Milo into not doing anything. They are sinister and love to be in control. They should all be good physical actors with strong acting skills and terrifying, evil laughs! Whether Man Whether Man is an eccentric individual not to be confused with a "weather man"! This is a great part for an actor with good physical comedy chops. Narrators Narrators are non-singing parts that require focus and good public speaking skills. They are a great way to feature ensemble members! These boys and girls are neighborhood kids that want to play with Milo. They are all non-singing roles. Lethargarians Lethargarians are slow motion, unmotivated, incredibly lackadaisical beings. That said, make sure you use ensemble members with lots of energy or risk your audience falling asleep with them! Tock Tock is an extremely energetic, lovable dog with an alarm clock in his or her belly. Cast a very physical actor comfortable crawling and sliding across the floor on his or her knees. The actor should also have a solid voice and a strong ability to focus onstage. Azaz Azaz is the king of words! While he deeply misses the Princesses, he doesn't want to work with his brother, the Mathemagician, to save them. Cast an actor with a classic "king" presence and strong acting chops. Mathemagician Mathemagician is the king of numbers. Much like Azaz, he secretly misses the Princesses but refuses to save them with his brother. This is a great part for an energetic actor with a good sense of rhythm and comedic timing. Rhyme and Reason Rhyme and Reason are the Princesses banished to the Castle in the Air. They are great classic ingenue roles and require actresses with strong voices. Page, Advisors and Lackeys Page, Advisors and Lackeys are all subjects of the royal kingdom of Dictionopolis, led by King Azaz. These roles are a great opportunity to feature your ensemble members who have strong physical comedy skills. They are all non-singing roles. Miners Miners are the subjects of Digitopolis. These are great physical comedy roles! Cast ensemble members who aren't afraid to be ridiculously silly onstage. Vendors Vendors are marketplace sellers of all types of words in Dictionopolis. These are great roles to feature your ensemble members with solo singing, and they require excellent character work. These are non-speaking roles.
20th Century French Art Songs | Hal Leonard Hal Leonard Online - French Art Songs 20th CENTURY FRENCH ART SONGS Mélodies française du XXe siècle Edited by Carol Kimball Published by Éditions Durand DF 16250/HL 50565798 High Voice edition DF 16251/HL 50565799 Medium/Low Voice edition Distributed in Europe and Asia by Hal Leonard MGB Distributed in North and South America by Hal Leonard Distributed in Australia and New Zealand by Hal Leonard Australia Download & Print Introductory Notes Complete Online Introductory Notes, Unabridged copyright © 2015 Editions Durand An abridged version of editor Carol Kimball’s “Introduction” appears in the High Voice and Medium/Low Voice publications. Her complete length “Introduction” appears below. See the publications for the poetry texts in French and translations in English. GEORGES AURIC CLAUDE DEBUSSY HENRI DUTILLEUX GABRIEL FAURÉ REYNALDO HAHN ARTHUR HONEGGER JACQUES LEGUERNEY OLIVIER MESSIAEN DARIUS MILHAUD FRANCIS POULENC MAURICE RAVEL ALBERT ROUSSEL ERIK SATIE DÉODAT DE SÉVERAC GEORGES AURIC (1899-1983) George Auric was something of a child prodigy, performing a piano recital at the Musicale Indépendante at the age of fourteen. The following year, the Société Nationale de Musique performed several songs he had composed. He studied composition at the Paris Conservatoire with Georges Caussade, and later with Vincent d’Indy and Albert Roussel at the Schola Cantorum de Paris. Before he was twenty, Auric had orchestrated and written incidental music for several stage productions and ballets. He composed a significant amount of avant-garde music during the years between 1910-20. Around 1914, he widened his acquaintances to include members of Les Six, a group of composers informally associated with Erik Satie and Jean Cocteau, and became a part of their group. Auric and Francis Poulenc became fast friends and remained so for life. Music criticism was an important part of Auric’s career; his writing focused on promoting the ideals of Les Six and Cocteau. He was also especially known for his film scores, which are consistently imaginative. He forged a major career in the English movies of the 1940s and ’50s. Among his most well-known scores is the music for the film Moulin Rouge. Other popular film titles with scores by Auric include The Lavender Hill Mob, Roman Holiday, Beauty and the Beast, and Bonjour Tristesse. In 1962 he became the director of the Opéra National de Paris and later, chairman of SACEM, the French Performing Rights Society. Auric continued to write classical chamber music until his death. Le Jeune sanguine (1940) from Trois Poèmes de Louise de Vilmorin poem by Louise de Vilmorin (1902-1969) This mélodie is the second song in Auric’s cycle titled Trois poèmes de Louise de Vilmorin. Vilmorin’s poetry reverberates with sensitivity to affairs of the heart. She was one of Poulenc’s preferred poets; he set her poetry when writing specifically for the female voice, such as in Fiançailles pour rire. A sort of veiled humor is at the heart of this text that describes a young hussy whose lover departs early with the dawn’s first light, leaving her weeping disconsolately. Auric provides a prelude and postlude for formal balance as the miserable young woman mourns her loss. He also inserts several unexpected and amusing measures of a tango as the young man arches his back and leaves the sound of her sobbing. For his three Vilmorin songs, Auric used the style of a chansonette, or more popular song. Printemps (1935) Poem by Pierre de Ronsard (1524-1585) Auric composed this lilting waltz song for a play by Edouard Bourdet titled La Reine Margot (1935). The celebrated musical theatre actress-singer Yvonne Printemps created the role of Queen Margot of Navarre at Théâtre de la Michodière. Auric and Francis Poulenc collaborated on the incidental music for this play; Poulenc took the second act, Auric the first. Poulenc composed the Suite française and the song “A sa guitare”; Auric’s contribution was “Printemps.” Yvonne Printemps sang both songs in the play. Both composers used texts by Pierre de Ronsard, and the musical style of each is reminiscent of the Renaissance. Ronsard’s original poem had twenty-three stanzas. Auric set only the first three. BACK TO TOP CLAUDE DEBUSSY (1862-1918) Claude Debussy wrote expertly for the voice and was acutely responsive to transforming poetic nuance into musical expression. Possibly no other French composer was as attuned to blending poetry and music. His literary taste was highly refined and he maintained a visible and active role in the literary and artistic circles of his time. He chose to set poetry of his contemporaries, notably Verlaine and Mallarmé. Verlaine’s verse with its inherent musical qualities, provided Debussy with poetry for numerous works. For Debussy, poetry as poetry was the paramount determinant of the musical texture. His ability to detect the essence of a poem and perfectly transform it into musical expression makes his mélodies unique in the history of French song. Le promenoir des deux amants (1904, 1910) poems by Tristan l’Hermite (c. 1601-1656) “Auprès de cette grotte sombre,” the first song, made its first appearance with the title “La Grotte,” song two of Trois chansons de France of 1904. In 1910, it was retitled and combined with two other poems by Tristan l’Hermite (“Crois mon conseil, chère Climène” and “Je tremble en voyant ton visage”) to form the miniature cycle Le Promenoir de deux amants, which has been called the finest of all Debussy’s works for voice and piano. It is also the least-often performed. Debussy chose the texts from Les Amours de Tristan, a collection by the seventeenth-century poet Tristan l’Hermite. The poems are set close to a grotto, secluded and silent. The transparent, barely stirring waters mingle with the silence of the cloistered spot, creating a dreamlike atmosphere. Debussy establishes an intimate, tender mood immediately and maintains this fragile mix of sound and color throughout the three mélodies. The interplay of resonance and texture in voice and piano results in an exquisite blend of light and shade, perfectly complementing l’Hermite’s poetic images. Subtly inflected vocal phrases are key to recreating the infinite calm and Pelléas-like atmosphere of the poetry, a perfect fusion of stillness and sensuality. Fêtes galantes II (1904) poems by Paul Verlaine (1844-1896) Debussy’s fascination with the work of the French Symbolist poet Paul Verlaine resulted in his setting to music no fewer than seventeen of Verlaine’s texts. He composed two sets of three songs each, both titled Fêtes galantes, the first in 1892, and the second in 1904. Fêtes galantes II, Debussy’s last setting of Verlaine, closely following the composition of his opera Pélleas et Mélisande, is representative of the composer’s mature vocal works. It is marked by sparser textures, freer tonalities and a more concentrated compositional style than the first set; but like the first set, Fêtes galantes II presents three unrelated songs. None of the Watteau-like scenes are found here; rather, these three poems are filled with mystery, and are without sentimentality. The theme of time appears in each of the poems: the first, sentimental youthful remembrances; the second, inexorable fleeting time; and finally in the last song, time never to be reclaimed. “Les Ingénus” recalls the first awakenings of sexual attraction, and deals with the breathless awe with which a group of unsophisticated young men of the mid-nineteenth century view their similarly naïve female companions. The scene unfolds in a highly chromatic texture, skillfully balanced to preserve the delicate, poignant images in Verlaine’s verse. Debussy’s free-floating harmonies are carefully contrived to complement the uncertain emotions and repressed sensations of the youths in the poem. “Le Faune” begins with a prelude; time unravels in an inflexible dance featuring a rhythmic, hypnotic figure in the piano, imaging the traditional reed pipe and “tambourin,” a small drum played with a stick. The old terra-cotta statue in Verlaine’s poem is probably the woodland god Pan, playing a monotonous rhythm that is both sensual and slightly menacing, matching the mood of the two mélancolique pélerins. Mesmerized by the repetitive rhythms of drum and reed flute, the dejected travelers are caught in the whirlpool of passing time, which spins past as they watch helplessly. “Colloque sentimental.” Colloquial (colloque) refers to ordinary speech or conversation. This disturbing poem is the touchstone of one of Debussy’s great mélodies. It is the last poem in Verlaine’s collection titled Fêtes galantes, and provides a chilling climax. It blends themes of despair, death and disillusion. In this extraordinary song, the ghosts of two lovers meet in a wintry park. As they speak of their former love, their words match the setting: glacial and detached from feeling. Throughout the song their wintry words are enhanced by Debussy’s simple and subtle vocal treatment: one voice urgent and persistent, the other stonily indifferent. Debussy’s manipulation of musical texture between voice and piano is masterful. The sparse vocal lines are almost speech-like, and the piano figures mirror the frozen landscape in which this conversation–equally cold–takes place. The song’s kinship to Debussy’s opera Pélleas et Mélisande is unmistakable. The listener becomes one with the poem’s narrator, straining to see and hear the couple’s conversation in the icy cold of the deserted, frozen park. Debussy reaches back to “En sourdine” (the first mélodie of Fêtes galantes I), takes the wistful song of the nightingale, and inserts it into this song at various points. The nightingale’s melody (“voix de nôtre dessespoir, le rossignol chantera”) provides a touching and melancholy association, linking the two sets of Fêtes galantes together symbolically and musically, foreshadowing the disenchantment of love hinted at in “En sourdine” with the lovers’ conversation in “Colloque sentimental,” and unifying the two sets by a subtle musical component. This panel of three mélodies was Debussy’s last setting of the poetry of Paul Verlaine. Noël des enfants qui n’ont plus de maisons (1915) poem by the composer This is Debussy’s last song, written to his own text, a Christmas carol for children made homeless by World War I. Its intensity comes from its simple sincerity. Debussy composed it on the eve of his first operation for the cancer that would end his life two years later. It was his personal protest against the invasion of northern France by the German armies. When asked for permission to orchestrate the song, Debussy refused, saying, “I want this piece to be sung with the most discreet accompaniment. Not a word of the text must be lost, inspired as it is by the rapacity of our enemies. It is the only way I have to fight the war.” Originally composed in 1915 for piano and voice, Debussy also created a version for children’s chorus, and in 1916, a version for piano and two sopranos. BACK TO TOP HENRI DUTILLEUX (1916-2013) Henri Dutilleux studied at the Paris Conservatory with Maurice Emmanuel. He received the Prix de Rome in 1938 at age twenty-two, and went on to work at the Paris Opéra and the French Radio. France’s musical institutions defined his career: in 1961, he joined the faculty at the école Normale de Musique, teaching composition. In 1970, he taught at the Paris Conservatoire. He destroyed many of his early works, considering them derivative of Ravel, the preeminent composer in France during his youth. His music that had been published avoided demolition. After World War II, Dutilleux concentrated almost exclusively on instrumental and orchestral music, much of which has been widely programmed and recorded. His songs are not well known. In the chronological catalogue of his compositions, beginning in 1929, the Quatre mélodies for mezzo soprano or baritone is only the eleventh entry. It also exists in an orchestral version. The collection is dedicated to the French baritone Charles Panzéra and his wife, pianist Magdeleine Panzéra-Baillot, prominent interpreters of French song in the interwar years. Gabriel Fauré dedicated his last cycle, L’horizon chimérique, to Panzéra. Quatre mélodies (1942) uses poems by four different poets and presents a delightful collection of moods, although it must be admitted that the level of the poetry is not uniformly high: “Féérie au clair de lune” (poem by Raymond Genty), a graceful scherzo of dancing fairies that evokes Shakespeare’s A Midsummer Night’s Dream; “Pour une amie perdue” (Edmond Borsent); “Regards sur l’infini” (Anna de Noailles); and “Fantasio” (André Bellessort). The last mélodie is the most successful of the set and is one of two songs from the set (the other being “Pour une amie perdue”) that Dutilleux acknowledged. He wanted to exclude the first and third songs because their poetry was relatively mediocre. Fantasio (1942) from Quatre Mélodies poem by André Bellessort (1866-1942) “Fantasio” (the original title of Bellessort’s poem is “Les funérailles de Fantasio”) is a colorful poem that chronicles the funeral of the titled character, who has expired before the text begins. The poem, set in Venice during Carnival, is full of glittering and compelling imagery that changes quickly, following the pace of the Carnival. Musical textures are skillfully handled and exhibit some of Dutilleux’s developing style. “Pauvre Fantasio,” is heard several times during the text, acting as both a funereal chant that unifies the proceedings and perhaps as well, keeping the mourners’ footsteps marching together. BACK TO TOP GABRIEL FAURÉ (1845-1924) Gabriel Fauré was one of the great composers of French song who, with Duparc and Debussy, perfected the mélodie as a true art song form. He composed about a hundred songs, all original in conception, constantly developing in style, and pointing the way to future works. His songs express a broad range of emotion and a great variety of musical textures, extending the musical parameters of the genre and inspiring new techniques of song compositions. His songs are often divided into three compositional periods for purposes of study and definition. Fauré has been characterized as a skillful watchmaker; with great precision his songs, which overflow with subtle nuances and delicate detail. His approach is in keeping with the French musical aesthetic: elegant and rational, dealing with sentiment rather than literal sensation. He was able to capture the entire poetic mood of each poem he set and to create an aura around it with his musical setting. Dans la fôret de septembre, Op. 85, No. 1 (1902) poem by Catulle Mendès (1841-1909) This touching poem symbolizes the onset of old age. Mendès was among the founders of a literary magazine, La Revue fantaisiste, which published many poems of the Parnassian poets. Fauré’s musical style perfectly suited this style of poetry: elegance of style, richness of rhyme, regularity and symmetry of rhythm. The Parnassians avoided the excessively romantic and aimed for “art-for-art’s sake.” Fauré was nearly sixty years old when he composed this mélodie, and his reaction to this poem is beautifully poignant. The words describe the poet’s reflective walk through a quiet, somber forest, capturing the chill of mortality and the overall mood of the turning point of life. The ancient forest, sensing a kindred spirit, provides the walker with a sign of friendship and understanding. Fauré set this contemplative poem in a rich harmonic musical texture with a vocal line that borders on quasi-recitative-like shapes. The solemn thoughts of old age call forth a melancholy, but it is a subtle melancholy. It is almost hymn-like in the fusion of words, emotions, and musical texture. This mélodie may be considered as marking the threshold to the final period of Fauré’s compositions. Accompagnement, Op. 85, No. 3 (1902) poem by Albert Victor Samain (1858-1900) This mélodie is a beautiful barcarolle–a nighttime scene, silvery and hazy, alluring but unreal. The image of the poet rowing on the lake is reflected in the musical texture. Fauré had a lifelong fascination with water imagery in music; this poem offers a little reel of unfolding pictures of a moonlight journey a dark lake. The words “dans le rêve” tell us that this is all a dream. This is a rarely sung Fauré mélodie that yields great rewards for the performer. Chanson, Op. 94 (1906) poem by Henri di Régnier (1864-1936) This poem has a gentle charm and a calm simplicity. It is the last of Fauré’s madrigals that include delicate love songs such as “Lydia,” and “Clair de lune.” It has a wonderful fluidity that is a perfect foil for the poetic images The text is a simple set of variations on one theme: nothing on earth has any meaning unless the beloved somehow touches it. Fauré’s reaction to the words called forth a musical setting of delicate transparency and limited range. It is not well known; like “Le Don silencieux,” “Chanson” was published as a single song and therefore not widely disseminated. It is an example of exquisitely planned musical economy, and definitely belongs in Fauré’s third period of musical compositions. Le Don silencieux, Op. 92 (1906) poem by Marie Closset (1875-1952), under the pseudonym Jean Dominique Here is another little known Fauré song, a rarity because it was published separately and was never included in any of the Fauré recueils. The poem has a gentle melancholy–the plea of a timid lover, a mixture of hope and imagined disappointment. The words are tender and flowing, but the overall mood is one of unrelieved sadness. This song marks the beginning of Fauré’s third compositional period, which includes the cycles La Chanson d’Eve, Le Jardin clos, Mirages, and L’Horizon chimérique. Writing of this mélodie in a letter to his wife, Fauré said, It does not in the least resemble any of my previous works, nor anything that I am aware of; I am very pleased about this...It translates the words gradually as they unfold themselves; it begins, opens out, and finishes, nothing more, nevertheless it is unified. 1 NOTES: Quoted in Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Guildhall School of Music and Ashgate Publishing Ltd., 2009), 291. Quotation from Jean-Michel Nectoux, Gabriel Fauré: A Musical Life, trans. Roger Nichols (Cambridge: Cambridge University Press, 1991), 304. This is a translation of Fauré’s letter to his wife of 17 August 1906. BACK TO TOP REYNALDO HAHN (1875-1947) Reynaldo Hahn, Venezuelan by birth, came to Paris with his family at age four and made a brilliant career. In addition to his career as a composer and singer, he was director of the Paris Opéra, music critic for the newspaper Figaro, and conductor of the Salzburg Festival. He was enough of a scholar to edit some of the works of Rameau. He maintained close friendships throughout his life with actress Sarah Bernhardt and writer Marcel Proust. During the Belle époque, French mélodie was at the height of its development. Hahn was a habitué of the most fashionable salons, where he was in demand as a performer. On these occasions, he usually sang and played his own accompaniment, often with a cigarette dangling from his lips. The art of singing was one of his major passions, and he wrote three books on singing (Du chant, Thèmes varies, and L’oreille au guet), as well as a memoir of Sarah Bernhardt. Hahn’s songs are models of French restraint–devoid of overt display, with beautiful melodies in a modest vocal range. They reflect the style of his teacher, Jules Massenet. Hahn composed approximately ninety-five works for solo voice: eighty-four mélodies, five English songs to texts of Robert Louis Stevenson, and six Italian songs in the Venetian dialect. After 1912, Hahn composed in larger forms: opera, operetta, and film music. Perhaps his most famous work is his operetta Ciboulette (1923), which is still performed. À Chloris (1916) poem by Théophile de Viau (1590-1626) “À Chloris” is No. 14 in Deuxième volume de vingt mélodies, the last major publication of Hahn’s songs during his lifetime. In many of his later songs, he turned to a deliberately archaic style. “À Chloris” features an elegant vocal line above a piano texture that features Baroque musical characteristics; it is its own piece, with ornamented melody and chaconne-like bass. Vocal line and piano piece are woven into a musical tapestry that is both declarative and intimate. Poet Théophile de Viau was considered one of the most influential libertin poets during Louis XIII’s reign. The libertins’ verses had a unique charm that is instantly appealing, but somewhat artificial. Despite this, de Viau’s love poetry is not bland, but full of suggestive passion and elegant wit. BACK TO TOP ARTHUR HONEGGER (1892-1955) Arthur Honegger composed over forty mélodies for voice and piano. Taken as a whole, they are diverse and imaginative. For his texts, he favored contemporary poets such as Jean Cocteau, Guillaume Apollinaire, Paul Claudel, and Paul Fort. He also chose to set unrelated poems by a single poet, such as his Poesies (Cocteau) and Alcools (Apollinaire). Poetry with strong imagery appealed to the dramatist in his personality. For Honegger, as for most successful mélodie composers, the word provides the starting place. He is quoted as saying: For me, the music a song is always dependent upon the poetic model. It must join so closely with the poetry, that they become inseparable and one can picture the poem in wholly musical terms. This is not to say that the music becomes subservient. It must be so crafted that it can stand on its own merits, playable without the text, logical and complete. 1 Born of Swiss parents in Le Havre, France, Arthur Honegger initially studied for two years at the Zurich Conservatory, but enrolled in the Paris Conservatoire from 1911 to 1918, studying with Charles-Marie Widor and Vincent d’Indy. Some of his more familiar large vocal works include the dramatic psalm Le roi David (King David), composed in 1921 and still in the choral repertoire; and his dramatic oratorio of 1935, Jeanne d’Arc au bûcher (Joan of Arc at the stake), with text by Paul Claudel, considered to be one of his finest works. Between the world wars, he composed nine ballets and three vocal stage works, among works in other genres. His total compositional catalog is an impressive list of music: orchestral works, chamber music, concertos, ballets, operas, operettas, and oratorios. Widely known as a train enthusiast, he was passionately interested in locomotives, to which he attributed almost human characteristics. His “mouvement symphonique,” Pacific 231, gained him early acclaim in 1923. Honegger’s musical style is a fascinating mixture of impressionistic effects peppered with penetrating dissonances. He had a fondness for mixing tonalities and using modality. His compositions for the voice display an eclectic focus of coloristic harmonies and architectural clarity. He was a member of Les Six, but unlike most of that group, did not share their overwhelming reaction against German romanticism. Honegger’s musical style is fuller and more serious than his colleagues. He and Darius Milhaud were close friends. Honegger’s generous body of song has proved of enduring interest to contemporary performers. His was a distinctive voice in the vocal music of the twentieth-century French mélodie. Trois Psaumes (1940-41) from the Huguenot Psalter Psaumes XXXIV and CXL translated by Théodore de Bèze (1519-1605) Psaume CXXXVIII translated by Clément Marot (1496-1544) The spirit of Bach shines in the first psaume, “Psalm 34,” in which a chant-like vocal line alternates with a gently moving episodic keyboard part. This call and response continues until the last three vocal phrases, when the vocal line merges with the instrumental texture in a psalm of praise. The second song is “Psalm 140,” “ô Dieu donne-moi la déliverance de cet homme pernicieux” (O God, deliver me from this evil man). Honegger’s biographer, Harry Halbreich, suggests that the “evil man” who was oppressing Europe in those last days of 1940 might be the reason for Honegger’s text choice. This piece was composed before the first and third songs. Its emotional mood peaks with the chorale tune “I know that my Redeemer liveth.” 2 The last song in the set, “Psalm 138,” has the Latin title “Confiteor tibi, Domine” (I thank thee, O Lord) and is a paraphrase by Clément Marot, one of the greatest of the French Renaissance poets. It contains a familiar chorale tune, which is used in canon between voice and piano. NOTES: Arthur Canter and Rachel Joselson, Liner notes, The Songs of Arthur Honegger and Jacques Leguerney. Rachel Joselson, Réne Lecuona , piano. Albany Records, TROY691, 2004. Harry Halbreich, trans. Roger Nichols, Arthur Honegger (Portland, OR: Amadeus Press, 1999), 165. BACK TO TOP JACQUES LEGUERNEY (1906-1997) Most of Jacques Leguerney’s sixty-eight mélodies were composed and published from 1940 to 1964. Many were commissioned and premiered by French baritone Gérard Souzay, his sister, soprano Geneviève Touraine, and pianist Jacqueline Bonneau. Early songs are comparable in mood and style with Ravel or Roussel (who encouraged Leguerney’s composition); later songs have been compared to those of his contemporary, Poulenc. Leguerney writes virtuoso piano parts–often dramatic, and with such an individual sense of harmonic style and color that Pierre Bernac reportedly described them as “mélodies de pianist.” 1 When asked about Leguerney’s songs, Gérard Souzay wrote, “How does one describe this music which is, at the same time, classic and modern? It is pure, but colorfully nuanced; it speaks to the heart as well as the mind–at times calm at times witty–wise, yet sensual...” 2 Many of Leguerney’s songs deal with themes of love and nature, expressing a huge range of emotions from deeply felt meditation to wild, ribald humor. Leguerney stopped composing in 1964, and his songs became neglected. The quality of Leguerney’s text setting, lyrical beauty, and harmonic innovations all call for his songs to be better known and more widely performed. Jacques Leguerney was drawn to the work of Renaissance poets, notably Ronsard. There are eight collections titled Poèmes de la Pléaide, representing settings of sixteenth and seventeenth-century French poetry and totaling thirty-two songs. Additionally, there are cycles and other collections [for a complete listing of Leguerney’s songs, see Dibbern, Kimball, and Choukroun, Interpreting the Songs of Jacques Leguerney]. 3 They may be thought of as the last in the great mainstream of twentieth-century French song. La Caverne d’écho (1954) from Poèmes de la Pléiade, Volume 7 poem by Antoine Girard de Saint-Amant (1594-1661) Dedication: Josiane and Jean Cier. First performance: Bernard Kruysen, baritone; Jean-Charles Richard, pianist. 29 May 1965, Radio France Culture. Marc-Antoine Girard, sieur de Saint-Amant, wrote poetry of great descriptive power, and his use of language set him apart from the other seventeenth-century poets. He was also an adept musician and skillful lute player, writing verses that often describe musical sounds linked to visual images. The poem takes place in a dark cave, home of the nymph, Echo; it is a charmed place, absolutely still and peaceful. The poet’s lute resounds inside the cavern as he tries to soothe the inconsolable Echo, who mourns for her lover Narcissus. Leguerney creates the grotto’s mysterious resonance with bitonality. Piano figures illustrate the strumming of the lute. The text contains many sounds with the consonant “r.” The rolling quality of this speech sonority re-creates the cavern’s resonance. The closing measures of the mélodie produce a striking effect as the singer’s voice echoes eerily in the cavern, blending with the piano’s resonance and creating a remarkably realistic echo. À son page (1944) from Poèmes de la Pléiade, Volume 2 poem by Pierre de Ronsard (1524-1585) Dedicated to Gérard Souzay. First performance: Gérard Souzay, baritone; Jacqueline Robin (Bonneau). 3 May 1945, Salle Gaveau, Paris. This is a lusty scene with four characters: a nobleman tipsy from drink, his page, and two women, Jeanne and Barbe. Carpe diem is the theme here. The singer philosophizes on this idea while enjoying his wine and the tender companionship of the two beautiful women. Leguerney evokes the crackling staccato of a stylized harpsichord with rhythmic accents in the piano. The text is brilliantly set with jagged vocal lines and driving rhythms that illustrate the singer’s intoxication. It ends with Leguerney’s repetition of the last poetic line and the addition of nonsense syllables which fit beautifully into the imagery and mood of Ronsard’s colorful characters. Je me lamente (1943) from Poèmes de la Pléiade, Volume 1 poem by Pierre de Ronsard (1524-1585) Dedicated to Geneviève Touraine. First performance: Paul Derenne, tenor; Jeanne Blancard, pianist. 29 March 1944, Salle de l’Ecole Normale de Musique, Paris. This is one of Leguerney’s most beautiful songs, setting Pierre de Ronsard’s text from his collection of love poems for Marie Dupin, a country girl from a small village in southern France. She was half his age and probably represented the youth he constantly pursued. It has been suggested that the Marie in question was probably Marie de Clèves, passionately adored by Henri III. 4 Leguerney called this mélodie a constant crescendo from beginning to end. 5 Ronsard’s anguish is captured with a texture of stark chords, crowned by a regal and sustained vocal line. As the song progresses, the poet’s anguish is embodied in a more expansive texture, bidding Marie a happy resting place near God or in the Elysian fields. NOTES: Liner notes by Mary Dibbern. Mélodies sur poèmes de la Renaissance (Jacques Leguerney).Harmonia Mundi France. LP recording HMC 1171. Letter to the author. Quoted in Mary Dibbern, Carol Kimball, and Patrick Choukroun. Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001), 3. Ibid., 289-295. Ibid., 69. See note 20. Ibid., 70. BACK TO TOP OLIVIER MESSIAEN (1908-1992) Olivier Messiaen was born in 1908 in Avignon, France, into a literary family. He grew up around words and absorbed their shapes, colors and sounds naturally. His father, Pierre Messiaen, was a well-known translator of Shakespeare, and his mother, Cécile Sauvage, was a poet. As a youngster, before beginning to compose music, he had an especially perceptive ear attuned to the unique prosody of the French language. Early in his compositional career, he published a book titled Technique de mon langage musical (1944). About his musical setting of words, Jane Manning observes: ...the syllables themselves create a glittering mosaic of sonorities and subtle resonances, in addition to their actual meaning (many of the poems do not translate at all satisfactorily). The composer’s awareness of the minutiae of verbal enunciations and articulations is miraculous. Each vocal sound can be precisely placed as intended, all dynamics are scrupulously plotted, and the performer’s involvement and intimate connection to the music is enhanced by the sensual nature of words projection... 1 He often used stained glass to explain his music. When viewed from a distance, the myriad details blend into a single entity, whose purpose is to dazzle the listener. Understanding is not necessary, feeling is the prime requisite. The music of Olivier Messiaen is a skillfully designed and unique language, with meaning and form kept separate. Its meaning is unchangeable, harkening back to Gregorian chant, culminating in instruments that are able to prolong sound (organ, strings, or the ondes Martenot). Messiaen’s musical language is defined by its rhythms and tone colors. His uncanny instinct for associating sound with color produced works unique in their concept of the combination of sounds. He said that when he heard or read music, his mind’s eye saw colors that move with the music; he sensed these colors, and at times he precisely indicated their arrangements in his scores. His fascination with birdsong was lifelong; he referred to himself as an ornithologist and tracked birds and their songs all over the world. He considered their resonances as songs and not merely sounds. He notated these on manuscript paper and they found their way into his music. Trois mélodies (1930) poems by Olivier Messiaen, Cécile Sauvage (1883-1927) This little cycle of songs is Messiaen’s first recognized work for voice and piano. The songs are modest in length and not typical of Messiaen’s later style, but show influences of late Fauré and Duparc in the overall musical texture. There is only one song in his vocal compositions in which Messiaen set the poetry of another poet. It is found in this cycle, which uses the text of his mother, the poet Cécile Sauvage, who died three years before the composition of this work. The three movements form a warm and delicate little triptych. Two of Messiaen’s own poems stand on either side of the poem by Cécile Sauvage, throwing that charming little poem into high relief. “Pourquoi?” introduces a litany of the pleasures of nature: birdsong, the unfolding seasons, and water images. The poet becomes emotional, asking why all these bring him no joy. “La Sourire,” the shortest song of the set, is a beautiful microcosm of intimate and spiritual understanding between two people. It is a delicate example of musical economy and word setting in a quasi-recitative style. The last song, “La fiancée perdue,” offers fleeting hints of Messiaen’s cycle to come, Poèmes pour Mi–most specifically, the final song. Here, the poet prays for divine blessing on the soul of the “fiancée” in the title. The fervent incantation illuminates and affirms man’s connection to a higher authority. Examining the poetic content of the three texts, we are struck by the images that underlie the words: the emotional outburst “pourquoi,” (why?), perhaps questioning the death of Cécile, followed by Cécile’s tender affirmation of love, and finally, the prayer asking for Divine grace and the blessing of the soul of the departed. NOTES: Jane Manning, “The Songs and Song Cycles,” in The Messiaen Companion, ed. Peter Hill (Portland, OR: Amadeus Press, 1995), 107. BACK TO TOP DARIUS MILHAUD (1892-1974) Darius Milhaud was probably the most prolific composer of the group known as Les Six (Francis Poulenc, Louis Durey, Arthur Honegger, Germaine Tailleferre, Georges Auric, and Milhaud). The group was unified by friendship rather than a single musical style. Championed by influential writer Jean Cocteau and composer Erik Satie, Les Six often presented their works at the same concerts and met with great regularity–often at Milhaud’s house–to make music and exchange ideas. Louis Durey observed that it was the wide diversity in their personalities and musical styles that gave the group its rich depth and permitted its development. Embodied in the credo of their musical thought was relative sparseness of texture and clarity. Turn-of-the-century France offered popular entertainments that drew the French to an environment of merry-go-rounds, shooting galleries, outdoor concerts, circuses, and a jumble of excitement. Milhaud was fascinated by Parisian street life, and could hear the sounds of the Montmartre fair from his apartment. Often on their group outings, Les Six went together to the Cirque de Médrano to see the Fratellinis, a famous family of clowns of that day. Milhaud observed that their acts were worthy of the Commedia dell’arte. 1 Trois Poèmes de Jean Cocteau, Op. 59 (1920) poems by Jean Cocteau (1889-1963) Trois poèmes de Jean Cocteau is like lyric fragments. The small-range vocal lines have a sparse lyricism–one of emotional mood rather than overt melody. The little mélodies are skillful studies in brevity. These match Cocteau’s rather enigmatic poems that exemplify the style termed dépouillé (stripped to the essentials), his aesthetic creed. Milhaud dedicated the songs to Satie. The three miniatures are a colorful kaleidoscope of the circus and the outdoor fairs that entranced the French during this period. “Fumée” describes the equestrienne of the Cirque Médrano atop a horse, jumping through hoops, captured in Toulouse-Lautrec’s familiar painting titled “L’écuyère au Cirque Fernando (1888); “Fête de Bordeaux” is a description of the merry-go-round at the Bordeaux fair; and “Fête de Montmartre” evokes the nighttime boats and sailors, possibly having to do with a game involving camouflaged ships found at the Montmartre fair. Milhaud infuses stylistic and melodic elements of folk songs and children’s tunes into the tiny pieces, tying the innate excitement of these popular destinations to simple, childlike reactions. NOTES: Laurence Davies, The Gallic Muse (New York: A.S. Barnes and Co., 1967), 164. BACK TO TOP FRANCIS POULENC (1899-1963) Francis Poulenc’s 150 mélodies form the largest body of songs to be added to French vocal literature in the twentieth century. Poulenc’s flair for the dramatic, combined with his superb skill in mixing poetry and music, produced songs that singers find immensely gratifying, not only for their musical value, but for their heightened sense of drama. Poulenc’s mélodies reflect concern and feeling for declamation, inflection, breathing, and above all, show extraordinary warmth of feeling for the human voice. He was fond of saying, “J’aime la voix humaine!” The sophistication of Poulenc’s songs spring from their poetic inspirations. Poulenc was quite knowledgeable about poetry, and chose his texts carefully. His gift of divining the inner life of the texts he set produced songs that do more than merely illustrate the poems. His gift for melody is at the very heart of all his songs and seems to assert itself naturally in shaping the color, weight, and meaning of the texts he set. Ce doux petit visage (1938) poem by Paul éluard (1895-1952) Paul Eluard was one of Poulenc’s three main poets. This is a beautiful introduction to Eluard’s poetry, lyrical and passionately intense. The simplicity of Poulenc’s setting allows the poem to shine. It is one of Poulenc’s tiny gems, and he admitted his partiality to the short song. Eluard’s skill at evoking nostalgia and melancholy are seen here, linked to lost youth. The mélodie is dedicated to the memory of Raymonde Linossier, Poulenc’s most intimate childhood friend, who influenced his literary taste and musical tendencies. He said: “I have a great liking for this short song. Raymonde Linossier was my best advisor for the music of my youth. How many times, during the years since her death, I would have liked to have had her opinion on this or the other of my works.” 1 La Grenouillère (1938) poem by Guillaume Apollinaire (1880-1918) “La Grenouillère” is an outstanding example of Poulenc’s romantic lyricism. This is a text by Guillaume Apollinaire describing the Ile de Croissy, an island in the Seine on the outskirts of Paris, frequented by artists and their models, and celebrated in paintings by Monet, Manet, and Renoir. “The Froggery” was a restaurant on the island. The overall images of happy days that cannot be relived can be seen in Pierre Auguste Renoir’s paintings Les Déjeuner des canotiers (The Boatman’s Luncheon), or La Grenouillère. In this lament for boating parties on the Seine, vocal phrases are sustained and languid, floating over a slowly rocking piano accompaniment. The lazy piano figures mirror the empty tethered boats rocking on the water, bumping against each other, and give expression to the sweet melancholy of the poet’s words. Montparnasse (1945) poem by Guillaume Apollinaire (1880-1918) Apollinaire’s poem is dated 1912. Poulenc writes in his journal of songs that it took him four years to complete “Montparnasse,” almost phrase by phrase, and that he had no regrets about the length of time it took because “it is one of my best songs.” 2 It is a sentimental and heartfelt tribute to Paris. Both Apollinaire and Poulenc loved the city and it played a continuing role in their work. “Montparnasse” is about the idyllic artistic existence lived at the edge of Paris. Poulenc wrote in his diary: “Let us imagine this Montparnasse all at once discovered by Picasso, Braque, Modigliani, Apollinaire.” 3 The mélodie has a carefree nonchalance about it; it is not sad, but thoughtful– a beautiful blend of poetic and musical lyricism. Poulenc’s vocal and harmonic textures are full of surprising harmonic details that bind this song–which he composed in fragments–together into a touching and expressive picture of Paris in the early years of the twentieth century. Bleuet (1939) poem by Guillaume Apollinaire (1880-1918) Guillaume Apollinaire was one of Poulenc’s preferred poets. This is a wartime poem that Apollinaire penned in 1917 in Paris in convalescence after a head injury; both Apollinaire and Poulenc served in World War II. There are several word plays at work here. “Bleuet” was the nickname for French soldiers in World War I, because their uniforms were blue, like the color of a little cornflower, which is a “bleuet.” Also, “Un bleu” was the term used for a raw recruit. “Bleuet” is one of Poulenc’s most moving songs– agonizing in its emotional content yet noble in its message. It is a quiet and private moment in which a twenty-year-old boy who does not yet know all that life can be, is characterized–and addressed–by the poet in a sweetly serious speech. Poulenc wrote that for him, the key to the poem were the words, “It is five o’clock and you would know how to die.” 4 This song is simple, intimate, and poignant. Les Chemins de l’amour (1940) poem by Jean Anouilh (1910-1987) Poulenc composed this valse chantée as incidental music for Léocadia, a play by Jean Anouilh. Within the play, the song was described as a pseudo Viennese waltz, and functioned as a leitmotiv in the plot. Sung by Yvonne Printemps, one of France’s most celebrated musical theatre stars, “Les Chemins de l’amour” became a popular success. It embodies the relaxed elegance of a self-styled Viennese waltz style, encased in one of Poulenc’s haunting melodies. Banalités (1940) poems by Guillaume Apollinaire (1880-1918) Banalités is not a cycle, but a group of five songs. The poems have no connection with each other; however, their order provides a well-constructed recital group. They may be performed separately. The work is one of Poulenc’s most popular vocal works, and deservedly so. Poulenc chose contrasting poems, placing them so that the collection begins briskly and ends with lyrical gravity. “Chanson d’Orkenise” is Poulenc’s title for the poem contained in the strange mixture of prose and poetry that Apollinaire called Onirocritique. Orkenise is a road in Autun leading to the Roman gate of the same name. The musical setting has the feeling of a popular folk song. The narrator sings of a tramp leaving the city and a carter who is entering it - one leaving his heart there, one bringing his heart to be married. There is a word in the poem with a double meaning: “grise” can be translated as “gray” or “tipsy.” The merry quality of the song opens the set with gaiety, but both Apollinaire and Poulenc offer a little food for thought. “Hôtel” is a poem that immediately represented for Poulenc a hotel room in Montparnassse, where the idle poet wants only to bask in the sun’s warmth and smoke. Pierre Bernac referred to it as “the laziest song ever written.” 5 The piano figures are fashioned of Poulenc’s luxuriant chromatic harmonies, stacked as if to cushion the lethargy of the singer. “Fagnes de Wallonie” is set in the gloomy, desolate uplands of the Ardennes with a terrain of vast heaths, twisted trees, and peat bogs, swept by winds of considerable force. Its gloomy setting complements the melancholy mood of the poet. Poulenc’s spiky musical setting is a whirlwind that sweeps from beginning to end in a turbulent texture that demands precise articulation from singer and pianist. Sandwiched between Songs 3 and 5 is a tiny bonbon, “Voyage à Paris.” It resembles a little commercial jingle about Paris–“which one day love must have created”–an invitation to the pleasures of that beautiful city, away from “the dreary countryside.” Poulenc sprinkles his quicksilver setting–a valse-musette–with indications of “amiable” and “avec charme.” The composer referred to it as having “deliciously stupid lines...Anything that concerns Paris I approach with tears in my eyes and my head full of music.” 6 The cycle concludes with “Sanglots”, one of Apollinaire’s finest poems about the universality of lost love, a theme that Poulenc matches with exquisite modulations in a setting that embodies the essence of the words. The vocal lines are eloquently lyrical. The poem is difficult to understand because of the juxtaposition of the main narrative and the interior “asides,” that in effect form a poem within a poem. 7 The song has an elegant serenity that culminates in a stunning climactic point at the words: “Est mort d’amour ou c’est tout comme/ Est mort d’amour et le voici.” The ending lines of the song sustain the profoundly calm mood, bringing Banalités to its close. La Courte Paille (1960) poems by Maurice Carême (1899-1978) The last song cycle Poulenc composed was La Courte paille, on seven poems of Belgian poet Maurice Carême. Poulenc composed the songs for soprano Denise Duval, creator of leading roles in his three operas, hoping that she would sing them to her young son. Poulenc considered the mélodies very poetic and whimsical; unfortunately, Duval disliked the music and never did sing the cycle. Poulenc asked Carême to provide an overall title for the work and requested permission to change the titles of several selected poems: the original title of “Quelle aventure!” is “Une puce et l’éléphant”; “Le Reine de cœur” is “Vitres de lune”; “Le carafon” is “La carafe et le carafon.” For the cycle’s title, Carême chose La Courte Paille (The Short Straw), referring to drawing lots by the method of a short straw. Poulenc was delighted, saying the title symbolized his little musical game exactly. He also wrote in his diary, “They must be sung tenderly; that is the surest way to touch the heart of a child.” 8 The cycle is full of child-like innocence, whimsy and imagination, with a few shadowy undertones. The first song, “Le Sommeil,” is a beautiful lullaby to a restless child who cannot go to sleep, tossing and turning in his small bed. He seems ill, crying and perspiring, but hopefully will finally surrender to slumber. In “Quelle aventure!” the child describes an absurd happening: he saw a flea driving a carriage with a small elephant in it. The story grows more bizarre but the rhythmic pace never wavers, careening to the end of the song when the child wonders how on earth he’ll ever be able to persuade “Mama” that it really happened. The verses are witty, yet the shrieks of “Mon Dieu!” are laced with a feeling of childish terror. “La Reine du cœur” is a beautiful, languid melody that paints a picture of the mysterious Queen of Hearts, beckoning to visitors from her frosty castle, where she reigns over a court of lovers, including the young dead. In “Ba, Be, Bi, Bo, Bu...,” the child is chided “on all sides” about studying. The title of the song presents the French vowels, and the text contains words that make their plural with an “x” (“pou, chou, genou, hibou”). The formidable cat of the poem’s opening lines is none other than that tricky feline Puss-in-Boots! The entire song is a little tongue-twister, an exercise in diction and accuracy. “Les anges musiciens” are none other than the school children staying home on Thursday, the half-day school holiday in France in Poulenc’s time, practicing Mozart on their harps, just like good little angel musicians should do. “Le carafon” is a crazy little story of a carafe that longs for a baby carafe (carafon) just like the giraffe at the zoo, who has a girafon. This is a ridiculous rhyming game like those that children love to play. The text is full of whimsical characters: the carafe, a giraffe, a sorcerer astride a phonograph, Merlin, and finally, a carafon. “Lune d’Avril” is another lullaby, very slow and otherworldly, which serves as an epilogue. Bound together in a musical texture that features a syncopated pedal point, it is filled with enchanted images the child wishes to dream about: a land of joy, light, and flowers where all guns are silent. The ending leaves the listener suspended in a mood of unfinished magic. La Courte Paille is the last vocal music Poulenc composed. NOTES: Quoted in Pierre Bernac, Francis Poulenc: The Man and his Songs (New York: W.W. Norton Co., 1977), 125. Francis Poulenc, Journal de mes mélodies, trans. Winifred Radford (London: Victor Gollancz, 1985), 75. Ibid., 75. Ibid., 57. Bernac, 72. Poulenc, 67. The English translation of “Sanglots” has parentheses that delineate the “asides” so that both “poems” may be seen. These may be found in Pierre Bernac’s books Francis Poulenc: The Man and his Songs, page 75, or The Interpretation of French Song, pages 284-85 Poulenc, 109. BACK TO TOP MAURICE RAVEL (1875-1937) The songs of Maurice Ravel represent a transition between the mature mélodies of Debussy and the vocal literature that followed, notably the songs of Les Six. Debussy dominated the French musical scene from the turn of the century until his death in 1918. It was Ravel who was regarded as the leading musical spokesman for France following World War I. He was a skillful craftsman and his songs have a sense of evenness of rhythmic structure and flow that call for scrupulous execution. The fusion of music and text into a logical whole was of utmost importance to him. He composed elegant and subtle mélodies, using classical phrase structure. His melodic phrases often tend toward modality. His songs range from those with a folk-like style to more to those that are more speech-like, and those that encompass a melodic romanticism. He was precise in his thought and his scoring, and scrupulous in his musical execution. His music encompassed some of the fascinating influences of the post-Wagnerian era. Ravel’s musical contributions were of utmost importance to this exciting and new era in French cultural history. He made notable contributions to musical literature for the piano, the French art song, opera, chamber music, orchestral literature, and the ballet. Sur l’herbe (1907) poem by Paul Verlaine (1833-1896) This mélodie is Ravel’s only setting of Verlaine. It has often been suggested that this poem was probably inspired by Watteau’s painting L’île enchantée. There is also a reference to a famous eighteenth-century dancer, Marie-Anne Cuppi, known as (La) Camargo, who was immortalized on canvas by the painter Nicolas Lancret. The scene is an outside gathering, elegant and artificial. A number of people are there, chief among them, a licentious abbé, slightly tipsy from a bit too much Cyprian wine. He exchanges a few disconnected gallantries with the ladies–innocent conversations on the surface, but sensuous in undertone. The conversation is disconnected; we do not know exactly who is speaking. Ravel shapes very flexible vocal phrases, in keeping with the abbé’s intoxicated state, underscored with graceful piano figures that evoke an eighteenth-century dance. In a letter to Jean-Aubrey, Ravel commented on “Sur l’herbe”: “In this piece, as in the Histoires naturelles, the impression must be given that one is almost not singing. A bit of preciosity is found there which is indicated moreover by the text and the music.” 1 Noël des jouets (1905) poem by the composer This is the only solo song for which Ravel wrote the text. It describes a Christmas manger scene, replete with the Virgin and Christ-child, animals, and angels. It embodies Ravel’s delight with tiny mechanical toys and figures, and his fascination with the unspoiled world of child-like experience. His genius for text painting is displayed in the delightful mélodie. The mechanical toys come to life in the piano figures. Ravel’s charming text creates the images around and over the crèche, with not a word wasted. Ravel commented that the music is “clear and plain, like the mechanical toys of the poem.” 2 This little song foreshadows other Ravel settings of make-believe, beginning with the song cycle Histoires naturelles and culminating with his opera L’Enfant et les sortilèges. The music of menacing dog Belzébuth foreshadows the music of the Beast in the Mother Goose Suite (Ma Mère lOye). Rêves (1927) poem by Léon-Paul Fargue (1876-1947) The poetry of Léon-Paul Fargue has been described as reflecting the union of dream and memory. This mélodie has a tender lyricism within a sparse musical texture. The text is fashioned of a series of miniature images that pass by rather quickly, unrelated, like the images found in dreams. For all their differences, they have a simplicity about them that seems timeless, existing together, as the poet says, “in a vague countryside.” When the dreamer finally awakens, the little fleeting pictures “die quietly.” The piano postlude perpetuates the dream state, creating an ethereal little microcosm that continues to draw the dreamer to it. Ronsard à son âme (1924) poem by Pierre de Ronsard (1524-1585) In his Abrégé de l’art poétique français (1565) Pierre de Ronsard advocated the union of poetry and music, and Renaissance composers frequently set his poems. 3 In this strikingly simple mélodie, Ronsard speaks to his soul, calling it by a series of diminutives: little soul, dainty little one, sweet little one. Ravel uses a series of parallel fifths in the piano figures to invoke a Renaissance mood. This is Ronsard’s last poem, and Ravel’s last adaptation of Renaissance poetry. Ravel’s setting recalls the elegance of his early mélodie, “D’Anne qui me jecta de la neige,” to a poem of Clément Marot. Manteau de fleurs (1903) poem by Paul Barthélemy Jeulin (1863-1936) The poem notes everything in the garden that is pink–all the flowers that will become a beautiful cloak to complement the beauty of the lady of the poem. Ravel usually had very sophisticated taste in choosing texts; this particular poem is an unusual choice. It is a simple text, somewhat banal, but Ravel’s shimmering musical texture imparts a dramatic character for each flower in the poem. The overall piano texture suggests orchestral colors. The last section of the mélodie changes course slightly, with the piano harmonies creating a slightly wistful mood. Clearly, Ravel lavished a beautiful musical setting on a rather ordinary set of words. Don Quichotte à Dulcinée (1932-33) [Medium/Low Voice edition only] poems by Paul Morand (1888-1976) This miniature cycle was Ravel’s last vocal work. His musical portrait of the noble Spanish knight, Don Quixote, is embodied in three mélodies, all based on characteristic Spanish or Basque dance rhythms: (1) the guajira, alternating 6/8 and 3/4 meter; (2) the zorzica, a Basque dance in quintuple meter; and (3) the jota, a lively triple-metered Spanish dance. “Chanson Romanesque” presents the chivalrous idealist Don Quixote, confidently promising to rearrange everything in nature to his lady Dulcinea’s liking in order to win her favor. Dulcinea is in reality a poor farm girl, but the Don’s illusion will not be shaken. He remains authoritative and focused in his quest for her love. “Chanson épique” is Quixote’s reverent prayer to Saint Michael and Saint George, beseeching them to bless his sword and his Lady. Ravel creates a beautifully sustained and prayerful vocal line over a simple accompaniment. “Chanson à boire” is a exuberant drinking song. Although the Don’s tippling has made him overly boisterous, he never oversteps the bounds of his noble bearing. His robust laughter is heard in the piano figures and even a hiccup intrudes between “lorsque j’ai” and “lorsque j’ai bu.” NOTES: Maurice Ravel, in a letter to Jean-Aubrey written in September, 1907. Quoted in Arbie Orenstein, Ravel: Man and Musician (New York: Dover Publications, 1991), 165-66. Quoted in Orenstein, 161. Orenstein, 192. BACK TO TOP ALBERT ROUSSEL (1869-1937) In 1894 Albert Roussel left a highly successful career as a naval officer to pursue music. After completing his studies, he became professor of counterpoint at the Schola Cantorum in Paris. Satie and Varèse were among his students. Roussel was one of the most prominent French composers of the interwar period. He composed almost forty mélodies as well as chamber music, ballets, and operas. His style is eclectic but highly individual. Early works show the influence of Vincent d’Indy, works dating from 1910 to 1920 exhibit influences of Debussy and Ravel, but he turned to neoclassicism in his later compositions. His love for the sea was almost a spiritual attraction and continued to influence his music throughout his career. He had a fascination for distant places; his extended tour of Southeast Asia in 1909 had a tremendous influence on his composition. “Sarabande” and “Cœur en peril” are mélodies to texts of René Chalupt, a close friend. They are found in op. 20 and 50, respectively. Roussel’s overall musical catalogue is not extensive, but its quality is of an extremely high level, and his vocal writing in particular contains some mélodies of great delicacy and style, squarely in the French tradition. For Roussel, the word held primacy in his mélodies, being both transformed by its musical setting and merging with it to create a perfect union. Commenting on the quality of Roussel’s songs, composer Charles Koechlin is quoted as saying: “The sense of austerity pervading them, stemming simply from the composer’s natural reserve, heightens their expressiveness and further embellishes them; in language and content they are absolutely personal. This collection of songs is one which will last because its essence is undying sensitivity.” 1 Sarabande (1919) from Deux mélodies, Op. 20, No. 2 poem by René Chalupt This is surely one of Roussel’s most delicate and magical creations. His writing for the piano is particularly outstanding, placing Chalupt’s poem in an overall texture of elegance and veiled sensuality. There is an Oriental delicacy in Roussel’s musical evocation of the fluttering doves, feathers drifting into a pool, and the gentle drift of chestnut blossoms onto bare flesh. Cœur en péril (1933-34) from Deux mélodies, Op. 50, No. 1 poem by René Chalupt This mélodie is much different in mood–witty and flirtatious. It is the narrative of a young man eager to convince his ladylove of his fidelity. Vocal phrases are tuneful, with a spirited piano texture of Iberian flavor. NOTES: Liner notes, Dom Angelico Surchamp, trans. Elisabeth Carroll, Roussel Mélodies, Colette Alliot-Lugaz, Mady Mesplé, Kurt Ollmann, José Van Dam; Dalton Baldwin, Patrick Gallois. EMI Digital. CDS 7492712, 1987 BACK TO TOP ERIK SATIE (1866-1925) Erik Satie wrote very few songs and most of them date from late in his life. The eccentric father figure of the French avant-garde of the twentieth century had a wildly independent spirit that found its way into his musical compositions. Throughout his life, he kept a great deal of childlike inquisitiveness and innocence. He was a curious personality of unconventional habits whose sense of the absurd and whimsy permeated both his life and his music. Quintessential Satie compositions are laconic and witty. It was Satie who named Les Nouveaux Jeunes, soon known as Les Six, and influenced the early development of the group. La Statue de bronze (1916) from Trois Mélodies poem by Léon-Paul Fargue (1876-1947) This is Satie’s first setting of the poetry of Léon-Paul Fargue, the “Bohemian poet of Paris.” Satie used Fargue’s witty verses again for Ludions. The scene is a garden game–the jeu de tonneau. A bronze frog, perched atop a cabinet with numbered chambers, grows impatient of being the target of the game where metal disks are tossed into her mouth. She dreams of being freed from her pedestal and being able to use her wide-open mouth to utter “LE MOT.” 1 She wants to be free to join the other frogs gathered near the rust-colored washhouse “blowing musical bubbles from the soapy moonlight.” But the game continues, the disks rattle through her mouth into numbered compartments and at night, insects sleep in her mouth. This mélodie can be linked musically to “La Grenouille américaine,” found in Ludions. Both songs share piano figures derived from the café-concert chanson. Ludions (1923) poems by Léon-Paul Fargue (1876-1947) Ludions is the last of Satie’s purely vocal works, composed two years before his death, and is perhaps his finest set of songs. It epitomizes his lifelong quest for musical simplicity and his irreverence for the intricate compositional techniques and overactive emotions of the Impressionists. Ludions is translated as “bottle imps” (a ludion is a little figure suspended in a hollow ball, which descends or rises in a vase filled with water when one presses down on the elastic membrane covering the mouth of the vase). The cycle is a kaleidoscopic set of musical miniatures, riddled with puns and illogical phrases. Fargue’s nonsensical verse complements Satie’s musical aesthetic, and the two friends’ personalities closely matched one another. All the mélodies in Ludions are short, like tiny cameos. They are colorful, saucy, fantastic, and defy translation. “Air du rat,” “La Grenouille américaine,” and “Chanson du chat” are right out of the music hall, and Satie uses with a mock-serious “tongue-in-cheek” treatment for “Spleen” and “Air du poète.” Je te veux (1902) poem by Henry Pacory (1873-?) The valse chantée, or sung waltz was a favorite of the café concerts, for which Satie composed a number of works. Café concerts were a form of Parisian popular entertainment in the late nineteenth and early twentieth century. The all-musical programs were held outside; French popular singers presented repertoire that catered to lower and middle-class audiences who came to talk, eat, drink, and observe the long informal programs, for which there was no admission charge. “Je te veux” was composed for Paulette Darty, dubbed “the Queen of the slow waltz.” It was one of her signature musical presentations for the caf’conc (café concerts), and one that Darty remained associated with throughout her career. A statuesque blonde with an ample figure, Darty was a commanding performer who kept the most boisterous of the Saturday night audiences enthralled. Lyricist Henry Pacory’s rather explicit poem was watered down at Satie’s request before the song was published. La Diva de l’Empire (1904) poem by Charles Bessat, named Numa Blès (1871-1917) The “Diva de l’Empire,” 2 one of Satie’s café-concert songs, was another work written for and performed by Paulette Darty. It was composed for a Bonnaud-Blès music-hall revue called Dévidons la Bobine (Let’s Unwind the Bobbin) that toured several seaside resort towns. The British “diva” is a femme fatale performer who enchants all who see her. The song is a syncopated cakewalk describing her seductive beauty as she struts her stuff “showing the wiggling of her legs and some pretty frilly underwear.” Interspersed at points along the way with English words: Greenaway, baby, little girl, etc. The piano provides a jaunty ragtime rhythm throughout that melds perfectly with the suggestive text. NOTES: ”Le mot” has a double meaning. It was the title of a broadsheet published by Jean Cocteau between 1914-15 and is short for “le mot de Cambronne,” a polite way of saying “merde.” Cambronne was a famous French general who replied “Merde!” when asked to surrender. In Steven Moore Whiting, Satie the Bohemian: From Cabaret to Concert Hall. (New York: Oxford University Press, 1999), 43. Empire refers to the Empire Theatre of Varieties, Leicester Square, London. BACK TO TOP DÉODAT DE SÉVERAC (1872-1921) Déodat de Séverac, of aristocratic lineage, was born in the Languedoc region of southwest France in Saint-Félix-Caraman (now Saint-Félix Lauragais), near Toulouse. After studies in Paris with Vincent d’Indy at the Schola Cantorum, he returned home and remained there. He was a contemporary of Fauré, Debussy and Ravel, but was considered a petit maître in their company, possibly because of his return to Languedoc at the completion of his musical studies. Séverac composed piano and orchestral music, operas and songs. The culture of his native Languedoc figured prominently in his music, which is highly descriptive. He often wrote parts for regional folk music in his scores. Many considered him provincial and unsophisticated, but his music displays his skill in integrating folk elements–and often, regional folk instruments–of his native Languedoc into his works. He often referred to himself as “the peasant musician.” Influences of Debussy, Mussorgsky, and Bizet may be found in his mélodies. Although his music is rather conservative in style, Séverac fused folk elements with the musical styles of the day in a unique and individual manner. Ma poupée chérie (1914) poem by the composer Composed in 1914 (and published in 1916) for his daughter Magali and dedicated to her, this little cradlesong is probably de Séverac’s best loved and most performed mélodie. Séverac’s fresh musical setting contains just the right combination of simplicity and delightful childlike honesty. Despite the subject matter, the composer’s heartfelt poem avoids an overly cloying atmosphere. BACK TO TOP OTHER SOURCES CONSULTED: Jane Bathori, On the Interpretation of the Mélodies of Claude Debussy, transl. and with an introduction by Linda Laurent (Stuyvesant, NY: Pendragon Press, 1998). Pierre Bernac, Francis Poulenc: The Man and his Songs, transl. by Winifred Radford (New York: W.W. Norton, 1977). Pierre Bernac, The Interpretation of French Song, transl. by Winifred Radford(New York: W.W. Norton, 1978). Elaine Brody, Paris: The Musical Kaleidoscope 1870-1925 (New York: George Braziller, 1987). Mary Dibbern, Carol Kimball, and Patrick Choukroun, Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001) Alan M. Gillmor, Erik Satie (New York: W.W. Norton Co., 1992). James Harding, The Ox on the Roof: Scenes from musical life in Paris in the Twenties (New York: Da Capo Press, 1986). Peter Hill, ed., The Messiaen Companion (Portland, OR: Amadeus Press, 1995). Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Ashgate Publishing Ltd. and the Guildhall School of Music and Drama, 2009) Graham Johnson and Richard Stokes, A French Song Companion (Oxford: Oxford University Press, 2000). Carol Kimball, Song: A Guide to Art Song Style and Literature (Milwaukee, WI: Hal Leonard Corp., 2005). Carol Kimball and Richard Walters, eds., The French Song Anthology (Milwaukee, WI: Hal Leonard Corp., 2001). Timothy LeVan, Masters of the French Art Song (Metuchen, NJ: Scarecrow Press, 1991). Barbara Meister, Nineteenth-Century French Song (Bloomington, IN: Indiana University Press, 1980). Wilfrid Mellers, Francis Poulenc (Oxford: Oxford University Press, 1993). Arbie Orenstein, Ravel: Man and Musician (New York: Columbia University Press, 1975). Nancy Perloff, Art and the Everyday: Popular Entertainment in the Circle of Erik Satie(Oxford: Clarendon Press, 1991) Caroline Potter, Henri Dutilleux: His Life and Works (Brookfield, VT: Ashgate Publishing Co., 1997). Francis Poulenc, Moi et mes amis: Confidences recueilles par Stéphane Audel (Paris: La Palatine, 1963). Francis Poulenc, Diary of my Songs [Journal de mes mélodies] transl. by Winifred Radford (London: Victor Gollancz, Ltd., 1985) Marie-Claire Rohinsky, ed., The Singer’s Debussy (New York: Pelion Press, 1987) Roger Shattuck, The Banquet Years (New York: Vintage Books, 1968). 20TH CENTURY FRENCH ART SONGS Mélodies française du XXe siècle Edited by Carol Kimball Published by Éditions Durand DF 16250/HL 50565798 High Voice edition DF 16251/HL 50565799 Medium/Low Voice edition Distributed in Europe and Asia by Hal Leonard MGB Distributed in North and South America by Hal Leonard Distributed in Australia and New Zealand by Hal Leonard Australia Download & Print Introductory Notes Complete Online Introductory Notes, Unabridged copyright © 2015 Editions Durand An abridged version of editor Carol Kimball’s “Introduction” appears in the High Voice and Medium/Low Voice publications. Her complete length “Introduction” appears below. See the publications for the poetry texts in French and translations in English. GEORGES AURIC CLAUDE DEBUSSY HENRI DUTILLEUX GABRIEL FAURÉ REYNALDO HAHN ARTHUR HONEGGER JACQUES LEGUERNEY OLIVIER MESSIAEN DARIUS MILHAUD FRANCIS POULENC MAURICE RAVEL ALBERT ROUSSEL ERIK SATIE DÉODAT DE SÉVERAC GEORGES AURIC (1899-1983) George Auric was something of a child prodigy, performing a piano recital at the Musicale Indépendante at the age of fourteen. The following year, the Société Nationale de Musique performed several songs he had composed. He studied composition at the Paris Conservatoire with Georges Caussade, and later with Vincent d’Indy and Albert Roussel at the Schola Cantorum de Paris. Before he was twenty, Auric had orchestrated and written incidental music for several stage productions and ballets. He composed a significant amount of avant-garde music during the years between 1910-20. Around 1914, he widened his acquaintances to include members of Les Six, a group of composers informally associated with Erik Satie and Jean Cocteau, and became a part of their group. Auric and Francis Poulenc became fast friends and remained so for life. Music criticism was an important part of Auric’s career; his writing focused on promoting the ideals of Les Six and Cocteau. He was also especially known for his film scores, which are consistently imaginative. He forged a major career in the English movies of the 1940s and ’50s. Among his most well-known scores is the music for the film Moulin Rouge. Other popular film titles with scores by Auric include The Lavender Hill Mob, Roman Holiday, Beauty and the Beast, and Bonjour Tristesse. In 1962 he became the director of the Opéra National de Paris and later, chairman of SACEM, the French Performing Rights Society. Auric continued to write classical chamber music until his death. Le Jeune sanguine (1940) from Trois Poèmes de Louise de Vilmorin poem by Louise de Vilmorin (1902-1969) This mélodie is the second song in Auric’s cycle titled Trois poèmes de Louise de Vilmorin. Vilmorin’s poetry reverberates with sensitivity to affairs of the heart. She was one of Poulenc’s preferred poets; he set her poetry when writing specifically for the female voice, such as in Fiançailles pour rire. A sort of veiled humor is at the heart of this text that describes a young hussy whose lover departs early with the dawn’s first light, leaving her weeping disconsolately. Auric provides a prelude and postlude for formal balance as the miserable young woman mourns her loss. He also inserts several unexpected and amusing measures of a tango as the young man arches his back and leaves the sound of her sobbing. For his three Vilmorin songs, Auric used the style of a chansonette, or more popular song. Printemps (1935) Poem by Pierre de Ronsard (1524-1585) Auric composed this lilting waltz song for a play by Edouard Bourdet titled La Reine Margot (1935). The celebrated musical theatre actress-singer Yvonne Printemps created the role of Queen Margot of Navarre at Théâtre de la Michodière. Auric and Francis Poulenc collaborated on the incidental music for this play; Poulenc took the second act, Auric the first. Poulenc composed the Suite française and the song “A sa guitare”; Auric’s contribution was “Printemps.” Yvonne Printemps sang both songs in the play. Both composers used texts by Pierre de Ronsard, and the musical style of each is reminiscent of the Renaissance. Ronsard’s original poem had twenty-three stanzas. Auric set only the first three. BACK TO TOP CLAUDE DEBUSSY (1862-1918) Claude Debussy wrote expertly for the voice and was acutely responsive to transforming poetic nuance into musical expression. Possibly no other French composer was as attuned to blending poetry and music. His literary taste was highly refined and he maintained a visible and active role in the literary and artistic circles of his time. He chose to set poetry of his contemporaries, notably Verlaine and Mallarmé. Verlaine’s verse with its inherent musical qualities, provided Debussy with poetry for numerous works. For Debussy, poetry as poetry was the paramount determinant of the musical texture. His ability to detect the essence of a poem and perfectly transform it into musical expression makes his mélodies unique in the history of French song. Le promenoir des deux amants (1904, 1910) poems by Tristan l’Hermite (c. 1601-1656) “Auprès de cette grotte sombre,” the first song, made its first appearance with the title “La Grotte,” song two of Trois chansons de France of 1904. In 1910, it was retitled and combined with two other poems by Tristan l’Hermite (“Crois mon conseil, chère Climène” and “Je tremble en voyant ton visage”) to form the miniature cycle Le Promenoir de deux amants, which has been called the finest of all Debussy’s works for voice and piano. It is also the least-often performed. Debussy chose the texts from Les Amours de Tristan, a collection by the seventeenth-century poet Tristan l’Hermite. The poems are set close to a grotto, secluded and silent. The transparent, barely stirring waters mingle with the silence of the cloistered spot, creating a dreamlike atmosphere. Debussy establishes an intimate, tender mood immediately and maintains this fragile mix of sound and color throughout the three mélodies. The interplay of resonance and texture in voice and piano results in an exquisite blend of light and shade, perfectly complementing l’Hermite’s poetic images. Subtly inflected vocal phrases are key to recreating the infinite calm and Pelléas-like atmosphere of the poetry, a perfect fusion of stillness and sensuality. Fêtes galantes II (1904) poems by Paul Verlaine (1844-1896) Debussy’s fascination with the work of the French Symbolist poet Paul Verlaine resulted in his setting to music no fewer than seventeen of Verlaine’s texts. He composed two sets of three songs each, both titled Fêtes galantes, the first in 1892, and the second in 1904. Fêtes galantes II, Debussy’s last setting of Verlaine, closely following the composition of his opera Pélleas et Mélisande, is representative of the composer’s mature vocal works. It is marked by sparser textures, freer tonalities and a more concentrated compositional style than the first set; but like the first set, Fêtes galantes II presents three unrelated songs. None of the Watteau-like scenes are found here; rather, these three poems are filled with mystery, and are without sentimentality. The theme of time appears in each of the poems: the first, sentimental youthful remembrances; the second, inexorable fleeting time; and finally in the last song, time never to be reclaimed. “Les Ingénus” recalls the first awakenings of sexual attraction, and deals with the breathless awe with which a group of unsophisticated young men of the mid-nineteenth century view their similarly naïve female companions. The scene unfolds in a highly chromatic texture, skillfully balanced to preserve the delicate, poignant images in Verlaine’s verse. Debussy’s free-floating harmonies are carefully contrived to complement the uncertain emotions and repressed sensations of the youths in the poem. “Le Faune” begins with a prelude; time unravels in an inflexible dance featuring a rhythmic, hypnotic figure in the piano, imaging the traditional reed pipe and “tambourin,” a small drum played with a stick. The old terra-cotta statue in Verlaine’s poem is probably the woodland god Pan, playing a monotonous rhythm that is both sensual and slightly menacing, matching the mood of the two mélancolique pélerins. Mesmerized by the repetitive rhythms of drum and reed flute, the dejected travelers are caught in the whirlpool of passing time, which spins past as they watch helplessly. “Colloque sentimental.” Colloquial (colloque) refers to ordinary speech or conversation. This disturbing poem is the touchstone of one of Debussy’s great mélodies. It is the last poem in Verlaine’s collection titled Fêtes galantes, and provides a chilling climax. It blends themes of despair, death and disillusion. In this extraordinary song, the ghosts of two lovers meet in a wintry park. As they speak of their former love, their words match the setting: glacial and detached from feeling. Throughout the song their wintry words are enhanced by Debussy’s simple and subtle vocal treatment: one voice urgent and persistent, the other stonily indifferent. Debussy’s manipulation of musical texture between voice and piano is masterful. The sparse vocal lines are almost speech-like, and the piano figures mirror the frozen landscape in which this conversation–equally cold–takes place. The song’s kinship to Debussy’s opera Pélleas et Mélisande is unmistakable. The listener becomes one with the poem’s narrator, straining to see and hear the couple’s conversation in the icy cold of the deserted, frozen park. Debussy reaches back to “En sourdine” (the first mélodie of Fêtes galantes I), takes the wistful song of the nightingale, and inserts it into this song at various points. The nightingale’s melody (“voix de nôtre dessespoir, le rossignol chantera”) provides a touching and melancholy association, linking the two sets of Fêtes galantes together symbolically and musically, foreshadowing the disenchantment of love hinted at in “En sourdine” with the lovers’ conversation in “Colloque sentimental,” and unifying the two sets by a subtle musical component. This panel of three mélodies was Debussy’s last setting of the poetry of Paul Verlaine. Noël des enfants qui n’ont plus de maisons (1915) poem by the composer This is Debussy’s last song, written to his own text, a Christmas carol for children made homeless by World War I. Its intensity comes from its simple sincerity. Debussy composed it on the eve of his first operation for the cancer that would end his life two years later. It was his personal protest against the invasion of northern France by the German armies. When asked for permission to orchestrate the song, Debussy refused, saying, “I want this piece to be sung with the most discreet accompaniment. Not a word of the text must be lost, inspired as it is by the rapacity of our enemies. It is the only way I have to fight the war.” Originally composed in 1915 for piano and voice, Debussy also created a version for children’s chorus, and in 1916, a version for piano and two sopranos. BACK TO TOP HENRI DUTILLEUX (1916-2013) Henri Dutilleux studied at the Paris Conservatory with Maurice Emmanuel. He received the Prix de Rome in 1938 at age twenty-two, and went on to work at the Paris Opéra and the French Radio. France’s musical institutions defined his career: in 1961, he joined the faculty at the école Normale de Musique, teaching composition. In 1970, he taught at the Paris Conservatoire. He destroyed many of his early works, considering them derivative of Ravel, the preeminent composer in France during his youth. His music that had been published avoided demolition. After World War II, Dutilleux concentrated almost exclusively on instrumental and orchestral music, much of which has been widely programmed and recorded. His songs are not well known. In the chronological catalogue of his compositions, beginning in 1929, the Quatre mélodies for mezzo soprano or baritone is only the eleventh entry. It also exists in an orchestral version. The collection is dedicated to the French baritone Charles Panzéra and his wife, pianist Magdeleine Panzéra-Baillot, prominent interpreters of French song in the interwar years. Gabriel Fauré dedicated his last cycle, L’horizon chimérique, to Panzéra. Quatre mélodies (1942) uses poems by four different poets and presents a delightful collection of moods, although it must be admitted that the level of the poetry is not uniformly high: “Féérie au clair de lune” (poem by Raymond Genty), a graceful scherzo of dancing fairies that evokes Shakespeare’s A Midsummer Night’s Dream; “Pour une amie perdue” (Edmond Borsent); “Regards sur l’infini” (Anna de Noailles); and “Fantasio” (André Bellessort). The last mélodie is the most successful of the set and is one of two songs from the set (the other being “Pour une amie perdue”) that Dutilleux acknowledged. He wanted to exclude the first and third songs because their poetry was relatively mediocre. Fantasio (1942) from Quatre Mélodies poem by André Bellessort (1866-1942) “Fantasio” (the original title of Bellessort’s poem is “Les funérailles de Fantasio”) is a colorful poem that chronicles the funeral of the titled character, who has expired before the text begins. The poem, set in Venice during Carnival, is full of glittering and compelling imagery that changes quickly, following the pace of the Carnival. Musical textures are skillfully handled and exhibit some of Dutilleux’s developing style. “Pauvre Fantasio,” is heard several times during the text, acting as both a funereal chant that unifies the proceedings and perhaps as well, keeping the mourners’ footsteps marching together. BACK TO TOP GABRIEL FAURÉ (1845-1924) Gabriel Fauré was one of the great composers of French song who, with Duparc and Debussy, perfected the mélodie as a true art song form. He composed about a hundred songs, all original in conception, constantly developing in style, and pointing the way to future works. His songs express a broad range of emotion and a great variety of musical textures, extending the musical parameters of the genre and inspiring new techniques of song compositions. His songs are often divided into three compositional periods for purposes of study and definition. Fauré has been characterized as a skillful watchmaker; with great precision his songs, which overflow with subtle nuances and delicate detail. His approach is in keeping with the French musical aesthetic: elegant and rational, dealing with sentiment rather than literal sensation. He was able to capture the entire poetic mood of each poem he set and to create an aura around it with his musical setting. Dans la fôret de septembre, Op. 85, No. 1 (1902) poem by Catulle Mendès (1841-1909) This touching poem symbolizes the onset of old age. Mendès was among the founders of a literary magazine, La Revue fantaisiste, which published many poems of the Parnassian poets. Fauré’s musical style perfectly suited this style of poetry: elegance of style, richness of rhyme, regularity and symmetry of rhythm. The Parnassians avoided the excessively romantic and aimed for “art-for-art’s sake.” Fauré was nearly sixty years old when he composed this mélodie, and his reaction to this poem is beautifully poignant. The words describe the poet’s reflective walk through a quiet, somber forest, capturing the chill of mortality and the overall mood of the turning point of life. The ancient forest, sensing a kindred spirit, provides the walker with a sign of friendship and understanding. Fauré set this contemplative poem in a rich harmonic musical texture with a vocal line that borders on quasi-recitative-like shapes. The solemn thoughts of old age call forth a melancholy, but it is a subtle melancholy. It is almost hymn-like in the fusion of words, emotions, and musical texture. This mélodie may be considered as marking the threshold to the final period of Fauré’s compositions. Accompagnement, Op. 85, No. 3 (1902) poem by Albert Victor Samain (1858-1900) This mélodie is a beautiful barcarolle–a nighttime scene, silvery and hazy, alluring but unreal. The image of the poet rowing on the lake is reflected in the musical texture. Fauré had a lifelong fascination with water imagery in music; this poem offers a little reel of unfolding pictures of a moonlight journey a dark lake. The words “dans le rêve” tell us that this is all a dream. This is a rarely sung Fauré mélodie that yields great rewards for the performer. Chanson, Op. 94 (1906) poem by Henri di Régnier (1864-1936) This poem has a gentle charm and a calm simplicity. It is the last of Fauré’s madrigals that include delicate love songs such as “Lydia,” and “Clair de lune.” It has a wonderful fluidity that is a perfect foil for the poetic images The text is a simple set of variations on one theme: nothing on earth has any meaning unless the beloved somehow touches it. Fauré’s reaction to the words called forth a musical setting of delicate transparency and limited range. It is not well known; like “Le Don silencieux,” “Chanson” was published as a single song and therefore not widely disseminated. It is an example of exquisitely planned musical economy, and definitely belongs in Fauré’s third period of musical compositions. Le Don silencieux, Op. 92 (1906) poem by Marie Closset (1875-1952), under the pseudonym Jean Dominique Here is another little known Fauré song, a rarity because it was published separately and was never included in any of the Fauré recueils. The poem has a gentle melancholy–the plea of a timid lover, a mixture of hope and imagined disappointment. The words are tender and flowing, but the overall mood is one of unrelieved sadness. This song marks the beginning of Fauré’s third compositional period, which includes the cycles La Chanson d’Eve, Le Jardin clos, Mirages, and L’Horizon chimérique. Writing of this mélodie in a letter to his wife, Fauré said, It does not in the least resemble any of my previous works, nor anything that I am aware of; I am very pleased about this...It translates the words gradually as they unfold themselves; it begins, opens out, and finishes, nothing more, nevertheless it is unified. 1 NOTES: Quoted in Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Guildhall School of Music and Ashgate Publishing Ltd., 2009), 291. Quotation from Jean-Michel Nectoux, Gabriel Fauré: A Musical Life, trans. Roger Nichols (Cambridge: Cambridge University Press, 1991), 304. This is a translation of Fauré’s letter to his wife of 17 August 1906. BACK TO TOP REYNALDO HAHN (1875-1947) Reynaldo Hahn, Venezuelan by birth, came to Paris with his family at age four and made a brilliant career. In addition to his career as a composer and singer, he was director of the Paris Opéra, music critic for the newspaper Figaro, and conductor of the Salzburg Festival. He was enough of a scholar to edit some of the works of Rameau. He maintained close friendships throughout his life with actress Sarah Bernhardt and writer Marcel Proust. During the Belle époque, French mélodie was at the height of its development. Hahn was a habitué of the most fashionable salons, where he was in demand as a performer. On these occasions, he usually sang and played his own accompaniment, often with a cigarette dangling from his lips. The art of singing was one of his major passions, and he wrote three books on singing (Du chant, Thèmes varies, and L’oreille au guet), as well as a memoir of Sarah Bernhardt. Hahn’s songs are models of French restraint–devoid of overt display, with beautiful melodies in a modest vocal range. They reflect the style of his teacher, Jules Massenet. Hahn composed approximately ninety-five works for solo voice: eighty-four mélodies, five English songs to texts of Robert Louis Stevenson, and six Italian songs in the Venetian dialect. After 1912, Hahn composed in larger forms: opera, operetta, and film music. Perhaps his most famous work is his operetta Ciboulette (1923), which is still performed. À Chloris (1916) poem by Théophile de Viau (1590-1626) “À Chloris” is No. 14 in Deuxième volume de vingt mélodies, the last major publication of Hahn’s songs during his lifetime. In many of his later songs, he turned to a deliberately archaic style. “À Chloris” features an elegant vocal line above a piano texture that features Baroque musical characteristics; it is its own piece, with ornamented melody and chaconne-like bass. Vocal line and piano piece are woven into a musical tapestry that is both declarative and intimate. Poet Théophile de Viau was considered one of the most influential libertin poets during Louis XIII’s reign. The libertins’ verses had a unique charm that is instantly appealing, but somewhat artificial. Despite this, de Viau’s love poetry is not bland, but full of suggestive passion and elegant wit. BACK TO TOP ARTHUR HONEGGER (1892-1955) Arthur Honegger composed over forty mélodies for voice and piano. Taken as a whole, they are diverse and imaginative. For his texts, he favored contemporary poets such as Jean Cocteau, Guillaume Apollinaire, Paul Claudel, and Paul Fort. He also chose to set unrelated poems by a single poet, such as his Poesies (Cocteau) and Alcools (Apollinaire). Poetry with strong imagery appealed to the dramatist in his personality. For Honegger, as for most successful mélodie composers, the word provides the starting place. He is quoted as saying: For me, the music a song is always dependent upon the poetic model. It must join so closely with the poetry, that they become inseparable and one can picture the poem in wholly musical terms. This is not to say that the music becomes subservient. It must be so crafted that it can stand on its own merits, playable without the text, logical and complete. 1 Born of Swiss parents in Le Havre, France, Arthur Honegger initially studied for two years at the Zurich Conservatory, but enrolled in the Paris Conservatoire from 1911 to 1918, studying with Charles-Marie Widor and Vincent d’Indy. Some of his more familiar large vocal works include the dramatic psalm Le roi David (King David), composed in 1921 and still in the choral repertoire; and his dramatic oratorio of 1935, Jeanne d’Arc au bûcher (Joan of Arc at the stake), with text by Paul Claudel, considered to be one of his finest works. Between the world wars, he composed nine ballets and three vocal stage works, among works in other genres. His total compositional catalog is an impressive list of music: orchestral works, chamber music, concertos, ballets, operas, operettas, and oratorios. Widely known as a train enthusiast, he was passionately interested in locomotives, to which he attributed almost human characteristics. His “mouvement symphonique,” Pacific 231, gained him early acclaim in 1923. Honegger’s musical style is a fascinating mixture of impressionistic effects peppered with penetrating dissonances. He had a fondness for mixing tonalities and using modality. His compositions for the voice display an eclectic focus of coloristic harmonies and architectural clarity. He was a member of Les Six, but unlike most of that group, did not share their overwhelming reaction against German romanticism. Honegger’s musical style is fuller and more serious than his colleagues. He and Darius Milhaud were close friends. Honegger’s generous body of song has proved of enduring interest to contemporary performers. His was a distinctive voice in the vocal music of the twentieth-century French mélodie. Trois Psaumes (1940-41) from the Huguenot Psalter Psaumes XXXIV and CXL translated by Théodore de Bèze (1519-1605) Psaume CXXXVIII translated by Clément Marot (1496-1544) The spirit of Bach shines in the first psaume, “Psalm 34,” in which a chant-like vocal line alternates with a gently moving episodic keyboard part. This call and response continues until the last three vocal phrases, when the vocal line merges with the instrumental texture in a psalm of praise. The second song is “Psalm 140,” “ô Dieu donne-moi la déliverance de cet homme pernicieux” (O God, deliver me from this evil man). Honegger’s biographer, Harry Halbreich, suggests that the “evil man” who was oppressing Europe in those last days of 1940 might be the reason for Honegger’s text choice. This piece was composed before the first and third songs. Its emotional mood peaks with the chorale tune “I know that my Redeemer liveth.” 2 The last song in the set, “Psalm 138,” has the Latin title “Confiteor tibi, Domine” (I thank thee, O Lord) and is a paraphrase by Clément Marot, one of the greatest of the French Renaissance poets. It contains a familiar chorale tune, which is used in canon between voice and piano. NOTES: Arthur Canter and Rachel Joselson, Liner notes, The Songs of Arthur Honegger and Jacques Leguerney. Rachel Joselson, Réne Lecuona , piano. Albany Records, TROY691, 2004. Harry Halbreich, trans. Roger Nichols, Arthur Honegger (Portland, OR: Amadeus Press, 1999), 165. BACK TO TOP JACQUES LEGUERNEY (1906-1997) Most of Jacques Leguerney’s sixty-eight mélodies were composed and published from 1940 to 1964. Many were commissioned and premiered by French baritone Gérard Souzay, his sister, soprano Geneviève Touraine, and pianist Jacqueline Bonneau. Early songs are comparable in mood and style with Ravel or Roussel (who encouraged Leguerney’s composition); later songs have been compared to those of his contemporary, Poulenc. Leguerney writes virtuoso piano parts–often dramatic, and with such an individual sense of harmonic style and color that Pierre Bernac reportedly described them as “mélodies de pianist.” 1 When asked about Leguerney’s songs, Gérard Souzay wrote, “How does one describe this music which is, at the same time, classic and modern? It is pure, but colorfully nuanced; it speaks to the heart as well as the mind–at times calm at times witty–wise, yet sensual...” 2 Many of Leguerney’s songs deal with themes of love and nature, expressing a huge range of emotions from deeply felt meditation to wild, ribald humor. Leguerney stopped composing in 1964, and his songs became neglected. The quality of Leguerney’s text setting, lyrical beauty, and harmonic innovations all call for his songs to be better known and more widely performed. Jacques Leguerney was drawn to the work of Renaissance poets, notably Ronsard. There are eight collections titled Poèmes de la Pléaide, representing settings of sixteenth and seventeenth-century French poetry and totaling thirty-two songs. Additionally, there are cycles and other collections [for a complete listing of Leguerney’s songs, see Dibbern, Kimball, and Choukroun, Interpreting the Songs of Jacques Leguerney]. 3 They may be thought of as the last in the great mainstream of twentieth-century French song. La Caverne d’écho (1954) from Poèmes de la Pléiade, Volume 7 poem by Antoine Girard de Saint-Amant (1594-1661) Dedication: Josiane and Jean Cier. First performance: Bernard Kruysen, baritone; Jean-Charles Richard, pianist. 29 May 1965, Radio France Culture. Marc-Antoine Girard, sieur de Saint-Amant, wrote poetry of great descriptive power, and his use of language set him apart from the other seventeenth-century poets. He was also an adept musician and skillful lute player, writing verses that often describe musical sounds linked to visual images. The poem takes place in a dark cave, home of the nymph, Echo; it is a charmed place, absolutely still and peaceful. The poet’s lute resounds inside the cavern as he tries to soothe the inconsolable Echo, who mourns for her lover Narcissus. Leguerney creates the grotto’s mysterious resonance with bitonality. Piano figures illustrate the strumming of the lute. The text contains many sounds with the consonant “r.” The rolling quality of this speech sonority re-creates the cavern’s resonance. The closing measures of the mélodie produce a striking effect as the singer’s voice echoes eerily in the cavern, blending with the piano’s resonance and creating a remarkably realistic echo. À son page (1944) from Poèmes de la Pléiade, Volume 2 poem by Pierre de Ronsard (1524-1585) Dedicated to Gérard Souzay. First performance: Gérard Souzay, baritone; Jacqueline Robin (Bonneau). 3 May 1945, Salle Gaveau, Paris. This is a lusty scene with four characters: a nobleman tipsy from drink, his page, and two women, Jeanne and Barbe. Carpe diem is the theme here. The singer philosophizes on this idea while enjoying his wine and the tender companionship of the two beautiful women. Leguerney evokes the crackling staccato of a stylized harpsichord with rhythmic accents in the piano. The text is brilliantly set with jagged vocal lines and driving rhythms that illustrate the singer’s intoxication. It ends with Leguerney’s repetition of the last poetic line and the addition of nonsense syllables which fit beautifully into the imagery and mood of Ronsard’s colorful characters. Je me lamente (1943) from Poèmes de la Pléiade, Volume 1 poem by Pierre de Ronsard (1524-1585) Dedicated to Geneviève Touraine. First performance: Paul Derenne, tenor; Jeanne Blancard, pianist. 29 March 1944, Salle de l’Ecole Normale de Musique, Paris. This is one of Leguerney’s most beautiful songs, setting Pierre de Ronsard’s text from his collection of love poems for Marie Dupin, a country girl from a small village in southern France. She was half his age and probably represented the youth he constantly pursued. It has been suggested that the Marie in question was probably Marie de Clèves, passionately adored by Henri III. 4 Leguerney called this mélodie a constant crescendo from beginning to end. 5 Ronsard’s anguish is captured with a texture of stark chords, crowned by a regal and sustained vocal line. As the song progresses, the poet’s anguish is embodied in a more expansive texture, bidding Marie a happy resting place near God or in the Elysian fields. NOTES: Liner notes by Mary Dibbern. Mélodies sur poèmes de la Renaissance (Jacques Leguerney).Harmonia Mundi France. LP recording HMC 1171. Letter to the author. Quoted in Mary Dibbern, Carol Kimball, and Patrick Choukroun. Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001), 3. Ibid., 289-295. Ibid., 69. See note 20. Ibid., 70. BACK TO TOP OLIVIER MESSIAEN (1908-1992) Olivier Messiaen was born in 1908 in Avignon, France, into a literary family. He grew up around words and absorbed their shapes, colors and sounds naturally. His father, Pierre Messiaen, was a well-known translator of Shakespeare, and his mother, Cécile Sauvage, was a poet. As a youngster, before beginning to compose music, he had an especially perceptive ear attuned to the unique prosody of the French language. Early in his compositional career, he published a book titled Technique de mon langage musical (1944). About his musical setting of words, Jane Manning observes: ...the syllables themselves create a glittering mosaic of sonorities and subtle resonances, in addition to their actual meaning (many of the poems do not translate at all satisfactorily). The composer’s awareness of the minutiae of verbal enunciations and articulations is miraculous. Each vocal sound can be precisely placed as intended, all dynamics are scrupulously plotted, and the performer’s involvement and intimate connection to the music is enhanced by the sensual nature of words projection... 1 He often used stained glass to explain his music. When viewed from a distance, the myriad details blend into a single entity, whose purpose is to dazzle the listener. Understanding is not necessary, feeling is the prime requisite. The music of Olivier Messiaen is a skillfully designed and unique language, with meaning and form kept separate. Its meaning is unchangeable, harkening back to Gregorian chant, culminating in instruments that are able to prolong sound (organ, strings, or the ondes Martenot). Messiaen’s musical language is defined by its rhythms and tone colors. His uncanny instinct for associating sound with color produced works unique in their concept of the combination of sounds. He said that when he heard or read music, his mind’s eye saw colors that move with the music; he sensed these colors, and at times he precisely indicated their arrangements in his scores. His fascination with birdsong was lifelong; he referred to himself as an ornithologist and tracked birds and their songs all over the world. He considered their resonances as songs and not merely sounds. He notated these on manuscript paper and they found their way into his music. Trois mélodies (1930) poems by Olivier Messiaen, Cécile Sauvage (1883-1927) This little cycle of songs is Messiaen’s first recognized work for voice and piano. The songs are modest in length and not typical of Messiaen’s later style, but show influences of late Fauré and Duparc in the overall musical texture. There is only one song in his vocal compositions in which Messiaen set the poetry of another poet. It is found in this cycle, which uses the text of his mother, the poet Cécile Sauvage, who died three years before the composition of this work. The three movements form a warm and delicate little triptych. Two of Messiaen’s own poems stand on either side of the poem by Cécile Sauvage, throwing that charming little poem into high relief. “Pourquoi?” introduces a litany of the pleasures of nature: birdsong, the unfolding seasons, and water images. The poet becomes emotional, asking why all these bring him no joy. “La Sourire,” the shortest song of the set, is a beautiful microcosm of intimate and spiritual understanding between two people. It is a delicate example of musical economy and word setting in a quasi-recitative style. The last song, “La fiancée perdue,” offers fleeting hints of Messiaen’s cycle to come, Poèmes pour Mi–most specifically, the final song. Here, the poet prays for divine blessing on the soul of the “fiancée” in the title. The fervent incantation illuminates and affirms man’s connection to a higher authority. Examining the poetic content of the three texts, we are struck by the images that underlie the words: the emotional outburst “pourquoi,” (why?), perhaps questioning the death of Cécile, followed by Cécile’s tender affirmation of love, and finally, the prayer asking for Divine grace and the blessing of the soul of the departed. NOTES: Jane Manning, “The Songs and Song Cycles,” in The Messiaen Companion, ed. Peter Hill (Portland, OR: Amadeus Press, 1995), 107. BACK TO TOP DARIUS MILHAUD (1892-1974) Darius Milhaud was probably the most prolific composer of the group known as Les Six (Francis Poulenc, Louis Durey, Arthur Honegger, Germaine Tailleferre, Georges Auric, and Milhaud). The group was unified by friendship rather than a single musical style. Championed by influential writer Jean Cocteau and composer Erik Satie, Les Six often presented their works at the same concerts and met with great regularity–often at Milhaud’s house–to make music and exchange ideas. Louis Durey observed that it was the wide diversity in their personalities and musical styles that gave the group its rich depth and permitted its development. Embodied in the credo of their musical thought was relative sparseness of texture and clarity. Turn-of-the-century France offered popular entertainments that drew the French to an environment of merry-go-rounds, shooting galleries, outdoor concerts, circuses, and a jumble of excitement. Milhaud was fascinated by Parisian street life, and could hear the sounds of the Montmartre fair from his apartment. Often on their group outings, Les Six went together to the Cirque de Médrano to see the Fratellinis, a famous family of clowns of that day. Milhaud observed that their acts were worthy of the Commedia dell’arte. 1 Trois Poèmes de Jean Cocteau, Op. 59 (1920) poems by Jean Cocteau (1889-1963) Trois poèmes de Jean Cocteau is like lyric fragments. The small-range vocal lines have a sparse lyricism–one of emotional mood rather than overt melody. The little mélodies are skillful studies in brevity. These match Cocteau’s rather enigmatic poems that exemplify the style termed dépouillé (stripped to the essentials), his aesthetic creed. Milhaud dedicated the songs to Satie. The three miniatures are a colorful kaleidoscope of the circus and the outdoor fairs that entranced the French during this period. “Fumée” describes the equestrienne of the Cirque Médrano atop a horse, jumping through hoops, captured in Toulouse-Lautrec’s familiar painting titled “L’écuyère au Cirque Fernando (1888); “Fête de Bordeaux” is a description of the merry-go-round at the Bordeaux fair; and “Fête de Montmartre” evokes the nighttime boats and sailors, possibly having to do with a game involving camouflaged ships found at the Montmartre fair. Milhaud infuses stylistic and melodic elements of folk songs and children’s tunes into the tiny pieces, tying the innate excitement of these popular destinations to simple, childlike reactions. NOTES: Laurence Davies, The Gallic Muse (New York: A.S. Barnes and Co., 1967), 164. BACK TO TOP FRANCIS POULENC (1899-1963) Francis Poulenc’s 150 mélodies form the largest body of songs to be added to French vocal literature in the twentieth century. Poulenc’s flair for the dramatic, combined with his superb skill in mixing poetry and music, produced songs that singers find immensely gratifying, not only for their musical value, but for their heightened sense of drama. Poulenc’s mélodies reflect concern and feeling for declamation, inflection, breathing, and above all, show extraordinary warmth of feeling for the human voice. He was fond of saying, “J’aime la voix humaine!” The sophistication of Poulenc’s songs spring from their poetic inspirations. Poulenc was quite knowledgeable about poetry, and chose his texts carefully. His gift of divining the inner life of the texts he set produced songs that do more than merely illustrate the poems. His gift for melody is at the very heart of all his songs and seems to assert itself naturally in shaping the color, weight, and meaning of the texts he set. Ce doux petit visage (1938) poem by Paul éluard (1895-1952) Paul Eluard was one of Poulenc’s three main poets. This is a beautiful introduction to Eluard’s poetry, lyrical and passionately intense. The simplicity of Poulenc’s setting allows the poem to shine. It is one of Poulenc’s tiny gems, and he admitted his partiality to the short song. Eluard’s skill at evoking nostalgia and melancholy are seen here, linked to lost youth. The mélodie is dedicated to the memory of Raymonde Linossier, Poulenc’s most intimate childhood friend, who influenced his literary taste and musical tendencies. He said: “I have a great liking for this short song. Raymonde Linossier was my best advisor for the music of my youth. How many times, during the years since her death, I would have liked to have had her opinion on this or the other of my works.” 1 La Grenouillère (1938) poem by Guillaume Apollinaire (1880-1918) “La Grenouillère” is an outstanding example of Poulenc’s romantic lyricism. This is a text by Guillaume Apollinaire describing the Ile de Croissy, an island in the Seine on the outskirts of Paris, frequented by artists and their models, and celebrated in paintings by Monet, Manet, and Renoir. “The Froggery” was a restaurant on the island. The overall images of happy days that cannot be relived can be seen in Pierre Auguste Renoir’s paintings Les Déjeuner des canotiers (The Boatman’s Luncheon), or La Grenouillère. In this lament for boating parties on the Seine, vocal phrases are sustained and languid, floating over a slowly rocking piano accompaniment. The lazy piano figures mirror the empty tethered boats rocking on the water, bumping against each other, and give expression to the sweet melancholy of the poet’s words. Montparnasse (1945) poem by Guillaume Apollinaire (1880-1918) Apollinaire’s poem is dated 1912. Poulenc writes in his journal of songs that it took him four years to complete “Montparnasse,” almost phrase by phrase, and that he had no regrets about the length of time it took because “it is one of my best songs.” 2 It is a sentimental and heartfelt tribute to Paris. Both Apollinaire and Poulenc loved the city and it played a continuing role in their work. “Montparnasse” is about the idyllic artistic existence lived at the edge of Paris. Poulenc wrote in his diary: “Let us imagine this Montparnasse all at once discovered by Picasso, Braque, Modigliani, Apollinaire.” 3 The mélodie has a carefree nonchalance about it; it is not sad, but thoughtful– a beautiful blend of poetic and musical lyricism. Poulenc’s vocal and harmonic textures are full of surprising harmonic details that bind this song–which he composed in fragments–together into a touching and expressive picture of Paris in the early years of the twentieth century. Bleuet (1939) poem by Guillaume Apollinaire (1880-1918) Guillaume Apollinaire was one of Poulenc’s preferred poets. This is a wartime poem that Apollinaire penned in 1917 in Paris in convalescence after a head injury; both Apollinaire and Poulenc served in World War II. There are several word plays at work here. “Bleuet” was the nickname for French soldiers in World War I, because their uniforms were blue, like the color of a little cornflower, which is a “bleuet.” Also, “Un bleu” was the term used for a raw recruit. “Bleuet” is one of Poulenc’s most moving songs– agonizing in its emotional content yet noble in its message. It is a quiet and private moment in which a twenty-year-old boy who does not yet know all that life can be, is characterized–and addressed–by the poet in a sweetly serious speech. Poulenc wrote that for him, the key to the poem were the words, “It is five o’clock and you would know how to die.” 4 This song is simple, intimate, and poignant. Les Chemins de l’amour (1940) poem by Jean Anouilh (1910-1987) Poulenc composed this valse chantée as incidental music for Léocadia, a play by Jean Anouilh. Within the play, the song was described as a pseudo Viennese waltz, and functioned as a leitmotiv in the plot. Sung by Yvonne Printemps, one of France’s most celebrated musical theatre stars, “Les Chemins de l’amour” became a popular success. It embodies the relaxed elegance of a self-styled Viennese waltz style, encased in one of Poulenc’s haunting melodies. Banalités (1940) poems by Guillaume Apollinaire (1880-1918) Banalités is not a cycle, but a group of five songs. The poems have no connection with each other; however, their order provides a well-constructed recital group. They may be performed separately. The work is one of Poulenc’s most popular vocal works, and deservedly so. Poulenc chose contrasting poems, placing them so that the collection begins briskly and ends with lyrical gravity. “Chanson d’Orkenise” is Poulenc’s title for the poem contained in the strange mixture of prose and poetry that Apollinaire called Onirocritique. Orkenise is a road in Autun leading to the Roman gate of the same name. The musical setting has the feeling of a popular folk song. The narrator sings of a tramp leaving the city and a carter who is entering it - one leaving his heart there, one bringing his heart to be married. There is a word in the poem with a double meaning: “grise” can be translated as “gray” or “tipsy.” The merry quality of the song opens the set with gaiety, but both Apollinaire and Poulenc offer a little food for thought. “Hôtel” is a poem that immediately represented for Poulenc a hotel room in Montparnassse, where the idle poet wants only to bask in the sun’s warmth and smoke. Pierre Bernac referred to it as “the laziest song ever written.” 5 The piano figures are fashioned of Poulenc’s luxuriant chromatic harmonies, stacked as if to cushion the lethargy of the singer. “Fagnes de Wallonie” is set in the gloomy, desolate uplands of the Ardennes with a terrain of vast heaths, twisted trees, and peat bogs, swept by winds of considerable force. Its gloomy setting complements the melancholy mood of the poet. Poulenc’s spiky musical setting is a whirlwind that sweeps from beginning to end in a turbulent texture that demands precise articulation from singer and pianist. Sandwiched between Songs 3 and 5 is a tiny bonbon, “Voyage à Paris.” It resembles a little commercial jingle about Paris–“which one day love must have created”–an invitation to the pleasures of that beautiful city, away from “the dreary countryside.” Poulenc sprinkles his quicksilver setting–a valse-musette–with indications of “amiable” and “avec charme.” The composer referred to it as having “deliciously stupid lines...Anything that concerns Paris I approach with tears in my eyes and my head full of music.” 6 The cycle concludes with “Sanglots”, one of Apollinaire’s finest poems about the universality of lost love, a theme that Poulenc matches with exquisite modulations in a setting that embodies the essence of the words. The vocal lines are eloquently lyrical. The poem is difficult to understand because of the juxtaposition of the main narrative and the interior “asides,” that in effect form a poem within a poem. 7 The song has an elegant serenity that culminates in a stunning climactic point at the words: “Est mort d’amour ou c’est tout comme/ Est mort d’amour et le voici.” The ending lines of the song sustain the profoundly calm mood, bringing Banalités to its close. La Courte Paille (1960) poems by Maurice Carême (1899-1978) The last song cycle Poulenc composed was La Courte paille, on seven poems of Belgian poet Maurice Carême. Poulenc composed the songs for soprano Denise Duval, creator of leading roles in his three operas, hoping that she would sing them to her young son. Poulenc considered the mélodies very poetic and whimsical; unfortunately, Duval disliked the music and never did sing the cycle. Poulenc asked Carême to provide an overall title for the work and requested permission to change the titles of several selected poems: the original title of “Quelle aventure!” is “Une puce et l’éléphant”; “Le Reine de cœur” is “Vitres de lune”; “Le carafon” is “La carafe et le carafon.” For the cycle’s title, Carême chose La Courte Paille (The Short Straw), referring to drawing lots by the method of a short straw. Poulenc was delighted, saying the title symbolized his little musical game exactly. He also wrote in his diary, “They must be sung tenderly; that is the surest way to touch the heart of a child.” 8 The cycle is full of child-like innocence, whimsy and imagination, with a few shadowy undertones. The first song, “Le Sommeil,” is a beautiful lullaby to a restless child who cannot go to sleep, tossing and turning in his small bed. He seems ill, crying and perspiring, but hopefully will finally surrender to slumber. In “Quelle aventure!” the child describes an absurd happening: he saw a flea driving a carriage with a small elephant in it. The story grows more bizarre but the rhythmic pace never wavers, careening to the end of the song when the child wonders how on earth he’ll ever be able to persuade “Mama” that it really happened. The verses are witty, yet the shrieks of “Mon Dieu!” are laced with a feeling of childish terror. “La Reine du cœur” is a beautiful, languid melody that paints a picture of the mysterious Queen of Hearts, beckoning to visitors from her frosty castle, where she reigns over a court of lovers, including the young dead. In “Ba, Be, Bi, Bo, Bu...,” the child is chided “on all sides” about studying. The title of the song presents the French vowels, and the text contains words that make their plural with an “x” (“pou, chou, genou, hibou”). The formidable cat of the poem’s opening lines is none other than that tricky feline Puss-in-Boots! The entire song is a little tongue-twister, an exercise in diction and accuracy. “Les anges musiciens” are none other than the school children staying home on Thursday, the half-day school holiday in France in Poulenc’s time, practicing Mozart on their harps, just like good little angel musicians should do. “Le carafon” is a crazy little story of a carafe that longs for a baby carafe (carafon) just like the giraffe at the zoo, who has a girafon. This is a ridiculous rhyming game like those that children love to play. The text is full of whimsical characters: the carafe, a giraffe, a sorcerer astride a phonograph, Merlin, and finally, a carafon. “Lune d’Avril” is another lullaby, very slow and otherworldly, which serves as an epilogue. Bound together in a musical texture that features a syncopated pedal point, it is filled with enchanted images the child wishes to dream about: a land of joy, light, and flowers where all guns are silent. The ending leaves the listener suspended in a mood of unfinished magic. La Courte Paille is the last vocal music Poulenc composed. NOTES: Quoted in Pierre Bernac, Francis Poulenc: The Man and his Songs (New York: W.W. Norton Co., 1977), 125. Francis Poulenc, Journal de mes mélodies, trans. Winifred Radford (London: Victor Gollancz, 1985), 75. Ibid., 75. Ibid., 57. Bernac, 72. Poulenc, 67. The English translation of “Sanglots” has parentheses that delineate the “asides” so that both “poems” may be seen. These may be found in Pierre Bernac’s books Francis Poulenc: The Man and his Songs, page 75, or The Interpretation of French Song, pages 284-85 Poulenc, 109. BACK TO TOP MAURICE RAVEL (1875-1937) The songs of Maurice Ravel represent a transition between the mature mélodies of Debussy and the vocal literature that followed, notably the songs of Les Six. Debussy dominated the French musical scene from the turn of the century until his death in 1918. It was Ravel who was regarded as the leading musical spokesman for France following World War I. He was a skillful craftsman and his songs have a sense of evenness of rhythmic structure and flow that call for scrupulous execution. The fusion of music and text into a logical whole was of utmost importance to him. He composed elegant and subtle mélodies, using classical phrase structure. His melodic phrases often tend toward modality. His songs range from those with a folk-like style to more to those that are more speech-like, and those that encompass a melodic romanticism. He was precise in his thought and his scoring, and scrupulous in his musical execution. His music encompassed some of the fascinating influences of the post-Wagnerian era. Ravel’s musical contributions were of utmost importance to this exciting and new era in French cultural history. He made notable contributions to musical literature for the piano, the French art song, opera, chamber music, orchestral literature, and the ballet. Sur l’herbe (1907) poem by Paul Verlaine (1833-1896) This mélodie is Ravel’s only setting of Verlaine. It has often been suggested that this poem was probably inspired by Watteau’s painting L’île enchantée. There is also a reference to a famous eighteenth-century dancer, Marie-Anne Cuppi, known as (La) Camargo, who was immortalized on canvas by the painter Nicolas Lancret. The scene is an outside gathering, elegant and artificial. A number of people are there, chief among them, a licentious abbé, slightly tipsy from a bit too much Cyprian wine. He exchanges a few disconnected gallantries with the ladies–innocent conversations on the surface, but sensuous in undertone. The conversation is disconnected; we do not know exactly who is speaking. Ravel shapes very flexible vocal phrases, in keeping with the abbé’s intoxicated state, underscored with graceful piano figures that evoke an eighteenth-century dance. In a letter to Jean-Aubrey, Ravel commented on “Sur l’herbe”: “In this piece, as in the Histoires naturelles, the impression must be given that one is almost not singing. A bit of preciosity is found there which is indicated moreover by the text and the music.” 1 Noël des jouets (1905) poem by the composer This is the only solo song for which Ravel wrote the text. It describes a Christmas manger scene, replete with the Virgin and Christ-child, animals, and angels. It embodies Ravel’s delight with tiny mechanical toys and figures, and his fascination with the unspoiled world of child-like experience. His genius for text painting is displayed in the delightful mélodie. The mechanical toys come to life in the piano figures. Ravel’s charming text creates the images around and over the crèche, with not a word wasted. Ravel commented that the music is “clear and plain, like the mechanical toys of the poem.” 2 This little song foreshadows other Ravel settings of make-believe, beginning with the song cycle Histoires naturelles and culminating with his opera L’Enfant et les sortilèges. The music of menacing dog Belzébuth foreshadows the music of the Beast in the Mother Goose Suite (Ma Mère lOye). Rêves (1927) poem by Léon-Paul Fargue (1876-1947) The poetry of Léon-Paul Fargue has been described as reflecting the union of dream and memory. This mélodie has a tender lyricism within a sparse musical texture. The text is fashioned of a series of miniature images that pass by rather quickly, unrelated, like the images found in dreams. For all their differences, they have a simplicity about them that seems timeless, existing together, as the poet says, “in a vague countryside.” When the dreamer finally awakens, the little fleeting pictures “die quietly.” The piano postlude perpetuates the dream state, creating an ethereal little microcosm that continues to draw the dreamer to it. Ronsard à son âme (1924) poem by Pierre de Ronsard (1524-1585) In his Abrégé de l’art poétique français (1565) Pierre de Ronsard advocated the union of poetry and music, and Renaissance composers frequently set his poems. 3 In this strikingly simple mélodie, Ronsard speaks to his soul, calling it by a series of diminutives: little soul, dainty little one, sweet little one. Ravel uses a series of parallel fifths in the piano figures to invoke a Renaissance mood. This is Ronsard’s last poem, and Ravel’s last adaptation of Renaissance poetry. Ravel’s setting recalls the elegance of his early mélodie, “D’Anne qui me jecta de la neige,” to a poem of Clément Marot. Manteau de fleurs (1903) poem by Paul Barthélemy Jeulin (1863-1936) The poem notes everything in the garden that is pink–all the flowers that will become a beautiful cloak to complement the beauty of the lady of the poem. Ravel usually had very sophisticated taste in choosing texts; this particular poem is an unusual choice. It is a simple text, somewhat banal, but Ravel’s shimmering musical texture imparts a dramatic character for each flower in the poem. The overall piano texture suggests orchestral colors. The last section of the mélodie changes course slightly, with the piano harmonies creating a slightly wistful mood. Clearly, Ravel lavished a beautiful musical setting on a rather ordinary set of words. Don Quichotte à Dulcinée (1932-33) [Medium/Low Voice edition only] poems by Paul Morand (1888-1976) This miniature cycle was Ravel’s last vocal work. His musical portrait of the noble Spanish knight, Don Quixote, is embodied in three mélodies, all based on characteristic Spanish or Basque dance rhythms: (1) the guajira, alternating 6/8 and 3/4 meter; (2) the zorzica, a Basque dance in quintuple meter; and (3) the jota, a lively triple-metered Spanish dance. “Chanson Romanesque” presents the chivalrous idealist Don Quixote, confidently promising to rearrange everything in nature to his lady Dulcinea’s liking in order to win her favor. Dulcinea is in reality a poor farm girl, but the Don’s illusion will not be shaken. He remains authoritative and focused in his quest for her love. “Chanson épique” is Quixote’s reverent prayer to Saint Michael and Saint George, beseeching them to bless his sword and his Lady. Ravel creates a beautifully sustained and prayerful vocal line over a simple accompaniment. “Chanson à boire” is a exuberant drinking song. Although the Don’s tippling has made him overly boisterous, he never oversteps the bounds of his noble bearing. His robust laughter is heard in the piano figures and even a hiccup intrudes between “lorsque j’ai” and “lorsque j’ai bu.” NOTES: Maurice Ravel, in a letter to Jean-Aubrey written in September, 1907. Quoted in Arbie Orenstein, Ravel: Man and Musician (New York: Dover Publications, 1991), 165-66. Quoted in Orenstein, 161. Orenstein, 192. BACK TO TOP ALBERT ROUSSEL (1869-1937) In 1894 Albert Roussel left a highly successful career as a naval officer to pursue music. After completing his studies, he became professor of counterpoint at the Schola Cantorum in Paris. Satie and Varèse were among his students. Roussel was one of the most prominent French composers of the interwar period. He composed almost forty mélodies as well as chamber music, ballets, and operas. His style is eclectic but highly individual. Early works show the influence of Vincent d’Indy, works dating from 1910 to 1920 exhibit influences of Debussy and Ravel, but he turned to neoclassicism in his later compositions. His love for the sea was almost a spiritual attraction and continued to influence his music throughout his career. He had a fascination for distant places; his extended tour of Southeast Asia in 1909 had a tremendous influence on his composition. “Sarabande” and “Cœur en peril” are mélodies to texts of René Chalupt, a close friend. They are found in op. 20 and 50, respectively. Roussel’s overall musical catalogue is not extensive, but its quality is of an extremely high level, and his vocal writing in particular contains some mélodies of great delicacy and style, squarely in the French tradition. For Roussel, the word held primacy in his mélodies, being both transformed by its musical setting and merging with it to create a perfect union. Commenting on the quality of Roussel’s songs, composer Charles Koechlin is quoted as saying: “The sense of austerity pervading them, stemming simply from the composer’s natural reserve, heightens their expressiveness and further embellishes them; in language and content they are absolutely personal. This collection of songs is one which will last because its essence is undying sensitivity.” 1 Sarabande (1919) from Deux mélodies, Op. 20, No. 2 poem by René Chalupt This is surely one of Roussel’s most delicate and magical creations. His writing for the piano is particularly outstanding, placing Chalupt’s poem in an overall texture of elegance and veiled sensuality. There is an Oriental delicacy in Roussel’s musical evocation of the fluttering doves, feathers drifting into a pool, and the gentle drift of chestnut blossoms onto bare flesh. Cœur en péril (1933-34) from Deux mélodies, Op. 50, No. 1 poem by René Chalupt This mélodie is much different in mood–witty and flirtatious. It is the narrative of a young man eager to convince his ladylove of his fidelity. Vocal phrases are tuneful, with a spirited piano texture of Iberian flavor. NOTES: Liner notes, Dom Angelico Surchamp, trans. Elisabeth Carroll, Roussel Mélodies, Colette Alliot-Lugaz, Mady Mesplé, Kurt Ollmann, José Van Dam; Dalton Baldwin, Patrick Gallois. EMI Digital. CDS 7492712, 1987 BACK TO TOP ERIK SATIE (1866-1925) Erik Satie wrote very few songs and most of them date from late in his life. The eccentric father figure of the French avant-garde of the twentieth century had a wildly independent spirit that found its way into his musical compositions. Throughout his life, he kept a great deal of childlike inquisitiveness and innocence. He was a curious personality of unconventional habits whose sense of the absurd and whimsy permeated both his life and his music. Quintessential Satie compositions are laconic and witty. It was Satie who named Les Nouveaux Jeunes, soon known as Les Six, and influenced the early development of the group. La Statue de bronze (1916) from Trois Mélodies poem by Léon-Paul Fargue (1876-1947) This is Satie’s first setting of the poetry of Léon-Paul Fargue, the “Bohemian poet of Paris.” Satie used Fargue’s witty verses again for Ludions. The scene is a garden game–the jeu de tonneau. A bronze frog, perched atop a cabinet with numbered chambers, grows impatient of being the target of the game where metal disks are tossed into her mouth. She dreams of being freed from her pedestal and being able to use her wide-open mouth to utter “LE MOT.” 1 She wants to be free to join the other frogs gathered near the rust-colored washhouse “blowing musical bubbles from the soapy moonlight.” But the game continues, the disks rattle through her mouth into numbered compartments and at night, insects sleep in her mouth. This mélodie can be linked musically to “La Grenouille américaine,” found in Ludions. Both songs share piano figures derived from the café-concert chanson. Ludions (1923) poems by Léon-Paul Fargue (1876-1947) Ludions is the last of Satie’s purely vocal works, composed two years before his death, and is perhaps his finest set of songs. It epitomizes his lifelong quest for musical simplicity and his irreverence for the intricate compositional techniques and overactive emotions of the Impressionists. Ludions is translated as “bottle imps” (a ludion is a little figure suspended in a hollow ball, which descends or rises in a vase filled with water when one presses down on the elastic membrane covering the mouth of the vase). The cycle is a kaleidoscopic set of musical miniatures, riddled with puns and illogical phrases. Fargue’s nonsensical verse complements Satie’s musical aesthetic, and the two friends’ personalities closely matched one another. All the mélodies in Ludions are short, like tiny cameos. They are colorful, saucy, fantastic, and defy translation. “Air du rat,” “La Grenouille américaine,” and “Chanson du chat” are right out of the music hall, and Satie uses with a mock-serious “tongue-in-cheek” treatment for “Spleen” and “Air du poète.” Je te veux (1902) poem by Henry Pacory (1873-?) The valse chantée, or sung waltz was a favorite of the café concerts, for which Satie composed a number of works. Café concerts were a form of Parisian popular entertainment in the late nineteenth and early twentieth century. The all-musical programs were held outside; French popular singers presented repertoire that catered to lower and middle-class audiences who came to talk, eat, drink, and observe the long informal programs, for which there was no admission charge. “Je te veux” was composed for Paulette Darty, dubbed “the Queen of the slow waltz.” It was one of her signature musical presentations for the caf’conc (café concerts), and one that Darty remained associated with throughout her career. A statuesque blonde with an ample figure, Darty was a commanding performer who kept the most boisterous of the Saturday night audiences enthralled. Lyricist Henry Pacory’s rather explicit poem was watered down at Satie’s request before the song was published. La Diva de l’Empire (1904) poem by Charles Bessat, named Numa Blès (1871-1917) The “Diva de l’Empire,” 2 one of Satie’s café-concert songs, was another work written for and performed by Paulette Darty. It was composed for a Bonnaud-Blès music-hall revue called Dévidons la Bobine (Let’s Unwind the Bobbin) that toured several seaside resort towns. The British “diva” is a femme fatale performer who enchants all who see her. The song is a syncopated cakewalk describing her seductive beauty as she struts her stuff “showing the wiggling of her legs and some pretty frilly underwear.” Interspersed at points along the way with English words: Greenaway, baby, little girl, etc. The piano provides a jaunty ragtime rhythm throughout that melds perfectly with the suggestive text. NOTES: ”Le mot” has a double meaning. It was the title of a broadsheet published by Jean Cocteau between 1914-15 and is short for “le mot de Cambronne,” a polite way of saying “merde.” Cambronne was a famous French general who replied “Merde!” when asked to surrender. In Steven Moore Whiting, Satie the Bohemian: From Cabaret to Concert Hall. (New York: Oxford University Press, 1999), 43. Empire refers to the Empire Theatre of Varieties, Leicester Square, London. BACK TO TOP DÉODAT DE SÉVERAC (1872-1921) Déodat de Séverac, of aristocratic lineage, was born in the Languedoc region of southwest France in Saint-Félix-Caraman (now Saint-Félix Lauragais), near Toulouse. After studies in Paris with Vincent d’Indy at the Schola Cantorum, he returned home and remained there. He was a contemporary of Fauré, Debussy and Ravel, but was considered a petit maître in their company, possibly because of his return to Languedoc at the completion of his musical studies. Séverac composed piano and orchestral music, operas and songs. The culture of his native Languedoc figured prominently in his music, which is highly descriptive. He often wrote parts for regional folk music in his scores. Many considered him provincial and unsophisticated, but his music displays his skill in integrating folk elements–and often, regional folk instruments–of his native Languedoc into his works. He often referred to himself as “the peasant musician.” Influences of Debussy, Mussorgsky, and Bizet may be found in his mélodies. Although his music is rather conservative in style, Séverac fused folk elements with the musical styles of the day in a unique and individual manner. Ma poupée chérie (1914) poem by the composer Composed in 1914 (and published in 1916) for his daughter Magali and dedicated to her, this little cradlesong is probably de Séverac’s best loved and most performed mélodie. Séverac’s fresh musical setting contains just the right combination of simplicity and delightful childlike honesty. Despite the subject matter, the composer’s heartfelt poem avoids an overly cloying atmosphere. BACK TO TOP OTHER SOURCES CONSULTED: Jane Bathori, On the Interpretation of the Mélodies of Claude Debussy, transl. and with an introduction by Linda Laurent (Stuyvesant, NY: Pendragon Press, 1998). Pierre Bernac, Francis Poulenc: The Man and his Songs, transl. by Winifred Radford (New York: W.W. Norton, 1977). Pierre Bernac, The Interpretation of French Song, transl. by Winifred Radford(New York: W.W. Norton, 1978). Elaine Brody, Paris: The Musical Kaleidoscope 1870-1925 (New York: George Braziller, 1987). Mary Dibbern, Carol Kimball, and Patrick Choukroun, Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001) Alan M. Gillmor, Erik Satie (New York: W.W. Norton Co., 1992). James Harding, The Ox on the Roof: Scenes from musical life in Paris in the Twenties (New York: Da Capo Press, 1986). Peter Hill, ed., The Messiaen Companion (Portland, OR: Amadeus Press, 1995). Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Ashgate Publishing Ltd. and the Guildhall School of Music and Drama, 2009) Graham Johnson and Richard Stokes, A French Song Companion (Oxford: Oxford University Press, 2000). Carol Kimball, Song: A Guide to Art Song Style and Literature (Milwaukee, WI: Hal Leonard Corp., 2005). Carol Kimball and Richard Walters, eds., The French Song Anthology (Milwaukee, WI: Hal Leonard Corp., 2001). Timothy LeVan, Masters of the French Art Song (Metuchen, NJ: Scarecrow Press, 1991). Barbara Meister, Nineteenth-Century French Song (Bloomington, IN: Indiana University Press, 1980). Wilfrid Mellers, Francis Poulenc (Oxford: Oxford University Press, 1993). Arbie Orenstein, Ravel: Man and Musician (New York: Columbia University Press, 1975). Nancy Perloff, Art and the Everyday: Popular Entertainment in the Circle of Erik Satie(Oxford: Clarendon Press, 1991) Caroline Potter, Henri Dutilleux: His Life and Works (Brookfield, VT: Ashgate Publishing Co., 1997). Francis Poulenc, Moi et mes amis: Confidences recueilles par Stéphane Audel (Paris: La Palatine, 1963). Francis Poulenc, Diary of my Songs [Journal de mes mélodies] transl. by Winifred Radford (London: Victor Gollancz, Ltd., 1985) Marie-Claire Rohinsky, ed., The Singer’s Debussy (New York: Pelion Press, 1987) Roger Shattuck, The Banquet Years (New York: Vintage Books, 1968).
Magic Tree House: A Ghost Tale For Mr. Dicken's Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by Jenny Laird and Will Osborne Lyrics by Randy Courts and Will Osborne Music by Randy Courts Based on Magic Tree House #44: A Ghost Tale for Christmas Time by Mary Pope Osborne Overview / Synopsis What would you do if a tree house in your neighborhood could transport you anywhere you wanted to go? The magic tree house whisks Jack and Annie back in time to the foggy streets of Victorian London, where they must help Charles Dickens. But the famous author has everything he could possibly want. How are they supposed to help him? It's not until Mr. Dickens rescues them from being thrown in jail that they discover his secret past and the sad memories that haunt him. Jack and Annie will need all their magic-and help from three ghosts - to save the great writer. Magic Tree House: A Ghost Tale for Mr. Dickens is an adaptation of book #44 of Mary Pope Osborne's award-winning fantasy adventure books from the Magic Tree House book series. The books are number one New York Times bestsellers - more than 100 million copies have been sold in North America alone. The series has been translated into many languages and is available in more than 100 countries around the world. Audio Sampler - HL00149057 $10.00 ShowKit - HL00149047 $695.00 This ShowKit includes: Production Guide Director's Guide P/V Vocal Score 30 Actor Scripts 2 Rehearsal CDs 2 Accompaniment CDs Media Disc Choreographic DVD Cross-curricular Guide 30 Family Matters Booklets 60-Minute JR. Request Individual Components 00149048 - Director's Guide $100.00 00149049 - Piano/Vocal Score $40.00 00149050 - Actor's Script $10.00 00149051 - Actor's Script 10-pak $75.00 00149052 - Perf/Accomp CD pack $75.00 00149053 - Student Rehearsal CD $10.00 00149054 - Student Rehearsal CD 20-pak $100.00 00149055 - Choreography DVD $50.00 00149056 - Media Disc $10.00 00149057 - Audio Sampler $10.00 Hear A Sample Prologue Christmas In the Air [Carolers, Merlin, Morgan] How Far Can You See? [Carolers, Merlin, Morgan] SCENE 1 Two Gentlemen of Means [Annie, Jack, Carriage Driver, People at Inn, Theatre Folk, High Society, Olive, Emma] Trading Places (Parts 1 & 2) [Colin, Harry, Annie, Jack] SCENE 2 Faces In the Mirror [Mr. Dickens, Pickwick, Oliver Twist, Nickleby, Dickens' Characters] SCENE 3 Stop Thief! [Jack, Annie, Olive, Emma, Crowd] SCENE 4 Right This Way [Mrs. Pinch, Mr. Pinch, Waitstaff, Jack, Annie, Fans] Bah! Humbug! (Part 1 & 2) [Mr. Pinch, Restaurant Workers, Mr. Dickens, Jack, Annie, Tiny Tim] SCENE 5 Who Will Hear My Song? [Orphans, Jack, Annie, Mr. Dickens] Come Three Ghosts [Jack, Annie, Ghost Chorus] The White Ghost [White Ghost, Mr. Dickens, Ghost Chorus, Young Dickens, Mrs. Dickens] The Green Ghost [Annie, Green Ghost, Ghost Chorus, Miss Twigby, Class] Enter the Black Ghost [Annie, Ghost Chorus, Mr. Dickens] Who Will Hear My Song? (Reprise) [Ghost Chorus, Mourners] SCENE 6 You Must Give Your Gifts (Part 1 & 2) [Mr. Dickens, Jack, Annie, Dressmaker, Baker, Mrs. Tibbs, Harry, Colin, Policeman, Emma, Olive, Miss Twigby, Henrietta, Newsies, Mr. Pinch, Chorus] Bows [Entire Cast] Jack Jack is a young boy. He is bookish, careful and thoughtful, but he is NOT a nerd! Jack has tremendous curiosity about the world around him and loves to take notes about his observations. Jack tends to be very cautious in new situations, and his adventures in the Magic Tree House help him develop his confidence. He has a good (and protective) relationship with his younger sister, Annie, though her more impetuous nature often gets on his nerves. This is a big role and requires a strong singer and actor. When auditioning, you might mix and match your Jack and Annie hopefuls to see which ones have the best brother-sister chemistry. Vocal Range: A3 - D5 Annie Annie is Jack's younger sister and, in many ways, his opposite in terms of personality. She is a risk taker who often follows her heart instead of her head. She sometimes teases Jack about his careful attitude toward life and often encourages him to be more adventurous. She loves animals of any kind and has a very loving heart. Like Jack, this role requires strong singing and acting. When auditioning, you might mix and match your Jack and Annie hopefuls to see which ones have the best brother-sister chemistry. Vocal Range: A3 - D5 Mr. Dickens Mr. Dickens is a man in his prime and has a flair for the dramatic, both in writing and speech. His public persona is that of a charismatic celebrity, but privately he is deeply depressed by the suffering he sees all around him in Victorian England, particularly the suffering of children. This leading part requires your most mature male performer with strong singing and acting skills (and a changed voice). Vocal Range: Bb3 - E5 Merlin Merlin is a wise old magician who joyfully introduces the play to the audience and sends Jack and Annie on their mission to help Mr. Dickens. Look for a lively actor with a commanding speaking voice. Merlin has the option of singing (or not) on the choral parts of the opening and closing songs, so this would be a good role for a strong actor who may not be an experienced singer. With clever costuming, this role could be played by a girl if necessary Morgan Le Fay Morgan Le Fay is an ageless librarian enchantress. Merlin and Morgan are dear old friends and are playful with one another. Like Merlin, Morgan also has the option of singing (or not) on the choral parts of the opening and closing songs, so this would be another good role for a strong actor who many not be an experienced singer. Vocal Range: Speaking Role The Carolers The Carolers, including Caroler #1, Caroler #2, Caroler #3 and Young Caroler, can be as small as a handful of performers or as large as your stage and theater can accommodate. If your cast is large enough that you are not double-casting your carolers as other named characters, consider assigning Dickensian-sounding names to your Carolers, or even have them invent backstories so that they feel more connected to their roles. Vocal Range: Caroler 1: C4 - C5 Caroler 2: F4 - C5 Young Caroler: F4 - C5 Carriage Driver Carriage Driver is a cheerful, friendly character who is especially impressed by his well-to-do patrons. Costuming would allow for this role to be played by a girl if necessary. Look for an actor who is outgoing, has a strong voice and can move well, as driving a pretend horse-drawn carriage will require some miming and choreographed blocking. Vocal Range: B3 - Eb5 People At Inn, Theatre Folk and High Society People At Inn, Theatre Folk and High Society are non-speaking roles with only a small bit of singing (unless they are double cast), so these are good roles for beginning actors who can sing. Cast as few or as many actors in these roles as your production allows. Emma and Olive Emma and Olive are orphans who must resort to petty thievery to survive on the streets of London. Olive targets Jack and Annie when she notices their expensive-looking bag, and Emma follows her lead in a plot to steal it. These characters do not need to sing much, so these are good roles for younger actors who might want to build confidence before taking on larger singing roles. Vocal Range - Emma: B3 - D5 Vocal Range - Olive: D4 - C5 Harry and Colin Harry and Colin are young chimney sweeps who agree to trade places with Jack and Annie for a day. These comedic characters sing a duet and need to be able to change a few items of clothing (jackets and hats) during their song, so look for actors capable of moving and singing at the same time. Costuming (faces smudged with ashes, etc.) would allow for these roles to played by girls if necessary. Cast two strong actors who get along well onstage and off. Vocal Range - Harry: F3 - C5 Vocal Range - Colin: Gb3 - Eb5 Mrs. Tibbs Mrs. Tibbs is the peculiar and proud housekeeper of the Dickens estate. Look for a strong actor who understands comedy. She does not need to sing if she is not double cast in a singing role, so this is a good part for an actor who may not possess the strongest singing voice. Vocal Range: F4 - A4 Pickwick, Oliver Twist, Nickleby and other Dickens Characters Pickwick, Oliver Twist, Nickleby and other Dickens Characters are the "faces in the mirror" Dickens sees when he is in his office trying to write. These characters have little dialogue, so you can use these roles to cast kids who are more experienced singers than actors. Since the "other Dickens characters" only sing choral parts, you can cast as large a number of kids as you like/ need. For fun, you could assign all of the kids in the chorus names from a variety of books by Dickens - or let them research and pick out their own. If you have a smaller cast, all of these actors could also be double cast as Carolers, High Society, Street Vendors, and Restaurant Workers. Vocal Range: Speaking Roles Newsies, Newsie #1, Baker, Butcher, Bootblacks, Dressmaker, Street Person, Cabbie, Hawkers, Hawker 1 Newsies, Newsie #1, Baker, Butcher, Bootblacks, Dressmaker, Street Person, Cabbie, Hawkers, Hawker 1 are small acting parts, but these roles are essential for creating the feel of Victorian London. Look for actors who can pull off a cockney accent and who can also handle the kind of choreographed blocking required in "Stop Thief!" Vocal Range - Baker: G4 - A4 Vocal Range - Dressmaker: G4 - A4 Policeman The Policeman arrests Jack and Annie, believing they have stolen their own bag. He is chastised by Charles Dickens, and when he realizes his mistake, quickly and humbly apologizes. This is a small role that does not require a lot of subtlety, and singing is optional, so it would be good part for a beginning actor and/or singer. Vocal Range: E4 - F4 Mr. Pinch Mr. Pinch is the mean and miserly owner of the Purple Peacock Inn who refuses to give food scraps to a hungry Tiny Tim and his mother. He is the prototype for Dickens's Scrooge. While the song "Bah! Humbug!" is meant to be comical, the actor playing Pinch doesn't need to be comedic; instead, he should be confident enough to play a shameless misanthrope without needing to wink at the audience. Look for someone who is both a strong actor and singer, but if there is a tough call, lean toward the stronger actor, as much of his solo can be sung/spoken. Vocal Range: G3 - D5 Mrs. Pinch Mrs. Pinch is nothing like her ill-tempered husband; she is warm, hardworking and high-spirited. Though she is not onstage for much of the play, this role requires a good actor/singer who has a strong, energetic, mature presence. Vocal Range: C4 - C5 Francois the Chef Francois the Chef is the chef at Pinch's Purple Peacock Inn. He is proud and passionate and highly sensitive to criticism. This is a small, fun role that does not require any singing, so it would be a good part for an inexperienced singer. Vocal Range: Speaking Role Waitstaff, Restaurant Workers, Restaurant Patrons, Waitress, Dishwasher, Women Fans and Men Fans Waitstaff, Restaurant Workers, Restaurant Patrons, Waitress, Dishwasher, Women Fans and Men Fans are the employees and patrons of Mr. Pinch's Purple Peacock Inn. These roles have little or no spoken dialogue, but "Right This Way" has solo lines as well as choral work and some fairly intricate movement/choreography built into the song, so look for strong singers who can also move/dance. Vocal Range - Waitstaff #1: Bb3 - D5 Vocal Range - Waitstaff #2: Bb3 - E5 Vocal Range - Waitress: Bb3 - Bb4 Vocal Range - Dishwasher: Eb4 - Bb4 Tiny Tim Tiny Tim is a poor and sickly child who will not survive without the charity of others. Though his body is weak, his spirit is robust, and though his family is impoverished, he is rich in love and is remarkably cheerful and good-natured. As the name implies, try to cast your smallest child in this role. A girl dressed as a boy would work. Vocal Range: Speaking Role Roberta Roberta is Tiny Tim's humble, yet proud, mother. This is a small role and singing is optional, so, unless double or triple casting the actor in this role, this would be a good part for a beginner looking to gain some confidence and experience onstage. Vocal Range: Speaking Role Orphans Orphan #1 and the Orphans are street urchins who 'haunt' Mr. Dickens after his disheartening encounter with Mr. Pinch. These are non-speaking roles, so this is a great opportunity to cast singers who are interested in exploring what musical theatre id all about without the pressure of having to memorize lines, etc. However, these roles do require kids who are able to "mime" factory workers during a lengthy speech by Mr. Dickens and who must stay focused and "in character" on stage even when they are not singing. Consider double casting as the Mourners who will sing a reprise of "Who Will Hear My Song?" Vocal Range: Orphan 1: A3 - Bb4 White Ghost, Green Ghost, and Black Ghost White Ghost, Green Ghost, and Black Ghost are conjured by Jack and Annie's magic violin in order to convince Mr. Dickens to keep writing by showing him meaningful scenes from his past, present and future. All three can be played by girls. Although the Black Ghost doesn't speak or sing, the actor needs to have a strong stage presence and must be able to stay focused and in character through the lengthy "Come Three Ghosts" segment. The GHOST CHORUS is made up of your entire ensemble - no need to cast a separate group of students. Vocal Range - White Ghost: C4 - Bb4 Vocal Range - Green Ghost: D4 - Bb4 Mrs. Dickens Mrs. Dickens is the mother of Charles Dickens. This is a small acting role and unless the actor is cast in other roles, requires no singing, so if you have a large pool of actors to cast, this would be an ideal role for a beginner. Vocal Range: Speaking Role Young Dickens Young Dickens is Charles as a small boy who is conjured by the White Ghost to remind Mr. Dickens of his love of reading, his passion for stories and the importance of The Arabian Nights in igniting his imagination as a boy. This is a small speaking role, with no singing required. Consider casting the same actor who plays Tiny Tim. Vocal Range: Speaking Role Miss Twigby, Sara, and the Class Miss Twigby, Sara, and the Class are characters conjured by the Green Ghost to show Mr. Dickens how teachers in Victorian classrooms are using his stories to impart important lessons to their young students. These roles require memorizing and delivering in quick succession actual lines written by Charles Dickens, so cast some of your more confident performers. Vocal Range: Speaking Role Queen Victoria and her Lady in Waiting Queen Victoria and her Lady in Waiting are characters conjured by the Green Ghost to show Mr. Dickens that even the Queen is being moved to make social reforms based on his stories. These are small, speaking-only roles, so look to double cast these actors if they want to sing, or use the roles for beginners who want to be part of the process but don't want a lot of responsibility. Vocal Range: Speaking Role Bookseller, Henrietta and Barber Bookseller, Henrietta and Barber are more characters conjured by the Green Ghost to show how much the "common" people of London are enlivened and changed by the stories of Charles Dickens. Consider casting with the same group of actors who play the Street Vendors, etc., especially the actors capable of pulling off a Cockney accent. Vocal Range: Speaking Role The Mourners The Mourners, including Mourner #1, sing a reprise of "Who Will Hear My Song?" gathered around the gravestone of Charles Dickens and create a mournful tableau during Mary's monologue. Consider using the same actors who played the orphans. If you have a large enough cast that you don't want to double cast, these are good parts for strong singers. Vocal Range: Speaking Role Mary Dickens Mary Dickens is the grown daughter of Charles Dickens. She has a fairly large monologue at her father's gravesite, so look for a strong, confident actor with good memorization skills. Vocal Range: Speaking Role
Into The Woods Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by James Lapine Music & Lyrics by Stephen Sondheim Originally Directed on Broadway by James Lapine Overview / Synopsis Into the Woods JR.* is the authorized young performer's edition of Stephen Sondheim and James Lapine's cock-eyed view of everyone's favorite fairytale characters in this hysterical take on the Brothers Grimm. Into the Woods JR. is an engaging and funny musical comedy that twists familiar fairy tales into a brand new story. When a Baker and his Wife learn they've been cursed with childlessness by the Witch next door, they embark on a quest for the special objects required to break the spell; swindling, deceiving and stealing from Cinderella, Little Red Riding Hood, Rapunzel and Jack (the one who climbed the beanstalk)! Equally at home in large or intimate spaces, Into the Woods Junior is a funny and engaging way to get young people to think about the stories with which they've grown up, and the ethical issues raised therein. The Broadway Junior Collection now offers this Stephen Sondheim score in an adapted format perfect for young performers! Bring the world of theatre to your very own backyard with Into the Woods Junior. Audio Sampler - HL00147557 $10.00 ShowKit - HL00147593 $695.00 This ShowKit includes: 30 Libretto/Vocal Books Director's Script Piano/Vocal Score Production Handbook Cross-Curricular Activities and Enrichment 2 Performance/Accompaniment CDs Choreography DVD 30 Family Matters Booklets 60-Minute JR. Request * Into the Woods JR. does not have a chorus or chorus parts Individual Components 00147552 - Director's Guide $100.00 00147553 - Piano/Vocal Score $40.00 00147554 - Actor's Script $10.00 00147555 - Actor's Script 10-Pak $75.00 00127835 - Rehearsal/Accompaniment CDs $75.00 00146065 - Student Rehearsal CD $10.00 00146066 - Student Rehearsal CD 20-Pak $100.00 00147556 - Choreography DVD $50.00 00146067 - Media Disc $10.00 00147557 - Audio Sampler $10.00 Hear A Sample Scene 1 Opening - Part I [Narrator, Cinderella, Jack, Baker, Baker's Wife, Stepmother, Florinda, Lucinda] Opening - Part II [Baker, Baker's Wife, Little Red Ridinghood] Opening - Part III [Narrator, Jack, Jack's Mother] Opening - Part IV [Spoken] [Narrator, Baker, Baker's Wife, Witch] Opening - Part V [Spoken] [Baker, Baker's Wife, Witch] Opening - Part VI [Spoken] [Narrator, Witch] Opening - Part VII [Stepmother, Cinderella, Cinderella's Father] Opening - Part VIII [Baker's Wife, Baker, Cinderella] Opening - Part IX [Ensemble] Scene 2 Cinderella at the Grave [Cinderella, Cinderella's Mother] Hello, Little Girl [Wolf, Little Red Ridinghood] After "Hello, Little Girl" [Rapunzel, Baker's Wife] I Guess This is Goodbye/Maybe They're Magic [Jack, Baker, Baker's Wife] Rapunzel [Rapunzel] Baker's Reprise [Baker] I Know Things Now [Little Red Ridinghood] A Very Nice Prince [Baker's Wife, Cinderella] Scene 3 Giants in the Sky [Jack] Agony [Rapunzel's Prince, Cinderella's Prince] Rapunzel (Reprise) [Rapunzel] It Takes Two [Baker, Baker's Wife] Scene 4 Stay With Me [Witch] On the Steps of the Palace [Cinderella] Scene 5 Finale - Part II [Florinda, Stepmother] Finale - Part III [Steward] Finale - Part IV [Lucinda, Stepmother] Finale - Part VII [Narrator, Company] Curtain Music [Company] The Baker The Baker is an innocent but stubborn husband. This is a large role that has some challenging singing. The audience should never doubt he is a good-hearted person, trying to do what is right. The Baker's Wife The Baker's Wife is strong, determined and patient. The role requires excellent singing AND acting, plus a good sense of comic timing. Cinderella Cinderella is at once beautiful and surprisingly clumsy and awkward. Cinderella has very little dialogue. Cinderella's Family Cinderella's Stepmother, her stepsisters Florinda and Lucinda, and her Father are great comedic roles. Cinderella's Mother Cinderella's Mother is a one-scene wonder. The voice should be strong and pleasant. A collection of remembered mannerisms and sayings. Jack Jack has a lot of dialogue, and is responsible for singing two of the best-loved songs: "I Guess This Is Goodbye" and "Giants in the Sky." This is a role that could conceivably be played by a young woman, however, you will want to make sure she plays it as a boy and doesn't change the gender of the character. Jack's Mother Jack's Mother is described physically as "not quite pretty." She should be comfortable playing frazzled and frumpy. This is mainly an acting role and therefore requires an actress with an easily projected, authoritative speaking voice. Little Red Ridinghood Little Red Ridinghood is pushy, bratty, over-fed and spoiled. Her journey teaches her some very important lessons. A wonderfully fun role for the right girl. The Narrator / Mysterious Man The Narrator / Mysterious Man tells the story to the audience. While he doesn't sing much, he does have the most lines to memorize, being the largest role in the show. The Narrator is frequently cast as the Mysterious Man as well. Rapunzel Rapunzel must stand up to her mother and eventually leave her for the world. This role requires an excellent soprano voice. Rapunzel's Prince and Cinderella's Prince Rapunzel's Prince and Cinderella's Prince are pompous, conceited and self-absorbed brothers. They should be able to carry themselves with confidence. Both should be good singers. The Witch The Witch is the ultimate character role. Originally played by Bernadette Peters on Broadway, it requires a good singer/actor who can deliver the drama of the script. Mysterious and mischievous. FEATURED ENSEMBLE: The Wolf The Wolf should be properly slimy and a bit creepy. The Steward The Steward is a great role to gain experience. Granny Granny may be doubled by Cinderella's mother.   Milky White was played on Broadway by a prop, but you may choose to cast this non-singing role.
Singing In The Rain Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Screenplay by Betty Comden & Adolph Green Songs by Nacio Herb Brown & Arthur Freed Based on the classic Metro-Goldwyn-Mayer film, by special arrangement with Warner Bros. Theatre Ventures, Inc. Overview / Synopsis The "Greatest Movie Musical of All Time" is faithfully and lovingly adapted by Broadway legends Betty Comden and Adolph Green from their original award-winning screenplay in Singin' In The Rain JR. Hilarious situations, snappy dialogue, and a hit-parade score of Hollywood standards make Singin' In The Rain JR. a guaranteed good time for performers and audience members alike. Singin' In The Rain JR. has all the makings of a Tinseltown tabloid headline - the starlet, the leading man and a love affair that could change lives and make or break careers! In silent movies, Don Lockwood and Lina Lamont are a hot item, but behind the scenes things aren't always as they appear on the big screen! Meanwhile, Lina's squeaky voice might be the end of her career in "talking pictures" without the help of a talented young actress to do the talking and singing for her. Three extraordinary roles for young dancers and a tour de force comedic turn make Singin' In The Rain JR. a perfect choice for any group with an abundance of talent ready to shine. Audio Sampler - HL00151890 $10.00 ShowKit - HL00151881 $695.00 This ShowKit includes: Production Guide Director's Guide P/V Vocal Score 30 Actor Scripts 2 Rehearsal CDs 2 Accompaniment CDs Media Disc Choreographic DVD Cross-curricular Guide 30 Family Matters Booklets 60-Minute JR. Request Individual Components 00151882 - Director's Guide $100.00 00151883 - Piano/Vocal Score $40.00 00151884 - Actor's Script $10.00 00151885 - Actor's Script 10-pak $75.00 09971451 - Perf/Accomp CD $75.00 00151886 - Student Rehearsal CD $10.00 00151887 - Student Rehearsal CD 20-pak $100.00 00151888 - Choreography DVD $50.00 00151889 - Media Disc $10.00 00151890 - Audio Sampler $10.00 Hear A Sample SCENE 1 Fit As a Fiddle [Cosmo, Don, Crowd] SCENE 3 All I Do is Dream of You [Kathy, Kathy's Girls] SCENE 4 Make 'Em Laugh [Cosmo, Stagehands, Chorus Girls] Lucky Star [Kathy] You Were Meant For Me [Don, Kathy] SCENE 5 Moses Supposes [Don, Cosmo, Students] SCENE 6 Good Morning [Kathy, Cosmo, Don] Singin' in the Rain [Don, Ensemble] SCENE 7 Lina's Film Would You [Lina] Kathy's Film Would You [Kathy] What's Wrong With Me [Lina] SCENE 8 Broadway Melody [Broadway Melody Host, Dancers, Chorus] SCENE 9 Lina's Would You [Lina, Kathy, Cosmo] Lucky Star (Reprise) [Don, Kathy, Ensemble] Bows [Cast] Dora Bailey Always first on the scene for any major film opening, and she has the Hollywood scoop. This is a perfect non-singing role for a student with a great speaking voice who isn't quite ready for a lead. Gender: Female Don Lockwood Hollywood's leading man in silent film. Charming and charismatic, Don has no shortage of female admirers. Don is smart and levelheaded; he likes being a famous Hollywood actor, but he doesn't let the celebrity hype go to his head. Cast your best male singer and actor in this role, and someone who pairs well with Kathy. Gender: Male Vocal Range: Eb4 - Bb2 Lina Lamont A glamorous star of Hollywood's silent films. She believes everything amazing she reads about herself in the gossip magazines, including that she and Don Lockwood are madly in love. Your actress will have to work to accomplish the right amount of exasperating ditz to bring this character to life. Cast a confident, comedic actress who is not afraid to take positive risks and can keep Lina's nasal, grating voice consistent throughout the entire show. Gender: Female Vocal Range: Db5 - Bb3 Cosmo Brown Often serves as the comic relief in the show. Quick-witted and sure-footed, Cosmo is fast with a one-liner to lighten the mood. Cosmo is Don's right-hand man, and it's great to cast someone who physically contrasts with Don. Cast someone with great comedic chops and a strong musical sense as he leads many numbers in the show. Gender: Male Vocal Range: Eb5 - Bb2 Roz Always by Lina's side, or trailing after her. As Lina's manager, Roz works hard to make sure nothing upsets her. This non-singing character is a great supporting role for a promising young actress. Gender: Female R.F. Simpson The studio producer in charge of "Lockwood-Lamont" films. R.F.'s first and foremost goal is to make money, and if that means doing a talkie film that's fine with him. Cast a character actor who can show off R.F.'s anxious boss persona. This is a great non- singing role for a physically smaller actor with a big voice. Gender: Male Dexter The studio's director for Lamont and Lockwood films. He's loud and blustery, and he's easily frustrated with his assistants and Lina. This is a perfect non-singing role for an actor with a big voice who can show his frustration as he works to complete his first talkie. Gender: Male Dexter's Assistants Dexter's 1st, 2nd and 3rd Assistants are great featured roles for ensemble members who are new to the stage. Gender: Both Kathy Selden Wants to become an actress. She takes her career as an artist seriously and is embarrassed that she has to take jobs like singing and popping out of a cake just to get by. Cast your strongest singer and actress who can easily portray an honest likability as well as a tough exterior. An actress who pairs well with Don is also important as they have many scenes together. Gender: Female Vocal Range: Eb5 - G3 Miss Dinsmore and the Teacher The vocal coaches hired to turn Lina's voice into cultured perfection and to work with all of the other actors in the show. Tough, proper and slightly overworked, these characters are great roles to feature your hard-working ensemble members. These are non-solo singing roles. Gender: Female Zelda Lina's right-hand gal, who informs her that Kathy's voice is being dubbed over hers. Zelda can be dramatic and over-the-top like Lina, but at her core, she cares about her friend. This is a fantastic featured role for a confident performer who is unafraid to make bold choices. Gender: Female Sam A sound engineer, should be all business. Cast a young person who is comfortable taking charge onstage. Gender: Both Broadway Melody Host A natural leader. This role can be male or female and should be one of your stronger singers. This actor doesn't need to be an excellent dancer, but he or she needs to command the stage with an air of confidence. Gender: Both Vocal Range: F5 - Bb2 Broadway Dancers Broadway Dancers #1 and #2 are featured in "Broadway Melody" and should be excellent singers and dancers. Gender: Both Vocal Range: F5 - C3 Chorus Girls The Chorus Girls #1, #2, #3 and #4 are great featured singing roles in "Make 'Em Laugh." They don't need to be great singers as long as they can convey character and are able to be heard. Gender: Female Vocal Range: D5 - C4 Stagehands Stagehands #1, #2 and #3 are great featured singing roles in "Make 'Em Laugh." They don't need to be great singers as long as they can convey character and are able to be heard. Gender: Both Vocal Range: C5 - F4 Ensemble The ensemble roles in Singin' In The Rain JR. are comprised of the Crowd, Pedestrians, including Pedestrian #1 and Pedestrian #2, Stars, Fans, including Fan #1 and Fan #2, Policeman, Party Guests, including Young Lady, Kathy's Girls, Chorus Girls, Broadway Chorus, Guests, a Sound Engineer, Stagehands, Students, Sound Crew, Screening Guests, a Passerby, the Butler, Orchestra Leader and Audience Members. They really make the 1920s Golden Age of Hollywood come alive and are essential to this romantic light-hearted comedy. These ensemble groups are filled with named characters that have lines, so many of your ensemble students will have featured moments. Depending on your cast size, these ensemble groups can all be double or triple cast. Even if you have actors playing three or four different ensemble roles, emphasize the importance of character, and make sure your young performers make consistent character choices when they step onstage. Gender: Both
Disney's High School Musical Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by David Simpatico Songs by Matthew Gerrard & Robbie Nevil; Ray Cham, Greg Cham & Andrew Seeley; Randy Petersen & Kevin Quinn; Andy Dodd & Adam Watts; Bryan Louiselle; David N. Lawrence & Faye Greenberg; Jamie Houston Music Adapted, Arranged and Produced by Bryan Louiselle Based on a Disney Channel Movie Written by Peter Barsocchini Overview / Synopsis One of the biggest pop-culture phenomena in recent memory, High School Musical topped the music charts and broke records within weeks of its 2006 Disney Channel premiere. Follow the antics of East High's most popular student as they come alive on your stage in this fun-tastic, family-friendly show that only Disney can bring you. Get'cha head in the game! Audio Sampler - HL00287703 $10.00 ShowKit - HL00287704 $695.00 This ShowKit includes: 30 Libretto/Vocal Books Piano/Vocal Score Director's Script 2 Performance/Accompaniment CDs Choreography DVD 30 Family Matters Booklets Production Handbook Cross-Curricular Book 60-Minute JR. Request Individual Components 00287697 - Piano/Vocal Score $40.00 00287696 - Director's Guide $100.00 00287694 - Actor's Book (Single) $10.00 00287695 - Actor's Book (10-Pak) $75.00 00287698 - Performance/Accompaniment CD $75.00 00287702 - Media Disc $10.00 00287701 - Choregraphy DVD $50.00 00287699 - Student Rehearsal CD (Single) $10.00 00287700 - Student Rehearsal CD (20-Pak) $100.00 00287703 - Audio Sampler $10.00 Hear A Sample Scene 1 Wildcat Cheer [All] Start of Something New [Troy, Gabriella, All] Scene 4 Get'cha Head in the Game [Troy, Jocks] Get'cha Head in the Game (Playoff) [Troy, Jocks] Scene 7 Auditions (Bop to the Top / What I've Been Looking For) [All] What I've Been Looking For [Ryan, Sharpay] What I've Been Looking For (Reprise) [Troy, Gabriella] Scene 9 Stick to the Status Quo [All] Scene 14 Counting On You [Chad, Taylor, Zeke, Martha, Brainiacs, Jocks] Scene 16 We're All in This Together [All] Scene 17 Bop to the Top [Sharpay, Ryan, Jocks, Brainiacs, All] Breaking Free [Troy, Gabriella, All] Scene 18 We're All in This Together (Reprise) [All] Bows High School Musical Megamix [All] TROY BOLTON Troy Bolton, the most popular kid at East High, is the star of the basketball team who yearns to be more than what people want him to be. Troy discovers he loves to sing, but is afraid to admit it to his friends. Look for a solid young actor who can convey the full range of emotions and character traits Troy Bolton embodies: athletic, independent, sometimes shy, smitten with Gabriella, a true leader. Troy should be your strongest male singer and able to sing from his heart in a naïve yet convincing manner. He should also be able to move like a natural athlete while dancing and singing. JACK SCOTT Jack Scott is the nerdy school announcer who trips over his own feet. Think about casting a student who will make this role his own and can portray a "gift of gab" radio voice. Jack can be quirky in all aspects: looks, dress and comportment. Most importantly, look for a character actor with superior diction and good comic timing. CHAD DANFORTH Chad Danforth is a hot-wired jock, second in command to Troy. He is focused on winning his school's basketball championship, but is slowly understanding that there might be more to this world, including his sparring crush on Taylor. Look for an actor that partners naturally with Troy, is a leader in his own accord, and can handle Chad's couple of solos and large number of acting scenes. RYAN EVANS Ryan Evans is Sharpay's fraternal twin and a star in the making. This character loves singing, dancing and lots of attention. He follows Sharpay's orders, but wants to break free from her shadow. Choose a "triple threat" for this actor: strong singer, dancer and actor. Everything Ryan does is calculated and executed impeccably. It will probably be helpful to audition Ryan and Sharpay in pairs as the success of "Bop to the Top" depends on the duo. ZEKE BAYLOR Zeke Baylor is a basketball player on the Wildcats Team. He has two secrets: a crush on Sharpay and a love for baking! Zeke and Chad are the most prominent of Troy's friends, so look for an actor that can work with them while being able to stand out in his own spotlight, especially when he reveals his secrets! Zeke has solos, so make sure your actor can sing as well as act. COACH BOLTON Coach Bolton is the stern basketball coach and Troy's dad. He lost the big game years ago and wants a second chance through his son. Cast a student that can handle the demands of acting older than almost everyone else in the show. Coach Bolton is primarily an acting role, so focus on finding a student who can convincingly spar with Ms. Darbus. GABRIELLA MONTEZ Gabriella Montez is the new girl in school. Gabriella is intelligent, pretty ("girl next door" type) and shy. She possesses a fantastic voice when she sings with Troy. Look for a girl that can take positive risks with both her acting and singing. She must be able to portray her intelligence and independence and then easily switch over to her shy and vulnerable side. Cast an actress with a strong sense of pitch and the ability to hold her own with a partner in order to make the most of this role. Make sure a portion of your audition is seeing your potential Troys and Gabriellas as a pair. TAYLOR MCKESSIE Taylor McKessie, the head Brainiac of the school, is the president of the Science Club. She wants Gabriella to join the Science Decathlon team so they can finally win the competition. Taylor has a hidden soft spot for Chad, which might be why she is always making fun of him. Cast a girl that can portray Taylor's assertiveness as well as sing a solid solo. SHARPAY EVANS Sharpay Evans is the egocentric star of the school musicals. She is Ryan's older twin (and the alpha dog of the two) and has a mad crush on Troy. Sharpay has never met a mirror she didn't like. Look for someone who can portray a diva and has solid acting chops and strong singing and dancing skills. Sharpay knows how to work a crowd. She is in a good number of scenes, so cast an actress that can handle this sizable role. MARTHA COX Martha Cox is a proud member of the Science Club and is brainy with a secret love of dancing. She has a fun-loving sidekicky personality and becomes an adoring devotee of Gabriella. Cast an actor who is kind and funny. The role has important featured solos but the voice quality is not as important as the character. If you have a student that can show off some crazy brake dancing moves, bravo! Brava! KELSI NIELSEN Kelsi Nielsen is a thespian rehearsal pianist and student composer extraordinaire. Underneath her shy demeanor, Kelsi has no tolerance for people (read: Sharpay) who use their talent only to be number one. Cast an actor who can play the underdog but has the intelligence and ability to shoot the "zingers" at Sharpay with timing and accuracy. She must be coached to look like a pianist as she continually accompanies onstage. Kelsi has a small solo in "We're All in This Together," but it is secondary to her acting importance. The "group hug" with Troy and Gabriella has unbeatable charm if you cast a student who is smaller than the other two. MS. DARBUS Ms. Darbus is the eccentric drama teacher. She is an amusing blend of Gertrude Stein and Ethel Merman. Passionate and disciplined, she is always trying to expose students to the enrichment and fun of theatre. Cast an actress who knows how to milk every word, phrase and gesture for this role. She must make her eccentricities appear second nature. Ms. Darbus's acting skills and timing should be topnotch; her singing voice is secondary as she has no solos. Ms. Darbus exudes wacky, yet it doesn't detract from her true love of theatre and her students. ENSEMBLE The ensemble makes up all the other characters who populate East High School: Jocks, Brainiacs, Thespians, Skater Dudes, Cheerleaders, Ms. Tenny, Science Decathlon Moderator, etc., with a few featured solo parts further described below. The ensemble is present throughout the show and provides the vocal power for the group numbers. These roles vary in size and in vocal, acting and dance requirements, so you can cast performers with a wide range of abilities. The ensemble participates in several self-contained numbers, which provide great opportunities to use groups of students that can rehearse together. (For example, the sixthgrade chorus in one number, the seventh-grade classes in another, etc.) Don't be afraid to mix your age groups here. Look for students whose enthusiasm and ability to take direction can allow your ensemble to look like a perfect representation of your school and community. RIPPER Ripper is a cool skater dude who is, lo and behold, a cello player! Cast a student who can sell this fun "double personality" with one short but sweet air cello solo!   In the big Audition scene, JAMES is the auditionee who sings so badly off key it would scare anyone! Cast a person who can confidently sound bad... this can be a challenge for a good musician. SUSAN is the "pop star wanna be" audition candidate. Cast someone who is not afraid to go over-the-top with this short yet humorous part. CATHY is the auditionee who can belt like Ethel Merman! Cast a student that can fill the auditorium with her voice. It doesn't need to be pretty! CYNDRA is the final auditionee and she sounds like an opera audition for the Met. If you have a young singer that can imitate an obnoxious vibrato in a serious manner, there's your perfect choice!
Elf The Musical Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by Thomas Meehan and Bob Martin Music by Matthew Sklar Lyrics by Chad Beguelin Based on the New Line Cinema film written by David Berenbaum Overview / Synopsis A title known the world over, Elf The Musical JR. is a must-produce holiday musical that can easily become an annual tradition for any theatre. Based on the cherished 2003 New Line Cinema hit, Elf JR. features songs by TONY Award nominees Matthew Sklar and Chad Beguelin (Disney's Aladdin On Broadway, The Wedding Singer), with a book by TONY Award winners Thomas Meehan (Annie, The Producers, Hairspray) and Bob Martin (The Drowsy Chaperone). Buddy, a young orphan mistakenly crawls into Santa's bag of gifts and is transported to the North Pole. The would-be elf is raised unaware that he is actually a human, until his enormous size and poor toy-making abilities cause him to face the truth. With Santa's permission, Buddy embarks on a journey to New York City to find his birth father and discover his true identity. Faced with the harsh reality that his father is on the naughty list, and his stepbrother doesn't even believe in Santa, Buddy is determined to win over his new family and help New York remember the true meaning of Christmas. This modern day holiday classic is sure to make everyone young performer embrace their inner elf. After all, the best way to spread Christmas Cheer is singing loud for all to hear. Audio Sampler - HL00147944 $10.00 ShowKit - HL00147934 $695.00 This ShowKit includes: Production Guide Director's Guide P/V Vocal Score 30 Actor's Scripts 2 Rehearsal CDs 2 Accompaniment CDs Media Disc Choreographic DVD Cross-curricular Guide 30 Family Matters Booklets 60-Minute JR. Request Individual Components 00147935 - Director's Guide $100.00 00147936 - Piano/Vocal Score $40.00 00147937 - Actor's Script $10.00 00147938 - Actor's Script 10-pak $75.00 00147939 - Performance/Accompaniment CD pack $75.00 00147940 - Student Rehearsal CD $10.00 00147941 - Student Rehearsal CD 20-pak $100.00 00147942 - Choreography DVD $50.00 00147943 - Media Disc $10.00 00147944 - Audio Sampler $10.00 Hear A Sample SCENE 1 Happy All the Time [Santa, Elves, Buddy] SCENE 1/2 World's Greatest Dad [Buddy, New Yorkers] SCENE 4 Sparklejollytwinklejingley [Buddy, Macy's Employees, Manager, Jovie] SCENE 5 I'll Believe in You [Michael, Emily] SCENE 7 A Christmas Song [Buddy, Jovie, Crowd] SCENE 8 World's Greatest Dad (Reprise) [Buddy, Carolers] SCENE 9 Never Fall in Love (with an Elf) [Jovie] SCENE 10 There Is a Santa Claus [Michael, Emily, New Yorkers] SCENE 11 The Story of Buddy [Buddy, Michael, Emily, Mr. Greenway, Deb, Matthews, Chadwick, Sam, Sarah, Walter] SCENE 13 A Christmas Song (Reprise) [Entire Cast] Sparklejollytwinklejingley (Reprise) [Entire Cast] Santa Claus Santa Claus has a lot on his plate during the Christmas season, and it is starting to show. He is annoyed with the Elves, tired of lying to Buddy and sad that people seem to be losing their Christmas spirit. He is still the same jolly old St. Nick underneath it all, but the job is getting to him. This is a great role for a character performer who can play an older (and somewhat cranky) man while trying hard to keep his holiday spirit. Vocal Range: Bb3 - D5 Buddy Buddy is the perfect elf! He's good-natured, he means well, and he's happy... all the time. There's only one problem. He's not an elf - he's an adult human. This role is perfect for a young man who is an excellent actor and good singer who has the energetic earnestness and comedic timing that Buddy needs. It's helpful to cast an actor who is taller than the other Elves. This will help differentiate Buddy and adds to the humor of the show. Vocal Range: B3 - G5 Elves The Elves are Santa's special helpers who love their job making toys to meet their Christmas Eve deadline. These roles are great for younger performers, or for those who can embody a youthful spirit, enjoy singing and work well together as a group. Vocal Ranges: Solo Elf 1: F#4 - C5, Solo Elf 2: G4 - Bb5 Charlie Charlie is in charge of monitoring the other Elves, making sure every present is wrapped and every bow is tied. Cast a young performer with a good speaking voice, someone who is comfortable taking command of the stage and has authority over the rest of the Elves, but always remains friendly. Vocal Range: Speaking role Shawanda Shawanda is a dependable and caring elf. She will do whatever she can to help out others, including Buddy, even though she accidentally reveals that he is a human. Cast a good actress with a clear speaking voice for this very important moment in the story. Vocal Range: Speaking Role Sam Sam is one of Walter's Office Staff who is in a bind at the top of the show. A young performer with a good speaking voice and strong character choices will do the trick. Vocal Range: Speaking Role Walter Hobbs Walter Hobbs, Buddy's real father, is so focused on keeping his job that he is not making time for his family. He can be stern and unemotional at times, but ultimately he learns to recommit to his family. Cast a great actor with a strong, authoritative presence, but be sure they can also show his softer side. Vocal Range: B3 - E5 Deb Deb, Walter's secretary, has the big responsibility of keeping her boss and the whole office happy. She does this by sharing her positive attitude with everyone. This is a plum role for a young woman with a pleasant demeanor, yet efficient work ethic, who is a solid actor with a good speaking voice. Emily Hobbs Emily Hobbs is Walter's devoted wife who would prefer her husband to spend a little more time at home. She is a problem solver and an excellent mother who is doing everything she can to provide a positive family dynamic. Cast an excellent actress and singer who effortlessly conveys a sense of maturity and warmth. Vocal Range: G3 - D5 Michael Hobbs Michael Hobbs is the smarter-than-average 12-year-old son of Walter and Emily. He quickly befriends his new adult brother, Buddy, and does everything he can to make sure Buddy becomes a permanent part of the family. Look for a solid young actor and singer with an unchanged voice. Vocal Range: G3 - D5 Security Guard 1 and 2 Security Guard 1 and 2 are a stern duo from Walter's office, making sure everyone who enters has permission. Cast a duo that works well together and fits the bill for a tough pair. Vocal Range: Speaking Role Saleswoman The saleswoman is the first person to greet Buddy as he enters Macy's. She's the consummate sales person: smiling, overfriendly, and always trying to sell something. This is a great ensemble role for a young woman with little stage experience. Vocal Range: Speaking Role Manager The Manager is a terrific featured acting role for a performer with good comedic timing. As the manager of Macy's, he's doing everything he can to make sure all the employees stay in line. Vocal Range: Speaking Role Jovie Jovie works as a store elf at Macy's, but don't be mistaken - she doesn't quite exude the Christmas spirit. She's kind of cynical, a bit tough around the edges, and now the target of Buddy's complete adoration. This is a fantastic role for a young woman with a strong singing voice and acting chops. Vocal Range: G3 - Db5 Santa's Helper Santa's Helper works as a Macy's Employee and announces when each kid gets to visit with Santa. This is a good ensemble role for a performer with a loud voice. Vocal Range: Speaking Role Fake Santa Fake Santa is a poor replacement for the real Santa. He's an employee of Macy's who is a bit rough around the edges. Fake Santa should be played by a performer who is unafraid of being a little over-the-top and has good physical control of his body. Vocal Range: Speaking Role Policeman 1 and 2 Policeman 1 and 2 are a friendly pair of cops who return Buddy to the Hobbs household. These are perfect featured roles for two ensemble members. Vocal Range: Speaking Roles Sarah Sarah is a staff member at Walter's office. This is a nice role for a less experienced actor with a good singing voice. Vocal Range: Speaking Role Mr. Greenway Mr. Greenway is one of the crankiest businessmen around. He is the big boss, so look for an older student with a commanding presence to tackle this acting role. Vocal Range: Speaking Role Chadwick and Matthews Chadwick and Matthews are staff members at Walter's office who are doing everything they can think of to save the day and make their boss happy. Cast a pair of good character actors who work well with each other and are able to drive the action of scenes. Vocal Range: Speaking Roles Charlotte Dennon Charlotte Dennon is a TV reporter with a big personality. She does her best to keep her professional persona in public and doesn't like being shown up. This is a great role for a young woman with professional charisma and someone who can make strong acting choices. Vocal Range: A3 to A4 Finale Soloists 1, 2, 3, and 4 Finale Soloists 1,2,3 and 4 are good roles to highlight four of your strong solos singers. Vocal Ranges: Solo 1: D4 - B4, Solo 2: D4 - B4, Solo 3: D4 - F#4, Solo 4: B3 - G#4 Darlene Lambert and Emma Van Brocklin Darlene Lambert and Emma Van Brocklin are on the scene in Central Park and are convinced of Santa's magic after Buddy reveals their past Christmas gifts. Look for two young ladies with nice singing voices and some acting experience to take on these small, but featured, roles. Ensemble New Yorkers, Comforting New Yorker, Macy's Employees, Macy's Employee 1, Member of the Rockefeller Crowd, Office Staff, Business Woman, Flyer guys, Teenager, Jogger, Carolers, Passerby, Children and Parents are all important roles for creating the distinct worlds of the North Pole and New York City. These roles can all be double cast from your ensemble, and it's important to remind your young performers that the stronger and more specific their character choices, the richer and more vivid the story becomes. Vocal Range: Comforting New Yorker: F4 - C5
Music Man Kids - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by Meredith Willson Music and Lyrics by Meredith Willson Based on a story by Meredith Willson and Franklin Lacey. Overview / Synopsis Based on Meredith Willson's six-time-Tony-Award-winning musical comedy, The Music Man KIDS features some of musical theatre's most iconic songs and a story filled with wit, warmth and good old-fashioned romance. The Music Man KIDS is family entertainment at its best � a bold, brassy show that will have the whole town atwitter! Master showman Harold Hill is in town and he's got "seventy-six trombones" in tow. Can upright, uptight Marian, the town librarian, resist his powerful allure? The story follows fast-talking traveling salesman, Harold Hill, as he cons the people of River City, Iowa, into buying instruments and uniforms for a boys' band he vows to organize. The catch? He doesn't know a trombone from a treble clef. His plans to skip town with the cash are foiled when he falls for Marian, whose belief in Harold's power just might help him succeed in the end in spite of himself. The Music Man KIDS is the perfect vehicle for your young cast, a toe-tapping crowd-pleaser, featuring a soaring soprano ing�nue part and a leading role for a charismatic actor, as well as plenty of roles for kids of every level. Audio Sampler - HL00118347 $10.00 ShowKit - HL00118337 $545.00 This ShowKit includes: 1 - Accompaniment and Guide Vocal CD 1 - Choreography DVD 1 - Director's Guide 1 - Media Disk 1 - Piano Vocal Score 30 - Student Books 30-Minute KIDS Request Individual Components 00118338 - Director's Guide $100.00 00118339 - Piano/Vocal Score $40.00 00118340 - Actor's Script $10.00 00118341 - Actor's Script 10-pak $75.00 00118342 - Perf/Accomp CD pack $75.00 00118343 - Student Rehearsal CD $10.00 00118344 - Student Rehearsal CD 20-pak $100.00 00118345 - Choreography DVD $50.00 00118346 - Media Disc $10.00 Hear A Sample Rock Island [Salesmen, Charlie] Iowa Stubborn [Townspeople] Ya Got Trouble (Part 1) [Harold, Townspeople] Ya Got Trouble (Part 2) [Harold, Townspeople] Piano Lesson [Marian, Mrs. Paroo, Amaryllis] Goodnight, My Someone [Marian, Mrs. Paroo, Amaryllis] Seventy-Six Trombones [Harold, Townspeople] Pick-a-Little, Talk-a-Little [Alma, Ethel, Maud, Mrs. Squires, Eulalie] The Wells Fargo Wagon [Townspeople, Winthrop] Shipoopi [Marcellus, Kids] Gary, Indiana [Winthrop, Mrs. Paroo, Marian] Bows [Cast] Harold Hill Harold Hill is a huge role and the essence of The Music Man KIDS. Cast an actor who has charisma and charm and is not afraid to take a positive risk onstage. He should be a good singer and mover and also have excellent acting chops. It is ideal if he has an excellent sense of rhythm. Your harold should pair up well with Marian, and the two together should exude a spark of excitement. Gender: Male Vocal Range: B3-G5 Marian Paroo Marian Paroo begins as an uptight librarian and transforms into a beautiful, trusting young woman. Marian should be a strong singer and actor, and also be able to move well. She must have an air of cofidence that draws Harold to her. Take some time during auditions to try different pairs of Harolds and Marians together until you reach the perfect combination. Gender: Female Vocal Range: G3-G5 Charlie Cowell Charlie Cowell is a Traveling Salesman, and is one of the premium acting-only roles in The Music Man KIDS. If you decide to have the actor playing Charlie also perform in the ensemble, take note to make sure he is not playing Charlie in those scenes. Cast a strong actor with a loud voice. Charlie should have a sense of confidence and love being onstage! Gender: Male Mayor Shinn Mayor Shinn should be able to perform his role as proud politician very seriously, yet have a sense of comic timing. This actor does not have to sung or dance, but is responsible for a great deal of pacing and line pick-ups in the show. Don't be afraid to cast a physically small acotr in this role, provided he can authoritative - it can bring down the house! Gender: Male Eulalie Mackecknie Shinn Eulalie Mackecknie Shinn is a great role for a comic actress! If Eulalie takes herself seriously your audience will find her hysterical. She does have some singing and some moving, but creating a "larger than life" character that works with your Mayor Shinn is essential. Consider contrasting your physically small Mayor Shinn with a tall Eulalie for even more comic brilliance. Gender: Female Vocal Range: D4-D5 Marcellus Washburn Marcellus Washburn is the classic sidekick to Harold. His big number is "Shipoopi," so he should be a good singer, a great actor and be able to dance. Cast a kid who is natually funny and you will have a terrific Marcellus. Gender: Male Vocal Range: E4-D#5 Mrs. Paroo Mrs. Paroo is a good mother, stands up for what she beieves and gently pushes Marian to think of her future. The role requires an actress who can sing and act. However, she deosnt need to have a polished voice - the more character the better! Take into consideration your actress's ability to look maternal with Winthrop and Marian. Gender: Female Vocal Range: Ab3-Eb5 Winthrop Paroo Winthrop Paroo is Marian's shy younger brother who hardly talks because of his pronounced lisp. This is a great role for a young performer who is a good actor. Winthrop transforms from shy to outspoken, and not only sings but dances! Gender: Male Vocal Range: C4-Eb5 Amaryllis Amaryllis is Marian's slightly bratty, young piano student who has a crush on Winthrop. This is a great place to feature a young actor who is not quite ready for a large part, or who doesn't have a strong singing voice. Cast a girl who is a good actor and similar in size to Winthrop and Gracie. Gender: Female Tommy Djilas Tommy Djilas is the teen heartthrob in the show and a non-singing role. Cast a boy that can dance and create a strong character. Tommy's love interest is Zaneeta, so make sure the two characters have chemistry between them. Gender: Male Zaneeta Shinn Zaneeta Shinn is the oldest and slightly daffy daughter of the Mayor and Eulalie. Cast a girl who is a strong dancer. Although this is a non-singing role, a well-ast Zaneeta will gain mileage out of her classic "Ye gads!" line. Gender: Female Gracie Shinn Gracie Shinn is Zaneeta's little sister and the youngest daughter of the Mayor and Eulalie. The actor has few lines of dialogue, and if she is a good singer, she would be a fine choice to sing the first solo in "The Wells Fargo Wagon." Gender: Female Vocal Range: B3-Eb5 Ethel Toffelmier Ethel Toffelmier is Marcellus's girlfriend. She's described by Marcellus as "a nice comfortable girl and the bosses' niece." Ethel has some acting, some singing, and some dancing. Ethel is also one of the solo Pick-a-Little ladies. Make sure she and Marcellus look good together, think Ethel and Fred from I Love Lucy! Gender: Female Vocal Range: D4-D5 Pick-a-little Ladies Pick-a-little Ladies Alma Hix, Maud Dunlop and Mrs. Squires are the gossip queens of River City. These characters need to act, sing and move well. Cast girls with strong voices and a good sense of cominc timing. The supplemental Pick-A-Little ladies are ideal parts for your abundance of girls. Gender: Female Conductor The Conductor has the first line in The Music Man KIDS. This is a non-singing role and perfect for an actor that can be loud and energetic but is not quite ready for a larger part. Gender: Both Constable Locke Constable Locke is River City's chief law enforcement officer. He is a quiet, wise man who sees through Harold, yet doesn't seem to take Harold's antics too seriously. No singing or dancing is required for this role. Gender: Both Townspeople The River City Townspeople are the heart and soul of The Music Man KIDS. The story is about a community of people so assigning your cast into family units is key. Ask each grouping to create a family history, including details of their lives. This will create an ensemble that is engaged and energized. Plan on separating your cast into three groups: aduts, teens and kids. You will immediately recognize that some actors clearly "read" as adults onstage. Try to separate your groups into categories to create a realistic town. Gender: Both Traveling Salesmen The Traveling Salesmen are non-singing roles suited for performers that have a strong rhythmic sense. "Rock Island" is te rap of its time! If you find you need to cast girls as Traveling Salesmen, make sure they play the roles as men. These actors can ouble as ault members of the River City Townspeople. You will need a minimum of five salesmen in addition to Charlie. Gender: Both Wan Tan Ye Girls The Wan Tan Ye Girls are featured during Eulalie's "Spectacle" in Scene 4 prior to "76 Trombones." Cast students who aren't afraid of acting silly. Gender: Female Boys' Band All of your little boys can be in the Boys' Band if you have enough uniforms. If you need to fill out this Boys' Band ensemble with girls, be sure they appear as boys in uniform. Gender: Both
Honoring Rick Walters

Hal Leonard has announced the loss of their esteemed friend and colleague, Rick (Richard) Walters. 

 

Walters, a key figure at Hal Leonard for 39 years, began his journey as a keyboard editor and ascended to the role of VP of Classical & Vocal Publications. In 2011, he pioneered the Hal Leonard Vocal Competition, the industry's first all-YouTube contest for vocal students. This groundbreaking initiative earned widespread respect and propelled numerous students into successful singing careers. Rick's dedication was evident as he personally reviewed tens of thousands of videos until the competition concluded with his retirement in 2023. Even after retiring, he continued to make a difference in the music community, particularly with the Milwaukee Youth Symphony Orchestra, where he served on the board and mentored budding composition students. 

 

Hal Leonard Chairman Larry Morton stated, “Rick’s impact on the world of classical and vocal music publishing was immense. His unwavering passion and commitment to preserving and presenting repertoire for students and their teachers have left an indelible mark. No vocal competition or audition happens without singers using materials Rick helped create with our editorial teams. He closely worked with some of the greatest musical theater composers of all time, including his close, personal relationship with the late Broadway icon, Stephen Sondheim.”

 

Rick’s many iconic projects include the Singer’s Musical Theatre Anthology series, the Hal Leonard Vocal Library series, Schirmer Performance Editions series, a new edition of 28 Italian Songs & Arias of the 17th & 18th Centuries, and collections of music by Benjamin Britten, Samuel Barber, Stephen Sondheim, and even Mel Brooks.

 

Memorial service plans are pending.

The Music Man Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by Meredith Willson Music & Lyrics by Meredith Willson Based on a story by Meredith Willson and Fraklin Lacey Overview / Synopsis Based on Meredith Wilson's six-time, Tony Award-winning musical comedy, The Music Man JR. features some of musical theatre's most iconic songs and a story filled with wit, warmth, and good old-fashioned romance. The Music Man JR. is family entertainment at its best - a bold, brassy show that will have the whole town atwitter! Master showman Harold Hill is in town, and he's got "seventy-six trombones" in tow. Can upright, uptight Marian, the town librarian, resist his powerful allure? The story follows fast-talking traveling salesman Harold Hill as he cons the people of River City, Iowa into buying instruments and uniforms for a boys' band he vows to organize. The catch? He doesn't know a trombone from a treble clef. His plans to skip town with the cash are foiled when he falls for Marian, whose belief in Harold's power just might help him succeed in the end in spite of himself. The Music Man JR. is the perfect vehicle for your young cast, a toe-tapping crowd-pleaser featuring a soaring soprano ing�nue part and a leading role for a charismatic actor, as well as plenty of roles for kids of every level. Audio Sampler - HL00151879 $10.00 ShowKit - HL09971792 $695.00 This ShowKit includes: Production Guide Director's Guide P/V Vocal Score 30 Actor Scripts 2 Rehearsal CDs 2 Accompaniment CDs Media Disc Choreographic DVD Cross-curricular Guide 30 Family Matters Booklets 60-Minute JR. Request Individual Components 09971793 - Director's Guide $100.00 09971794 - Piano/Vocal Score $40.00 09971795 - Actor's Script $10.00 09971796 - Actor's Script 10-pak $75.00 09971797 - Perf/Accomp CD pack $75.00 09971798 - Student Rehearsal CD $10.00 09971799 - Student Rehearsal CD 20-pak $100.00 09971800 - Choreography DVD $50.00 09971801 - Media Disc $10.00 00151879 - Audio Sampler $10.00 Hear A Sample SCENE 1 Rock Island [Salesmen, Newspaper Readers, Charlie] SCENE 2 Iowa Stubborn [Townspeople, Farmer, Farmer's Wife] Ya Got Trouble [Harold, Townspeople] SCENE 4 Piano Lesson / If You Don't Mind My Saying So [Marian, Mrs. Paroo] Goodnight, My Someone [Marian] SCENE 5 Columbia, Gem of the Ocean [Townspeople] Seventy-Six Trombones [Harold, Townspeople] Ice Cream/Sincere [Harold, Olin, Oliver, Jacey, Ewart] SCENE 6 Pick-a-Little, Talk-a-Little (Part 1) [Alma, Ethel, Maud, Eulalie, Ladies, Harold] Pick-a-Little, Talk-a-Little (Part 2) [Alma, Eulalie, Maud,d Ethel, Mrs. Squires, Ladies, Harold] SCENE 8 The Wells Fargo Wagon [Townspeople, Winthrop] Shipoopi [Marcellus, Boys, Girls] Pick-a-Little, Talk-a-Little (Reprise) [Ladies, Ethel, Alma, Maud, Ethel, Mrs. Squires, Eulalie] SCENE 9 Gary, Indiana [Winthrop, Mrs. Paroo, Marian] SCENE 10 Till There Was You [Marian, Harold] Bows [Cast] Harold Hill Harold Hill is a great role for a young person to play. Select a boy with charisma and charm, who is comfortable on stage. He should be a great actor, an average singer, and an average mover. You'll also want to cast a boy with a changed voice. For your sanity, make sure you cast someone who memorizes lines easily and has a good sense of musical rhythm. Your Harold should look good with your Marian and the two together should exude a spark of excitement. Gender: Male Vocal Range: G5 - B3 Marian Paroo The role of Marian is a different twist on the traditional leading lady. The character progresses greatly during the show, starting as an uptight librarian and transforming into a beautiful and trusting young woman. Your Marian must have an amazing voice, be an excellent actor, and be able to move well. She must also have an air of confidence that draws Harold and your audience to her. She will also need to be comfortable kissing two boys-Harold and Charlie Cowell, which requires a certain amount of emotional maturity. Finally, take some time during auditions to try different pairs of Harolds and Marians until you reach the perfect match. Vocal Range: G5 - G3 Charlie Cowell Charlie Cowell is one of the premium acting-only roles. Consider having the actor playing Charlie perform in the ensemble or as a teen dancer or townsperson-just make sure it's clear he's NOT playing Charlie Cowell in those scenes. Cast a strong actor with a good loud voice who is a bit of a ham and likes being on the stage. He has to be comfortable kissing Marian, and should have a good sense of comic timing. Charlie is a good choice for an understudy to Harold Hill. Gender: Male Mayor Shinn You may be tempted to cast an "over-the-top" actor as Mayor Shinn, but resist and heed the warning of Meredith Willson. The actor playing Mayor Shinn certainly needs a good sense of comic timing, but should be able to perform the role very seriously. This is elemental in creating the humor of The Music Man JR., which is based in reality. Mayor Shinn does not have to sing or dance, but he is responsible for a great deal of the pacing and line pick up in the show. Make sure your actor can memorize long monologues. Gender: Male Eulalie Mackecknie Shinn Everybody wants to play Eulalie. It's a great role for a great comic actress. Again heed Mr. Willson's warning and avoid casting an actress who is over the top. If Eulalie takes herself seriously your audience will find her hysterical. Eulalie does have some singing and some dancing, or at least posing. Make sure your Eulalie works with your Mayor Shinn. Gender: Female Vocal Range: D5 - D4 Marcellus Washburn This classic sidekick to Harold has been immortalized by comedic greats like Buddy Hacket. Marcellus' big number is "Shipoopi" so the character has to act well, sing reasonably well (although a character voice is best) and be able to dance. Cast the kid who is just funny all the time and you'll have a great Marcellus. Gender: Male Vocal Range: D#5 - E4 Ethel Toffelmier Ethel is Marcellus's girlfriend. She's described by Marcellus as "a nice comfortable girl and the bosses' niece." Ethel has some acting, some singing, and some dancing. Ethel is also one of the solo Pick-a-Little ladies. Make sure she and Marcellus look good together, think Ethel and Fred from I Love Lucy! Gender: Female Vocal Range: D5 - D4 Mrs. Paroo Mrs. Paroo is the conscience of River City. She is a great mother, stands up for what she believes in, and gently pushes Marian to think of her future. The role requires an actress who can do a good Irish Brogue, and who can sing and act. She should also look right with Marian and Winthrop. Gender: Female Vocal Range: Eb5 - Ab3 Winthrop Paroo Winthrop should appear to be young, his voice must be unchanged and he should be a good actor. Winthrop also needs to be able to affect a believable lisp. Winthrop has to transform from a shy child to an outspoken child who not only sings but dances! Gender: Male Vocal Range: Eb5 - C4 Amaryllis Amaryllis is the slightly bratty girl who studies piano with Marian. Amaryllis should be a good actor, and roughly the same size as Winthrop and Gracie. Just who are Amaryllis' parents is one of the great mysteries of The Music Man JR. and something for you to decide. Gender: Female Ewart Dunlop Ewart is one of the four quartet members with the second highest voice or tenor. He is married to Maud Dunlop. Cast singers who can hold their own vocal parts strongly and worry about the acting later. Gender: Male Vocal Range: F#5 - E4 Oliver Hix Oliver is one of the four quartet members with the second lowest voice or baritone. He is married to Alma Hix. Cast singers who can hold their own vocal parts strongly and worry about the acting later. Gender: Male Vocal Range: F#5 - E4 Jacey Squires Jacey is one of the four quartet members with the highest voice or tenor. He is married to Mrs. Squires. Cast singers who can hold their own vocal parts strongly and worry about the acting later. Gender: Male Vocal Range: A5 - B3 Olin Britt Olin is one of the four quartet members with the lowest voice or bass. Cast singers who can hold their own vocal parts strongly and worry about the acting later. Gender: Male Vocal Range: D5 - A3 Tommy Djilas Tommy is the teen heartthrob in the show. Cast the best looking kid you have; with any luck he'll also be able to act and dance. Tommy's love interest is Zaneeta so make sure the two characters have chemistry between them. Gender: Male Zaneeta Shinn Zaneeta should be your best female dancer. The role is often given dance features in both "76 trombones" and "Shipoopi". Zaneeta also should look like she belongs in the Shinn Family, although this is not necessary. Zaneeta gets to deliver the classic "Ye gads" line! Gender: Female Gracie Shinn Gracie is Zaneeta's little sister. This role has one or two lines of dialogue and traditionally is the first soloist in "Wells Fargo Wagon." Gracie can also understudy Amaryllis in case of an emergency. Gender: Female Vocal Range: Eb5 - B3 Alma Hix One of the core members of the Pick-a-little ladies, requiring girls with strong voices and a good sense of comedy. Alma is married to Oliver. You can also add additional Pick-a-little ladies. Gender: Female Vocal Range: D5 - D4 Maud Dunlop One of the core members of the Pick-a-little ladies, requiring girls with strong voices and a good sense of comedy. Maud is married to Ewart. You can also add additional Pick-a-little ladies. Gender: Female Vocal Range: D5 - D4 Mrs. Squires One of the core members of the Pick-a-little ladies, requiring girls with strong voices and a good sense of comedy. Mrs. Squires is married to Jacey. You can also add additional Pick-a-little ladies. Gender: Female Vocal Range: D5 - D4 Conductor The conductor has the first line in the show, so cast an actor that is loud and energetic! Gender: Male Constable Locke The Constable is a quietly wise man who sees through Harold, but doesn't seem to mind. It's a nice feature for any young character actor. Gender: Male Ensemble The Ensemble is comprised of Adult-types, teens and kids to play townspeople, traveling salesmen, teen dancers, Wa Tan Ye girls and the boys' band. Can accommodate additional Pick-a-little ladies Gender: both Adults For some reason, some kids just read on stage as adults. You'll recognize this quality by comparing kids. Since THE MUSIC MAN JR. is about a town, you'll want to assign your cast into family units. Try to create a realistic town with married folks, single folks, etc. If you have an abundance of girls, cast a few as widows. Ask each family to create a family history, including details of their lives. By doing this you will create an ensemble that is engaged and energized and this will greatly add to the quality of your production! The adults have a few lines (which you can distribute while blocking the scenes.) They also have some solo vocal lines. You'll also want to select the Farmer and His Wife from this group. Gender: both Traveling Salesmen You'll want to cast several good actors to play traveling salesmen, especially salesmen number five, number three, and number one. If you find it necessary to cast girls as traveling salesmen make sure they play the roles as men. Gender: both Teen Dancers Create a group of teen dancers by selecting your best dancers. The Teen Dancers will be responsible for "Shipoopi," and have features in "76 Trombones." Make sure each Teen Dancer is assigned to a family to create the illusion of a real town. Gender: both Wa Tan Ye Girls All of your little girls can play Wa Tan Ye Girls. They are featured during Eulalie's "Spectacle" just prior to "76 Trombones." Again assign them to families. Gender: Female Boys' Band All of your little boys can be in the Boys' Band provided you have enough uniforms. The Boys' Band has two main features: "76 Trombones" and the finale of the show. Make sure the boys are a part of a family. Gender: both
Hal Leonard Vocal Competition - 2023 Winners | Hal Leonard THE 2023 HAL LEONARD VOCAL COMPETITION WINNERS Complete List ART SONG WINNERS Children's Voices Ages 12 and under (as of February 1, 2023) First Place Donna Megules Medford, NJ Haines 6th Grade Center Hal Leonard Recorded Accompaniment Voice Teacher: Kristine Biller Second Place (tie) Chloe Kesner Mesa, AZ Homeschool Hal Leonard Recorded Accompaniment Voice Teachers: Allison Houston Hailey Rivera Cliffside Park, NJ Christ the Teacher Academy Pianist: Liliana Sotirova Voice Teacher: Amelia DeMayo, Liliana Sotirova Third Place (tie) Kailey Sunwoo Demarest, NJ Demarest Middle School Pianist: Haekyoung Lee Voice Teacher: HyeYoung Kang Janelle Wu Johns Creek, GA Perimeter School Hal Leonard Recorded Accompaniment Voice Teacher:Xianyu Cui Honorable Mentions Ashley Hua Marietta, GA Cristina Garcia (age 12) North Plainfield, NJ Juliet Lee Vienna, VA Brooks Liang New York, NY Lily Bell Morgan Portsmouth, VA Emma Tang Duluth, GA Finalists Rachel Anand (Austin, TX) Amber Chen (Duluth, GA) Amelia Holly (Chicago, IL) Carter Meza (Mission Viejo, CA) Anastasia Miin (Saratoga, CA) Elsa Newbower (Weston, MA) Nived Panicker (Sammamish, WA) Anna Reeser (Honey Brook, PA) Claire Reimer (Coralville, IA) Renee Tse (Dallas, TX) Ellaria Vecsey (Ballston Spa, NY) Dyuti Venkatakrishna (Parsippany, NJ) Clara Wise (Austin, TX) Semi-Finalists Eunice Bang (Tenafly, NJ) Stella Brosius (New York, NY) Ella Cai (Vaughan, ON) Kyndall Carson (Wichita, KS) Tor Cohen (New York, NY) Dau (Arcadia, CA) Lilliana DeBoer (Palisades Park, NJ) Emmanuella DeMers (Vienna, VA) Scarlett Diviney (Brooklyn, NY) Jocelyn Dong (Maple, ON) Mehal Dubey (Johnson City, TN) Maya Eswaran (Fairfax, VA) Esther Gao (Alpharetta, GA) Saanvi Garg (Foster City, CA) Celeste Grodeon (Mascoutah, IL) Sid Kamat (Short Hills, NJ) Lauren Kim (Englewood Cliffs, NJ) Sarah Lee (Fairfax, VA) Miranda Libanan (New Milford, NJ) Alisha Mahajan (Short Hills, NJ) Penelope Main (Irvine, CA) Avyay Mangalampalli (Inner Grove Heights, MN) Veronica Mayasova (Ashland, MA) Deeya Mehrotra (San Ramon, CA) Pranshi Mehta (Austin, TX) Lily Mei (Basking Ridge, NJ) Aurielle Neu (West Palm Beach, FL) Nikila Rajan (Allen, TX) Agneya Roy (Concord, NC) Suhana Sehgal (Short Hills, NJ) Samaira Singh (Short Hills, NJ) Selina Smith (Merced, CA) Sanmaya Srivastava (Short Hills, NJ) Cora Stumpf (Sanford, NC) Charles Sun (North York, ON) Reyna Vasavada (Livingston, NJ) Rhea Vasavada (Livingston, NJ) Jacob Wang (Thornhill, ON) Hanson Xu (Suwanee, GA) Queena Yang (Irvine, CA) Ruolin Yuan (Basking Ridge, NJ) Audrey Zelkovic (Briarcliff Manor, NY) Kacey Zhang (Richmond Hill, ON) Early Teen Voices Ages 13-15 (as of February 1, 2022) First Place Katherine Ryan Pearl River, NY Immaculate Heart Academy Pianist: Glenn Gordon Voice Teacher: Amelia DeMayo Second Place (Tie) William Lovell Mesa, AZ ASU Prep Digital Pianist: Hope Douglas Voice Teacher: Nichole Jensen Alana Merritt Escondido, CA St. Joseph Academy Pianist: Michael Denison Voice Teacher: Yvette Itano Third Place (tie) Sofiia Dorozhkina Sacramento, CA Sacramento Academy of Musical Arts Hal Leonard Recorded Accompaniment Voice Teacher: Alina Ilchuk Lukas Palys Dallas, TX St. Mark’s School of Texas Pianist: Szu-Ying Huang Voice Teacher: Alexander Rom Honorable Mentions Katherine Berdovskiy Davis, CA Maeve Cunningham Ridgewood, NJ Aurora Dainer Bethesda, MD Akshi Malhotra San Jose, CA Niko Rinaldi Stamford, CT Lily Yezdanian Clifton, NJ Finalists Saryu Baptla (San Antonio, FL) Siyona Bordia (Short Hills, NJ) Daniel Deng (Dallas, TX) Vince Ermita (New Milford, NJ) Sienna Gasparrelli (Escondido, CA) Katherine Gilchrist (Orefield, PA) Baylee Horvath (Gilbert, AZ) Maya Joshi (Cresskill, NJ) Hazel Kim (Buffalo Grove, IL) Rachel Kim (Fort Lee, NJ) Diya Koul (Lexington, MA) Iva Liu (Irvine, CA) Joshua Marley (Salem, OR) Mollie Pedersen (Rochester, NH) Lara Piccitto (South Hackensack, NJ) Pavani Rhoads (West Palm Beach, FL) Aanya Santosh (Lincolnshire, IL) Kendall Sorenson (Armonk, NY) Ellyanna Tyson (Lusby, MD) Julianna Wong (Skillman, NJ) Leila Woodward (Newport Beach, CA) Margaret Zhang (Syosset, NY) Semi-Finalists Besch-Turner (Fairport, NY) Calyna Chen (Chantilly, VA) Sara Deo (Edison, NJ) Siyu Fan (Los Gatos, CA) Jude Frazier (Orlando, FL) Cristina Garcia (North Plainfield, NJ) Caitlin Hayles (Port St. Lucie, FL) Alice Huang (Syosset, NY) Elizabeth Kandziolka (Madison, NJ) Keira Kuennemann (Irvine, CA) Olivia Lee (Leonia, NJ) Alyssa Mason (Leonardtown, MD) Annabelle Miin (Saratoga, CA) Saisha Pal (Herndon, VA) Vaishnavi Paul (San Jose, CA) Luke Reimer (Coralville, IA) Brady Roland (Elverson, PA) Darby Schlosser (Armonk, NY) Naomi Sedwick (McLean, VA) Chelsea Sun (Dallas, TX) Noella Tae (Daly City, CA) Emily Tang (San Jose, CA) Sarah Serena Thompson (Atlanta, GA) Ella Wang (Little Neck, NY) Lila Weber (Cave Creek, AZ) Allison Zhou (Palo Alto, CA) Eva Lee (Leonia, NJ) Claire Xiao (Lee, NH) High School Voices Ages 16-18 (as of February 1, 2023) First Place Maximus Taylor Louisville, KY Dupont Manual High School Pianist: Bruce Boiney Voice Teacher: Garrett Sorenson, Elizabeth Batton Sorenson Second Place (tie) Erin Chung Saratoga, CA Archbishop Mitty High School Pianist: Sophia Min Voice Teacher: Cristina Park Olivia Gonzales Houston, TX Kinder High School for the Performing Arts Hal Leonard Recorded Accompaniment Voice Teacher: Alicia Gianni Third Place (tie) Alicia Chu Newark, DE Juilliard Pre-College Pianist: Matthew Jewel Voice Teacher: Lorrain Nubar SangHoon Jung Fort Lee, NJ Bergen County Academies Pianist: Hanghyun Lee Voice Teacher: Ronald Cappon, Yohan Yi Honorable Mentions David “Trey” Logeman Kings Mountain, NC Naysa Marrero Miami, FL Gabriel Wang Vancouver, BC Briggs Williamson Delaplane, VA Finalists Elizabeth Cho (Ellicott City, MD) Elsa Franks (Stewartson, NH) Ally Johnson (Howell, MI) Semi-Finalists Lindsay Alexander (Austin, TX) Anneliese Baum (Hewlett, NY) Maya Brown (Delray Beach, FL) Calia Burdette (Independence, MO) Isabella Chaboya (Tucson, AZ) Jonathan Daniel (Smyrna, GA) Ciela Elliott (Chappaqua, NY) Sophie Gu (Palo Alto, CA) Anaika Iyer (Powell, OH) Ananya Kaushal (Newtown Square, PA) Alexander Kim (Laguna Niguel, CA) Roy Kim (Los Angeles, CA) Michelle Kugel (Sunny Isles Beach, FL) Abigail Lewis (Pflugerville, TX) Bridget Lomax (Short Hills, NJ) Lilliana Mindel (Huntington Beach, CA) Sophia Politano (Haverford Twp, PA) Sara Porjosh (Vienna, VA) Viveka Saravanan (Lake Forest, CA) Hyewon Son (Englewood Cliffs, NJ) Anna Trueblood (Webb City, MO) Ella Vaughn (Cincinnati, OH) Jaden Yoo (Irvine, CA) College/Univeristy Voices Ages 18-23 (as of February 1, 2023) First Place Sarah Fleiss Philadelphia, PA Curtis Institute of Music Pianist: Ting Ting Wong Voice Teacher: Julia Faulkner Second Place Lily Bogas Rochester, NY Eastman School of Music Pianist: Jenny Choo Kirby Voice Teacher: Robert Swensen Third Place Emily Damasco Philadelphia, PA Curtis Institute of Music Pianist: Jenny Choo Kirby Voice Teacher: Robert Swensen Honorable Mentions Even Johnson Chapman University Madeleine Keane Manhattan School of Music Clara Reeves Cincinnati College-Conservatory of Music Finalists Molly Blumenfeld Boston Conservatory Nicole Khouzami Carnegie Mellon University Antoinette Pompe van Meerdervoort Eastman School of Music Cole Strelecki Drake University MUSICAL THEATRE WINNERS Children's Voices Ages 12 and under (as of February 1, 2023) First Place Vinya Chhabra East Brunswick, NJ Churchill Junior High School Pianist: Glenn Gordon Voice Teacher: Amelia DeMayo, Glenn Gordon and Liliana Sotirova Second Place (tie) Evelyn Billingsley Jacksonville, OR Cascade Christian School Hal Leonard Recorded Accompaniment Voice Teacher: Andrea Hochkeppel Sienna Stoll Phoenix, AZ St. Francis Xavier School Hal Leonard Recorded Accompaniment Voice Teacher: Renee Koher Third Place (tie) Kylie Kuioka Brooklyn, NY Bridgeway Academy (homeschool) Hal Leonard Recorded Accompaniment Cayden Tan New York, NY Horace Mann School Pianist: Sun Young Chang Voice Teachers: Sun Young Chang Honorable Mentions Chance Challen Santa Barbara, CA Lincoln Cohen New York, NY Kai Edgar Saint Charles, IL Everleigh Murphy Rockford, MI Shreya Philips Austin, TX Dyuti Venkatakrishna Parsippany, NJ Finalists Rachel Anand (Austin, TX) Emily Arruda (New Beford, MA) Anna Athungal (Scotch Plains, NJ) Vivian Connelly (Houston, TX) Addison Deats (Mechanicsburg, PA) Lilliana DeBoer (Palisades Park, NJ) Adeline DeFeo (Needham, MA) Emmanuella DeMers (Vienna, VA) Sabrina Ferges (Barrington, IL) Brayden Flores (Corpus Christi, TX) Melanie Gospodinoff (Fallston, MD) Heidi Hager (Herndon, VA) Nicole Hodges (Spring, TX) Rei Huston (West Lebanon, NH) Suan Kim (Old Tappan, NJ) Ava Kimble (Doylestown, OH) Frederick Kranenburg (Central Point, OR) Juliet Lee (Vienna, VA) Audrey Lee (Boca Raton, FL) Brooks Liang (Campbell, CA) Elliot Lovell (Mesa, AZ) David Lovell (Mesa, AZ) Teddie MacDowell (Olympia, WA) Avyay Mangalampalli (Inver Grove Heights, MN) Josephine Martin (New York, NY) Donna Megules (Medford, NJ) Lily Mei (Basking Ridge, NJ) Lexie Moore (Johnson City, TN) Saish Nagnur (Hillsborough, NJ) Abigail O’Connor (Munster, IN) Hailey Rivera (Cliffside Park, NJ) Willow Seixas (Anacortes, WA) Akiv Shah (Short Hills, NJ) Sophie Sobel (Port Washington, NY) Renee Tse (Dallas, TX) Sofia Vidaic (Wyckoff, NJ) Mary Liddy Wyatt (Tupelo, MS) Semi-Finalists Kileah Aiello (New Bedford, MA) Bristol Beasley (Muskego, WI) Isla Bush (Havertown, PA) Claire Butler (Austin, TX) Eliana Campanella (Jacksonville, OR) Kyndall Carson (Wichita, KS) Sierra Chavez (Fullerton, CA) Rick Chen (Vaughan, ON) Annabelle Chung (Sugarland, TX) Tor Cohen (New York, NY) Sahana De (East Brunswick, NJ) Skylar Devito (Carle Place, NY) Anoushka Dey (Houston, TX) Jocelyn Dong (Maple, ON) Mehal Dubey (Johnson City, TN) Maya Eswaran (Fairfax, VA) Evelyn Fatuch (Gansevoort, NY) William Foon (Orinda, CA) Isabella Gallagher (Oakland, NJ) Esther Gao (Alpharetta, GA) Sarah Genne (Fairfax Station, VA) Zane Grimes-Barlow (Jacksonville, OR) Celeste Grodeon (Mascoutah, IL) Charlee Groendal (El Segundo, CA) Hannah Hodges (Spring, TX) Ashley Hua (Marietta, GA) Shruti Iyer (Chandler, AZ) Faith James (Dayton, OH) Sid Kamat (Short Hills, NJ) Rigley Kirkpatrick (Queen Creek, AZ) Barbara Kokkalis (Havertown, PA) Niyati Kotagal (Suwanee, GA) Arya Koul (Lexington, MA) Audrey LeBouef (Raleigh, NC) Julia Lee-Kumm (Englewood Cliffs, NJ) Nicole Li (Woodbridge, ON) Miranda Libanan (New Milford, NJ) Antonio Lin (Irvine, CA) Ivy Liu (Plano, TX) Grace Lovell (Mesa, AZ) Fiona MacKinnon (Oak Park, IL) Alisha Mahajan (Short Hills, NJ) Margaux Mahan (New York, NY) Isabella Mariani (Westport, CT) Cleo Marshall (New York, NY) Brendan McCanta (Laguna Hills, CA) Rosalie McCormick (Park Ridge, IL) Sierra Mendoza (Rocky Hill, CT) Carter Meza (Mission Viejo, CA) Maggie Miao (Rye Brook, NY) Josephine Miller (Scotch Plains-Fanwood, NJ) Victoria Mills (Lancaster, PA) Gabriella Montero (Emmaus, PA) Gowri Nair (Montvale, NJ) Bella Nazzaro (Lake Worth, FL) Sofie Nesanelis (Pomfret Center, CT) Michael Parsi (Hillsborough, NJ) Shibani Rao (Herndon, VA) Nadia Ruberg (Brookline, MA) Erin Scott (Boynton Beach, FL) Miraya Sharma (North Potomac, MD) John Michael Starling (Fairhope, AL) Caroline Stern (Voorhees, NJ) Cora Stumpf (Sanford, NC) Angelina Tong (Johns Creek, GA) Rhea Vasavada (Livingston, NJ) Grace Wang (San Jose, CA) Lucy Wang (San Jose, CA) Christiaan Wilkes (New York, NY) Ander Yu (Chandler, AZ) Early Teen Voices Ages 13-15 (as of February 1, 2023) Early Teen Voices Ages 13-15 (as of February 1, 2022) First Place Lily Yezdanian Clifton, NJ Lacordaire Pianist: Glenn Gordon, Liliana Sotirova Voice Teacher: Amelia DeMayo, Liliana Sotirova Second Place (tie) Nicole Blanco Houston, TX Episcopal High School Hal Leonard Recorded Accompaniment Voice Teacher: Laura Ballard Vince Ermita New Milford, NJ David E. Owens Middle School Pianist: Glenn Gordon Voice Teacher: Amelia DeMayo Third Place (tie) Eve Antonelli Oradell, NJ Bergen County Academies Hal Leonard Recorded Accompaniment Voice Teacher: Lori Fredrics Edward Turner Oradell, NJ Bergen County Academies Hal Leonard Recorded Accompaniment Voice Teacher: Terri Grosso Honorable Mentions Marina Chamedes New York, NY Diya Koul Lexington, MA Katherine Ryan Pearl River, NY Finalists Ava Acconzo (Bloomingdale, NJ) Madison Anderer (Palm Springs, CA) Ella Armandi (Havertown, PA) Haley Griffin (Cypress, TX) Ava Patel (Berrien Center, MI) Allie Weld (Mesa, AZ) Eva Woodruff (New York, NY) Katie Wylie (Franklin, MA) Semi-Finalists Adisynn Ackley (Vancouver, WA) Aaliyah Bailey (Centerville, OH) Abi Balachandran (Houston, TX) Ruhi Balaji (West Bloomfield, MI) Katherine Berdovskiy (Davis, CA) Jamie Choe (Dunn Loring, VA) Elizabeth Clegg (Greer, SC) Elsa Dees (Greenwich, CT) Eden Dupre (New Bedford, MA) Kalea Edgar (Saint Charles, IL) Ella Gabbay (Voorhees, NJ) Sienna Gasparrelli (Escondido, CA) Taylor Gilbert (St. Peters, MO) Delilah Grad (Austin, TX) Stefan Herrera (Houston, TX) Baylee Horvath (Gilbert, AZ) Maya Joshi (Cresskill, NJ) Rose Knapp (New York, NY) William Lovell (Mesa, AZ) Georgia Martin (Tacoma, WA) Alvina Mastakar (Terre Haute, IN) Sophia O’Toole (Medfield, MA) Mollie Pedersen (Rochester, NH) Brady Roland (Elverson, PA) Naomi Sedwick (McLean, VA) Kendall Sorenson (Armonk, NY) Monique Tian (Newark, DE) Ellyanna Tyson (Lusby, MD) Andrew Tyson (Marlton, NJ) Leila Woodward (Newport Beach, CA) Sofia Work (Fairfax, VA) Allison Yodis (Cinnaminson, NJ) High School Voices Ages 16-18 (as of February 1, 2023) First Place Lauren Huserik Renton, WA Kentridge High School Pianists: Deborah Mackey Voice Teacher: Darcy Fulkerson Second Place (tie) Lindsay Alexander Austin, TX Stephen F. Austin High School Pianists: Austin Haller Voice Teachers: Shaunna Shandro Alexander Kim Laguna Niguel, CA St. Margaret’s Episcopal School Pianists: Lex Leigh Voice Teacher: Denise Milner Howell Third Place (tie) Kaiya Bagley Medford, OR St. Mary’s School Pianists: Dr. Eunae Ho Voice Teacher: Andrea Hochkeppel Zoey Blackman Voorhees, NJ Melissa Daniels Vocal Studio Pianist:Melissa Daniels McCann Voice Teacher: Melissa Daniels McCann Honorable Mentions Chelsea Bohn-Pozniak Cinnamonson, NJ Kathryn Dooley Austin, TX Ciela Elliott Chappaqua, NY Aurna Mukherjee Austin, TX Claire Shirley Greenville, SC Finalists Lucy Grunden (New York, NY) Lexi Howard (Greer, SC) Tierney Violet Joyce (Scranton, PA) Morgan Maher (Butler, NJ) Semi-Finalists Esther Abiog (Allen, TX) Jessica Aezen (Cherry Hill, NJ) Evan Alena (Voorhees, NJ) Braelyn Andrade (New Bedford, MA) Katie Barnum (Denahm Springs, LA) Anika Bhaskaran (Bellevue, WA) Jasmin Chen (Great Falls, VA) Kate Clemetson (Reno, NV) Gabriel Cozzetto (Birmingham, MI) Sabatino Cruz (Stamford, CT) Shannon Daly (Havertown, PA) Elias Doell (Medford, OR) Jingyi Du (Oakland Gardens, NY) Molly Dupre (New Bedford, MA) Strahlia Durr (Culver City, CA) Yu Feng (Saratoga, CA) Meredith Fernett (Lebanon, PA) Jack Forgea (Santa Barbara, CA) Lucy George (Maryville, TN) Elizabeth Gill (Dublin, OH) Lauren Goldsborough (Voorhees, NJ) Nina Granik (Needham, MA) Isabel Hoch (White Plains, NY) Ally Johnson (Howell, MI) Dante Johnson (Queen Creek, AZ) Abigail Lewis (Pflugerville, TX) David "Trey" Logeman (Kings Mountain, NC) Bridget Lomax (Short Hills, NJ) Rika Nishikawa (Chicago, IL) Niya Petkova (Apex, NC) Rachel Rogstad (Loma Linda, CA) Thomas Roper (Tupelo, MS) Emma Schrier (Cinnaminson, NJ) Alyssa Sherman (Byron Center, MI) Chloe Shirley (Dandrige, TN) Jessica Smith (Havertown, PA) Eliza Tait (Newport Beach, CA) Donatella To (Laguna Niguel, CA) Maria Torchia (Moorestown, NJ) Ellie Wang (Newfields, NJ) Claire Waskow (Madison, NJ) Young Adult Voices Ages 18-23 (as of February 1, 2023) Enrollment in a school is not required in this category, nor is a voice teacher, but if the singer provided that information it appears below. First Place Anna Zavelson Ann Arbor, MI University of Michigan Pianist: Casey Baker Voice Teacher: Elizabeth Gray Second Place (tie) Vera Brown Memphis, TN Webster University Pianist: Zach Nuemar Voice Teacher: Elizabeth Gray Ashlyn Combs New York, NY Winthrop University Hal Leonard Recorded Accompaniment Third Place (tie) Diego Bly Providence Forge, VA Christopher Newport University Pianist: Suzanne Daniels Voice Teacher: Colin Ruffer Alex Daspit McFarland, WI Webster University Pianist: Jeffrey Carter Voice Teacher: Jeffrey Carter Honorable Mentions Meg Booker Northern Kentucky University Curran Bramhall University of South Carolina Grace Caccavari Xavier University Owen Clark Xavier University Finalists Isaiah Henry (Webster University) Emily Kars (Huntington University) Sara Moore (Christopher Newport U.) Cole Strelecki (Drake University) Grace Vickery (Columbia, SC) Semi-Finalists Sarah Alexander (U. of South Carolina) Gracie Auld (U. of South Carolina) Te’Jah Beaton (U. of South Carolina) Sophie Carpenter (Bard College) Gianna DiTucci (Manhattan School of Music) Sarah Fountain (Azusa Pacific Univ.) Melaina Furgeson (Christopher Newport University) Kristabel Kenta-Bibi (U. of Michigan) Josiah Mustaleski (Belmont Univ.) Lilly Nowak (Oklahoma City U.) Alexis Pinto (Xavier University) Back To Top
Hal Leonard Vocal Competition - 2022 Winners | Hal Leonard THE 2022 HAL LEONARD VOCAL COMPETITION WINNERS Complete List ART SONG WINNERS Children's Voices Ages 12 and under (as of February 1, 2022) First Place Heidi Hager (age 11) Herndon, VA Navy Elementary School Hal Leonard Recorded Accompaniment Voice Teacher: Heather Vineyard Second Place (tie) Maya Joshi (age 12) Cresskill, NJ Cresskill Middle School Pianist: Liliana Sotirova Voice Teachers: Amelia DeMayo and Liliana Sotirova Diya Koul (age 12) Lexington, MA Diamond Middle School Hal Leonard Recorded Accompaniment Voice Teacher: Beth Sterling Third Place (tie) Katherine Berdovskiy (age 12) Davis, CA Ralph Waldo Emerson Junior High Hal Leonard Recorded Accompaniment Voice Teacher: Bernadette Mondok Keller Juliet Lee (age 11) Vienna, VA Wolftrap Elementary School Hal Leonard Recorded Accompaniment Voice Teacher: Sonia Yon Honorable Mentions Ava Acconzo (age 12) Bloomingdale, NJ Cristina Garcia (age 12) North Plainfield, NJ Ashley Hua (age 11) Marietta, GA Bella Leybovich (age 12) Mesa, AZ Lily Bell Morgan (age 10) Portsmouth, VA Ben Rost (age 10) Livingston, NJ Anna Smith (age 12) Austin, TX Leila Woodward (age 12) Newport Beach, CA Finalists Amy Ai (VA) Rachel Liz Anand (TX) Saryu Bapatla (FL) Alisha Batreja (NJ) Lilia Bernstein (CA) Theodore Burke (CA) Davna Ceron (NJ) Vinya Chhabra (NJ) Kayla Colchamiro (NJ) Charlotte Collins-Williams (CA) Mark Corrigan (CA) Aerina DeBoer (NJ) Chloe Ding (CA) Scarlett Diviney (NY) Nithya Gandi (IL) Esther Gao (GA) Rudrani Ghoshal (NC) Anna Grace Howell (PA) Ava Kimble (OH) Mady King (AZ) Olivia Ma (ON) Adhya Mahesh (CA) Beatrice Main (CA) Avyay Mangalampalli (MN) Josephine Martin (NY) Brendan McCanta (CA) Lily Mei (NJ) Carter Meza (CA) Maggie Miao (NY) Elsa Newbower (MA) Anh-Thu Nguyen (CA) Daniella Ngyuen (CA) Shreya Philips (TX) Nikila Rajan (TX) Claire Reimer (IA) Shea Sanders (IA) Akiv Sha (NJ) Siya Sharma (NJ) Elaine Shi (ON) Emma Tang (GA) Luke Tran (CA) Renee Tse (TX) Radha Maria Vargas Saravanamuttu (ON) Dyuti Venkatakrishna (NJ) Edward Wagner (NJ) Isabella Wagner (NJ) Janelle Wu (GA) Claire Xiao (NH) Yonglin Xie (ON) Cnai Zecharya (PA) Audrey Zelkovic (NY) Kayla Zhang (GA) NiuNiu Zhang (MD) Semi-Finalists Mira Bills (WI) Cadence Bleakley (CA) Allison Bovy (IA) Ella Cai (ON) Rick Chen (ON) Alan Csallner (TX) Hailey Dai (NJ) Donovan Dau (CA) Lilliana DeBoer (NJ) Catalina Do (CA) Siyu Fan (CA) Jianna Gutt (NY) Kellan Jewett (NC) Siddharth Kamat (NJ) Alyssa Kusherets (WA) Leonardo Lin (CA) Penelope Main (CA) Yifan Monroe (WA) Marsha Nath (AZ) Sofie Nesanelis (CT) Caylie Nguyen (CA) Saisha Pal (VA) Sophia Ponichter (NY) Shreya Rajeev (CA) Darby Schlosser (NY) Samaira Singh (NJ) Ainsley Sorenson (NY) Maya Surdutovich (CA) Amy Tierolf (CA) Richard James Tucker (NJ) Annika Vadhavkar (NJ) Owen Wang (ON) Ruolin Yuan (NJ) Ainsley Zauel (VA) Karson Zhang (ON) Aiden Zhao (GA) Early Teen Voices Ages 13-15 (as of February 1, 2022) First Place Grace Chung (age 15) Hackensack, NJ Bergen County Academies Pianist: Goeun Lee Voice Teacher: Jinhwan Byun Second Place (Tie) Salina Mu (age 15) Austin, TX Westlake High School Hal Leonard Recorded Accompaniment Voice Teacher: Shaunna Shandro Abigail Tidlow-Tranel (age 15) Yellowstone National Park, WY Gardiner Public School Pianist: Douglas Burgess Voice Teacher: Jonathan Beyer Third Place (tie) Nana Castle (age 15) Jacksonville, NC Jacksonville High School Pianist: Jay R. Wright Voice Teacher: Alison Lawrence Aurna Mukherjee (age 15) Austin, TX Liberal Arts and Science Academy Hal Leonard Recorded Accompaniment Voice Teacher: Michelle Haché Honorable Mentions Isaac Ahn (age 13) Rye Brook, NY Eva Crichton (age 15) New York, NY Abinaya Ganesh (age 15) Andover, MA Jocelyn Knorr (age 15) Havertown, PA David Trey Logeman (age 15) Kings Mountain, NC Lukas Palys (age 14) Dallas, Texas Aanya Santosh (age 13) Lincolnshire, IL Finalists Elizabeth Cho (MD) Alicia Chu (DE) Gabriela Cruz (NY) Maeve Cunningham (NJ) Daniel Deng (TX) Rebeca Dinca (WA) Emily Jane du Pont (DE) Ciela Elliott (NY) Saoirse Feiler (CA) Silvan Friedman (CT) Ashmita Ghosh (NC) Caitlin Hayles (FL) Evelyn Hsu (CA) Logan Hu (LA) Estella Sky Keyoung (CA) Hazel Kim (IL) Mariam Kubursi (CA) Vanessa Li (MD) Fiona Lin (GA) Bridget Lomax (NJ) Morgan Lomax (NK) Annabelle Miin (CA) Avery Nokes (VA) Violet Paris (NY) Gabe Ponichter (NY) Rachel Rogstad (CA) Katherine Ryan (NY) Viveka Saravanan (CA) Serena Sharma (CT) Kendall Sorenson (NY) Emily Stuart (WA) Celine Velazquez (CA) Hanyamin Wang (GA) Forrest Weaver (NH) Kiran Wisneski (PA) Lily Yezdanian (NJ) Margaret Zhang (NY) Semi-Finalists Misha Agrawal (NJ) Elisabeth Baer (GA) Isha Bhandari (NJ) Zoe Cook (WA) Leena Dey (MA) Charlotte Dugan (NH) Zara Garg (CT) Gretchen Gerke (IA) Anushri Ghoshal (NC) Ellivia Gold (NY) Baylee Horvath (AZ) Veronica James (NJ) Leela Jarschel (CA) Charlie Kratz (PA) Iva Liu (CA) Joon-Hyung Noh (CA) Olivia Petrizzo (NY) Sofia Mariposa Pugh (AL) Niko Rinaldi (CT) Luis Rodriguez (ON) Naomi Sedwick (VA) Chelsea Sun (TX) Noella Tae (CA) Shreya Tanna (NJ) Carmen Tarajano (NC) Temira Weisberg (NJ) Ava Whytsell (SC) Garrett Wirth (CA) Jeffrey Yang (CA) Michael Yu (TX) High School Voices Ages 16-18 (as of February 1, 2022) First Place Elena Oliveira (age 18) Houston, TX Kinder High School for the Performing and Visual Arts Pianist: Yanira Soria Voice Teacher: Hector Vàsquez Second Place (tie) Aliyah Douglas (age 17) Oro Valley, AZ Ironwood Ridge High School Hal Leonard Recorded Accompaniment Voice Teacher: Stephanie Fox Lia Zheng (age 16) San Diego, CA Canyon Crest Academy Hal Leonard Recorded Accompaniment Voice Teacher: Zeping Cai Third Place (tie) Paige Klemenhagen (age 17) Lake Elmo, MN Stillwater Area High School Pianist: Ruth Palmer Voice Teacher: Teresa Tierney Ava Maha (age 17) Sewickley, PA Choate Rosemary Hall Pianist: Nathaniel Baker Voice Teacher: Sooyeon Kim and Lorraine Nubar Honorable Mentions Clara Abrahams (age 17) Lincoln, CA Kimberly Adam (age 17) Wayne, PA Eloise Fox (age 17) Landenberg, PA Elliot Henderson (age 16) New York, NY Henry Hsiao (age 18) Princeton, NJ Alexandra Johnson (age 16) Howell, MI Finalists Emelia Aceto (OH) Arya Balian (MD) Angelina Chen (CA) Erin Chung (CA) Ava Danzer (WI) Andie Earl (NJ) Olivia Gonzales (TX) Cecilia Harrison (NC) SangHoon Jung (NJ) Elora Kares (OH) Sofia Mains (PA) Andrea Nalywajko (NY) Kierra Pizarro (NY) Jocie Schnee (VA) Elena Skirgaudas (WA) Amanda Spotts (PA) Ashley Stewart (AZ) Semi-Finalists Katie Brigman (LA) Skyy Brooks (PA) Calia Burdette (KY) Janice Chong (CA) Fiona Coughlin (OH) Grace Finke (CA) Grace Hahn (CA) Kelly Irwin (NJ) Makenna Jacobs (AZ) Christine Kelly (IL) Rohan Kurup (WA) Mary Julia Lashley (OH) Emma Leibowitz (CA) Jack Leslie (CA) Carissa Ma (VA) Gianna Macedon (VA) Holly Marescot (NY) Isabella Michaels (PA) Ashwini Narayanan (IL) Abby Olson (CA) Bria Petrella (NJ) Tanisha Pulla (CA) Aashna Rana (CA) Abhigna Sala (GA) Csepke Sallai (VA) Emmeline Sevey (NH) Kirsten Tierney (VA) Luis Vega-Torres (OH) Viven Vigliante (VA) Nicole Witte (AZ) College/Univeristy Voices Ages 18-23 (as of February 1, 2022) First Place Kaya Giroux (age 21) Carnegie Mellon University Pianist: Paul Michael Clark Voice Teacher: Maria Spacagna Second Place (tie) Natalie Corrigan (age 21) University of Cincinnati-College Conservatory of Music Pianist: Beth Parker Voice Teacher: Amy Johnson Gabrielle Turgeon (age 21) University of Toronto Pianist: Kathryn Tremills Voice Teacher: Elizabeth McDonald Third Place Blake Stevenson (age 22) University of Southern California Pianist: John-Henri Voice Teacher: Thomas Michael Allen Honorable Mentions Lucy Altus (age 21) Carnegie Mellon University Abraham Cruz (age 21) The Boston Conservatory Marieke de Koker (age 23) Mannes College of Music Jacob Soulliere (age 22) Manhattan School of Music Finalists Adam Clayton (age 20) Northwestern University Jack Fanselau (age 21) Southwestern Adventist University Sarah Fleiss (age 22) The Curtis Institute of Music Laura Looper (age 19) Indiana University Lilly Nowak (age 19) Oklahoma City University Ian Pathak (age 20) University of Michigan Andrew Puschel (age 20) Bowling Green State University Aliyah Quill (age 20) University of Michigan Kayla Stein (age 20) Eastman School of Music Jillian Tam (age 20) McGill University Will Upham (age 23) Southern Methodist University Meghan Willey (age 20) James Madison University MUSICAL THEATRE WINNERS Children's Voices Ages 12 and under (as of February 1, 2022) First Place Maya Joshi (age 12) Cresskill, NJ Cresskill Middle School Pianist: Glenn Gordon Voice Teacher: Amelia DeMayo, Glenn Gordon and Liliana Sotirova Second Place (tie) Agneya Roy (age 10) Concord, NC Cox Mill Elementary School Hal Leonard Recorded Accompaniment Voice Teacher: Brandi Icard Darby Schlosser (age 12) Armonk, NY H.C. Crittenden Middle School Hal Leonard Recorded Accompaniment Voice Teacher: Amelia DeMayo and Gulnara Mitzanova Third Place (tie) Liam Garrett (age 11) Peoria, AZ Candeo School Hal Leonard Recorded Accompaniment Voice Teachers: Satyam Patel and Ellen Johnson Ben Rost (age 9) Livingston, NJ Collins Elementary School Pianist: Glenn Gordon Voice Teachers: Amelia DeMayo, Glenn Gordon, Gulnara Mitzanova and Liliana Sotirova Honorable Mentions Alera Cetrulo (age 10) Santa Barbara, CA Amelia Holly (age 10) Chicago, IL Bella Leybovich (age 12) Mesa, AZ Bella Nazzaro (age 11) Lake Worth, FL Ciana Tzuo (age 12) New York, NY Kylie Kuioka (age 11) Brooklyn, NY Mollie Pedersen (age 12) Rochester, NH Nicole Hodges (age 11) Spring, TX Theodore Burke (age 12) Rancho Cucamonga, CA Yifan Monroe (age 10) Gig Harbor, WA Finalists Kellen Bryant (AZ) Mary Burklin (GA) Catalina Chang (NY) Vinya Chhabra (NJ) Hannah Cohen (NJ) Kayla Colchamiro (NJ) Katelyn Dempsey (IL) Brayden Flores (TX) Rudrani Ghoshal (NC) Heidi Hager (VA) Anna Grace Howell (PA) Mady King (AZ) Diya Koul (MA) Scarlett Lau (ON) Chloe Lee (ON) Juliet Lee (VA) McKenzie Lopezlira (AZ) Noelle Louis (NY) Josephine Martin (NY) Carter Meza (CA) Lily Bell Morgan (VA) Brooke Naznitsky (NJ) Jillian Platero (NJ) Poppy Pollard (TX) Brady Roland (PA) Gabriel Saphier (NJ) Akiv Shah (NJ) Anna Smith (TX) John Michael Starling (AL) Sienna Stoll (AZ) Angelina Tong (GA) Leila Woodward (CA) Semi-Finalists Nethania Ajan (TX) Rachel Liz Anand (TX) Anna Athungal (NJ) Ash Bajaj (TX) Saryu Bapatla (LA) Lilia Bernstein (CA) Mira Bills (WI) Mandolyn Binsted (TX) Ava Carranza (AZ) Davna Ceron (NJ) Annabelle Chung (TX) Lucy Cox (GA) Aja Crockett (MA) Jax DaSilva (MA) Lilliana DeBoer (NJ) Adeline DeFeo (MA) Chloe Ding (CA) Vince Ermita (NJ) Daniel Evans (NJ) Anne Gao (VA) Cristina Garcia (NJ) Abigail Gibbins (TX) William Goldsman (NY) Marley Griggs (TX) Lucian Gutfraynd (IL) Fiona Halter (NJ) Lucy Hendricks (WI) Morgan Hensley (TN) Rachel Hesom (MB) Hannah Hodges (TX) Ashley Hua (GA) Kate Hwang (CA) Kellan Jewett (NC) Felice Kakaletris (NJ) Siddharth Kamat (NJ) Ava Kimble (OH) Olympiada Kokkalis (PA) Alejandra Landaeta (FL) Jiaxuan Li (GA) Miranda Libanan (NJ) Antonio Lin (CA) Nola Linder (VT) Margot Mahan (NY) Nevin Mancell (AB) Avyay Mangalampalli (MN) Esha Marupudi (AZ) Donna Megules (NJ) Lily Mei (NJ) Maggie Miao (NY) Aashi Milla (IL) Norah Miller (PA) Julia Morton (TX) Ruchira Mukherjee (CA) Abiageal Murphy (MA) Saish Nagnur (NJ) Gowri Nair (NJ) Sofie Nesanelis (CT) Kara Ngyuen (CA) Abby Nordby (IL) Saisha Pal (VA) Yash Patel (AZ) Neel Pati (TX) Shreya Philips (TX) Daphne Pollard (TX) Fiona Morgan Quinn (PA) Ryan Rahman (CA) Charlie Russell (VA) Shea Sanders (IA) Anika Sandilya (NJ) Siya Sharma (NJ) Sophia Sheth (IL) Ainsley Sorenson (NY) Maddie Stufft (OH) Jacob Sturgis (PA) Emma Tang (GA) Monique Tian (DE) Lauren Trabanco (FL) Lydia Tracy (TX) Karstyn Traylor (TX) Richard James Tucker (NJ) Ella Twaddle (MN) Owen Wang (ON) Jazz Washinton (WA) Christiaan Wilkes (NY) Sabine Wolfli (AB) Janelle WU (GA Lily Youngstrom (CA) NiuNiu Zhang (MD) Early Teen Voices Ages 13-15 (as of February 1, 2022) First Place Kaiya Bagley (age 15) Medford, OR St. Mary’s School Pianist: Tim Spencer Voice Teacher: Andrea Hochkeppel Second Place (tie) Marina Chamedes (age 14) New York City, NY Fiorello H. LaGuardia High School of Music & Art and Performing Arts Pianist: Dan Pardo Voice Teacher: Grant Anderson Abinaya Ganesh (age 15) Andover, MA SMB Lessons Hal Leonard Recorded Accompaniment Voice Teacher: Stephanie Morey-Barry Third Place (tie) Baylee Horvath (age 13) Gilbert, AZ Christ Greenfield Pianist: Hope Douglass Voice Teacher: Nichole Jensen Aurna Mukherjee (age 15) Austin, TX Liberal Arts and Science Academy Hal Leonard Recorded Accompaniment Voice Teacher: Michele Haché Honorable Mentions Molly Dupre (age 15) Mattapoisett, MA Ciela Elliott (age 15) Chappaqua, NY Stefan Herrera (age 14) Houston, TX Mina Lim (age 15) Orinda, CA Bridget Lomax (age 15) Short Hills, NJ Morgan Lomax (age 15) Short Hills, NJ Grace Martin (age 15) Medford, NJ Lydia Mushkatina (age 15) Bellevue, WA Violet Paris (age 14) Brooklyn, NY Rachel Rogstad (age 15) Loma Linda, CA Naomi Thuren (age 14) Medford, OR Ananya Yadati (age 14) Beachwood, OH Finalists Lia Adzhamoglian (TX) Madeline Ayala (TX) Guy Challen (CA) Kate Clemetson (NV) Maeve Cunningham (NJ) Zoe Dempsey (IL) Sophie DeOliveira (MA) Jocelyn Knorr (PA) David Trey Logeman (NC) Salina Mu (TX) Joon-Hyung Noh (CA) Olivia Petrizzo (NY) Thomas Roper (MS) Katherine Ryan (NY) Viveka Saravanan (CA) Ella Scott (FL) Jessica Smith (PA) Lily Yezdanian (NJ) Semi-Finalists Abigail Adair (OH) Jessica Aezen (NJ) Ella Armandi (PA) Laura Armstrong (IL) Zoe Assis (FL) Madeline Austin (IA) Elizabeth Babiar (GA) Zoey Blackman (NJ) Siyona Bordia (NJ) Ella Bree (NJ) Vivian Brown (OH) Ayla Collins (VA) Zoe Cook (WA) Gabriela Cruz (NY) Elsa Dees (CT) Franziska Diefenbach (NY) Jingyi Du (NY) Charlotte Dugan (NH) Marshall Elliott (LA) Dyuti Ganesh (TX) Katelyn Gard (NY) Sienna Gasparrelli (CA) Ashmita Ghosh (NC) Anushri Ghoshal (NC) Annabel Gilly (NY) Mya Glasofer (NJ) Delilah Grad (TX) Nina Granik (MA) Maya Hanna (IA) Caitlin Hayles (FL) Katey James (OR) Sophie Jaquish (CA) Adhya Karukurichi (MN) Mariam Kubursi (CA) Vanessa Li (MD) Fiona Lin (GA) Grisham Locke (LA) Julia Murphy (VA) Fiona Neff (VA) Avery Nokes (VA) Alexandra Paris (NJ) Angelina Pendleton-Mendez (CA) Rebekah Rogstad (CA) William Daniel Russell (MA) Cetonaya Sammartino (BC) Cole Seevers (VA) Amelia Severns (PA) Sophia Severns (PA) Arushi Sharma (CA) Maya Shull (NY) Kendall Sorenson (NY) Roxie Sparling (UT) Sydney Steiner (NY) Emily Stuart (WA) Elaina Stuppler (OR) Shannon Tilley (PA) Josh Townshend (MD) Forrest Weaver (NH) Kiran Wisneski (PA) Katie Wylie (MA) Nora Yates (IA) Margaret Zhang (NY) High School Voices Ages 16-18 (as of February 1, 2022) First Place Amelia Gibbons (age 17) De Pere, WI Southwest High School (Green Bay) Pianists: Mary Ehlinger Voice Teacher: Kaara McHugh Second Place (tie) Makenna Jacobs (age 16) Chandler, AZ Perry High School Pianists: Jenn Crandell Voice Teachers: Nichole Jensen Emma Schrier (age 17) Cinnaminson, NJ Cinnaminson High School Hal Leonard Recorded Accompaniment Voice Teacher: Tamara Lynn Koveloski Third Place (tie) Emelia Aceto (age 16) Hinckley, OH Highland High School Hal Leonard Recorded Accompaniment Voice Teacher: Denise Howell Ellie Brenner (age 18) Durand, WI SInterlochen Arts Academy (MI) Pianist: Douglas Peck Voice Teacher: Douglas Peck Honorable Mentions Lindsay Alexander (age 17) Austin, TX Christine Kelly (age 16) Geneva, IL Ava Lane (age 17) Livingston, NJ Finalists Mabry Adair (TX) Kimberly Adam (PA) Braelyn Andrade (MA) Clara Bennett (OR) Skyy Brooks (PA) Juliana Dees (CT) Katrina Franco (CA) Joseph Kayne (OH) Semi-Finalists Yaara Afif (VA) Shayne Barrett Goldstein (NJ) Anika Bhaskaran (MA) Natalie Bordwell (CA) Ty Brennan (WI) Caitlin Callahan (OR) Fiona Coughlin (OH) Shannon Daly (PA) Elena Day (MN) Natalie Evans (AB) Hadley Fitton (MA) Belle Fockler (OH) Jessica Holliday (NJ) Erika Kessler (NJ) Faith Kirkland (AZ) El Larabee (MA) Kaylyn Lau (TX) Nora Maier (IL) Lauren Marchand (NY) Joshua Mckiver (GA) Kyla O’Deay (LA) Abby Olson (CA) Amanda Phillips (MA) Marlee Rossero (OH) Amanda Spotts (PA) Charlotte Teeples (VA) Georgia Thomas (GA) Anna Gray Thompson (SC) Kirsten Tierney (VA) Hannah Tramonte (OH) Anna Beth Trueblood (MO) Olivia Ustinovich (MA) Isabella Vázquez-Janik (PA) Nick Vitale (NJ) Lila Wagner-Gleeson (OH) Sophia Welch (VA) Kenna Wells (NC) Amelia Williams (FL) Jackson Wood (AZ) Young Adult Voices Ages 18-23 (as of February 1, 2022) Enrollment in a school is not required in this category, nor is a voice teacher, but if the singer provided that information it appears below. First Place Abigail Storm (age 20) Austin, TX Ball State University Hal Leonard Recorded Accompaniment Voice Teacher: Beth Truitt Second Place (tie) Ashlyn Combs (age 22) Lexington, SC Winthrop University Hal Leonard Recorded Accompaniment Natalie Doppelt (age 22) Riverwoods, IL University of Pennsylvania Pianist: Lisa Harer de Calvo Voice Teacher: Lisa Harer de Calvo Third Place (tie) Aminata Jalloh (age 20) Powder Springs, GA Reinhardt University Pianist: Melanie Williams Voice Teacher: Reverie Berger Emily Kars (age 19) Kincheloe, MI Huntington University Pianist: Stephanie See Voice Teacher: Joni Killian Honorable Mentions Te’Jah Beaton (age 20) North Charleston, SC Beck Chandler (age 21) Columbia, SC Karen Covarrubias (age 20) Keene, TX Matthew Danforth (age 18) Demarest, NJ Taylor McCullough (age 18) Kingstree, SC Blake Stevenson (age 22) San Juan Capistrano, CA Finalists Preston Anderson (LA) Diego Bly (VA) Luke Capello (MA) Arianna Dreher (NY) Katelyn Farebrother (WI) Carissa Ferguson (FL) Margot Frank (IL) Melaina Furgeson (NY) Samantha Grasso (NJ) Alexandra Lagos (VA) Katie OShields (MD) Joshua Parga (SC) Chris Richie (OK) Celina Sasso (NV) Abigail Smith (SC) Caitlin Towell (IL) Back To Top
Hal Leonard Vocal Competition - 2021 Winners | Hal Leonard THE 2021 HAL LEONARD VOCAL COMPETITION WINNERS Complete List ART SONG WINNERS Children's Voices Ages 12 and under (as of February 1, 2021) First Place Liliy Yezdanian (age 12) Clifton, New Jersey Lacordiare Academy Pianists: Liliana Sotrova, Glenn Gordon Voice Teachers: Amelia DeMayo, Lilana Sotirova Second Place (tie) Heidi Hager (age 10) Herndon, Virginia Navy Elementary School Recorded Accompaniment Voice Teacher: Ingrid Lestrud Maya Louise Joshi (age 11) Cresskill, New Jersey Cresskill Middle School Pianist: Liliana Sortirova Voice Teachers: Amelia DeMayo, Glenn Gordon, Liliana Sotirov Third Place (tie) Katherine Berdovskiy (age 11) Davis, California Sutter Peak Charter Academy Recorded Accompaniment Voice Teacher: Irina Leykina Diya Koul (age 11)) Lexington, Massachusetts Maria Hastings Elementary School Recorded Accompaniment Voice Teacher: Elizabeth Sterling) Honorable Mentions Kayla Cochamiro (age 11) Short Hills, New Jersey Joseph Kushner Hebrew Academy Recorded Accompaniment Voice Teacher: Rebecca Thompson-Galecki Baylee Horvath (age 12) Gilbert, Arizona Christ Greenfield School Recorded Accompaniment Voice Teacher: Nichole Jensen Juliet Lee (age 10) Vienna, Virginia Harmonia School of Music and Art Recorded Accompaniment Voice Teacher: Sonia Yon Madison Miller (age 12) Ooltewah, Tennessee Homeschooled Recorded Accompaniment Voice Teacher: Nichole Jensen Luke Reimer (age 12) Coralville, Iowa Recorded Accompaniment Voice Teacher: Mia Fryvecind Chelsea Sun (age 11) University Park, Texas McCulloch Intermediate School Recorded Accompaniment Voice Teacher: Yixuan Han Gloria Wang (age 11) Johns Creek, Georgia Wilson Creek Elementary School Pianist: Jungkyu Han Voice Teacher: Qian Li Finalists Rayna Batreja (NJ) Juliet Besch-Turner (NY) Isha Bhandari (NJ) Claire Butler (TX) Davna Ceron (NJ) Alera Cetrulo (CA) Maya Cheng (IA) Chloe Ding (CA) Scarlett Diviney (NY) Charlotte Dugan (NH) Jacqueline Foley (AZ) Agustya Harsh (NJ) Daphne Hatzigiannis (MA) Lucia Hendricks (WI) Ashley Hua (GA) Anjali Kandur (GA) David Kupchenko (IL) Audrey Lee (NJ) Josephine Martin (NY) Donna Megules (NJ) Maggie Miao (NY) Brooke Naznitsky (NJ) Shreya Philips (TX) Katherine Pottkotter (TX) Rebekah Rogstad (CA) Kendall Sorenson (NY) Ainsley Sorenson (NY) Savannah Swiatkowski (AZ) Carmen Tarajano (NC) Madeline Thach (TX) Matthew Vallero (CA) Brynn Walker (CA) Ainsley Zauel (VA) C’nai Zecharya (PA) Semi-Finalists Anika Agrawal (VA) Lyla Eve Bauer (TX) Lilia Bernstein (CA) Cadence Bleakley (CA) Theodore Burke (CA) Bekah Calaway-Habeck (IL) Kaitlin Cho (CA) Montanna Coil (AZ) Lilliana DeBoer (NJ) Rudrani Ghoshal (NC) Ellivia Gold (NY) Jianna Gutt (NY) Tilly Haselhuhn (CA) Trinity Hu (MA) Rei Huston (NH) Joyce Huynh (CA) Marcy Elizabeth Ip (GA) Catherine Ji (GA) Sid Kamat (NJ) Julia Kartvelishvili (IA) Chloe Kim (NJ) Mady King (AZ) Charlie Kratz (PA) Jiaxuan Li (GA) Elina Ma (GA) Olivia Ma (GA) Sally Marlin (IN) Brittany McGraw (NJ) Lily Mei (NJ) Lily Morgan (VA) Anh-Thu Nguyen (CA) Kaia Olberg (IL) Saisha Pal (VA) Katherine Purdy (NY) Ryan Rahman (CA) Lillian Rogers (TX) Aanya Santosh (IL) Akiv Shah (NJ) Anna Smith (TX) Sophia Toncich-Mandel (NJ) Kate Walker (CA) Reed Walker (CA) Grace Wang (GA) Owen Wang (ON) Ava Whytsell (SC) Claire Xiao (NH) Audrey Zelkovic (NY) Lindsey Zhao (TX) Early Teen Voices Ages 13-15 (as of February 1, 2021) First Place Kennedy Percival (age 15) Upland, California Homeschooled Pianist: Desireé Bryner Voice Teacher: Camille Waage Second Place Lia Zheng (age 15) San Diego, California Canyon Crest Academy Recorded Accompaniment Voice Teacher: Zeping Cai Third Place (tie) Evelyn Hsu (age 14) San Jose, California Lynbrook High School Pianist: Dmitriy Cogan Voice Teacher: Haruna Shiokawa Andrea Nalywajko (age 15) New York, New York Stuyvesant High School Pianist: Mun Tzung Wong Voice Teacher: Catherine Mazzone Honorable Mentions Jude Frazier (age 13) Orlando, Florida Osceola County School for the Arts Recorded Accompaniment Voice Teacher: Jeanai LaVita Christine Kelly (age 15) Geneva, Illinois Geneva High School Pianist: Clare Chenoweth Voice Teacher: JoEllyn Caulfield Aurna Mukherjee (age 14) Austin, Texas Liberal Arts and Science Academy Pianist: Sunkyong Park Voice Teacher: Stella Yoon Avery Nokes (age 13) Arlington, Virginia Sidwell Friends School Recorded Accompaniment Voice Teacher: Tricia Grey Lukas Palys (age 13) Dallas, Texas St. Mark’s School of Texas Pianist: Rami Palys Voice Teacher: Nili Riemer Evan Shidler (age 15) Short Hills, New Jersey Millburn High School Recorded Accompaniment Voice Teacher: Ronald Cappon Finalists Emelia Aceto (OH) Elisabeth Baer (GA) Zoey Blackman (NJ) Gabrielle Brayman (NJ) Elizabeth Cho (MD) Alicia Chu (DE) Grace Chung (NJ) Henry Cornell (NY) Eva Crichton (NY) Janie du Pont (DE) Ciela Elliott (NY) Wesley Geary (AZ) Anushri Ghoshal (NC) Shayla He (CA) Michaela Hieb (CO) Amelie Kaufman (NY) Estella Sky Keyoung (CA) Meghan Linnington (OK) Bridget Lomax (NJ) Gianna Macedon (VA) Brianna Nita (ON) Adithi Nythruva (AZ) Maxine Park (CA) Hasitha Putcha (TX) Aashna Rana (CA) Rachel Rogstad (CA) Viveka Saravanan (CA) Jocie Schnee (VA) Erin Schumacher (AZ) Elena Skirgaudas (WA) Gina Vicari (VA) Ashley Wang (CA) Roger Wang (CA) Andreas Warren (IA) Sophia Welch (VA) Samantha Wu (CA) Eddie Yin (WA) Sabrina Zhu (CA) Semi-Finalists Mithra Ajoy (CA) Alexandra Bae (NJ) Ty Brennan (WI) Max Budowski (CA) Mary Campbell (CA) Silvan Friedman (CT) Ashmita Ghosh (NC) Sophia Holmgren (MA) SangHoon Jung (NJ) Erin Kazmierczak (NY) Alex Kim (NC) Morgan Lomax (NJ) Stephanie Lopez (NY) Salina Mu (TX) Violet Pasmooij (CA) Renna Popli (CA) Raghav Ramgopal (CA) Kirby Rosplock (FL) Csepke Sallai (VA) Michelle Skylar (FL) Skye Stauffer (TX) Sarah Traphagan (TX) Sindhu Vemulapalli (CA)) Julia Wall (MA)) Xinpei Wang (TX)) Margaret Zhang (NY) High School Voices Ages 16-18 (as of February 1, 2021) First Place Joseph Murphy (age 17) Brooklyn, New York) Edward R. Murrow High School Pianist: Dmitry Glivinskiy Voice Teacher: Christine Moore Vassallo Second Place (tie) Bradley Boatright (age 18) Smithville, Texas Smithville High School Recorded Accompaniment Voice Teacher: Michelle Haché Katherine Ramirez (age 17) San Antonio, Texas New Trail Homeschool Academy Pianist: Daniel Zamora Voice Teacher: Crystal Jarrell Johnson Third Place (tie) Eloise Fox (age 16) Landenberg, Pennsylvania Avon Grove High School Pianists: Katelan Tran Terrell, Mathew Odell Voice Teachers: Lorraine Nubar, Cynthia Sanner Saman de Silva (age 16) Los Altos Hills, California Henry M. Gunn High School Recorded Accompaniment Voice Teacher: Jace Witti Honorable Mentions Avni Kamat (age 16) Lexington, Massachusetts Lexington High School Recorded Accompaniment Voice Teacher: Noune Karapetian Alison Kessler (age 17) New Rochelle, New York The Leffell School Pianist: ? Voice Teacher: Lorraine Nubar Ava Kuntz (age 17) Santa Ana, California Orange County School of the Arts Pianist: John Henri Voice Teacher: Kathleen Martin Lizi Kvernadze (age 17) Brooklyn, New York Edward R. Murrow High School Pianist: Dmitry Glivinskiy Voice Teacher: Christine Moore Vassallo Audrey Michael (age 17) Traverse City, Michigan Traverse City West Senior High Pianist: Jamie Hardesty Voice Teacher: Jayne Sleder Ella Rescigno (age 18) Columbia, South Carolina Spring Valley High School Pianist: Luke Fang Voice Teacher: Rachel Calloway Aida Skaraite (age 17) Lemont, Illinois Lemont High School Pianist: Lisa Kristina Voice Teacher: Rachel Olson Finalists Mia Baron (CA) Ellie Brenner (WI) Mina Brooks-Schmidt (AK) Alexandra Cook (CA) Matthew Danforth (NJ) Miriam Friedman (IL) Ethan Hardyk (PA) Erin Hess (NY) Samuel Higgins (MA) Emilia Jurzyk (IL) Paige Klemenhagen (MN) Mary Julia Lashley (OH) Natalie Mastali (FL) Emily Mulva (TX) Alyrie Silverman (NJ) Thalia Suleymanov (NY) Kirsten Tierney (VA) Cherie Uyanik (CA) JoEllen West (TX) William Yang (TX) Peggy Yin (NY) Flora Yuan (CA) Anna Zavelson (TX) Semi-Finalists Arya Balian (MD) Benjamin Barham-Wiese (NY) Anushku Basu (CA) Ellina Bolster (MI) Chelsea Cannon (AZ) Karly Cahn (NY) Olivia Dubay (NC) Andie Earl (NJ) Grace Finke (CA) Katrina Franco (CA) Sydney Horan (FL) Henry Hsiao (NJ) Lexi Lanni (RH) Beau Leavenworth (IA) Wyatt McDaniel (NY) Murphy McDermott (NY) Keely McNab (TX) Kylie Merrill (AZ) Tiffani Mezitis (NY) Cassie Miller (AZ) Kyubin Moon (IL) Shikta Mukherjee (NJ) Ashwini Narayanan (IL) Abby Olson (CA) Bria Petrella (NJ) Reatan Plank (AZ) Aanya Pramanik (TX) Melody Prater (KS) Tanisha Pulla (CA) Sanjna Rajagopalan (NJ) Akash Raman (MI) Olivia Roberts (OR) Soren Ryssdal (CA) Emma Stamper (FL) Abigail Sundahl (MO) Mayu Tayama (CA) Gabriella Treutle (FL) Jessica Wastchak (AZ) Amelia Williams (FL) Amy Yan (TX) Damla Yesil (NY) College/Univeristy Voices Ages 18-23 (as of February 1, 2021) First Place Sophie Naubert (age 22) Conservatoire de musique de Montréal Pianist: Chloe Dumoulin Voice Teacher: Aline Kutan Second Place (tie) Adam Catangui (age 20) Eastman School of Music Recorded Accompaniment Voice Teacher: Nicole Cabell Dalia Medovnikov (age 19) Curtis Institute of Music Pianist: Emily Olin Voice Teacher: Emily Olin Third Place (tie) Colin Aikins (age 21) Curtis Institute of Music Pianist: Lisa Keller Voice Teacher: Julia Faulkne Kaya Giroux (age 20) Carnegie Mellon University Pianist: Rosie Irwin Voice Teacher: Maria Spacagna Honorable Mentions Morgan Mastrangelo (age 22) Northwestern University Recorded Accompaniment Voice Teacher: Pamela Hinchman Madison Miller (age 22) University of Michigan Recorded Accompaniment Voice Teacher: Scott Piper Madelin Morales (age 20) Eastman School of Music Pianist: Seoyeon Park Voice Teacher: Kathryn Cowdrick Rachel Schlesinger (age 18) Purchase Conservatory of Music Pianist: Djordje Nesic Voice Teacher: Sherry Overholt MUSICAL THEATRE WINNERS Children's Voices Ages 12 and under (as of February 1, 2021) First Place Katherine Berdovskiy (age 11) Davis, California Sutter Peak Charter Academy Recorded Accompaniment Voice Teacher: Irina Leykina Second Place (tie) Ayla Collins (age 12) Alexandria, Virginia Carl Sandburg Middle School Recorded Accompaniment Voice Teacher: Aimee Barnes Charlie Russell (age 11) Alexandria, Virginia Belle View Elementary School Recorded Accompaniment Voice Teacher: Aimee Barnes Third Place (tie) Agustya Harsh (age 12) Edgewater, New Jersey homeschooled Pianist: Glenn Gordon Voice Teachers: Amelia DeMayo, Liliana Sotirova, Glenn Gordon Caitlin Hayles (age 12) Brooklyn, New York Medgar Evers College Preparatory School Pianist: Shane Schag Voice Teacher: Jeanai La Vita Honorable Mentions Anna Burnham (age 11) Georgetown, Indiana Highland Hills Middle School Recorded Accompaniment Voice Teacher: Katherine Maras Haulter Ryan Coglianese (age 11) Western Springs, Illinois McClure Junior High Recorded Accompaniment Voice Teacher: Tracey Ford Amelie Cruz (age 12) Chicago, Illinois Urban Prairie Waldorf School Recorded Accompaniment Voice Teacher: Rachel Olson Elsa Dees (age 12) Greenwich, Connecticut The Brearley School Pianist: Shane Schag Voice Teacher: Jeanai La Vita Baylee Horvath (age 12) Gilbert, Arizona Christ Greenfield School Pianist: Jenn Crandell Voice Teacher: Nichole Jensen Ashley Hua (age 10) Marietta, Georgia Mount Bethel Elementary School Recorded Accompaniment Voice Teachers: Tina Cui, Madison Zahorsky Maya Louise Joshi (age 11) Cresskill, New Jersey Cresskill Middle School Pianist: Glenn Gordon Voice Teachers: Amelia DeMayo, Liliana Sotirova, Glenn Gordon Anna Smith (age 11) Austin, Texas Zach Performing Arts Academy Recorded Accompaniment Voice Teacher: Laura Mehl Addison Valentino (age 11) Buchanan, New York Blue Mountain Middle School Pianist: Glenn Gordon Voice Teacher: Amelia DeMayo Lily Yezdanian (age 12) Clifton, New Jersey Lacordaire Academy Pianist: Glenn Gordon Voice Teachers: Amelia DeMayo, Liliana Sotirova Finalists Chloe Aldrete (CA) Ava Barabasz (IL) Lilia Bernstein (CA) Adrish Bhattacharyys (CA) Alyse Biukians (PA) Lydia Bogdonovitch (MA) Gabriella Bozan (OH) Angelina Bubel (NY) Ryan Buggle (NJ) Theodore Burke (CA) Jack Burns (WA) Claire Butler (TX) Melanie Caplan (FL) Amelia Carlson (CA) Davna Ceron (NJ) Alera Cetrulo (CA) Karolina Coelho (FL) Elle Cohen (NC) Grace Coon (MS) Catherine Copland (NC) Adeline DeFeo (MA) Alaina Fernando (IL) Hadley Fugate (AZ) Anne Gao (VA) Liam Garrett (AZ) William Goldsman (NY) Delilah Grad (TX) Ashley Hansen (CA) Natalie Hartung (WI) Annabel Hightower (VA) Nicole Hodges (TX) Veronica James (NJ) Felice Kakaletris (NJ) Sid Kamat (NJ) Sudhisksha Kamatham (TX) Chris Khourty (MA) Diya Koul (MA) Audrey Lee (NJ) Bella Leybovich (AZ) Ruthie Manasseh (CA) Embry Marcum (IN) Carter Meza (CA) Grace Millar (OR) Madison Miller (TN) Yifan Monroe (WA) Ruchira Mukherjee (CA) Brooke Naznitsky (NJ) Mollie Pedersen (NH) Shreya Philips Komattu (TX) Elliot Roa (OR) Rebeka Rogstad (CA) Agneya Roy (NC) Gemma Schleper (NJ) Akiv Shah (NJ) Amelia Shunaman (ON) Molly Kate Skupien (LA) Olivia Bee Sposa (NJ) Charlotte Storm (TX) Ailey Tetrault (FL) Lydia Tracy (TX) Emilie Tseng (CA) Ella Valente (FL) Mariela Vazquez (FL) Ansley Wadle (TX) Brynn Walker (CA) Reed Walker (CA) Angela Xiao (WA) Ainsley Zauel (VA) Samantha Zell (AZ) Semi-Finalists Nethania Ajan (TX) Anna Athungal (NJ) Anne Frances Atkinson (MS) Jennifer Augusta (CA) Nevena Aurelius (FL) Ella Bailey (AZ) Eunice Bang (NJ) Gwendolyn Bartow (OR) Gabriela Bashir (VA) Alisha Batreja (NJ) Luna Baxter (WA) Cadence Bleakley (CA) Leticia Bromley (TX) Lexi Brown (TX) Olivia Bucci (IN) Catalina Chang (NY) Amber Chen (GA) Maya Cheng (IA) Vinya Chhabra (NJ) Annabelle Chung (VA) Sua Chung (VA) Phoebe Rose Claeys (GA) Montanna Coil (AZ) Kayla Colchamiro (NJ) Valerie Combs (CA) Zoe Cook (WA) Maliyah Cooper (IN) Lucy Cox (GA) Savannah Cox (AL) Aja Crockett (MA) Lucia Cunningham (CA) Amelie Curry (CT) Avery Davis (CT) Brenley Day (TX) Lilliana DeBoer (NJ) Aerina DeBoer (NJ) Peyton Deignan (PA) Katelyn Dempsey (IL) Chloe Ding (CA) Scarlett Diviney (NY) Olivia Dulik (IL) Vince Ermita (NJ) Maya Eswaran (VA) Jacqueline Foley (AZ) Kathleen Gahagen (IN) Yiqing Gao (TX) Rudrani Choshal (NC) Riley Glenn (MD) Ellivia Gold (NY) Heidi Hager (VA) Olivia Haller (AZ) Hazel Hay (VA) Ella Hebeisen (MD) Lucia Hendricks (WI) Avital Hermann (NJ) Cassandra Herrador (NY) Amelia Holly (IL) Rei Huston (NH) Anjali Kandur (GA) Sahana Karthik (TX) Adhya Karukurichi (MN) Katelyn Kieninger (IL) Mady King (AZ) Niyati Kotagal (GA) Frederick Kranenburg (OR) Faith Krieger (PA) Farrah Lane (AL) Juliet Lee (VA) Noa Levin (IL) Nola Linder (VT) Tatum Littlejohn (AZ) McKenzie Lopezlira (AZ) Ethan Ly (LA) Mark Ma (GA) Eve Manasseh (CA) Josephine Martin (NY) Brittany McGraw (NJ) Donna Megules (NJ) Maggie Miao (NY) Aubrey Morgan (TX) Lily Morgan (VA) Ena Mujakic (ON) Elina Nartates (WA) Braylen Nelson (TX) Elsa Newbower (MA) Danica Nolasco (AZ) Kaia Olberg (IL) Sophie Ostrovski (ON) Elise Pacheco (MA) Joshua Parecki (CA) Danielle Parsons (PA) Katherine Pottkotter (TX) Mackenzie Pressley (FL) Anna Przybylko (NJ) Katherine Purdy (NY) Nikila Rajan (TX) Charlotte Raynor (PA) Guy Riskind (FL) Lillian Rogers (TX) Ruby Sachs (NY) Shea Sanders (IA) Clara Seay (IN) Samaira Singh (NJ) Ainsley Sorenson (NY) Kendall Sorenson (NY) Savannah Springer (AZ) Aditi Sridhar (VA) Sienna Stoll (AZ) Jacob Sturgis (PA) Chelsea Sun (TX) Kailey Sunwoo (NJ) Sofia Swade (NC) Savannah Swiatkowski (AZ) Madeline Switzer (OR) Carmen Tarajano (NC) Madeline Thach (TX) Sophia Toncich (NJ) Karstyn Traylor (TX) Sofia Trompeter (FL) Renee Tse (TX) Ciana Tzuo (NY) Matthew Vallero (CA) Clara Visser (IA) Alice Wade (IN) Gloria Wang (GA) Claire Xiao (NH) Savannah Zeis (NY) Kacey Zhang (ON) April Zhong (WA) Chloe Zittel (NY) Early Teen Voices Ages 13-15 (as of February 1, 2021) First Place Lizzie Gill (age 15) Dublin, Ohio Dublin Coffman High School Pianist: Amy Pottkotter Voice Teacher: Stephanie Henkle Second Place (tie) Christine Kelly (age 15) Geneva, Illinois Geneva High School Pianist: Clare Chenoweth Voice Teacher: JoEllyn Caulfield Rachel Parsons (age 15) Clairton, Pennsylvania Thomas Jefferson High School Recorded Accompaniment Voice Teacher: Erin Kesser Third Place (tie) Emelia Aceto (age 15) Hinckley, Ohio Highland High School Recorded Accompaniment Voice Teacher: Denise Milner Howell Callie Chae Pyken (age 13) Los Angeles, California Colburn School Pianist: Nick Wilders Voice Teachers: Julia Gregory, Cassie Okenka Honorable Mentions Sienna Gasparrelli (age 13) Mentions Escondido, California homeschooled Pianist: Pam Revitte Voice Teacher: Pam Revitte Morgan Greco (age 15) Camas, Washingtoon homeschooled Pianist: Elizabeth Morris Voice Teacher: Teresa Schnell-Hochanadel Shayla He (age 14) Saratoga, California The Harker School Recorded Accompaniment Voice Teacher: Alison Collins Clare Keman (age 13) Southlake, Texas Regina Caeli Academy Recorded Accompaniment Voice Teacher: Laura Melson Christopher Kranenburg (age 15) Central Point, Oregon St. Mary’s School Recorded Accompaniment Voice Teacher: Andrea Hochkeppel Camryn Malo (age 14) Barrie, Ontario The Melody in Me Pianist: Katie Pergau Voice Teacher: Margot Hamilton Aurna Mukherjee (age 14) Austin, Texas Liberal Arts and Science Academy Pianist: Sunkyong Park Voice Teacher: Stella Yoon Amanda Swickle (age 15) Jericho, New York Jericho High School Pianist: Nicholas Ferla Voice Teacher: Allie Brault Ananya Yadati (age 13) Beachwood, Ohio Hathaway Brown School Recorded Accompaniment Voice Teacher: Helen Todd Finalists Audrey Barr (NJ) Maddie Basich (CA) Lydiia Berckley (TX) Ainsley Buice (CA) Nana Castle (NC) Henry Cornell (NY) Halina de Jong-Lambert (NY) Juliana Dees (CT) Keely Donlan (NJ) Ciela Elliott (NY) Hadley Fitton (MA) Patrick Ford (MD) Macy Gabel (NY) Anika Ganesan (VA) Aleah Garcia (AZ) Julianna Gutekunst (PA) Michael Hieb (CO) Isabel Hoch (NY) Whit Jury (IA) Ellie Kim (TX) Alex Kim (NC) Sofia Lee (GA) Meghan Linnington (OK) Stephanie Lopez (NY) Grace Martin (NJ) Avery Mattison (CA) Alysia McCarthy (NV) Mia McFarland (AZ) Sarah McKinley (TX) Ellie Michaels (MI) Avery Nokes (VA) Adithi Nythruva (AZ) Maxine Park (CA) Kennedy Percival (CA) Gabe Ponichter (NY) Jennifer Ribble (TN) Frida Ruiz-Berman (TX) Ava Saba (AZ) Devin Sadler (IL) Sydney Safarik (TX) Joelle Sellers (TX) Milan Shetty (WA) Amelia Silberman (NC) Elena Skirgaudas (WA) Nandu Sreekanth (FL) Lauren Sun (NY) Marget Tenters (MA) Cooper Turk-Gagel (IN) Roger Wang (GA) Sophia Welch (VA) Claira Williams (FL) Samantha Wu (CA) Semi-Finalists Sneha Arya (TX) Madeline Austin (IA) Madeline Ayala (TX) Elisabeth Baer (GA) Anneliese Baum (NY) Kaitlin Black (TX) Zoey Blackman (NJ) Eillie Brower (MI) Vivian Brown (OH) Gracie Butt (AZ) Lilly Carroll (OR) Kate Clemetson (NV) Gianna Codispoti (FL) J.C. Colella (NJ) Eva Crichton (NY) Maeve Cunningham (NJ) Amelie Damseaux (FL) Jordan Daniels (CA) Zoe Dempsey (IL) Sophie DeOliveira (MA) Franziska Diefenbach (NY) Aniela Egan (MD) Elizabeth Babiar (GA) Jacquelyn Erickson (CO) Francesca Falbo (CA) Silvan Friedman (CT) Lucia George (MI) Ashmita Ghosh (NC) Anushri Ghoshal (NC) Ava Haller (AZ) Jessica Holliday (NJ) Kaelynn Jackson (NJ) Amelie Kaufman (NY) Jocelyn Knorr (PA) Vanessa Li (MMD) Bridget Lomax (NJ) Morgan Lomax (NJ) Cassidy Loria (VA) Aden Hayhew (IL) Elizabeth McDonald (LA) Libby McDonald (WA) Alex Metivier (OH) Sierra Milone (NJ) Lara Miranda (FL) Henley Nance (MS) Sean Nesamoney (CA) Joon-Hyung Daniel Noh (CA) Violet Pasmooij (GA) Lena Racelis (AL) Anastasia Ramirez (CA) Andrew Rickey (NJ) Kylan Ritchie (TN) Rachel Rogstad (CA) Himawari Rueff (CA) Katherine Ryan (NY) Jocie Schnee (VA) Erin Schumacher (AZ) Cole Seevers (VA) Darcy Serenbetz (NJ) Jayla Shedeed (CO) Jessica Smith (PA) Abigail Springer (AZ) Skye Stauffer (TX) Sydney Steiner (NJ) Grace Stoltzfus (PA) Addison Stout (IN) Charlotte Teeples (VA) Annabel Tew (PA) Naomi Thuren (OR) Donatella To (CA) Josh Townshend (MD) Hailey Tramonte (OH) Aaryahi Vaidya (CA) Ella Vakiner (IA) Isabella Vazquez-Janik (PA) Gina Vicari (VA) Lila Wagner-Gleeson (OH) Sydney Wechsler (NJ) Katie Wylie (MA) Margaret Zhang (NY) High School Voices Ages 16-18 (as of February 1, 2021) First Place Aliyah Douglas (age 16) Oro Valley, Arizona Ironwood Ridge High School Recorded Accompaniment Voice Teacher: Stephanie Fox Second Place (tie) Matthew Danforth (age 17) Demarest, New Jersey The Dwight Englewood School Pianists: Glenn Gordon, Steve Marzullo Voice Teachers: Amelia DeMayo, Liliana Sotirova Alyssa Sunew (age 17) Katy, Texas Seven Lakes High School Pianist: Jeannine Rowden Voice Teacher: Jeannine Rowden Third Place (tie) Ellie Brenner (age 16) Durand, Wisconsin Interlochen Arts Academy Recorded Accompaniment Voice Teacher: Elizabeth Gray Katrina Franco (age 16) San Francisco, California San Francisco University High School Recorded Accompaniment Voice Teacher: Heidi Moss Honorable Mentions Serena Dailey (age 17) Brooklyn, New York Edward R. Murrow High School Pianist: Thomas Hodges Voice Teacher: Christine Moore Vassallo Amelia Gibbons (age 16) De Pere, Wisconsin West De Pere High School Recorded Accompaniment Voice Teacher: Kaara McHugh Rachel Ginn (age 17) Pewaukee, Wisconsin Catholic Memorial High School Pianist: Kaoko Miyazawa Voice Teacher: Christine Flasch Evelyn Hecht (age 17) Maple, Ontario Westmount Collegiate Institute Pianist: Narmina Efendiyeva Voice Teacher: Miriam Eskin Ava Kuntz (age 17) Santa Ana, California Orange County School of the Arts Pianist: John Henri Voice Teacher: Kathleen Martin Lauren Marchand (age 16) Jericho, New York Jericho Senior High School Recorded Accompaniment Voice Teacher: Giuseppe Spoletini Kylie Merrill (age 17) Chandler, Arizona Perry High School Pianist: Jenn Crandall Voice Teacher: Nichole Jensen Janessa Minta (age 17) Corvallis, Oregon Corvallis High School Pianist: Joy Ueng Voice Teacher: Beverly Park Josh Pike (age 16) Peoria, Arizona Arizona Conservatory for Arts and Academics Recorded Accompaniment Voice Teacher: Susan Washburn Alexa Reeves (age 17) Mentions Cherry Hill, New Jersey (continued) Paul VI High School Pianist: Melissa Daniels McCann Voice Teacher: Melissa Daniels McCann Ty'Ria Rounds (age 17) Alton, Illinois Alton High School Voice Teacher: Eddie Hitchcock Emma Wallace (age 17) Austin, Texas McCallum High School Recorded Accompaniment Voice Teacher: Michelle Haché Finalists Maya Baijal (NY) Mia Baron (CA) Shayne Barrett (NJ) Skyy Brooks (PA) Mina Brooks-Schmidt (AK) Alison Bruner (PA) Caitlin Callahan (OR) Nicole Campos (TX) Amelie Chaouat (TX) Joceyln Coburn (NY) Hadley Connor (MA) Alexandra Cook (CA) Giorgia Dallasta (MD) Lucy Daniels (IL) Meghna Das (NJ) Andrew Dlugosch (TX) Andie Earl (NJ) Natalie Evans (AB) Eniya Fields (IL) Grace Finke (CA) Isabella Fisher (NY) Karli Fisher (TX) Sarah Fountain (CA) Francesca Gamba (NY) Alexis Gearty (MI) Ainsley Gilbert (TX) Matthew Gordon (WA) Seth Greene (NC) Grace Hahn (CA) Julia Hancock (MD) Jasmine Harrick (WA) Isabel Hernandez (IL) Hannah Hess (NC) Eveyln Izdepski (VA) Jessica Jang (TX) Nicole Jones (VA) Grace Kang (VA) Zy’Miracle Kearney (NC) Alison Kessler (NY) Erika Kessler (NJ) Rachel Lewiski (PA) Annie Martin (NJ) Zoe Martinez (CA) Wyatt McDaniel (NY) Hannah McLaughlin (NC) Olivia Miniuk (VA) Libby Mullins (VA) Kyla O’Deay (LA) Alexandra O’Farrell (ON) Abby Olson (CA) Emily Orlowski (NJ) Olivia Ostlund (CA) Marius Pearson (NJ) Bria Petrella (NJ) Samantha Phat (NC) Reagan Plank (NC) Sara Porjosh (VA) Melody Prater (KS) Tanisha Pulla (CA) Alexa Pupich (IL) Ava Jolie Savino (NJ) Madi Shaer (MA) Rose Shyk (PA) Ethan Staver (WI) Yumeko Stern (CT) Madalyn Stevens (MA) Peter Sunseri (CA) Jillian Swartout (CA) Julia Taglang (PA) Kirsten Tierney (VA) Hannah Tramonte (OH) Julisa Veron (CA) Nick Vitale (CA) Vanessa Vu (CA) Jessica Wastchak (AZ) Natalie Wiley (IL) Alaina Wilkins (NJ) Amelia Williams (FL) Bethany Yeh (MD) Peggy Yin (NY) Isabel Young (WI) Amelia Zakroff (NJ) Anderson Zoll (TX) Semi-Finalists Marissa Abbott (WI) Marina Adel (CA) Yara Afifi (VA) Cayman Alatalo (WI) Lottie Arnold (OH) Kristin Barker (MD) Bella Birdsley (TX) Sophia Bogdanovitch (MA) Mariella Boudreau (WI) Eliza Brennan (NY) Carolyn Calbeck (IL) Julia Campion (AZ) Elizabeth Crawford (MA) Samantha Croco (IA) Deborah Cusnir (FL) Jackson Daley (MA) Kathryn Dooley (TX) Olivia Dostal (AZ) Giovanni Faltz (NJ) Emersen Fitch (NC) Arijana Florez (NY) Oliva Fortuna (NJ) Simone Gelety (AZ) Jared Gibson (WI) Madeline Giebels (OR) Lauren Goldsborough (NJ) Katie Jo Graham (KY) Avery Horn (IL) Corrine Jones (IL) Faith Kirkland (AZ) Nicole Kirshy (MA) Jadyn Krouse (NJ) Sophia Kumagai (IL) Elizabeth Larabee (MA) Beau Leavenworth (IA) Cassie Miller (AZ) Kieralynn Moshier (AZ) Emma Myers (PA) Ashwini Narayanan (IL) Annemarie Pongonthara (ON) Lou Ponticiello (IL) Audrey Pottkotter (TX) Ella Reidway (VA) Leah Rettig (TX) Katya Sacharow (MA) Mackenzie Schubert (NJ) Paige Shanks (AZ) Clare Shannon (VA) Caleigh Sheehan (NY) Daniel Shirk (WI) Lillian Slater (IL) Sarah Smith (NJ) Kate Tomson (IA) Olivia Ustinovich (MA) Kavya Vandavasi VA) Ariana Velasquez (NJ) Lucy Walter (TX) Sasha Warm (NY) Skie Weaver (WA) Avery Woods Weber (CT) Kayla Xu (CA) Young Adult Voices Ages 18-23 (as of February 1, 2021) Enrollment in a school is not required in this category, nor is a voice teacher, but if the singer provided that information it appears below. First Place Morgan Mastrangelo (age 22) Northwestern University Recorded Accompaniment Voice Teacher: Pamela Hinchman Second Place (tie) Ashlyn Combs (age 21) Nashville, Tennessee Recorded Accompaniment Sarah Juliano (age 22) University of Michigan Pianist: Eric Banitt Voice Teacher: George Shirley Third Place (tie) Benjamin Perkinson (age 19) University of Mary Hardin – Baylor Recorded Accompaniment Voice Teacher: Michelle Haché Piero Regis (age 23) Boston Conservatory at Berklee Pianist: Lindsay Albert Voice Teacher: Victor Jannet Honorable Mentions Margot Frank (age 22) Millikin University Pianists: Roberta Duchak, Cameron Burgess Voice Teacher: Roberta Duchak Shavon Lloyd (age 23) SUNY Potsdam Crane School of Music Recorded Accompaniment Voice Teacher: Lonel Woods Madison Miller (age 23) University of Michigan Recorded Accompaniment Voice Teacher: Scott Piper Sabrina Shah (age 18) Recorded Accompaniment Voice Teacher: Jeanai LaVita Finalists Sarah Allbrandt Sarah Duren Katelyn Farebrother Sophia Fortuna Charlie Grass Joanna Heneveld Sam Joseph Renee Kauffman Sarah Lambert Tate McElhaney Katie Murphy Madison Raef Emma Robinson Ayaka Shimada Abigail Storm Will Upham Back To Top
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