Passion - Stephen Sondheim: posavski-obzor.info: Music
Julia is at the peak of her considerable talent when she performs Sondheim. I was told that it would be uncomfortable, that I would not be able to see or say anything and, once my ears were covered, that I would also The Sondheim fans are passionate about his work and recognised it You're Nicholas Parsons's wife?. That we ever should have met / Is a miracle. Stephen Sondheim. Featuring Jere Shea & Marin Mazzie. Album Passion (Original Broadway Cast). 1. 1 [ BOTH] — I do. It's what I feel with you. The happiness I feel with you. 'Passion' is about how the force of somebody's feelings for you can Earlier Sondheim characters have longed for emotional connection, the woman who won't wait for you knows/ That, however you live,/ Whether longed for or lost, it's something that has already slipped, softly and nimbly, out of reach.
Desiree's mother, a former courtesan who has had "liaisons" with royalty. A military dragoon who is Desiree's latest lover. Hypocritically places value on fidelity, being hugely possessive when it comes to both his wife and mistress. Carl-Magnus' wife, to whom he flaunts his infidelities. She despises her husband for his behaviour, but obeys his orders due to her hopeless love for him.
Passion (TV Movie ) - Passion (TV Movie ) - User Reviews - IMDb
Self-loathing and borderline alcoholic, yet the more intelligent half of the Malcolm couple. Has a tryst with Petra. A group of five singers that act as a Greek chorus. Sometimes referred to as the Liebeslieder Singers although Stephen Sondheim and Hugh Wheeler did not script them to have that title, using Quintet instead. Prince said that these characters represent "people in the show who aren't wasting time Desiree's maid, who is with her constantly.
Maid at Madame Armfeldt's manse.
Page at Madame Armfeldt's manse. It played there until September 15,then moved to the Majestic Theatreon September 17, and closed there on August 3,after performances and 12 previews. It ran for performances.
The production ran for performances, closing on February 17, The production closed on August 31, The successful Stockholm staging was directed by Stig Olin. In the musical was scheduled to return to Stockholm and the Stockholm Stadsteater. Lee Blakeley directed and Andrew George was the choreographer. Sondheim likes to work within a strict set of rules and restrictions, and his scores usually use a show's subject matter as a framework for composition.
And "Sunday in the Park With George," which took its inspiration from a painting by Georges Seurat, used diatonic harmonies and simple triadic forms to echo the painter's pointillist play with pure color.
In the case of "Passion," Mr. Sondheim has created a lush, romantic score that mirrors the heightened, operatic nature of the story.
Because such rhapsodic scores usually require a to piece orchestra -- and budget constraints have given "Passion" only 15 -- Mr. Sondheim says that Jonathan Tunick's orchestration plays an especially important role in lending the music a richness of texture and bringing out its sweeping melodic lines. The sets by Adrianne Lobel and lighting by Beverly Emmons are warm and glowy and fervent, reminiscent of the colors of Italian frescoes and evocative of the story's intense, highly dramatic mood.
Less a series of individual songs than a hypnotic net of music, the show's score traces the shifting, kaleidoscopic emotions of the characters, even as it draws the audience into the dreamlike world of their fevered passions.
Its highly patterned use of motifs to build emotional resonance recalls "Sunday in the Park," while its harmonic language is reminiscent of such soaring ballads as "Johanna" and "The Barber and His Wife" in "Sweeney Todd. Sondheim has initiated himself. In fact, the Victorian melodrama about a barber, who sets out to avenge the loss of his wife and child and his own persecution by a cruelly unjust society, struck a highly personal chord for Mr.
See, Sweeney is justified; it's just that his target is wrong, which is why he's a tragic hero. Killing all these innocent people is not the way to cathartize yourself. It's not the way to work things out. I'm not sure analysis is either, though it helped me. I think it's an inevitable thing of family life: It's about righting a wrong, and how if you do it the wrong way, you're in a lot of trouble.
Sondheim so attracted to the theme of injustice and revenge?
I can't blame him, but I blame him. Sondheim grew up on Manhattan's Central Park West, raised by "nannies, cooks, whomever they could hire. She had him followed when he went to visit his father, he says, and told him if he ever saw his father's new wife, she would have his father thrown in jail.
Sondheim, recalling an incident that occurred when he was in his 40's. I said it's a pacemaker, but she wrote me a letter, hand-delivered because she thought she was going to die and she wanted to make sure I got it. She said, 'The night before I undergo open heart surgery,' -- underlined three times.
And I realized why: In a way, her letter was a good thing for me. As long as it took the pen to cross the paper, I wrote her a letter saying I finally understand. Sondheim, he left home at the age of 15, and he found a surrogate family in his mother's neighbors in Pennsylvania, Oscar and Dorothy Hammerstein. Oscar taught the teen-aged boy how to structure songs as little plays with beginnings, middles and ends.
He taught him how to write what he felt. He gave him assignments, criticism and support. Most of all, he introduced him to the redemptive -- and avenging -- principles of art. Both to emulate him, as a way of making order out of chaos and turning revenge into something positive.
I think I wanted to please Oscar. I wanted him to be proud of me. I really think that's what happened. I wanted my father to be proud of me, too, but that wouldn't have been enough, because Oscar was my teacher. Although he'd watched his young protege grow up to write the lyrics to "West Side Story" and "Gypsy"he never got to see "A Funny Thing Happened on the Way to the Forum"the first Broadway show for which Mr. Sondheim wrote both the lyrics and the music. Sondheim dedicated the score to the teacher whose work he would build upon and overturn in the course of his own career.
Even if he'd said, ' "Pacific Overtures"? Sondheim has worked with a remarkable set of teachers and collaborators -- including Leonard Bernstein, Jule Styne, Jerome Robbins, Arthur Laurents, George Abbott, Burt Shevelove, Richard Rodgers, Harold Prince, Michael Bennett, John Weidman and James Lapine -- and with almost every show, he has continually stretched both his own talent and the boundaries of the art form he has devoted his life to.
While continuing to work on his own scores, Mr. Sondheim has also spent a considerable amount of time passing on his knowledge to young composers and playwrights.
In addition to teaching musical theater at Oxford University inhe also founded the Young Playwrights Festival in New York and the Dramatists Guild's musical-theater development program. He says if he weren't a writer, he would have become a teacher. In a sense, Mr.