Princess Maleine - ERRATA
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Actpiano vocal page numberbar numberwho's affectedword or note questionresolutioncorrected in score
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frontNANANAinclude "and the play by Maurice Maeterlinck"
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frontNANANApiano reduction by Chris Fecteau
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frontNANAThe Fooladd Jeffrey/Fool to the Pub scene
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frontNANA"the journey"should this be labeled part C not A?
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II167117-120Queen Annerhythmic reconsruction on "Hjalmar", bridging reg. gap from one phrase to nextHjalmar is on a down beat in m 118 with new pitches (now G- quarter, F# half in m. 118), m. 120 is the same rhythmically, but starts on F# (you're) A# (in) B (no) C# (con—)WG
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II168134Maleinecharacter description neededadded "ad. lib, quasi-spoken" to score, changed noteheads to X noteheadsWG
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I349Pianocheck reduction - missing notes? seems like a thin half cadence
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I1836Stephano"when those clouds" - sitting a little low for awhile - COULD sorta follow orch with G C for "those clouds" for a little more "fun" (Connor is big and fun)
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I2182 - 85Vanoxtext change
"PV p. 21 - in the libretto there was an alternate text which I greatly preferred....
One might just say
that this cosmic display
smears fearful misfortune
coming our way / 'cross the hills to the bay.

Can we consider changing this?
ALL same notes, but making ""-tune"" just a quarter and adding two 8th note A naturals at the end of m. 82."
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I22101-102Stephanosuggest is flipping the tessitura of "They say a lot of things, Vanox" -- The vocative "Vanox" feels strange higher than the statement. At least spoken, the vocative usually drops a bit, pitch-wise. It's ok as is, but might be easier to get the effect flipped.
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I5360 - 68orchcould use some support for Aleta somehow....
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I558Angus"their" instead of "the"?
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I5628Angusmatchsticks - quarter, half, quarter rest
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I5628Hjalmarsuggest start mf , cresc. "terrible"
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I5735Piano (orch)consider moving the G# to the 8th before for easier coordination
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I5858PianoLH check to see if orch has something to support Aleta's shift to B
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I58...58...Princem. 57 - A little heavy start. Maybe the first two notes G instead of E (then descends)
54 - 55 - works ok I think if you only do the F# once
68 - maybe consider starting the "Ma-" middle of the bar, and on a D to soften a little
73 - I will ask Jeremy if he can do a voix mixte effect for the B
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I5489MaleinebirdS
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I60103....Hjalmar"E" is an intense note (passaggio), and not where the tenor wants to hang out for long periods of time. It's great for the intense part of any phrase. Listen to the 2nd of the recordings today to hear a tessitura adjustment (not for notes- just for range) and how the voice behaves
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I61115HjalmarBlanketed....at least a 3rd to high to be comprehensible; yeah, you can hear that my "adjustments" were really just place-holders to hear what differnt options sound like
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I69132Maleine/Pr. Hfermata-itis.... I suggest "poco allargando" and eliminate all fermate until final
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I69135Princethe D at the end is a little hard to diminuendo neatly on, but possible. Could follow orch. Bb Ab, or be a G. maybe more easily
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I7910...Foolsee Fool notes from working session
slight text adjustments, and adjust all fermatas
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I79...sceneFool and pianomove end-of-bar fermatas to rest after last noteDONE THIS SCENE - do for next
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I8569Piano/voicesdiscuss with Bea about Maleine./...hmmmm text and being heard
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I8823Hjalmarmurderous tessitura. F# "beyond" half tied to Q, two Qs rest, or shorter bar
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I9147Fooltext rhythm doubled, orchestral accent moved over a bar
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I10372...Foolline may be too low to register as swashbuckling
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I108155-170AngusThis text and setting could use a listen and some work; It's a little broad and rhythms feel a little constrictive; probably nothing to be done UNTIL you both hear it, but that might be a bit too late.....we'll see when I can get Shane in.
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I11443UrsulaInstead OF braiding
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I11446Ursulamissing G#
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I12260 - 61HjalmarDummy pitches for altered tessitura: Ab, Bb, Eb, C
(ok, not dummy pitches....just what I'd write.... definitely can't understand "Here" on a G#
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I12484Maleinerespell B#
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I126125Pr. Hjust dotted quarter (eliminate tie)
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I13791Pianodownbeat chord? - the A natural in the (horn, I think) seems "stray"
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I138pageALLdouble check reduction, voicings, coordination with vocal pitches
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I141pageAnne, K Hphrase endings shorter: 144 "lord" (tie to 8th); 149 "old" (dotted quarter)
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I146227-228Pianoconsider revoicing bass trem up into the octave above Angus to leave his tessitura clear
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I155308Prince Hreally this rhythm?
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I157322Foolmaybe up? (depends on Bea staging)
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II16228Aletahere boy - shorter "boy"?
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II16699Tempocan we switch all waltzes to dotted half markings?
MACRO NOTE
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II168140...Pianocheck?
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II169144...Fool8ve sopra thru m. 152, then adjust
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II171167FoolSUGGEST: "while" B natural instead of C; start bar quarter rest, 8th rest, then straight 8ths; (repeating the B from the previous phrase ties the idea together more easily)
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II171170piano (orchestra)BIG dim. m. 170 OR consider raising Fool tessitura
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II171175Q Annemaybe one rest OR the other?
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II172...King ariatessitura is not bad, but just sits at the top of the staff in a way that's a little bit tiring for a bass baritone, and also has limited color choices (it's hard to be "intimate" in that range)
2nd voice recording has a little sample of some possible ways to make some of it lower, and reserve that tessitura for the most poignant text/sentiments.
Little stuff - like "things" ain't easy to sing on an E;
On the other hand, that figure at the top, the dotted not step-down figure D, C, D, B, is really characteristic and lovely....hopefully can be preserved, just maybe a little more in the "everyday" tessitura a 3rd or 4th down
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II175223pianoF#?
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II178272...pianoF#?
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II182374Doctormadam, madame? (Bea?) (if "Madame" then tie elixir over the bar an 8th and displace "madame")
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II184400KHthe "G" on the last "than me" is not registering as ff. Perhaps, G/D?
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II184401orchestrasuggest eliminating pickup in orchestra (to eliminate need to coordinate with staging)
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II185424...K HYou already have a lower option for "in his entrails," which I think is actually better, but maybe needs for "weeps" and "in his" to adjust downwards for the overall trajectory to fit with the lower version (you're not gonna find a guy who sings the lower notes of this role who sings top F#s anything less than "heroically".
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II19047Foolsustained too low - wiggle on E/F
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II195 - 100 inclusivepagesFooltranspose up minor 3; rework whole tone scales for readability
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II2001 - 6pianorespelled all sharps to flats first 6 mm.
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II20483....Prince Hjalmarmaybe he should shut up? Can we discuss with Bea?
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II206116K Hconsider C# for "son" - F# seems too climactic
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II216309Maleine, Prince, KHadd 2 mm cresc.?
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II22767K Hdrop to mp ; Queen m. 68 f and drop to mp m. 70. Both crescendo from there poco a poco
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II23650-51Q Anneconsider dropping this note a 6th to A#. This passage is a bit of a voice killer, and Liz only has so many F#s in her.
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II237"Q Annepossible to restore Now I am not (by adding a pickup)
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II23780...Q Annetessitura is killer. Can this drop LITERALLY a 4th (except for "her" as an A#) THROUGH m. 86, then the F# for m. 87
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II24826Nurse, Aleta, King"She is..." - can "is" just be short?
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II242183 - 4, 187-8, 191-2piano8ve sopra
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II25396....Pianotremolo note in small notes
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II260220K H16th pickup instead of 8th?
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II265292...Kingtessitura sits a little low - detailed notes to follow
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II265308Kingstays C while orchestra goes to B?
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II267341Petit Allannotes?
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II270378Layoutcrashy, beams
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II272404Fool"stone" 8ve sopra
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II272406 - 412Fooladjust higher
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II273pageFoolall Ebs become Gs , all Db's become Fs, all Fs become As UNTIL last phrase come scritto
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