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in 1962 Dunn set out the three objectives "of the highest importance in making an
English version of any opera"; that "the words should be as easy as possible to sing, with the vowels at the extremities of the registers as near a possible to the vowels of the original stresses and note-values should
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Geoffrey Dunn and Vida Hope arguing during a scene from 'The
Streets Of London', on stage in London, 5th December 1942. Picture Post - 1320 - The Streets of London - pub. 1943, photo by Felix Man at gettyimages
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be scrupulously retained, in recitative as well as arioso; and that they should never be altered or modified except when there is no other way to fulfil the demands of the third objective".
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Dunn took part in a broadcast of
English madrigals for the BBC, subsequently aired on French radio in November 1925, with Kathleen Vincent, Mona Benson and Frederick Woodhouse. He sang with
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Alberti
Castelli's libretto had been based, and described the result as "Re-translated into English by Geoffrey Dunn who has used, wherever possible, T. S. Eliot's own wording.".
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287:. Grove commented that his "lines are always musically phrased, apt for stage effect and endlessly witty in rhyme and pun". Jacobs gives an example from
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company during World War 2, where his songs included 'I don't mind Flies', 'My Son My Son' and 'That is Love'. In 1942 he appeared alongside
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L'Intransigeant, Lundi 23 novembre 1925, La semaine des amateurs de T.p.S.F (Suite de programmes de
Londres), Vendredi 27 Novembre, p7.
175:; and later the composer agreed for the conductor to approach Dunn about revising the libretto for a putative radio broadcast in 1938.
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as the king. He gave up singing to concentrate on acting but appeared as
Cardinal Pirelli in the original cast of the musical
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which revived several 18th century
English operas, with limited resources, and Dunn singing tenor, Woodhouse baritone, and
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Why does the downfall of virtue divert you so much?' (, quel plaisir trouves-tu ~ À faire ainsi cascader la vertu ?)
38:, actor, librettist, director and translator whose wide-ranging career encompassed opera and operetta, theatre and film.
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770:. Opera Diary, London Opera Club : Fortune Theatre. The Triumph of Virtue (Alessandro Scarlatti). February 19.
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on 4 January 1938 with the
Intimate Opera Company, and appeared in other plays on Broadway that month, including
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Search results for
Geoffrey Dunn at the British Universities and Colleges Film and Video Council
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at Sadler's Wells in 1944. Shakespearean roles include
Malvolio in a television production of
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in the MGM blockbuster from 1951, the Archbishop of Canterbury in the 1964 TV adaptation of
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243:, but his most notable achievement was in Sadler's Wells operetta productions, Offenbach (
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684:. London Opera Diary - Don Giovanni. Sadler's Wells Opera at the Coliseum, September 9.
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Jacobs, Arthur. La Belle Hélène. New Sadler's Wells Opera at Sadler's Wells Theatre.
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in London, he and Frederick Woodhouse, without any backing in 1930 formed the
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as Viola in 1950, and the Archbishop of Canterbury in an audio recording of
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518:. The Misses Radford - Andrew Lamb celebrates two Cornish opera pioneers.
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in 1935 he was responsible for stage management, costumes and scenery for
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LP set RHS 343-5, Nielsen: Saul & David, recorded 1972, issued 1977.
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in the early 1960s. Later that decade he provided a translation for the
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He appeared in early British television broadcasts of operas, such as
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Opera Singers productions at the Polytechnic Hall: the title role in
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He also provided translations for twentieth century operas such as
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Geoffrey Dunn (20th century singer, actor, director and translator)
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in 1937. Before the Second World War, Dunn provided librettos for
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Among his screen roles Dunn played a hairdresser in Dickinson's
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Dunn, Geoffrey. 'Murder in the Cathedral' - Play into Opera.
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656:. Oxford University Press, Oxford and New York, 2008, p257.
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of a "superbly punning line (wittier than the original)", '
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David & Charles, Newton Abbot, 1978, p.224, 226, 228.
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Oxford University Press, Oxford and New York, 1980, p251.
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Stuart, Charles. Frederick Woodhouse and Intimate Opera.
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Blyth, Alan, Jacobs, Arthur. The English Eccentrics. In:
34:, (13 December 1902 - 6 September 1981) was an English
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which opened the Sadler's Wells company's move to the
137:; he arranged or translated several of them. At the
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Internet Broadway Database search for Geoffrey Dunn
727:Szymanowski - König Roger, Universal Edition site
641:The Work of Ralph Vaughan Williams (2nd edition).
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807:Wallace, Ian. My Days at the Cambridge Theatre.
497:. Macmillan, London & New York, 1997. p1278.
654:The Letters of Ralph Vaughan Williams 1895-1958
321:in 1962, he first discussed his approach with
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623:, vol. 77, no. 1122, 1936, pp. 742–44. JSTOR,
555:, Vol. 92, No. 1298 (Apr., 1951), pp. 153-158.
54:, participating in rarely heard works such as
833:Queen of Spades, The (1949), BFI screenonline
606:, vol. 76, no. 1103, 1935, pp. 62–64. JSTOR,
332:As a producer and director his work included
107:soprano. In the US he was seen as Thomas in
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352:in early 1951. He translated and produced
74:(also seen in London), the title role in
688:, November 1968, Vol.19, No.11 p920-921.
540:, September 1973, Vol.24 No.9, p783-784.
878:20th-century British male opera singers
756:The story of Sadler's Wells, 1683-1977.
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58:. He took part in the Radford sisters'
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701:, December 1988, Vol.39 No.12, p1490.
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315:. For his translation of Pizzetti's
784:Late Joys - at The Players' Theatre
672:, March 1977, Vol 28 No 3 p234-239.
161:at the Royal Academy, conducted by
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625:http://www.jstor.org/stable/920454
608:http://www.jstor.org/stable/949148
295:. In an article about his work on
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774:, Vol.2 No.6, May 1951, p313-314.
494:The New Grove Dictionary of Opera
221:Dunn's many translations include
155:and the following year directed
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358:by Alessandro Scarlatti at the
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619:“Academy and College Notes.”
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189:Le jeune sage et le vieux fou
131:True Blue, or The Press Gang
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340:at Sadler's Wells in 1947,
318:Assassinio nella cattedrale
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578:Internet Broadway Database
888:English opera librettists
668:. The Birth of TV Opera.
246:Orpheus in the Underworld
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30:, usually referred to as
893:English male film actors
627:. Accessed 24 July 2024.
610:. Accessed 28 July 2024.
389:. He appeared alongside
883:British opera directors
873:English operatic tenors
593:, accepted 6 July 2024.
452:, and Lory in the 1966
377:Dunn appeared with the
297:Murder in the Cathedral
147:and the translation of
823:accessed 28 July 2024.
798:accessed 26 July 2024.
230:Les pĂŞcheurs de perles
139:Royal Academy of Music
101:Intimate Opera Company
97:Royal Academy of Music
835:accessed 28 May 2024.
738:Booklet accompanying
729:accessed 9 July 2024.
387:The Streets of London
355:Il trionfo dell'onore
212:Dunstan and the Devil
92:Bastien and Bastienne
440:of 1949, Terpnos in
224:Béatrice et Bénédict
28:Geoffrey Thomas Dunn
845:Geoffrey Dunn - BFI
459:Alice in Wonderland
208:Julius Caesar Jones
184:Lionel and Clarissa
71:La clemenza di Tito
68:in 1929, Sextus in
536:. Intimate Opera.
216:Malcolm Williamson
203:English Eccentrics
149:Mozart and Salieri
50:'s company at the
621:The Musical Times
604:The Musical Times
552:The Musical Times
403:The Forrigan Reel
364:Stanford Robinson
252:La Vie parisienne
172:The Poisoned Kiss
127:The Brickdust Man
52:Lyric Hammersmith
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362:, conducted by
360:Fortune Theatre
349:Dido and Aeneas
289:La Belle Hélène
285:London Coliseum
258:La belle Hélène
198:Herbert Murrill
163:John Barbirolli
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868:1981 deaths
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534:Blyth, Alan
391:Ian Wallace
325:, on whose
323:T. S. Eliot
135:Don Quixote
857:Categories
768:Amis, John
652:Cobbe, H.
466:References
306:King Roger
236:La Calisto
83:Belshazzar
443:Quo Vadis
431:in 1958.
411:starring
383:Vida Hope
264:Bluebeard
241:Der Tenor
86:in 1946.
574:IBDB.com
428:Valmouth
423:Ian Holm
158:Falstaff
115:Broadway
77:Idomeneo
60:Falmouth
56:Idomeneo
740:Unicorn
418:Henry V
273:Gielgud
117:at the
95:at the
277:Jarman
267:) and
180:Dibdin
133:, and
65:Samson
42:Career
809:Opera
772:Opera
715:Opera
699:Opera
686:Opera
670:Opera
538:Opera
521:Opera
366:with
36:tenor
393:and
370:and
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