Lloyd Webber: Requiem

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Wiegand, Chris (10 January 2020). "Killing Eve's Emerald Fennell and Andrew Lloyd Webber create new Cinderella". The Guardian . Retrieved 10 January 2020. Following the opening of Love Never Dies, Lloyd Webber again began a search for a new musical theatre performer in the BBC One series Over the Rainbow. He cast the winner, Danielle Hope, in the role of Dorothy Gale, and a dog to play Toto in his forthcoming stage production of The Wizard of Oz. He and lyricist and composer Tim Rice wrote a number of new songs for the production to supplement the songs from the film. [78] After the 2016 English National Opera's revival of Lloyd Webber's 1990s musical Sunset Boulevard at the London Coliseum was well-received, in 2017 the production transferred to the Palace Theatre on Broadway (pictured). Lloyd Webber treated for cancer". BBC News. 25 October 2009. Archived from the original on 26 October 2009 . Retrieved 25 October 2009. The work, although a Latin Requiem Mass, was inspired by a tragic article Andrew read in the New York Times about a Cambodian boy who suffered under the Khmer Rouge, and is also dedicated to his father, William Lloyd Webber, who had died in 1982. It includes the song “Pie Jesu,” which remains one of the composer’s most popular works and has been covered by many artists, including Charlotte Church, Anna Netrebko, Marie Osmond and Katherine Jenkins. Superstar never set out or intended to discuss anything at all like the resurrection. All it ever did was to declare itself to be a version of the last seven days of Jesus Christ. It never even remotely said it was going to move into that area, and to do so would have removed its dramatic purpose. Not to sound irreligious, but quite apart from its religious value, it is a wonderful story, and we wanted to deal primarily with the story’s dramatic rather than its theological side.

One of the most distinctive and innovative features of the Requiem is the major emphasis on a child to proclaim a message of death. We tend to think of children as symbolic of life and hope and the future. But that expectation is shattered here. In his Requiem, Lloyd Webber combined the text of the traditional Pie Jesu with that of the version of the Agnus Dei formerly appointed to be used at Requiem Masses: Actors' Equity Association / A Moon for the Misbegotten / Candide / Peter Cook and Dudley Moore / Harold Friedlander / Bette Midler / Liza Minnelli / Theatre Development Fund / John F. Wharton (1974)Lloyd Webber's new version of Cinderella opened at the Gillian Lynne Theatre in the West End in 2021. The opening, which was originally set to take place in August 2020, was delayed due to the COVID-19 pandemic. [92] Based on a book by Emerald Fennell, Lloyd Webber wrote: "Emerald Fennell has written something truly exciting and original, and the moment I read her outline I knew I'd found my latest collaborator." [93] He garnered press attention in July 2021 for saying that he was "prepared to be arrested" to open Cinderella to full houses in spite of rising Covid cases and in defiance of Government advice. [94] A 2021 feature in Variety suggested: An initial draft of Requiem was heard during the 1984 Sydmonton Festival, after which Lloyd Webber spent an additional half-year polishing the work. [1] The premiere took place on 24 February 1985 in St. Thomas Church, New York; [2] the conductor was Lorin Maazel, and the three soloists were Plácido Domingo, Sarah Brightman (Lloyd Webber's wife at the time), and Paul Miles-Kingston. Leonard Bernstein / Carol Burnett / Rex Harrison / The National Theatre Company of Great Britain / The Negro Ensemble Company (1969) I am very interested in and very keen on the idea of writing an original musical expressly for the cinema, taking into account the differences between the world of the cinema and that of the theater -- which is rarely done when a theater piece is transformed to the cinema. Tim Walker (16 June 2009). "Julian Lloyd Webber is to marry for a fourth time". The Daily Telegraph. London. Archived from the original on 10 January 2022 . Retrieved 14 April 2012.

Yet if the Requiem can call large numbers of people, regardless of their religious views, to consider just for a second the human condition and what people have inflicted on one another, then I am truly happy to have "failed." Superstar had a contemporary text by Tim Rice, and was never really intended to be anything more than a piece examining the story of Jesus from the point of view of Judas Iscariot. In that sense it is a dramatic work, and not specifically a religious work at all. I can now recognize that there is a dramatic level of me as a composer present in both works that took them both into the theater, even though that was not anticipated or planned. So hindsight tells me that both scores have a theatricality in common. He is a lifelong supporter of London-based football club Leyton Orient F.C., [105] just like his younger brother Julian. [106] Citron, Stephen. Sondheim and Lloyd-Webber: The New Musical. Oxford University Press, 2001. p. 355.

Cat Destroys Lloyd Webber's Phantom Sequel Score". Playbill. 14 June 2007 . Retrieved 11 December 2016. John Higgins writes in the liner notes of the “First Edition Concert Program” included with the first release of the video that “two events set the Requiem in motion. The first was the death of Andrew Lloyd Webber’s father in 1982 and the second was a story about Cambodia in an obscure corner of the New York Times, concerning a boy who was faced with the choice of killing his mutilated sister or being killed himself. Cambodia has no musical influence in the score, but it did give Lloyd Webber the idea of scoring the Requiem for a boy, a girl and a man: in other words, treble, high soprano and tenor. He toyed with including a bass, but soon rejected the concept … The presence of Placido Domingo as the tenor suggests that the Requiem will also be described as operatic.” Deacon, Michael (26 October 2015). "George Osborne, tax credits... and the quiet revenge of the Lords". The Daily Telegraph. Archived from the original on 10 January 2022 . Retrieved 27 October 2015. George Abbott / Richard Burton / Circle in the Square Theatre / Thomas H. Fitzgerald / Mathilde Pincus (1976)

Andrew Lloyd Webber Auctions Art For Charity". Bloomberg.com. 17 March 2010 . Retrieved 27 September 2014. You have hit on what is simultaneously considered to be your greatest strength and, to many, your greatest weakness -- namely, that you do feel that music should communicate with the broadest number of people.As is usual, Lloyd Webber did not set the Gradual and Tract texts of the Mass. He divides the Sanctus between two movements, including the Hosanna part with the Benedictus. He does not set the Agnus Dei separately, but rather combined the text of Pie Jesu, a motet derived from the final couplet of the usual Dies irae, with that of the Agnus Dei, commonly heard later in the standard Requiem Mass. He includes a text from the burial service, Libera me. I’m absolutely convinced that if people were to be making really well-done videos of well-known operatic arias, you’d find that there is a much broader public for opera than people believe. I’m certain of it, in fact. Elaine Paige – Full Official Chart History". Official Charts Company. 21 October 1978 . Retrieved 20 January 2016. Lloyd Webber (middle) with his then-wife Sarah Brightman (right) in 1985. He would cast her as Christine in The Phantom of the Opera which debuted in London the following year. a b c d e Chandler, David (2012). " 'Everyone should have the opportunity': Alan Doggett and the modern British musical". Studies in Musical Theatre. 6 (3): 275–289. doi: 10.1386/smt.6.3.275_1.

London's Longest-Running Musical To Close". The Indianapolis Star. 20 August 1980. p.25 . Retrieved 8 June 2020. Andrew Lloyd Webber quits as Tory peer as he claims House of Lords demands more time than ever before". The Telegraph. Archived from the original on 10 January 2022 . Retrieved 29 June 2019.

Notes

Not really, except to tell Kenneth [MacMillan] what I had told you and everyone else when he asked me about my original intention for the piece. He has choreographed something that is very surprising and very interesting, and certainly something that I would never have thought of myself. Guy Flatley (12 April 2020). "They rote It—And They're Glad". The New York Times. New York City . Retrieved 12 April 2020.