Wonderful piece in the NY Times about the death of the overture. I have noticed that musicals don’t really have your typical overtures anymore – but the essay totally reminded me of listening to musicals as a kid – and overtures I remember. (Here – watch how I excerpt the article properly):
That era is long gone, but there was always more to the overture than the pleasure of the music itself. Practically, it provided a buffer for latecomers; dramatically, it helped to effect a mood transition from the outer world of commerce and cabs to the imaginary world about to be created onstage. It might hint at crisp sophistication (those four bright exclamation points at the start of ?My Fair Lady?) or exotic doings (the pentatonic Orientalia of ?The King and I?) or the possibility of louche women (the wild trumpet orgy of ?Gypsy?). It could establish instantaneously the tone of the material, whether emotional (?South Pacific?), comical (?Bye Bye Birdie?) or satirical (?Candide?). In the case of the overture to ?Candide,? that brilliant jack-in-the-box of musical surprises, it might do so better than the show itself.
It took me just a second to locate, in my memory, the sound of “those four bright exclamation points at the start of My Fairy Lady” – but there they were! The overture – emblazoned in my mind. Amazing.
I will NEVER forget listening to Annie for the first time (got the record for my 11th birthday) – and putting it on the turntable in the dining room – and hearing, for the very first time – that lone trumpet, playing the opening strains to “Tomorrow” – the start of the overture in Annie. I didn’t know anything about Annie, knew none of the songs yet … but I was hooked from the first second I heard that melancholy lonely sound. Yet hopeful. Strangely hopeful. And seriously: when I listen to that soundtrack now, I STILL get a flash of … soul-shivers, excitement, transcendence … when I hear that trumpet. Wow. God bless the overture.
I’ve seen a couple of revivals where the audience burst into applause as the orchestra transitioned from piece to piece in the overture. People just love and respond to the familiar music.
For me, it’s always fascinating how the composer can seamlessly pit something up-tempo next to something slower or more serene and it just makes sense. It’s definitely part of the thrill of live theater. Mmm… musicals.
As good as the opera, curly?? :)
I remember when I saw the Anything Goes revivial – this was years ago – with Patti Lupone – the orchestra was on the stage – yet hovering above it – as though they were the band playing on the Promenade Deck on the ship or whatever – and they were TOTALLY part of the show. The overture was raucous – totally got you in the mood – and it was just thrilling, to actually see the musicians doing their thing. To know it’s live.
Well, I’m partial to the theater but the opera is making a strong showing. :) A woman in front of me the other night was in her late 60s or maybe early 70s. During the overture, she sat on the edge of her seat and did the “happy clap” whenever she recognized the music. I thoroughly enjoyed watching her.
When I got to a show, I always get butterflies in my stomach when I hear the orchestra warming up. I like to get there early to experience that. I’m not the most punctual person in the world but when it comes to theater, I’m early.
Back when Doonesbury was occasionally funny (and Duke was Ambassador to the PRC), Duke was attending a CCP musical when gunfire braoke out. Duke hit the floor, and his Chinese host said: “Don’t worry, that’s just the overture.” To which Duke replied: “Automatic weapons fire is an overture to a musical?”. The Chinese official replied “As it often is in real life, Mr. Duke”.
Andre and I were sitting together watching Chris play football tonight and out of the blue he says, “I really love the overture to The Who’s Tommy” – how funny is that!
Bets! hahahahahahaha!!!!!! I love Andre!