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And the tradition didn't die out with them either, rearing its head occasionally in American musical comedy songs like "Tchaikovsky" from Kurt Weill and Ira Gershwin's "Lady in the Dark" or "I'm Not Getting Married Today," from Stephen Sondheim's "Company." Bergeret called that last "perhaps the most difficult patter song ever written." Arthur Sullivan typically set the lyrics that William Gilbert wrote for their patter songs to melodies that are rollicking yet repetitive, so as not to be terribly demanding vocally. In fact, the comedy is actually heightened if the performer half-sings and half-speaks the words. Stephen O'Brien, a company member who took part in the evening, recalled something he was told once by the late John Reed, a leading comic baritone with the D'Oyly Carte Opera Company for 20 years. Reed, who had been trained as an actor and dancer but not as a singer, related that when he first joined the company he began taking voice lessons, "but the company asked him to stop, because his voice was getting too big and strong." Almost all the patter songs were written for male baritone rather than for tenor or soprano. "Being able to sing the words so they're understandable is much more difficult at a higher pitch level," Bergeret said. One exception is the trio from "Ruddigore," written for a woman and two men. In its refrain, Gilbert makes delicious fun of the whole genre of the patter song: "This particularly rapid unintelligible patter/ Isn't generally heard and if it is it doesn't matter!"
NYGASP will present "The Pirates of Penzance" and "Patience" in New York over the Christmas and New Year's holidays and then go on tour, with engagements in a dozen states. This summer they will perform at the International Gilbert & Sullivan Festival in Harrogate, England. ___ Online:
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