pray for the sinner, the innocent, the oppressed, and the oppressors
Song Of The King (Joseph)
(Pharaoh & Ensemble)
Well I was wandering along by the banks of the river
When seven fat cows came up out of the Nile, uh-huh
And right behind these fine healthy animals came
Seven other cows, skinny and vile, uh-huh
Well the thin cows ate the fat cows which
IThought would do them good, uh-huh
But it didn't make them fatter like such
A monster supper should
Well the thin cows were as thin
As they had ever, ever, ever been
Well this dream has got me baffled
Hey, Joseph, won't you tell me what it means?
Well you know that kings ain't stupid
But I don't have a clue
So don't be cruel Joseph
Help me I beg of you
Well I was standing doing nothing in a field out of town
When I saw seven beautiful ears of corn, uh-huh
They were ripe, they were golden and
You've guessed it,Right behind them came seven other ears
Tattered and torn, uh-huh
Well the bad corn ate the good corn
They came up from behind yes they did
Now Joseph here's the punch line
It's really gonna blow your mind, baby
Well the bad corn was as bad as it had ever, ever ever been
Well this dream has got me all shook up
Treat me nice and tell me what it means
Hey, hey, hey Joseph
Won't you tell poor old Pharaoh
What does this crazy, crazy, crazy, crazy dream mean?
Oh, yeah
Pharaos Dream Explained (Joseph)
(Joseph)
Seven years of bumper crops are on their way
Years of plenty, endless wheat and tons of hay
Your farms will boom, there won't be room
To store the surplus food you grow
After that, the future doesn't look so bright
Egypt's luck will change completely overnight
And famine's hand will stalk the land
With food an all-time low
Noble king, there is no doubt
What your dreams are all about
All these things you saw in your pajamas
Are a long range forecast for your farmers
(Joseph, Female Ensemble & Children)
And I'm sure it's crossed your mind
What it is you have to find
Find a man to lead you through the famine
With a flair for economic planning
But who this man could be
I just don't know
Who this man could be
I just don't know
Who this man could be
I just don't know
Grovel, Grovel
(Joseph)
I dreamed that in the fields one day
The corn gave me a sign
Your eleven sheaves of corn
All turned and bowed to mine
I dreamed I saw eleven stars
The sun the moon and sky
Bowing down before my star,
And now I realize why
How do I know where you come from?
You could be spies
Telling me that you are hungry.
That could be lies
How do I know who you are?
Why do you think I should help you?
Would you help me?
Why on earth should I believe you?
I've no guarantee
(Brothers & Narrator)
Grovel, grovel, cringe, bow, stoop, fall
Worship, worship, beg, kneel, sponge, crawl
(Brothers)
We are just eleven brothers
Good men and true
Though we know we count for nothing
When up next to you
Honesty's our middle name
Life is slowly ebbing from us
Hope's almost gone
It's getting very hard to see us
>From sideways on
(Brothers & Narrator)
Grovel, grovel, cringe, bow, stoop, fall
Worship, worship, beg, kneel, sponge, crawl
(Joseph)
I rather like the way you're talking
Astute and sincere
Suddenly your tragic story
It gets me right here
(Brothers)
This is what we hoped he'd say
(Joseph)
All this tugging at my heartstrings
Seems quite justified
I shall give you what you came for
And lots more beside
(Brothers & Narrator)
Grovel, grovel, cringe, bow, stoop, fall
Worship, worship, beg, kneel, sponge, crawl
(Brothers)
Thank you, thank you, cringe, bow, stoop, fall
Worship, worship, beg, kneel, sponge, crawl
(Narrator)
Joseph handed them sackloads of food
And they grovelled in base gratitude
(Female Ensemble)
Then unseen, Joseph nipped out around the back
And planted a cup in young Benjamin's sack
(Narrator)
When the brothers were ready to go
Joseph turned to them all
With a terrible stare and said
(Joseph & Children)
No No No No No
really i cant stay
(but baby its cold outside)
ive got to go away
(but baby its cold outside)
this evening has been soo verry nice
(ill hold your hands there juzt like ice)
my mother will start 2 worry!
(beautiful wahts ur hurry?)
and father will be paceing with feiry
(listen 2 tha fireplace roar)
so really i better scurry!
(beautiful please hurry)
well maybe just a half a drink more
(puts some records on while i pour)
the neighbors might think
(baby its bad out there)
say.. wahts in this drink
(no cabs to be had out there)
i wish i knew how.... to break the spell
(your eyes are liek starlight now)
(ill take ur hat your hair looks swell)
i outta say NO! NO! NO!
(mind if i move in close?)
atleast im gon say that i tryed!
(whats the sense of hurtin my pride?)
i really cant stay
(baby dont hold out)
both ahh but its cold outside!!
i spimply must go
(but baby its cold outside)
the answer is NO
(but BABY its cold outside)
this welcome has been so nice and warm
(look out the window at that STORM!)
my sister will be susicous!
(gosh ur lips look delicous!)
my brother will be there at the door!
(waves upon a tropical shore!)
my maidins anuts mind is fecouis
(GOSH ur lips are delicous)
well maybe juz a cigarette more
(NEVER such a blizzard before)
ive got to get home!
(but baby youll FREEZE out there!)
say lend me a coat?
(its up to ur knees out there)
you realli been grand!
(i frill when u touch my hand)
but dont u see?
(HOW can you DO this thing to ME?)
theres boud to be talk 2 morrow
(think of my life long sorrow!)
atleast there be plenty of invised!
(if U caught PHONEUA and DIED!!)
i realli cant stay!
(get over that old out)
(o0o0o0o0o0o)
ahhhhhhh
BUT BaBY its cold.....OUT side!!
http://www.musicwithease.com/bizet-pearl-fishers.html
The Pearl Fishers (Original French title: Les Pêcheurs de perles)
An Opera by Georges Bizet
Besides "Carmen," Bizet was the composer of "Les Pêcheurs de Perles" (The Pearl Fishers) and "Djamileh."
"Les Pêcheurs de Perles," the words by Carré and Cormon, is in three acts. It was produced at the Théâtre Lyrique, Paris, September 29, 1863. London saw it under the title of "Leila," April 22, 1887, at Covent Garden; as "Pescatori di Perle." May 18, 1899. The New York production was at the Metropolitan Opera House, January 11, 1896, with Calvé; and November 13, 1916, with Caruso. The scene is Ceylon, the period barbaric.
The first act shows a company of pearl fishers on the coast. They choose Zurga as chief. He and his friend Nadir, in the duet, "Au fond du temple saint" (In the depths of the temple), recall their former rivalry for the hand of the beautiful priestess, Leila, and how they swore never to see her again.
Now approaches a veiled priestess who comes annually to pray for the success of the pearl fishers. She prays to Brahma. Nadir recognizes Leila. His love for her at once revives. She goes into the temple. He sings "Je crois encore entendre" (I hear as in a dream). When she returns and again invokes the aid of Brahma, she manages to convey to Nadir the knowledge that she has recognized and still loves him.
In the second act, in a ruined temple, the high priest, Nourabad, warns her, on pain of death, to be faithful to her religious vows. Leila tells him he need have no fear. She never breaks a promise. The necklace she wears was given her by a fugitive, whose hiding place she refused to reveal, although the daggers of his pursuers were pointed at her heart. She had promised not to betray him. Her solo, "Comme autrefois," etc. (A fugitive one day), is followed by the retirement of the priest, and the entrance of Nadir. There is an impassioned love duet, the effect of which is heightened by a raging storm without: "Ton coeur n’a pas compris (You have not understood). Nourabad, returning unexpectedly, overhears the lovers, and summons the people. Zurga, as chief and judge, desires to be merciful for the sake of his friend. But, Nourabad tears the veil from Leila. It is the woman Nadir has sworn never to see -- the woman Zurga also loves. Enraged, he passes sentence of death upon them.
In the third act, the camp of Zurga, Leila expresses her willingness to die, but pleads for Nadir, "Pour noi je ne crains rien" (I have no fear). Zurga is implacable, until he recognizes the necklace she wears as one he had given many years before to the girl who refused when he was a fugitive to deliver him to his enemies. The scene changes to the place of execution, where has been erected a funeral pyre. Just as the guilty lovers are to be led to their death, a distant glow is seen. Zurga cries out that the camp is on fire. The people rush away to fight the flames. Zurga tells Leila and Nadir that he set fire to the camp. He then unfastens their chains and bids them flee. Terzet: "O lumière sante" (O sacred light).
From a hiding place Nourabad has witnessed the scene. When the people return, he denounces Zurga’s act in setting fire to the camp and permitting Leila and Nadir to escape. Zurga is compelled to mount the pyre. A deep glow indicates that the forest is ablaze. The people prostrate themselves to Brahma, whose wrath they fear.
Leila is for soprano, Nadir tenor, Zurga baritone, Nourabad bass.
In the performance with Calvé only two acts were given. The rest of the program consisted of "La Navarraise," by Massenet.
Kraus was a wonderful tenor.Kraus & McDaniel - Pearl Fishers duet
and solo - quoting some advice he received from merlin ...While on Terfel duets
How To Handle A Woman Lyrics
ARTHUR:
"How to handle a woman?
There's a way," said the wise old man,
"A way known by ev'ry woman
Since the whole rigmarole began."
"Do I flatter her?" I begged him answer.
"Do I threaten or cajole or plead?
Do I brood or play the gay romancer?"
Said he, smiling: "No indeed.
How to handle a woman?
Mark me well, I will tell you, sir:
The way to handle a woman
Is to love her...simply love her...
Merely love her...love her...love her."
Seguidilla
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The seguidilla is a quick, triple-time Spanish folksong and dance form. (The dance portion is spelt in the plural as seguidillas.) The song is generally in the major key and often begins on an off-beat.
Song. In general, seguidilla folksongs begin with a brief instrumental introduction, often played on guitar, followed by a salida, which is a small portion of the song text acting as a false start. The remaining sections are free and varied, consisting of instrumental interludios and the vocal sections called coplas.
Dance. The dance is performed in pairs with animated footwork reflecting the rhythm of the guitar and percussion, yet restrained upper body movement. One technique characteristic of the dance is known as bien parado, wherein the dancers stop motion at the end of a section of the music or stanza of text while the instruments continue playing into the next section.
Types. The earliest and most influential of the types of seguidilla is thought to be the Castillian style, in particular the seguidillas manchengas, which originated in La Mancha. Other variants include the murcianas from Murcia, and the slightly faster sevillanas of Seville. One of the most complex styles of seguidilla is the gypsy seguidilla (also known as the seguiriya or the seguidilla gitana), which is used in flamenco music.
Morris Dancing (up the road from ) CotswaldsI did a cycling tour of Medieval England after attending the Summer Research Institute at Harris Manchester. Somewhere up the Thames towpath in Oxford I cam across this motley crew of Morris Dancers. Not only can they dance, but they also choose bars with the best bitter!
not wrong -Yeah the Morris Dancers are fun.... but it will have to be Morris Swimming for a while. LOL
.. one from Carmen - no question who's captor and who's captive here.
(Then you can go to wikipedia, and find out what the hell they're talking about lol - ..........Lori-Kaye Miller sings the Seguidilla from Carmen
Heck, wouldn't have been the first time in history that an officer of the law has been seduced on the job, - but maybe the first time he was arrested for letting the seductress go afterwardshttp://en.wikipedia.org/wiki/Carmen Act I (scene :- Spain, 1830)
A beautiful square in Seville with a cigarette factory, a guard house, and a bridge. Morales and the soldiers are on guard, very bored ("Sur la place, Chacun passe"). Micaëla appears seeking José, her fiancé, but is accosted by the impudent soldiers who desire her company, causing her to run away. As José approaches with the new guard, he and the soldiers are imitated by the street-children ("Avec la garde montante"). The cigarette girls emerge from the factory, greeted by their men ("La cloche a sonné"). Carmen appears, and all the men ask her when she will love them ("Quand je vous aimerai?"). She replies that she loves the man that does not love her in the famous Habanera. ("L'amour est un oiseau rebelle"). When asked to choose a lover, she throws a flower in front of José ("Carmen! sur tes pas, nous nous pressons tous!"). José is temporarily transfixed until Micaëla brings him a letter and kiss from his mother ("Parle-moi de ma mère!"). José longingly thinks of his home. As soon as she leaves, screams are heard from the factory and the women run out, singing chaotically ("Au secours! Au secours!"). Don José and his superior, Zuniga find that Carmen has been fighting with another woman, and slashed her face with a knife. Zuniga attempts to interrogate Carmen who impudently sings a folk song, ignoring him ("Tra la la"). Zuniga instructs José to arrest her, and escort her to the gaol. Carmen seduces José with a Seguidilla ("Près des remparts de Séville"), and convinces José to let her escape. José is arrested for letting Carmen escape.
PS great melody/song yes? - minors and majors etc - changing keys faster than the out-of-tune-piano at the local pub............. Near to the walls of Sevilla, with my good friend Lilas Pastia
I'll soon dance the gay Seguidilla, and I'll drink Manzanilla
I'll go see my good friend Lilas Pastia
But all alone, what can one do? True joy begins when you are two
And so to keep me company, I'll take my lover dear with me
My lover dear has got the mitten, And where he is the deuce may care
Now my poor heart so sadly smitten, My heart is free as free as air
Tho I have suitors by the dozen, there is not one that suits my whim
The week is gone and none is chosen, who will love me? I will love him!
Who'll have my soul? tis for the asking!, Now some good fairy has sent you here!
and my patience will bear no tasking, for, beside my new lover dear,
....................Near to the walls of Sevilla, with my good friend Lilas Pastia
Ill soon dance the gay Seguidilla, and Ill drink Manzanilla
I'll go see my good friend Lilas Pastia, yes I'm going to my friend Lilas Pastia
{BE STILL! , DID I NOT SAY THAT YOU MUST NOT SPEAK TO ME?}
I did not speak to you, I only sang a song, I only sang a song!
and I'm thinking, by thinking I can do you no wrong!
An officer I have in mind, an officer I have in mind, who loves me and who knows well,
yes who knows well that I am not unkind!
Don Jose, agitated.... {Carmen!}
That he's no captain I well am aware, nor a lieutenant is he,
he's only a corp'ral, but why should a gypsy girl ever care?
and I think he will do for me.
{Carmen, do my senses all leave me? If I yield can you deceive me?
Will you then surely faithful be? Ah! if I love you, Carmen, Carmen, will you love me?}
Yes, {with Lilas Pastia} soon we shall dance {you promise me?} the Seguidilla ,
and we shall drink Manzanilla {you promise me?}
ah! .... Near to the walls of Sevilla, with my good friend Lilas Pastia
I'll soon dance the gay Seguidilla, and Ill drink Manzanilla
I'll go see my good friend Lilas Pastia, ........
tra la la la etc etc ............
http://www.dlib.indiana.edu/variations/scores/aaz2552/large/index.html
Habanera
Love is like any wood bird wild, that none can ever hope to tame
and in vain is all wooing mild, if he refuses your heart to claim
nought avails neither threat nor prayer, one speaks me fair the other sighs
tis the other that I prefer, tho' mute his heart to mine replies
oh love, oh love - oh love, oh love
A gypsy boy is Love tis true, he ever was and ever will be free
love you not me? then I love you, If I love you, beware of me! {beware beware}
love you not me, love you not me, then i love you {beware beware}
but if I love you, if I love you, beware of me!
As a bird when you thought to net him, on bouyant wings escapes in air
Love is war-y when you await him , await him not , and he is there!
All around you he swiftly sweeps, now here now there he lightly flies
when you deem him yours , he escapes - you'd fain escape and you are his!
oh love, oh love - oh love, oh love
A gypsy boy is Love tis true, he ever was and ever will be free
love you not me? then I love you, If I love you, beware of me! {beware beware}
love you not me, love you not me, then i love you {beware beware}
but if I love you, if I love you, beware of me!
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