Nightmare Song from Gilbert & Sullivan's Iolanthe ǀ English National Opera
Vložit
- čas přidán 21. 02. 2018
- Iolanthe | 13 February - 7 April 2018 | London Coliseum |
Tickets from £12, with 500 tickets available at every performance for £20 or less.
Find out more: www.eno.org/iolanthe
The peers are getting restless and the fairies are in a frenzy. Can the Fairy Queen call Parliament to order?
Cal McCrystal (One Man, Two Guvnors) directs a production that embraces the chaotic physical comedy and irreverence that are his hallmarks. Outstanding young mezzo-soprano and ENO Harewood Artist Samantha Price leads a cast of ENO favourites, including Andrew Shore as the Lord Chancellor.
See Iolanthe at the London Coliseum until 7 April 2018.
Learn more and book tickets: www.eno.org/iolanthe
--
About English National Opera:
English National Opera is founded on the belief that opera of the highest quality should be accessible to everyone.
Musical storytellers
At ENO opera is theatre; expressing drama through the unique combination of music, text, dance and design. We sing in English. We believe that singing in our own language connects the performers and the audiences to the drama on stage, and enhances the experience for all.
We collaborate across contemporary art forms, to reflect the growing diversity of our culture. And we take a fresh approach right across the repertoire, from baroque to contemporary, as well as commissioning new works as part of our commitment to the future of the art form.
Widening access
We bring our productions to the widest possible audience, whether at the London Coliseum, nationally or internationally. We make our work accessible by offering a large proportion of tickets at affordable prices, and by distributing it widely on screen and digital media.
We also aim to introduce completely new audiences to the magic of opera through stimulating and creative participation programmes.
Nurturing Creative talent
We are a national company of internationally recognised standard. We nurture talent across the entire company, whether on stage, backstage, or in the pit. We provide a platform for young singers to develop global careers.
We tell the world’s most timeless stories, unforgettably.
Subscribe to ENO and never miss another video: goo.gl/ljEMBr
Keep up to date with the latest from ENO:
ENO on CZcams | / englishna. .
ENO on Facebook | / englishnation. .
ENO on Twitter | / e_n_o
ENO on Instagram | / englishnationalo. .
More great opera | www.eno.org/ - Zábava
When you're lying awake with a dismal headache, and repose is taboo'd by anxiety,
I conceive you may use any language you choose to indulge in, without impropriety;
For your brain is on fire and the bedclothes conspire of your usual slumber to plunder you:
First your counterpane goes, and uncovers your toes, and your sheet slips demurely from under you;
Then the blanketing tickles, you feel like mixed pickles so terribly sharp is the pricking,
And you're hot, and you're cross, and you tumble and toss till there's nothing 'twixt you and the ticking.
Then the bedclothes all creep to the ground in a heap, and you pick 'em all up in a tangle;
Next your pillow resigns and politely declines to remain at its usual angle!
Well, you get some repose in the form of a doze, with hot eyeballs and head ever aching.
But your slumbering teems with such horrible dreams that you’d very much better be waking;
For you dream you are crossing the Channel, and tossing about in a steamer from Harwich,
Which is something between a large bathing machine and a very small second-class carriage;
And you're giving a treat (penny ice and cold meat) to a party of friends and relations,
They're a ravenous horde, and they all came on board at Sloane Square and South Kensington Stations.
And bound on that journey you find your attorney (who started that morning from Devon);
He's a bit undersized, and you don't feel surprised when he tells you he's only eleven.
Well, you're driving like mad with this singular lad (by the by, the ship's now a four-wheeler),
And you're playing round games, and he calls you bad names when you tell him that "ties pay the dealer";
But this you can't stand, so you throw up your hand, and you find you're as cold as an icicle,
In your shirt and your socks (the black silk with gold clocks), crossing Salisbury Plain on a bicycle:
And he and the crew are on bicycles too, which they've somehow or other invested in,
And he's telling the tars all the particulars of a company he's interested in,
It's a scheme of devices, to get at low prices all goods from cough mixtures to cables
(Which tickled the sailors), by treating retailers as though they were all vegetables:
You get a good spadesman to plant a small tradesman (first take off his boots with a boot-tree),
And his legs will take root, and his fingers will shoot, and they'll blossom and bud like a fruit-tree,
From the greengrocer tree you get grapes and green pea, cauliflower, pineapple, and cranberries,
While the pastrycook plant cherry brandy will grant, apple puffs, and three corners, and Banburys,
The shares are a penny, and ever so many are taken by Rothschild and Baring,
And just as a few are allotted to you, you awake with a shudder despairing...
You're a regular wreck, with a crick in your neck, and no wonder you snore, for your head's on the floor,
and you've needles and pins from your soles to your shins, and your flesh is a-creep, for your left leg's asleep,
and you've cramp in your toes, and a fly on your nose, and some fluff in your lung, and a feverish tongue,
and a thirst that's intense, and a general sense that you haven't been sleeping in clover;
But the darkness has passed, and it's daylight at last, and the night has been long
ditto my song
and thank goodness they're both of them over!
Slight tweak, while I realise you might be doing it to differentiate the different tones throughout the song; in the libretto it’s all one singular verse.
Todd Rundgren comes to mind when listening to this...
My Dad had the Doyly Carte records of all the G&S operas on 78s back in the day. I learned to sing this one correctly by memory by the time I was in first grade, which failed to impress my teachers. I had no idea what it all meant, being five years old, but who else can honestly claim to have memorized it at any age?
I memorized I Am the Very Model of a Modern Major General as a child and my teachers weren't so impressed either.
That's pretty amazing. I was shockingly cast as the lead in "Man of La Mancha," then "Fiddler on the Roof" and amazed myself that I succeeded despite limited experience. At 77 I'm still singing extremely well, but don't like to memorize much any more. "Man of La Mancha" was a smash hit in a mediuim venure but a tremendous ego boost for a young man when I was 25 or so.
I had memorized this 'Nightmare Song' when I first became familiar with the G&S operas in my late teens. I brought it to the audition for the Ohio Light Opera when I was about twenty. Didn't get hired but they did let me finish it. I even had the honor of singing it for the great John Reed once.
@@riccardo50001 How lucky you are! I've also done both those shows but not in the leads. There haven't been many singing actors who've played both roles. The only ones who come to mind are John Raitt (hard to picture him as Tevye), the opera star Giorgio Tozzi and the Australian Anthony Warlow.
love this! It was impressive!
I love the reference to multi-level marketing schemes. They aren't new!
No they aint, neither are time shares and home owners associations that don't use thier funds properly, the day the king started taxing, someone looked for the loopholes
Splendid rendition . . . AB-SO-LUTE-LY SPLENDID!
Gilbert's librettos are the only ones in the whole of opera that make me glad I understand the language they're written and sung in - a rare fine and respectful performance.
And he's telling the tars all the particulars of a company he's interested in,
Few people today know that a 'tar'is the old term for an ordinary seaman. Needless to say, it goes back to the days when they spent most of the day painting tar onto the wooden ships to seal between the planks and stopping them from leaking.
@@wilsjane yes, too many know too little
This is why I don't consider G&S "Opera". I think doing so does them a disservice. G&S bears more resemblance to the modern day musical. In opera, the lyrics are largely just a means to give the performers something to sing. It's the singing that matters, not what they sing. But with G&S, the lyrics are at least as important as the music. It's the fact that they do both so well is the reason why they were and still are so popular. Even among non opera fans.
@@charlesajones77 their collaborations used to be commonly referred to as operettas. For me they're distinct from musicals, more an evolution from light opera, for example die fledermaus and cosi fan tutti.
Gilbert’s lyrics are still so clever and amusing 100+ years after the fact
I like the minimalist staging for this. I wondered if they'd go all dream-sequence but no, pure focus on the patter singer.
Very impressive that Andrew Shore can switch from roles like Wozzeck to this. A true artist!
If he could memorize all those lyrics he must have somethings going for himself, though I can't imagine learning "Wozzeck" musically as a professional singer. I don't think I'd want to learn opera anyway.
WoW!! Well done fine sir!
I loved this production,it's a shame it wasn't put on DVD
They regularly repeat productions, I imagine that's why.
Great performance! Saw this at ENO last week.
Wish they would show the full opera in the cinema . It was very enjoyable and I would like to see it again
"Ditto, ditto my song!"
@@5610winston “And thank goodness they’re both of them, over!”
My Dad was a huge G&S fan. Heard all the operas on 78 rpm records, and this was my favorite of the patter songs. I had learned this one all the way through by the time I started kindergarten (got me two years in speech therapy because the teachers weren't familiar with it, Philistines all).
@@5610winston I had learned this when I was 19, but you put me to shame. I was very fortunate to work on it with John Reed himself. The memories!!
19th century rap. Sick
Yup, the "Patter song", older than this, but it became a staple of Gilbert and Sullivan.
One of G&S's trickiest patter songs.
And we thought that Cole Porter wrote tricky lyrics!!!
See this is why I think sleep is a curse from God. You get nights like these sometimes and especially because you slept so well every other night you're now screaming to Heaven "No more! I cannot bear it!"
Victorian rapper!
Love the scenery and the way the 'Wool Sack' rises onto the stage.
But...
Did anyone else notice that his voice strayed 'off key' a couple of times?
As a trained singer - and coming from a long line of a musical family - it was a bit 'irksome'. But all-in-all a good performance.
No, he is not of tune, he just did it on purpose, because you see, it’s not easy to describe a nightmare in a perfect metric 600 words speach in only few 3 minutes with the eloquence with which he did it. It is remarkable how it was possible not to be mistaken.
There are a few more versions of this song on this site, some more in tune, maybe, but much more boring and none of them even closer to the energy, the giving, the fun, displayed on this version.
He's funny from the moment he jumps off his 'bed' until the moment he throws himself back to it in the end, going through the gestures, the mimic, the eyes expression, the various exaltations arising from its interpretation. He is not just reading a text or singing a song. He is passing on to the viewer with the vehemence of his interpretation the whole picture of his nightmare.
Anyway, as the Beatles would say in their ‘Only a Northern Song’: 'When you're listening late at night You may think the band are not quite right But they are They just play it like that!...’
Who is after Neil Gayman?
Am I crazy or is he straight up singing wrong notes at the end?
No, he is not of tune, he just did it on purpose, because you see, it’s not easy to describe a nightmare in a perfect metric 600 words speach in only few 3 minutes with the eloquence with which he did it. It is remarkable how it was possible not to be mistaken.
There are a few more versions of this song on this site, some more in tune, maybe, but much more boring and none of them even closer to the energy, the giving, the fun, displayed on this version.
He's funny from the moment he jumps off his 'bed' until the moment he throws himself back to it in the end, going through the gestures, the mimic, the eyes expression, the various exaltations arising from its interpretation. He is not just reading a text or singing a song. He is passing on to the viewer with the vehemence of his interpretation the whole picture of his nightmare.
Anyway, as the Beatles would say in their ‘Only a Northern Song’: 'When you're listening late at night You may think the band are not quite right But they are They just play it like that!...’
[Obligatory meme post]
wow lmao whyd you have to rip off todd rundgren like that :laughing_crying_emoji:
AN STANDING OVATION!
I first heard this song in a 'Clockwork Orange Style’ Todd Rungren’s version. It was love at first listenning - The rhythm of the lyrics and the description of the nightmare, simultaneously dramatic - after all it’s a nightmare - but at the same time comical, with all the sound effects on background. At the time, I didn't consider anything about the authorship of the song. I thought it was him’s, because of all his ‘madness’, in a good way, he is my favorite artist, after all. I thought, ‘Ok, another experience’. Only recently I realized that in truth it is part of a Victorian era Opera, ‘Iolante’ written by the Gilbert and Sullivan association, not to be confused with the also notable Gilbert o Sullivan singer.
I read some comments about whether interpreter Andrew Shore might have occasionally gone out of tune. No sir, he did it on purpose, because you see, it’s not easy to describe a nightmare in a perfect metric 600 words speach in only few 3 minutes with the eloquence with which he did it. It is remarkable how it was possible not to be mistaken. There are a few more versions of this song on this site, some more in tune, maybe, but much more boring and none of them even closer to the energy, the giving, the fun, displayed on this version. He's funny from the moment he jumps off his 'bed' until the moment he throws himself back to it in the end, going through the gestures, the mimic, the eyes expression, the various exaltations arising from its interpretation. He is not just reading a text or singing a song. He is passing on to the viewer with the vehemence of his interpretation the whole picture of his nightmare.
Anyway, as the Beatles would say in their ‘Only a Northern Song’:
'When you're listening late at night
You may think the band are not quite right
But they are
They just play it like that!...’
BRAVISSIMO! MAGNIFICENT! AN STANDING OVATION!
Greetings. I’m writing from Portugal.
Gosh, but it's slowwwwwww.............
Did you reach the :50 second mark? It's *not* slow beyond that.
Perhaps someone in the cybersphere could come up with a parody of this patter- with a sleep less Trumpius, perpetually awake and angry and all atweet at all hrs.of the night...and thank goodness this nightmare shall be ooooover...
Isaac Asimov wrote a wonderful one, about the nightmares faced by an SF author trying to think up plots. Try Googling 'The Author's Ordeal'.
@@rattywoof5259 Yes, and Isaac was a member of the New York Gilbert and Sullivan Society.
@@charlenekravec1461 Ah, interesting - I know he always had great admiration for Gilbert as a skilled wordsmith - he wasn't so bad himself was he!
@@rattywoof5259 No, he wasn't. He was also a really nice guy and fun to be around.
When Isaac would go to a local G&S performance, you could expect him to be sitting close to the front, mouthing all of the words!
@@charlenekravec1461 I met him a few times, when I was living in Bermuda. He'd come down with a group of astronomers every year on one of the cruise ships (no flying!) and we would host what we called 'Astronomy Island'. He'd always give a guest lecture and then we'd get to the telescopes - as you say, a very friendly guy. We used to exchange dirty limericks!
The problem with G&S is that you don't want to hear it twice. Like a joke.
Why am I the only person who does wanna hear it twice… or MORE??
to be onest this is super cringe
As is your inability to spell "honest".