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https://w.atwiki.jp/hkmrc/pages/2057.html
--------------- 2012-12-01 --------------- 02 00-04 20 19.00-21.20 [[RadioRomania]] +Dan Dediu Verva op. 102 pentru orchestră simfonică +ブラームス ピアノ協奏曲 第1番 ニ短調 作品15 +チャイコフスキー 交響曲 第4番 ヘ短調 作品36 (ピアノ)ダーナ・ボルシャン [Dana Borşan]~ (管弦楽)ルーマニア国立放送管弦楽団 [Orchestrei Naţionale Radio]~ (指揮)ティベリウ・ソアレ [Tiberiu Soare]~ -LIVE- 2012.11.30 Studioul “Mihail Jora” 03 30-06 00 19.30-22.00 [[ORF]] Aus dem Konzertsaal ~ Eggenberger Schlosskonzerte 2012 +ベートーヴェン ピアノ・ソナタ 第14番 嬰ハ短調 作品27-2 "月光" +ベートーヴェン ピアノ・ソナタ 第32番 ハ短調 作品111 +ブラームス バラード集 作品10 +ブラームス 幻想曲集 作品116 (ピアノ)ニコラ・アンゲリッシュ [Nicholas Angelich]~ 2012年8月20日ライヴ Schloss Eggenberg 04 00-06 25 20.00-22.25 [[FranceMusique]] +ヴェーバー 歌劇 「魔弾の射手」 J.277 から 序曲 +シューマン チェロ協奏曲 イ短調 作品129 +チャイコフスキー 幻想序曲 「ロメオとジュリエット」 ロ短調 +ベルリオーズ 序曲 「ローマの謝肉祭」 イ長調 作品9 (チェロ)トゥルルス・モルク [Truls Mørk]~ (管弦楽)フランス放送フィルハーモニー管弦楽団 [Orchestre Philharmonique de Radio France]~ (指揮)シーヨン・ソン [Shi-Yeon Sung]~ -LIVE- 2012.11.30 Salle Pleyel, Paris 04 00-07 00 20.00-23.00 [[NL_Radio4]] +Tristan Keuris Arcade +ストラヴィンスキー ヴァイオリン協奏曲 ニ長調 +ブラームス 交響曲 第1番 ハ短調 作品68 (ヴァイオリン)ヨリス・ファン・リーン [Joris van Rijn]~ (管弦楽)オランダ放送フィルハーモニー管弦楽団 [Radio Filharmonisch Orkest]~ (指揮)ジェレミー・ローレル [Jérémie Rhorer]~ -LIVE- 2012.11.30 Vredenburg Leidsche, Rijn --------------- 2012-12-03 --------------- 00 30-02 30 16.30-18.30 [[RTSI]] +バード オックスフォード伯爵の行進曲 +ロドリーゴ ある貴紳のための幻想曲 +Cristóbal Halffter Tiento del Primer Tono y Batalla Imperial +ブラームス 交響曲 第3番 ヘ長調 作品90 (ギター)マヌエラ・マッフィ [Manuela Maffi]~ (管弦楽)メンドリシオ市民管弦楽団 [Civica Filarmonica di Mendrisio]~ (指揮)カルロ・バルメッリ [Carlo Balmelli]~ -LIVE- 2012.12.2 Mercato Coperto, Mendrisio 03 35-05 00 19.35-21.00 [[BartokRadio]] Solti György 100 +バルトーク 管弦楽のための協奏曲 Sz.116 +ブラームス 交響曲 第4番 ホ短調 作品98 (管弦楽)ブダペスト祝祭管弦楽団 [Budapesti Fesztiválzenekar]~ (指揮)ゲオルク・ショルティ [Georg Solti]~ 1995年5月8日ライヴ Zeneakadémia Nagyterem --------------- 2012-12-04 --------------- 03 30-05 45 19.30-21.45 [[Vltava]] +マルタン 小協奏交響曲 +ブルッフ コル・ニドライ ニ短調 作品47 +メンデルスゾーン 交響曲 第3番 イ短調 作品56 "スコットランド" (ハープ)Lydie Härtelová~ (チェンバロ)Monika Knoblochová~ (ピアノ)Marcel Javorček~ (チェロ)フリードリヒ・クラインハプル [Friedrich Kleinhapl]~ (管弦楽)チェコ放送交響楽団 [Symfonický orchestr Českého rozhlasu]~ (指揮)オンドレイ・レナルト [Ondrej Lenárd]~ -LIVE- 2012.12.3 Rudolfina, Praha 12 00-14 00 20.00-22.00 [[KUAT]] New York Philharmonic +ブラームス ヴァイオリンとチェロのための二重協奏曲 イ短調 作品102 +ブラームス 交響曲 第2番 ニ長調 作品73 (ヴァイオリン)グレン・ディクテロウ [Glenn Dicterow]~ (チェロ)アリサ・ワイラースタイン [Alisa Weilerstein]~ (管弦楽)ニューヨーク・フィルハーモニック [New York Philharmonic]~ (指揮)クルト・マズア [Kurt Masur]~ 2012年11月8-10,13日ライヴ Avery Fisher Hall, New York --------------- 2012-12-07 --------------- 03 20-06 00 19.20-22.00 [[DR_P2]] +Søren Nils Eichberg Fanfare +ベートーヴェン 交響曲 第3番 変ホ長調 作品55 "英雄" +ストラヴィンスキー バレエ音楽 「春の祭典」 (管弦楽)デンマーク放送交響楽団 [DR SymfoniOrkestret]~ (指揮)ラファエル・フリューベック・デ・ブルゴス [Rafael Frühbeck de Burgos]~ -LIVE- 2012.12.6 Koncerthuset, København 04 00-06 00 20.00-22.00 [[Espana]] Orquesta de Córdoba +ブラームス ピアノ協奏曲 第1番 ニ短調 作品15 +ブラームス 交響曲 第1番 ハ短調 作品68 (ピアノ)ピエール=アラン・ヴォロンダ [Pierre-Alain Volondat]~ (管弦楽)コルドバ管弦楽団 [Orquesta de Córdoba]~ (指揮)Álvaro Albiach~ 2011年3月24日ライヴ Gran Teatro, Córdoba 04 30-07 00 19.30-22.00 [[BBC3]] +ラフマニノフ ピアノ協奏曲 第3番 ニ短調 作品30 +プロコフィエフ バレエ音楽 「ロメオとジュリエット」 作品64 から抜粋 (ピアノ)ネルソン・ゲルナー [Nelson Goerner]~ (管弦楽)ハレ管弦楽団 [Hallé]~ (指揮)ステファン・アスブリー [Stefan Asbury]~ -LIVE- 2012.12.6 Bridgewater Hall, Manchester 11 00-13 00 21 00-23 00 [[WUOT]] NEW YORK PHILHARMONIC THIS WEEK +ブラームス ヴァイオリンとチェロのための二重協奏曲 イ短調 作品102 +ブラームス 交響曲 第2番 ニ長調 作品73 (ヴァイオリン)グレン・ディクテロウ [Glenn Dicterow]~ (チェロ)アリサ・ワイラースタイン [Alisa Weilerstein]~ (管弦楽)ニューヨーク・フィルハーモニック [New York Philharmonic]~ (指揮)クルト・マズア [Kurt Masur]~ 2012年11月8-10,13日ライヴ Avery Fisher Hall, New York --------------- 2012-12-08 --------------- 04 04-06 30 20.04-22.30 [[SR2]] Soirée +ベートーヴェン 序曲 「コリオラン」 ハ短調 作品62 +チャイコフスキー ヴァイオリン協奏曲 ニ長調 作品35 +ブラームス 交響曲 第1番 ハ短調 作品68 (ヴァイオリン)ヴィヴィアン・ハーグナー [Viviane Hagner]~ (管弦楽)ドイツ放送フィルハーモニー管弦楽団 [Deutsche Radio Philharmonie]~ (指揮)カレル・マルク・チチョン [Karel Mark Chichon]~ 2012年11月20-27日ライヴ Korea 12 00-14 00 14.00-16.00 [[ABC]] +チャイコフスキー ピアノ協奏曲 第2番 ト長調 作品44 +チャイコフスキー 交響曲 第4番 ヘ短調 作品36 (ピアノ)ギャリック・オールソン [Garrick Ohlsson]~ (管弦楽)シドニー交響楽団 [Sydney Symphony]~ (指揮)ウラディーミル・アシュケナージ [Vladimir Ashkenazy]~ -LIVE- 2012.12.8 Sydney Opera House Concert Hall 16 00-17 30 20.00-21.30 [[RNZ]] Music Alive +Ross Harris The Floating Bride, The Crimson Village +Xian Xinghai The Yellow River Piano Concerto +ベートーヴェン 交響曲 第6番 ヘ長調 作品68 "田園" (ピアノ)ジョン・チェン [John Chen]~ (ソプラノ)ジェニー・ウォラーマン [Jenny Wollerman]~ (管弦楽)ニュージーランド交響楽団 [New Zealand Symphony Orchestra]~ (指揮)ペリー・ソー [Perry So]~ 2012年2月1日ライヴ Michael Fowler Centre, Wellington --------------- 2012-12-09 --------------- 20 15-23 00 12.15-15.00 [[DR_P2]] P2 Koncerten +Søren Nils Eichberg Fanfare +ベートーヴェン 交響曲 第3番 変ホ長調 作品55 "英雄" +ストラヴィンスキー バレエ音楽 「春の祭典」 (管弦楽)デンマーク放送交響楽団 [DR SymfoniOrkestret]~ (指揮)ラファエル・フリューベック・デ・ブルゴス [Rafael Frühbeck de Burgos]~ 2012年12月6日ライヴ Koncerthuset, København --------------- 2012-12-10 --------------- 22 00-24 00 14.00-16.00 [[FranceMusique]] Le concert +シューマン 劇付随音楽 「マンフレッド」 作品115 から 序曲 変ホ短調 +シューマン ヴァイオリン協奏曲 ニ短調 WoO.23 +シューマン 交響曲 第3番 変ホ長調 作品97 "ライン" (ヴァイオリン)ルノー・カピュソン [Renaud Capuçon]~ (管弦楽)ヨーロッパ室内管弦楽団 [Chamber Orchestra of Europe]~ (指揮)ヤニック・ネゼ=セガン [Yannick Nézet-Séguin]~ 2012年11月3日ライヴ Cité de la Musique, Paris --------------- 2012-12-11 --------------- 22 00-24 00 14.00-16.00 [[FranceMusique]] Le concert +シューマン 歌劇 「ゲノフェーファ」 作品81 から 序曲 ハ短調 +シューマン ピアノ協奏曲 イ短調 作品54 +シューマン 交響曲 第2番 ハ長調 作品61 (ピアノ)ニコラ・アンゲリッシュ [Nicholas Angelich]~ (管弦楽)ヨーロッパ室内管弦楽団 [Chamber Orchestra of Europe]~ (指揮)ヤニック・ネゼ=セガン [Yannick Nézet-Séguin]~ 2012年11月4日ライヴ Cité de la Musique, Paris --------------- 2012-12-13 --------------- 03 05-05 00 19.05-21.00 [[Bayern4]] Bamberger Symphoniker - Bayerische Staatsphilharmonie +ラフマニノフ ピアノ協奏曲 第3番 ニ短調 作品30 +グラズノフ バレエ音楽 「四季」 作品67 (ピアノ)ニコライ・ルガンスキー [Nikolai Lugansky]~ (管弦楽)バンベルク交響楽団 [Bamberger Symphoniker]~ (指揮)ミハイル・プレトニェフ [Michail Pletnev]~ 2012年11月23,24日ライヴ Konzerthalle, Bamberg --------------- 2012-12-14 --------------- 03 30-05 30 19.30-21.30 [[SRP2]] P2 Live klassiskt +ベートーヴェン 劇音楽 「エグモント」 作品84 から 序曲 ヘ短調 +ブルッフ ヴァイオリン協奏曲 第1番 ト短調 作品26 +マーラー 交響曲 第1番 ニ長調 "巨人" (ヴァイオリン)レイ・チェン [Ray Chen]~ (管弦楽)ロイヤル・ストックホルム・フィルハーモニー管弦楽団 [Kungliga filharmonikerna]~ (指揮)クリストフ・エッシェンバッハ [Christoph Eschenbach]~ 2012年12月8日ライヴ Stockholms konserthus 04 00-06 00 20.00-22.00 [[Radio100,7]] Concert Euroradio +ストラヴィンスキー バレエ音楽 「妖精の口づけ」 +チャイコフスキー ロココの主題による変奏曲 イ長調 作品33 +チャイコフスキー バレエ音楽 「白鳥の湖」 から (チェロ)ジャン=ギアン・ケラス [Jean-Guihen Queyras]~ (管弦楽)フランス放送フィルハーモニー管弦楽団 [Orchestre Philharmonique de Radio France]~ (指揮)ウラディーミル・スピヴァコフ [Vladimir Spivakov]~ 2012年9月14日ライヴ Salle Pleyel, Paris 04 30-06 30 20.30-22.30 [[RTSI]] [[Espace2]] +William Sterndale Bennett The Najades, ouverture op. 15 +シューマン チェロ協奏曲 イ短調 作品129 +フォーレ エレジー ハ短調 作品24 +ラヴェル 組曲 「マ・メール・ロワ」 (チェロ)ミクローシュ・ペレーニ [Miklos Perényi]~ (管弦楽)スイス・イタリア語放送管弦楽団 [Orchestra della Svizzera italiana]~ (指揮)ハインツ・ホリガー [Heinz Holliger]~ -LIVE- 2012.12.13 Palazzo dei Congressi, Lugano 11 00-13 00 21 00-23 00 [[WUOT]] NEW YORK PHILHARMONIC THIS WEEK +ブラームス 交響曲 第3番 ヘ長調 作品90 +ブラームス 交響曲 第4番 ホ短調 作品98 (管弦楽)ニューヨーク・フィルハーモニック [New York Philharmonic]~ (指揮)クルト・マズア [Kurt Masur]~ 2012年11月15-17日ライヴ Avery Fisher Hall, New York 22 00-24 00 14.00-16.00 [[FranceMusique]] Le concert +プロコフィエフ ピアノ協奏曲 第3番 ハ長調 作品26 +チャイコフスキー 交響曲 第4番 ヘ短調 作品36 (ピアノ)ニコライ・デミジェンコ [Nikolai Demidenko]~ (管弦楽)サンクト・ペテルブルク・フィルハーモニー管弦楽団 [Заслуженный Коллектив России Академический Симфонический Оркестр Филармонии]~ (指揮)ユーリ・テミルカーノフ [Yuri Temirkanov]~ 2012年11月18日ライヴ Théâtre des Champs-Elysées, Paris --------------- 2012-12-15 --------------- 03 35-05 00 19.35-21.00 [[BartokRadio]] A Budapesti Fesztiválzenekar hangversenye +ドホナーニ 交響的瞬間 作品36 +ドホナーニ 童謡主題による変奏曲 ハ長調 作品25 +ドヴォルジャーク 交響曲 第8番 ト長調 作品88~ (アンコール) ラフマニノフ ヴォカリーズ 作品34-14 (ピアノ)デーネシュ・ヴァーリョン [Dénes Várjon]~ (管弦楽)ブダペスト祝祭管弦楽団 [Budapesti Fesztiválzenekar]~ (指揮)イヴァーン・フィッシャー [Iván Fischer]~ 2012年10月12日ライヴ Bartók Béla Nemzeti Hangversenyterem 04 03-06 00 20.03-22.00 [[Bayern4]] +R.シュトラウス 交響詩 「ドン・キホーテ」 作品35 +ブラームス 交響曲 第1番 ハ短調 作品68 (チェロ)マキシミリアン・ホルヌンク [Maximilian Hornung]~ (ヴィオラ)ヘルマン・メンニングハウス [Hermann Menninghaus]~ (管弦楽)バイエルン放送交響楽団 [Symphonieorchester des Bayerischen Rundfunks]~ (指揮)ベルナルト・ハイティンク [Bernard Haitink]~ -LIVE- 2012.12.14 Philharmonie im Münchner Gasteig --------------- 2012-12-17 --------------- 22 06-00 30 14.06-16.30 [[Espace2]] Fauteuil d’orchestre +バルトーク ディヴェルティメント Sz.113 +リスト ピアノ協奏曲 第2番 イ長調 S.125 +ブラームス 交響曲 第1番 ハ短調 作品68 (ピアノ)アルド・チッコリーニ [Aldo Ciccolini]~ (管弦楽)スイス・ロマンド管弦楽団 [Orchestre de la Suisse Romande]~ (指揮)フェレンツ・フリッチャイ [Ferenc Fricsay]~ 1956年2月8日ライヴ Genève --------------- 2012-12-18 --------------- 04 05-06 30 20.05-22.30 [[hr2]] Auftakt-Festival in Frankfurt Komponistenporträt Jörg Widmann ~ Auftakt-Festival in Frankfurt +シベリウス ヴァイオリン協奏曲 ニ短調 作品47 +Jörg Widmann Zweites Labyrinth +チャイコフスキー 交響曲 第4番 ヘ短調 作品36 (ヴァイオリン)ヴェロニカ・エベーレ [Veronika Eberle]~ (管弦楽)ユンゲ・ドイチェ・フィルハーモニー管弦楽団 [Junge Deutsche Philharmonie]~ (指揮)トーマス・ソンダーガード [Thomas Søndergård]~ 2012年9月16日ライヴ Alten Oper, Frankfurt 12 00-14 00 20.00-22.00 [[KUAT]] New York Philharmonic +ブラームス 交響曲 第3番 ヘ長調 作品90 +ブラームス 交響曲 第4番 ホ短調 作品98 (管弦楽)ニューヨーク・フィルハーモニック [New York Philharmonic]~ (指揮)クルト・マズア [Kurt Masur]~ 2012年11月15-17日ライヴ Avery Fisher Hall, New York 20 05-22 00 12.05-14.00 [[BartokRadio]] Hangverseny délidőben +ショパン ピアノ協奏曲 第1番 ホ短調 作品11 +ブラームス ピアノ協奏曲 第2番 変ロ長調 作品83 (ピアノ)アルトゥール・ルービンシュタイン [Artur Rubinstein]~ (管弦楽)ハンガリー国立交響楽団 [Magyar Állami Hangversenyzenekar]~ (指揮)ヤーノシュ・フェレンチーク [János Ferencsik]~ 1966年10月17日ライヴ Erkel Színház --------------- 2012-12-19 --------------- 04 30-07 00 19.30-22.00 [[BBC3]] +ブラームス 交響曲 第3番 ヘ長調 作品90 +ブラームス ハイドンの主題による変奏曲 変ロ長調 作品56a +シマノフスキ 交響曲 第3番 作品27 "夜の歌" (テノール)トビー・スペンス [Toby Spence]~ (合唱)ロンドン交響合唱団 [London Symphony Chorus]~ (管弦楽)ロンドン交響楽団 [London Symphony Orchestra]~ (指揮)ワレリー・ゲルギエフ [Valery Gergiev]~ -LIVE- 2012.12.18 Barbican Hall, London --------------- 2012-12-21 --------------- 04 00-06 25 20.00-22.25 [[FranceMusique]] Concert +ベートーヴェン 交響曲 第2番 ニ長調 作品36 +Bechara El-Khoury Espaces–Fragmentations, poème symphonique nº 6 +Bechara El-Khoury 2eme version Espaces–Fragmentations, poème symphonique nº 6 +ベートーヴェン 交響曲 第6番 ヘ長調 作品68 "田園" (管弦楽)フランス国立管弦楽団 [Orchestre National de France]~ (指揮)ダニエーレ・ガッティ [Daniele Gatti]~ 2012年11月5日ライヴ Théâtre des Champs-Elysées, Paris --------------- 2012-12-22 --------------- 04 00-06 25 20.00-22.25 [[FranceMusique]] Concert +ベートーヴェン 交響曲 第8番 ヘ長調 作品93 +Pascal Zavaro La Bataille de San Romano +Pascal Zavaro 2ème version de La Bataille de San Romano +ベートーヴェン 交響曲 第3番 変ホ長調 作品55 "英雄" (管弦楽)フランス国立管弦楽団 [Orchestre National de France]~ (指揮)ダニエーレ・ガッティ [Daniele Gatti]~ 2012年11月12日ライヴ Théâtre des Champs-Elysées, Paris 23 05-00 57 15.05-16.57 [[ORF]] Apropos Musik //+モーツァルト 歌劇 「ドン・ジョヴァンニ」 K.527 から 序曲 +モーツァルト ピアノ協奏曲 第23番 イ長調 K.488 +ブラームス 交響曲 第3番 ヘ長調 作品90 (ピアノ)ファジル・サイ [Fazil Say]~ (管弦楽)ザルツブルク・モーツァルテウム管弦楽団 [Mozarteum Orchester Salzburg]~ (指揮)アイヴォー・ボルトン [Ivor Bolton]~ 2012年10月7日ライヴ Festspielhaus, Salzburg --------------- 2012-12-26 --------------- 03 05-05 00 19.05-21.00 [[Bayern4]] Beethoven-Zyklus (II) +ベートーヴェン 交響曲 第1番 ハ長調 作品21 +ベートーヴェン 交響曲 第2番 ニ長調 作品36 +ベートーヴェン 交響曲 第5番 ハ短調 作品67 (管弦楽)バイエルン放送交響楽団 [Symphonieorchester des Bayerischen Rundfunks]~ (指揮)マリス・ヤンソンス [Mariss Jansons]~ 2012年11月27日ライヴ Suntory Hall, Tokyo 22 05-24 00 14.05-16.00 [[MDR]] Figaro im Konzert +モーツァルト セレナード 第6番 ニ長調 K.239 "セレナータ・ノットゥルナ" +モーツァルト ピアノ協奏曲 第20番 ニ短調 K.466 +モーツァルト 交響曲 第40番 ト短調 K.550 (ピアノ)ジョナサン・ビス [Jonathan Biss]~ (管弦楽)ドレスデン国立歌劇場管弦楽団 [Sächsische Staatskapelle Dresden]~ (指揮)コリン・デイヴィス [Colin Davis]~ 2012年5月8日ライヴ Semperoper, Dresden --------------- 2012-12-27 --------------- 04 04-06 30 20.04-22.30 [[SR2]] 3. Studiokonzert 1984 +ワーグナー ジークフリート牧歌 ホ長調 WWV.103 +モーツァルト ピアノ協奏曲 第9番 変ホ長調 K.271 "ジュノーム" +Cong Su Musik für Streichquartett und Streichorchester +コレッリ 合奏協奏曲 第8番 ト短調 作品6-8 "クリスマス" +プロコフィエフ 交響曲 第1番 ニ長調 作品25 "古典交響曲" (ピアノ)マルティン・ガリンク [Martin Galling]~ (管弦楽)ザールブリュッケン放送交響楽団 [Rundfunk-Sinfonieorchester Saarbrücken]~ (指揮)タン・ムーハイ [Muhai Tang]~ 1984年12月21日ライヴ Funkhaus Halberg, Saarbrücken --------------- 2012-12-28 --------------- 04 00-06 00 20.00-22.00 [[Musiq3]] Concert du soir +ラフマニノフ ジプシーの主題による奇想曲 作品12 +ラフマニノフ ピアノ協奏曲 第3番 ニ短調 作品30 +ラフマニノフ 交響曲 第1番 ニ短調 作品13 (ピアノ)デニス・コジュヒン [Denis Kozhukhin]~ (管弦楽)ベルギー国立管弦楽団 [Orchestre national de Belgique]~ (指揮)ディマ・スロボデニウク [Dima Slobodeniouk]~ 2012年12月7日ライヴ Palais des Beaux-Arts, Bruxelles --------------- 2012-12-30 --------------- 18 05-19 55 10.05-11.55 [[Bayern4]] Beethoven-Zyklus (III) +ベートーヴェン 交響曲 第4番 変ロ長調 作品60 +ベートーヴェン 交響曲 第3番 変ホ長調 作品55 "英雄" (管弦楽)バイエルン放送交響楽団 [Symphonieorchester des Bayerischen Rundfunks]~ (指揮)マリス・ヤンソンス [Mariss Jansons]~ 2012年11月26日ライヴ Suntory Hall, Tokyo --------------- 2012-12-31 --------------- 04 05-06 30 20.05-22.30 [[hr2]] Klavierabend Benjamin Moser in Bad Arolsen +シューベルト ピアノ・ソナタ 第21番 変ロ長調 D.960 +プロコフィエフ 「ロメオとジュリエット」からの10の小品 作品75 +プロコフィエフ ピアノ・ソナタ 第7番 変ロ長調 作品83 (ピアノ)ベンヤミン・モーザー [Benjamin Moser]~ 2012年8月19日ライヴ Residenzschlosses, Bad Arolsen ----
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CHAPTER XXVIII UP CHAPTER XXX CHAPTER XXIX An Epoch in Anne s Life Anne was bringing the cows home from the back pasture by way of Lover s Lane. It was a September evening and all the gaps and clearings in the woods were brimmed up with ruby sunset light. Here and there the lane was splashed with it, but for the most part it was already quite shadowy beneath the maples, and the spaces under the firs were filled with a clear violet dusk like airy wine. The winds were out in their tops, and there is no sweeter music on earth than that which the wind makes in the fir trees at evening. The cows swung placidly down the lane, and Anne followed them dreamily, repeating aloud the battle canto from MARMION--which had also been part of their English course the preceding winter and which Miss Stacy had made them learn off by heart--and exulting in its rushing lines and the clash of spears in its imagery. When she came to the lines The stubborn spearsmen still made good Their dark impenetrable wood, she stopped in ecstasy to shut her eyes that she might the better fancy herself one of that heroic ring. When she opened them again it was to behold Diana coming through the gate that led into the Barry field and looking so important that Anne instantly divined there was news to be told. But betray too eager curiosity she would not. "Isn t this evening just like a purple dream, Diana? It makes me so glad to be alive. In the mornings I always think the mornings are best; but when evening comes I think it s lovelier still." "It s a very fine evening," said Diana, "but oh, I have such news, Anne. Guess. You can have three guesses." "Charlotte Gillis is going to be married in the church after all and Mrs. Allan wants us to decorate it," cried Anne. "No. Charlotte s beau won t agree to that, because nobody ever has been married in the church yet, and he thinks it would seem too much like a funeral. It s too mean, because it would be such fun. Guess again." "Jane s mother is going to let her have a birthday party?" Diana shook her head, her black eyes dancing with merriment. "I can t think what it can be," said Anne in despair, "unless it s that Moody Spurgeon MacPherson saw you home from prayer meeting last night. Did he?" "I should think not," exclaimed Diana indignantly. "I wouldn t be likely to boast of it if he did, the horrid creature! I knew you couldn t guess it. Mother had a letter from Aunt Josephine today, and Aunt Josephine wants you and me to go to town next Tuesday and stop with her for the Exhibition. There!" "Oh, Diana," whispered Anne, finding it necessary to lean up against a maple tree for support, "do you really mean it? But I m afraid Marilla won t let me go. She will say that she can t encourage gadding about. That was what she said last week when Jane invited me to go with them in their double-seated buggy to the American concert at the White Sands Hotel. I wanted to go, but Marilla said I d be better at home learning my lessons and so would Jane. I was bitterly disappointed, Diana. I felt so heartbroken that I wouldn t say my prayers when I went to bed. But I repented of that and got up in the middle of the night and said them." "I ll tell you," said Diana, "we ll get Mother to ask Marilla. She ll be more likely to let you go then; and if she does we ll have the time of our lives, Anne. I ve never been to an Exhibition, and it s so aggravating to hear the other girls talking about their trips. Jane and Ruby have been twice, and they re going this year again." "I m not going to think about it at all until I know whether I can go or not," said Anne resolutely. "If I did and then was disappointed, it would be more than I could bear. But in case I do go I m very glad my new coat will be ready by that time. Marilla didn t think I needed a new coat. She said my old one would do very well for another winter and that I ought to be satisfied with having a new dress. The dress is very pretty, Diana--navy blue and made so fashionably. Marilla always makes my dresses fashionably now, because she says she doesn t intend to have Matthew going to Mrs. Lynde to make them. I m so glad. It is ever so much easier to be good if your clothes are fashionable. At least, it is easier for me. I suppose it doesn t make such a difference to naturally good people. But Matthew said I must have a new coat, so Marilla bought a lovely piece of blue broadcloth, and it s being made by a real dressmaker over at Carmody. It s to be done Saturday night, and I m trying not to imagine myself walking up the church aisle on Sunday in my new suit and cap, because I m afraid it isn t right to imagine such things. But it just slips into my mind in spite of me. My cap is so pretty. Matthew bought it for me the day we were over at Carmody. It is one of those little blue velvet ones that are all the rage, with gold cord and tassels. Your new hat is elegant, Diana, and so becoming. When I saw you come into church last Sunday my heart swelled with pride to think you were my dearest friend. Do you suppose it s wrong for us to think so much about our clothes? Marilla says it is very sinful. But it is such an interesting subject, isn t it?" Marilla agreed to let Anne go to town, and it was arranged that Mr. Barry should take the girls in on the following Tuesday. As Charlottetown was thirty miles away and Mr. Barry wished to go and return the same day, it was necessary to make a very early start. But Anne counted it all joy, and was up before sunrise on Tuesday morning. A glance from her window assured her that the day would be fine, for the eastern sky behind the firs of the Haunted Wood was all silvery and cloudless. Through the gap in the trees a light was shining in the western gable of Orchard Slope, a token that Diana was also up. Anne was dressed by the time Matthew had the fire on and had the breakfast ready when Marilla came down, but for her own part was much too excited to eat. After breakfast the jaunty new cap and jacket were donned, and Anne hastened over the brook and up through the firs to Orchard Slope. Mr. Barry and Diana were waiting for her, and they were soon on the road. It was a long drive, but Anne and Diana enjoyed every minute of it. It was delightful to rattle along over the moist roads in the early red sunlight that was creeping across the shorn harvest fields. The air was fresh and crisp, and little smoke-blue mists curled through the valleys and floated off from the hills. Sometimes the road went through woods where maples were beginning to hang out scarlet banners; sometimes it crossed rivers on bridges that made Anne s flesh cringe with the old, half-delightful fear; sometimes it wound along a harbor shore and passed by a little cluster of weather-gray fishing huts; again it mounted to hills whence a far sweep of curving upland or misty-blue sky could be seen; but wherever it went there was much of interest to discuss. It was almost noon when they reached town and found their way to "Beechwood." It was quite a fine old mansion, set back from the street in a seclusion of green elms and branching beeches. Miss Barry met them at the door with a twinkle in her sharp black eyes. "So you ve come to see me at last, you Anne-girl," she said. "Mercy, child, how you have grown! You re taller than I am, I declare. And you re ever so much better looking than you used to be, too. But I dare say you know that without being told." "Indeed I didn t," said Anne radiantly. "I know I m not so freckled as I used to be, so I ve much to be thankful for, but I really hadn t dared to hope there was any other improvement. I m so glad you think there is, Miss Barry." Miss Barry s house was furnished with "great magnificence," as Anne told Marilla afterward. The two little country girls were rather abashed by the splendor of the parlor where Miss Barry left them when she went to see about dinner. "Isn t it just like a palace?" whispered Diana. "I never was in Aunt Josephine s house before, and I d no idea it was so grand. I just wish Julia Bell could see this--she puts on such airs about her mother s parlor." "Velvet carpet," sighed Anne luxuriously, "and silk curtains! I ve dreamed of such things, Diana. But do you know I don t believe I feel very comfortable with them after all. There are so many things in this room and all so splendid that there is no scope for imagination. That is one consolation when you are poor--there are so many more things you can imagine about." Their sojourn in town was something that Anne and Diana dated from for years. From first to last it was crowded with delights. On Wednesday Miss Barry took them to the Exhibition grounds and kept them there all day. "It was splendid," Anne related to Marilla later on. "I never imagined anything so interesting. I don t really know which department was the most interesting. I think I liked the horses and the flowers and the fancywork best. Josie Pye took first prize for knitted lace. I was real glad she did. And I was glad that I felt glad, for it shows I m improving, don t you think, Marilla, when I can rejoice in Josie s success? Mr. Harmon Andrews took second prize for Gravenstein apples and Mr. Bell took first prize for a pig. Diana said she thought it was ridiculous for a Sunday-school superintendent to take a prize in pigs, but I don t see why. Do you? She said she would always think of it after this when he was praying so solemnly. Clara Louise MacPherson took a prize for painting, and Mrs. Lynde got first prize for homemade butter and cheese. So Avonlea was pretty well represented, wasn t it? Mrs. Lynde was there that day, and I never knew how much I really liked her until I saw her familiar face among all those strangers. There were thousands of people there, Marilla. It made me feel dreadfully insignificant. And Miss Barry took us up to the grandstand to see the horse races. Mrs. Lynde wouldn t go; she said horse racing was an abomination and, she being a church member, thought it her bounden duty to set a good example by staying away. But there were so many there I don t believe Mrs. Lynde s absence would ever be noticed. I don t think, though, that I ought to go very often to horse races, because they ARE awfully fascinating. Diana got so excited that she offered to bet me ten cents that the red horse would win. I didn t believe he would, but I refused to bet, because I wanted to tell Mrs. Allan all about everything, and I felt sure it wouldn t do to tell her that. It s always wrong to do anything you can t tell the minister s wife. It s as good as an extra conscience to have a minister s wife for your friend. And I was very glad I didn t bet, because the red horse DID win, and I would have lost ten cents. So you see that virtue was its own reward. We saw a man go up in a balloon. I d love to go up in a balloon, Marilla; it would be simply thrilling; and we saw a man selling fortunes. You paid him ten cents and a little bird picked out your fortune for you. Miss Barry gave Diana and me ten cents each to have our fortunes told. Mine was that I would marry a dark-complected man who was very wealthy, and I would go across water to live. I looked carefully at all the dark men I saw after that, but I didn t care much for any of them, and anyhow I suppose it s too early to be looking out for him yet. Oh, it was a never-to-be-forgotten day, Marilla. I was so tired I couldn t sleep at night. Miss Barry put us in the spare room, according to promise. It was an elegant room, Marilla, but somehow sleeping in a spare room isn t what I used to think it was. That s the worst of growing up, and I m beginning to realize it. The things you wanted so much when you were a child don t seem half so wonderful to you when you get them." Thursday the girls had a drive in the park, and in the evening Miss Barry took them to a concert in the Academy of Music, where a noted prima donna was to sing. To Anne the evening was a glittering vision of delight. "Oh, Marilla, it was beyond description. I was so excited I couldn t even talk, so you may know what it was like. I just sat in enraptured silence. Madame Selitsky was perfectly beautiful, and wore white satin and diamonds. But when she began to sing I never thought about anything else. Oh, I can t tell you how I felt. But it seemed to me that it could never be hard to be good any more. I felt like I do when I look up to the stars. Tears came into my eyes, but, oh, they were such happy tears. I was so sorry when it was all over, and I told Miss Barry I didn t see how I was ever to return to common life again. She said she thought if we went over to the restaurant across the street and had an ice cream it might help me. That sounded so prosaic; but to my surprise I found it true. The ice cream was delicious, Marilla, and it was so lovely and dissipated to be sitting there eating it at eleven o clock at night. Diana said she believed she was born for city life. Miss Barry asked me what my opinion was, but I said I would have to think it over very seriously before I could tell her what I really thought. So I thought it over after I went to bed. That is the best time to think things out. And I came to the conclusion, Marilla, that I wasn t born for city life and that I was glad of it. It s nice to be eating ice cream at brilliant restaurants at eleven o clock at night once in a while; but as a regular thing I d rather be in the east gable at eleven, sound asleep, but kind of knowing even in my sleep that the stars were shining outside and that the wind was blowing in the firs across the brook. I told Miss Barry so at breakfast the next morning and she laughed. Miss Barry generally laughed at anything I said, even when I said the most solemn things. I don t think I liked it, Marilla, because I wasn t trying to be funny. But she is a most hospitable lady and treated us royally." Friday brought going-home time, and Mr. Barry drove in for the girls. "Well, I hope you ve enjoyed yourselves," said Miss Barry, as she bade them good-bye. "Indeed we have," said Diana. "And you, Anne-girl?" "I ve enjoyed every minute of the time," said Anne, throwing her arms impulsively about the old woman s neck and kissing her wrinkled cheek. Diana would never have dared to do such a thing and felt rather aghast at Anne s freedom. But Miss Barry was pleased, and she stood on her veranda and watched the buggy out of sight. Then she went back into her big house with a sigh. It seemed very lonely, lacking those fresh young lives. Miss Barry was a rather selfish old lady, if the truth must be told, and had never cared much for anybody but herself. She valued people only as they were of service to her or amused her. Anne had amused her, and consequently stood high in the old lady s good graces. But Miss Barry found herself thinking less about Anne s quaint speeches than of her fresh enthusiasms, her transparent emotions, her little winning ways, and the sweetness of her eyes and lips. "I thought Marilla Cuthbert was an old fool when I heard she d adopted a girl out of an orphan asylum," she said to herself, "but I guess she didn t make much of a mistake after all. If I d a child like Anne in the house all the time I d be a better and happier woman." Anne and Diana found the drive home as pleasant as the drive in--pleasanter, indeed, since there was the delightful consciousness of home waiting at the end of it. It was sunset when they passed through White Sands and turned into the shore road. Beyond, the Avonlea hills came out darkly against the saffron sky. Behind them the moon was rising out of the sea that grew all radiant and transfigured in her light. Every little cove along the curving road was a marvel of dancing ripples. The waves broke with a soft swish on the rocks below them, and the tang of the sea was in the strong, fresh air. "Oh, but it s good to be alive and to be going home," breathed Anne. When she crossed the log bridge over the brook the kitchen light of Green Gables winked her a friendly welcome back, and through the open door shone the hearth fire, sending out its warm red glow athwart the chilly autumn night. Anne ran blithely up the hill and into the kitchen, where a hot supper was waiting on the table. "So you ve got back?" said Marilla, folding up her knitting. "Yes, and oh, it s so good to be back," said Anne joyously. "I could kiss everything, even to the clock. Marilla, a broiled chicken! You don t mean to say you cooked that for me!" "Yes, I did," said Marilla. "I thought you d be hungry after such a drive and need something real appetizing. Hurry and take off your things, and we ll have supper as soon as Matthew comes in. I m glad you ve got back, I must say. It s been fearful lonesome here without you, and I never put in four longer days." After supper Anne sat before the fire between Matthew and Marilla, and gave them a full account of her visit. "I ve had a splendid time," she concluded happily, "and I feel that it marks an epoch in my life. But the best of it all was the coming home." CHAPTER XXVIII UP CHAPTER XXX 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 19 01 (Tue)
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7th Story CD。 正しい表記はMӓrchen。(携帯等で文字化けの可能性が高いためӓをaで代用しているだけです。) Prologue Maxi、イドへ至る森へ至るイドより至る第七の地平線。 「さあ、復讐劇を始めよう……」 特設サイト 発売日 在庫 参加者 収録曲 ネタバレ含曲名の読み方 限定版と通常版の違い 限定版の仕舞い方 発売前情報等 収録曲(仮) 主な参加者解説 現在判明している事 特設サイト Sound Horizon Exceptional Website 発売日 2010/12/15 在庫 好評発売中 参加者 Gesang StimmenMӓrchen von Friedhof Kanami Ayanano MIKI Kazuki Kiriyama Sayumi Kobayashi REMI Jimang Tomoyo Kurosawa Yume Suzuki Ceui Azumi Inoue Chinatsu Ishii Mikuni Shimokawa Minami Kuribayashi Akio Otsuka Joelle Miku Hatsune StimmenIdolfried Ehrenberg Nobuo Tobita Miyuki Sawashiro Asuka Tanii Toru Okawa Yuichi Nakamura Saki Fujita Sascha 収録曲 宵闇の唄Mӓrchen von Friedhof(歌、台詞) Miku Hatsune(歌) Kanami Ayano(歌) MIKI(歌) REMI(歌) Tomoyo Kurosawa(歌、台詞) Ceui(歌) Mikuni Shimokawa(歌) Minami Kuribayashi(歌) Joelle(歌) Sascha(台詞) Saki Fujita(台詞) 火刑の魔女Kanami Ayano(歌、台詞) MIKI(歌、台詞) Kazuki Kiriyama(歌、台詞) Sayumi Kobayashi(歌、台詞) Mӓrchen von Friedhof(台詞) Sascha(台詞) Saki Fujita(台詞) 黒き女将の宿REMI(歌、台詞) Jimang(歌、台詞) Mӓrchen von Friedhof(台詞) Sascha(台詞) Saki Fujita(台詞) 硝子の棺で眠る姫君Tomoyo Kurosawa(歌、台詞) MIKI(歌、台詞) Jimang(歌、台詞) Yume Suzuki(歌、台詞) Mӓrchen von Friedhof(台詞) Sascha(台詞) Saki Fujita(台詞) 生と死を別つ境界の古井戸Ceui(歌、台詞) MIKI(歌、台詞) Chinatsu Ishii(歌、台詞) Azumi Inoue(歌、台詞) Mӓrchen von Friedhof(歌、台詞) Miku Hatsune(歌) Sascha(台詞) Saki Fujita(台詞) 薔薇の塔で眠る姫君Mikuni Shimokawa(歌、台詞) MIKI(歌、台詞) Azumi Inoue(歌、台詞) Yume Suzuki(歌、台詞) Mӓrchen von Friedhof(台詞) Sascha(台詞) Saki Fujita(台詞) 青き伯爵の城Minami Kuribayashi(歌、台詞) Akio Otsuka(歌、台詞) Mӓrchen von Friedhof(台詞) Sascha(台詞) Saki Fujita(台詞) 磔刑の聖女Joelle(歌、台詞) Mӓrchen von Friedhof(台詞) Sascha(台詞) Saki Fujita(台詞) 暁光の唄Mӓrchen von Friedhof(歌、台詞) Kanami Ayano(台詞) REMI(台詞) Tomoyo Kurosawa(台詞) Ceui(台詞) Mikuni Shimokawa(台詞) Minami Kuribayashi(台詞) Joelle(台詞) MIKI(台詞) Sascha(台詞) Saki Fujita(台詞) +... track.10無音 track.11-32inst track.33-36Sascha(台詞) track.37inst track.38Mӓrchen von Friedhof(台詞) ネタバレ含 曲名の読み方 ドイツ語で読むのが正しいらしい(ラジオ出演時の陛下の曲紹介より)。 推測宵闇の唄 (Das Lied des Abenddammerung) 火刑の魔女 (Die Hexe dem Feuertod) 黒き女将の宿 (Das Gasthaus der Schwarzen) 硝子の棺で眠る姫君 (Die Prinzessin aus dem Glasern Sarg) 生と死を別つ境界の古井戸 (Der alte Brunnen Zwischen Leben und Tod) 薔薇の塔で眠る姫君 (Die Prinzessin aus dem Rosenturm) 青き伯爵の城 (Das Schloss des blauen Graf) 磔刑の聖女 (Die Heilige der Kreuzigung) 暁光の唄 (Das Lied des Morgendammerung) 限定版と通常版の違い アルバムのジャケットが違う。通常版では暗い雰囲気だが限定版では明るい雰囲気に。 限定版は中に通常版のイラストの拡大版が描かれている。 ブックレットが違う。作り方・大きさ、内容も若干異なる。 限定版はまさしく【本】と言える形。全77ページ超。 通常版は一般的な中綴じタイプ。ページ数も若干異なる。 ディスクのレーベル色が若干異なる。通常版のほうが暗い。 CD収納部裏のイラストが異なる。限定版では境界の古井戸にちなんだイラスト、通常版では井戸の中から外を見上げるようなイラスト。 収録曲に違いはない。 ケースが全然違う。通常版は一般的なケースだが、限定版は「七」をもじった形になっている。 限定盤を箱に戻せなくなった方は以下の手順でどうぞ。 限定版の仕舞い方 CDの上に本を載せる。 聖女を伯爵方面に折る。 2.を薔薇方面に折る。 3.を本の方面に折る。 硝子を4.の方面に折る。 女将を5.の方面に折る。 魔女を6.の方面に折る。 箱に入れる。 発売前情報等 +発売日前までのまとめ 収録曲(仮) 宵闇の唄(10分18秒) 火刑の魔女(9分18秒) 黒き女将の宿(6分52秒) 硝子の棺で眠る姫君(8分31秒) 生と死を別つ境界の古井戸(9分19秒) 薔薇の塔で眠る姫君(9分0秒) 青き伯爵の城(7分37秒) 磔刑の聖女(8分8秒) 暁光の唄(4分30秒) 無音(7秒) 合計(73 40)但し収録時間77分との記載もある。3分程度のボーナストラック? 楽天ではトラック数 38との記載も。Elysion ~楽園幻想物語組曲~の方式? 情報源は Forest Plus です。 主な参加者 Gesang StimmenMӓrchen von Friedhof Kanami Ayanano MIKI Kazuki Kiriyama Sayumi Kobayashi REMI Jimang Tomoyo Kurosawa Yume Suzuki Ceui Azumi Inoue Chinatsu Ishii Mikuni Shimokawa Minami Kuribayashi Akio Otsuka Joelle Miku Hatsune StimmenIdolfried Ehrenberg Nobuo Tobita Miyuki Sawashiro Asuka Tanii Toru Okawa Yuichi Nakamura Saki Fujita Sascha 解説 基本Gesang = 歌手 Stimmen = 声優 Gesang Stimmen = 歌うし喋る 参加者を日本語で補足しつつ(同音異字などで別人を紹介している可能性もあります。お手数ですがその場合、ご指摘をお願いします。)Mӓrchen von Friedhof 彩乃かなみ(元・宝塚歌劇団月組トップ娘役) MIKI 桐山和己(生誕祭2010にて幼きメルの年上の方を演じた子役) 小林さゆみ(2000年産まれの子役) REMI Jimang 黒沢ともよ(Moiraのコンサートで幼き日のミーシャを演じた子役) 鈴木結女(日本の歌手) Ceui(日本の歌手) 井上あずみ 石井千夏(2000年産まれの子役) 下川みくに(日本の歌手) 栗林みな実 大塚明夫 Joelle 初音ミク(クリプトン社のボーカロイド) Idolfried Ehrenberg(イドへ至る森へ至るイド発表時にメンバーとされていた人物) 飛田展男(声優) 沢城みゆき(声優) 谷井あすか(声優) 大川透(声優) 中村悠一(声優) 藤田咲(声優) Sascha(ナレーター) 現在判明している事 初回限定盤KICS-91630 価格 ¥3,800 仕様CD+絵本仕様スペシャルブックレット+スペシャルケース 【オリジナル特典:Märchenとゆかいな仲間たちカード】つき*各店7種、全63種類の異なる絵柄を使用したカード■配布店b Set: アニメイトd Set: アニブロ・ゲーマーズe Set: HMVi Set: 新星堂l Set: ソフマップo Set: タワーレコードt Set: TSUTAYA RECORDSW Set: メロンブックスz Set:上記以外の一般店(店名詳細は公式を確認ください) 通常盤KICS-1630 価格 ¥3,000 仕様CD+通常ブックレット+通常ケース ジャケットイラストレーションyokoyan氏が続投 その他第七の物語の舞台となるのは宵闇の復讐劇が繰り広げられる残酷な『童話』の世界・・・。 Exceptional Websiteより2010.12.15 im Friedhof...2010年12月15日、墓場にて……的な意味。 試聴現在、「宵闇の唄」の試聴がExceptional Websiteで可能。 聞き取りはしたらばで進行中のようです。 Mӓrchenのロゴ今までのアルバムと比べると非常に凝っている。 良く見ると十字架が9つある。 タイトル発表前の情報9つの文章が表示されている。 曲名とする説が優勢だった。 某雑誌により曲名であることがバラされている。 曲名(推定) 生 と 死 薔を硝 薇別子 のつの 青塔境棺黒 磔きで界でき火 暁刑伯眠の眠女刑宵 光の爵る古る将の闇 の聖の姫井姫の魔の 唄女君宿戸君宿女唄
https://w.atwiki.jp/stones/pages/251.html
Capitol Theatre, Aberdeen, Scotland, May 26, 1982■Aberdeen 1982 (2CD) SODD 086/087 Playhouse Theatre, Edinburgh, Scotland, May 28, 1982 ■The Flower of Scotland (2CD) Rattle Snake RS 034/35 ■Baby Let s Play House (2CD) VGP-257 ■Edinburgh (2CD) SODD 040/41 Feyenoord-Stadion, Rotterdam, Netherlands, June 4, 1982 ■Rotter Beast of Burden (2CD) VGP-125 Feyenoord-Stadion, Rotterdam, Netherlands, June 5, 1982■Mojo s Finest (2CD) VGP-263 Niedersachsen Stadion, Hannover, West Germany, June 6, 1982 ■Hannover 82 (2CD) Idol Mind Productions IMP-CD-030-31 Niedersachsen Stadion, Hannover, West Germany, June 7, 1982■Hannover 82 (2CD) Check This Out! Waldbuhne, West Berlin, Germany, June 8, 1982 ■Beast of Bourbon (2CD) VGP-086 Olympia Stadium, Munich, West Germany, June 10, 1982 ■Willkommen in Munchen (2CD) VGP-099 Olympia Stadium, Munich, West Germany, June 11, 1982 ■Chantilly Lace (2CD) VGP-254 Hippodrome d Auteuil, Paris, France, June 13, 1982 ■Demain Le Soleil (2CD) VGP-106 Hippodrome d Auteuil, Paris, France, June 14, 1982 ■Mercy Paris (2CD) JL-012-013 (source 1) ■European Tour Paris 1982 (2CD) VGP-289 (source 2) Stade Gerland, Lyons, France, June 16, 1982 ■Merci Lyon 1982 (2CD) VGP-272 Ullevi Stadium, Gothenburg, Sweden, June 19, 1982■Never Stop (2CD) Pathos 002-1/2 (source 1) ■Never Stop (2CD) VGP-282 (source 2) Ullevi Stadium, Gothenburg, Sweden, June 20, 1982 ■Drinking Dancing (1CD/17 tracks) S82 (source 1) (vinyl) ■Drinking Dancing (2CD) VGP-251 (source 2) Wembley Stadium, Wembley, Middlesex, June 25, 1982 ■Wembley Stadium 1982 (2CDR) Sound of Satisfaction SOS-820625 Wembley Stadium, Wembley, Middlesex, June 26, 1982 ■Welcome Back! Wembley (2CD) Exile Original Masters EXM-007AB ■The Second Wembley Stadium 1982 (2CDR) One Handred Club OHC-017 Wembley Stadium, Wembley, Middlesex, June 26, 1982 (Soundboard Recording)■One Day in June 1982 (1CD/9 tracks) RS 682 ■European Tour 82 (1CDR+1VCD) Pignose Records PGN 063 Aston Gate Park, Bristol, Gloucestershire, June 27, 1982 ■Bill Wyman We Miss You (1CD/14 tracks) Idol Mind Productions IMP BRIS-0082 ■Bill Wyman We Miss You 1982 (2CD) Idol Mind Production IMP-N-003 Festhalle, Frankfult, West Germany, June 29, 1982■All the Girls in Frankfult (2CD) MMCD 13 A/B Festhalle, Frankfult, West Germany, June 30, 1982 ■Yeah Baby Yeah (2CD) VGP-288 Praterstadion, Vienna, Austria, July 3, 1982■Willkommen in Wien (2CD) VGP-279 ■Wien Praterstadion 03/07/82 (2CD) TMQ 3782 Mungersdorfer Stadion, Cologne, West Germany, July 4, 1982 ■Two Days in Cologne (3CD/disc 1, 2) The Holy Grail THG 001/002/003 (source 1) ■Stop Breaking Down (2CD) RSSBD 1/2 (source 2) Mungersdorfer Stadion, Cologne, West Germany, July 5, 1982 ■Two Days in Cologne (3CD/disc 3/12 tracks) The Holy Grail THG 001/002/003 Estadio Vincent Calderon, Madrid, Spain, July 7, 1982 ■Singer Under the Rain (1CD) JL-013 (source 2) Stadio Comunale, Turin, Italy, July 11, 1982■Mundialito 1982 (2CD) VGP-121 Stadio San Paolo, Naples, Italy, July 17, 1982 (Soundboard Recording)■Shattered in Europe (2CD/16 Tracks) The Swingin Pig TSP-CD-184 gold CD edition ■Listen Napoli then Die 1982 (2CD) Idol Mind Production IMP-N-009 (SBD/audience) Roundhay Park Arena, Leeds, Yorkshire, July 25, 1982■Live at Leeds 82 (2CDR) VGP-010 1st-issue ■Live at Leeds 82 (2CDR) VGP-010 remastered BACK / NEXT
https://w.atwiki.jp/oper/pages/1611.html
VIERTE SZENE Die Vorigen, Benozzo BENOZZO kommt aus dem Wirtshaus Haben Exzellenza mich gerufen? NASONI Weisst du, dass ich Lust hätte, dich durchprügeln zu lassen? BENOZZO unterwürfig Mich ... Exzellenza? NASONI Du Lügenmaul hast uns abermals um eine ganze Nacht betrogen! BENOZZO Also Exzellenza haben Gasparone nicht gefunden? NASONI stark Nein! einlenkend, leiser Das heisst ... eine Spur von ihm schon! BENOZZO Also doch! NASONI leise Dies Billett. BENOZZO beiseite Unser Schiffsschreiber hat s geschrieben! NASONI Dies Billett, das mir, an einen Stein gebunden, vor die Füsse fiel! liest "Wo der Podestà Nasoni erscheint, zieht sich Gasparone zurück. Der kleine Räuber weicht dem grösseren!" BENOZZO heiter, mit dem Finger drohend Exzellenza, der kennt Sie! leise Er wird gehört haben, dass unser Podestà gern ein Auge zudrückt, wenn man ein Pflaster drauflegt. macht die Gebärde des Geldzählens NASONI leise Ah bah! Wenn ich nur täglich ein Auge zumache, so trägt das mehr ein, als wenn ich alle beide eine Woche lang offen habe. Das bin ich meiner Gesundheit schuldig! laut Es ist nun schon das dritte Mal, Benozzo, dass du mich, die Gendarmen und Zollwächter umsonst auf Gasparones Spur gehetzt hast! Warum begleitest du uns nie? BENOZZO Ei, wenn ich gerade meinen mutigen Tag habe, mit Freuden! NASONI Mutigen Tag? Sora ist in den Hintergrund abgegangen. BENOZZO sanft Mein Vater, Exzellenza, war Hirte und Witwer. Er päppelte das Kind mit Schafsmilch auf, und diese Milch gab meinem Charakter jene Milde, welche mich zum Liebling von ganz Syrakus machte. NASONI spöttisch Eingebildeter Tropf! BENOZZO achselzuckend Geschmacksache! Eines Abends geriet unser Büffelstier mit einer seiner Odalisken in Streit, ich wollte sie trennen, der Stier gabelte mich auf, rannte davon und... stürzte mit mir in einen Abgrund! NASONI misstrauisch Ist das auch alles wahr? BENOZZO Der Abgrund existiert noch! NASONI Nun dann! BENOZZO Ein Eremit nahm sich meiner an, flösste mir das Herzblut des schwer verwundeten Stiers ein und rettete mir so das Leben! NASONI misstrauisch Ist das ebenfalls wahr? BENOZZO So wahr Sie - ein ehrlicher Mann sind! NASONI Also hast du Kerl Büffelblut in den Adern? BENOZZO Und Schafsmilch! Deshalb habe ich Tage, wild wo ich mutig bin wie ein Büffel und welche, sanft wo ich sanft bin wie ein Lämmchen! NASONI Mir scheint, mit diesem Lämmchen, diesem Büffel willst du mir einen Bären aufbinden?! BENOZZO Gewiss nicht! So wahr Sie ein ehrlicher Mann... NASONI Haha! Das hast du schon einmal gesagt! BENOZZO Gestern zum Beispiel, als Sie auszogen gegen Gasparone, war ich ein ... Lämmchen. Heute aber bin ich der Büffel! brummt wild Muh! Wenn s heute gefällig ist, heute ziehe ich mit! NASONI überlegend Heute? Hm! Heute schon wieder? Ach, wenn s nicht wegen der tausend Zechinen Belohnung wäre, die ich so notwendig brauche! Also einverstanden! Wir ziehen abends wieder aus ich, du, die Gendarmen und die Zollwache! BENOZZO Ja, namentlich die brave, ortskundige Zollwache! für sich Wir haben noch eine ganze Schiffsladung draussen! ... plötzlich kleinlaut Aber ... wenn sich Gasparone an mir rächt ... mich über den Haufen schiesst? NASONI Oho! Keine Schafsmilch! Büffelblut! Büffelmut! Wenn Gasparone dich tötet, das schwöre ich, hängt er zehn Minuten später am nächsten Baum! BENOZZO Zehn Minuten früher wäre mir lieber! Man hört, ziemlich entfernt, kurz nacheinanderfolgende Pistolenschüsse; Bewegung. Alles springt auf und greift zu den Waffen. NASONI Was ist das? BENOZZO zeigt links Schüsse im Pinienwäldchen! NASONI Gasparone etwa? BENOZZO für sich Gasparone? Sollte dahinter nicht eher "Zucker und Kaffee" stecken? NASONI ersteigt einen hohen Stein Da kommt Sora ... sie winkt, sie deutet, sie ruft! allgemeine Stille FÜNFTE SZENE Die Vorigen, Sora, dann Carlotta Nr. 3 - Melodram, Ensemble und Couplet SORA ruft hinter der Szene Rettet die Gräfin Santa Croce! NASONI gesprochen Die Gräfin Santa Croce? Meine künftige Schwiegertochter in Gefahr? Entsetzlich! für sich Ohne ihre Million wäre ich ein ruinierter Mann! BENOZZO, NASONI, CHOR FRAUEN, MÄNNER, ZOLLWÄCHTER Da ist sie! Sprich, was ist geschehn? SORA auftretend, sinkt erschöpft in Benozzos Arme, der sie nach vorn geleitet; alle folgen Geduld! BENOZZO Wie soll ich das verstehn? So sag! CHOR Was ist mit ihr? SORA sich angstvoll umschauend Der Schreck! NASONI Was fehlet dir? SORA stockend und atemlos Mir fehlt der Atem noch! Ich bin ganz ausser mir! NASONI Ja, ja, das sehen wir! BENOZZO So sprich, erzähle doch! SORA Im dichten Walde hier ein Hilferuf ... ganz nah! Die Angst, ich kann nicht mehr! NASONI Und weisst du, was geschah? SORA Gewiss! Die Gräfin, sie ward angefallen! NASONI Wie? Die Gräfin Santa Croce? SORA Schon ist sie in des Räubers Krallen! NASONI, CHOR Schnell hin zu ihr, zu retten sie! sich gegen den Hintergrund wendend CARLOTTA in leichter Erregung, doch lächelnd, plötzlich entgegen Ich bin schon da! SORA, BENOZZO, NASONI, CHOR Sie ist da! Was geschah? NASONI bietet Carlotta einen Stuhl an, den sie verweigert Was haben wir gehört? Ist s möglich, dass Sie in Gefahr geschwebt? CARLOTTA lächelnd s war nicht der Rede wert! NASONI O teilen Sie uns mit, was Sie erlebt! CARLOTTA mit heiterer Laune 1. Ein höchst romantisch Abenteuer, nicht weit von hier, im Pinienwald! Zwar, die Gefahr schien ungeheuer, doch ging s zum Glück vorüber bald. Mein muntres Pferd war der Begleitung vorausgeeilt auf schmalem Pfad; ich überliess mich seiner Leitung und träumte von der Zukunft grad. Da plötzlich wurd aus meinen Träumen ich aufgeschreckt recht schauerlich zwei Räuber stürzten aus den Bäumen, der packt mein Pferd, der andre mich! Da fühlte ich, mein Mut entwich, erbleichend dacht ich innerlich Recht gefährlich ist der Aufenthalt so allein im dunklen Pinienwald! Ja, gefährlich ist der Aufenthalt so allein im dunklen Pinienwald! SORA, BENOZZO, NASONI, CHOR Ja, gefährlich, ist s im dunklen Pinienwald! CARLOTTA 2. Im Innern fühlt ich mich erbeben! Kein Wunder, wenn so plötzlich man den Raubgesellen preisgegeben, an Widerstand nicht denken kann! Schon war vom Rosse ich gesunken, da knallt ein Schuss, ein zweiter dann, ich blick empor ... und freudetrunken sah einen Helfer kühn ich nahn! Die feigen Räuber fiohn ins Weite. Mein Retter hob mit sichrer Hand mich in den Sattel, trat zur Seite, verbeugt sich artig und verschwand! Was ich galant, diskret auch fand, weil er die Situation verstand! Denn gefährlich ist der Aufenthalt so zu zwein im dunklen Pinienwald! Ja, gefährlich ist der Aufenthalt so zu zwein im dunklen Pinienwald! SORA, BENOZZO, NASONI, CHOR Ja, gefährlich ist s im dunklen Pinienwald! NASONI Und jener Retter? CARLOTTA War NASONI Mein Sohn! Das dacht ich mir! CARLOTTA leicht verlegen O nein! Es war ein andrer Kavalier, sehr artig scheint er immer gegen Damen. NASONI Sie kennen ihn? CARLOTTA Nicht seinen Namen, doch bin ich früher schon begegnet ihm. NASONI parodistisch Gleichviel! Die Heldentat war gross, sublim! Wo ist der edle Mann, dass ich ihm danken kann? Der teuren Schwiegertochter Leben erhielt er mir! CARLOTTA blickt in den Hintergrund, mit leichtem Schrei, da sie Erminio erblickt Ha! Da kommt er eben! NASONI Mein Sohn! Kommt endlich er hierher? CARLOTTA Nein, nicht Ihr Sohn! Mein Retter! Er! SECHSTE SZENE Die Vorigen, Erminio NASONI Wer? CARLOTTA Er! NASONI Der? BENOZZO Der? SORA Der? CARLOTTA Ja, er! SORA, BENOZZO, NASONI Wie, der wär Er? ERMINIO war anfangs im Hintergrund geblieben, tritt jetzt vor Vergebung, wenn ich stör ! zu Carlotta Mich zog s hierher, zu sehn, wie Ihr Befinden wär! CARLOTTA Nach dem Malheur? Ich danke sehr! NASONI für sich Dieser Er kommt hierher? Meinem Sohn zum Malheur! Was ist sein Begehr? Mir ist verdächtig gar mancherlei! Erfahren möcht ich, wer er wohl sei! Als Unbekannter, als Ungenannter kommt er hierher, der Herr von Er! Er! CARLOTTA für sich Scheint auch verdächtig noch mancherlei, erfahren möcht ich doch, wer er sei! Ein Ungekannter, ein Ungenannter blieb er bisher, doch hübsch ist er! ERMINIO für sich Ja, wetten möcht ich bei meiner Treu, dass ich allen verdächtig hier sei, und trotzdem kam ich hierher! NASONI für sich Mir ist verdächtig gar mancherlei! Erfahren möcht ich, wer das wohl sei! Als Ungekannter, als Ungenannter kommt er hierher, der Herr von Er! BENOZZO für sich Mir ist verdächtig gar mancherlei! Erfahren möcht ich, wer das wohl sei! Als Ungekannter, als Ungenannter kommt er, der Herr von Er! SORA für sich Ein Ungekannter blieb er bisher, doch hübsch ist er! ERMINIO für sich Ja, wetten möcht ich, meiner Treu, dass ich verdächtig hier sei! BENOZZO, NASONI für sich Mir ist verdächtig mancherlei, und wissen möcht ich, wer er sei! CARLOTTA, SORA für sich Scheint auch verdächtig er bisher, doch hübsch ist er! Wissen möchte ich, wer er wohl wär! BENOZZO, NASONI für sich Ganz unbekannt kommt er hierher, der Herr von Er! Hier ist verdächtig gar mancherlei! Erfahren möcht ich, wer wohl der Er da sei, denn verdächtig ist er, dieser Er! ERMINIO für sich Schwören möcht ich, dass verdächtig ich hier, meiner Ehr! FRAUEN untereinander Ein Ungenannter blieb er bisher, doch ist er hübsch, der Herr von Er! MÄNNER, ZOLLWÄCHTER untereinander Ein Ungenannter blieb er bisher. Was will er hier, der Herr von Er! Erminio tritt einige Schritte näher. NASONI ihm entgegen Mein Herr! Sie nennen sich? ERMINIO Noch nicht! NASONI für sich Das klingt etwas verdächtig. laut doch meine ich, Sie kennen mich! ERMINIO Noch nicht! NASONI für sich Das klingt noch mehr verdächtig, und dabei lächelt er ganz niederträchtig! laut und heftig Mein Herr, wenn Sie s nicht wissen schon. nun so erfahren Sie ich habe einen Sohn! ERMINIO verbeugt sich lächelnd Sie sind beneidenswert! NASONI mit Grimasse Nun, wie man s nimmt... heftiger Mein Sohn ist Bräutigam der Dame! zeigt auf Carlotta ERMINIO mit Verbeugung, lächelnd Bedaure! Ist das schon bestimmt? NASONI Gewiss! Drum frag ich, wie Ihr Name? CARLOTTA Nur nicht so heftig! NASONI in Wut Ja, zur Stunde muss ich das wissen, weil s nicht klar, ob mit dem Räuber Sie im Bunde, vielleicht der Räuber selbst sogar! ERMINIO Hahaha! Hahaha! CARLOTTA Nasoni beruhigend Was fällt Ihnen ein? ERMINIO Hahaha! Hahaha! CARLOTTA Was fällt Ihnen ein? SORA, BENOZZO, FRAUEN, MÄNNER, ZOLLWÄCHTER Wie? Der soll Gasparone sein. ein Räuber sein? Romanze ERMINIO mit Innigkeit gegen Carlotta, mit leiser Ironie gegen Nasoni 1. Oh, dass ich doch der Räuber wäre, ich strebte nicht nach Eurem Gold! Erringen wollt , bei meiner Ehre, ich mir weit süssern Minnesold! Ein Lösegeld ich dann begehrte, das aufzubringen nimmermehr, das von unschätzbar hohem Werte. Oh, dass ich doch der Räuber wär! 2. Ja, wenn mir solch ein Fang gelungen, wär meine Macht zu End fürwahr! Gefangen würd ich sein, bezwungen in Ihren Fesseln ganz und gar! Doch nein, ich muss ja einem andern nun dieses Kleinod geben hin, muss meine Strasse weiter wandern, weil leider ich kein Räuber bin! hat bei den letzten Worten Carlottas Hand geküsst, verbeugt sich nun leicht und verschwindet im Hintergrund, wie er gekommen, während alle andern verblüfft dastehen. Carlotta blickt ihm mit Teilnahme nach. VIERTE SZENE Die Vorigen, Benozzo BENOZZO kommt aus dem Wirtshaus Haben Exzellenza mich gerufen? NASONI Weisst du, dass ich Lust hätte, dich durchprügeln zu lassen? BENOZZO unterwürfig Mich ... Exzellenza? NASONI Du Lügenmaul hast uns abermals um eine ganze Nacht betrogen! BENOZZO Also Exzellenza haben Gasparone nicht gefunden? NASONI stark Nein! einlenkend, leiser Das heisst ... eine Spur von ihm schon! BENOZZO Also doch! NASONI leise Dies Billett. BENOZZO beiseite Unser Schiffsschreiber hat s geschrieben! NASONI Dies Billett, das mir, an einen Stein gebunden, vor die Füsse fiel! liest "Wo der Podestà Nasoni erscheint, zieht sich Gasparone zurück. Der kleine Räuber weicht dem grösseren!" BENOZZO heiter, mit dem Finger drohend Exzellenza, der kennt Sie! leise Er wird gehört haben, dass unser Podestà gern ein Auge zudrückt, wenn man ein Pflaster drauflegt. macht die Gebärde des Geldzählens NASONI leise Ah bah! Wenn ich nur täglich ein Auge zumache, so trägt das mehr ein, als wenn ich alle beide eine Woche lang offen habe. Das bin ich meiner Gesundheit schuldig! laut Es ist nun schon das dritte Mal, Benozzo, dass du mich, die Gendarmen und Zollwächter umsonst auf Gasparones Spur gehetzt hast! Warum begleitest du uns nie? BENOZZO Ei, wenn ich gerade meinen mutigen Tag habe, mit Freuden! NASONI Mutigen Tag? Sora ist in den Hintergrund abgegangen. BENOZZO sanft Mein Vater, Exzellenza, war Hirte und Witwer. Er päppelte das Kind mit Schafsmilch auf, und diese Milch gab meinem Charakter jene Milde, welche mich zum Liebling von ganz Syrakus machte. NASONI spöttisch Eingebildeter Tropf! BENOZZO achselzuckend Geschmacksache! Eines Abends geriet unser Büffelstier mit einer seiner Odalisken in Streit, ich wollte sie trennen, der Stier gabelte mich auf, rannte davon und... stürzte mit mir in einen Abgrund! NASONI misstrauisch Ist das auch alles wahr? BENOZZO Der Abgrund existiert noch! NASONI Nun dann! BENOZZO Ein Eremit nahm sich meiner an, flösste mir das Herzblut des schwer verwundeten Stiers ein und rettete mir so das Leben! NASONI misstrauisch Ist das ebenfalls wahr? BENOZZO So wahr Sie - ein ehrlicher Mann sind! NASONI Also hast du Kerl Büffelblut in den Adern? BENOZZO Und Schafsmilch! Deshalb habe ich Tage, wild wo ich mutig bin wie ein Büffel und welche, sanft wo ich sanft bin wie ein Lämmchen! NASONI Mir scheint, mit diesem Lämmchen, diesem Büffel willst du mir einen Bären aufbinden?! BENOZZO Gewiss nicht! So wahr Sie ein ehrlicher Mann... NASONI Haha! Das hast du schon einmal gesagt! BENOZZO Gestern zum Beispiel, als Sie auszogen gegen Gasparone, war ich ein ... Lämmchen. Heute aber bin ich der Büffel! brummt wild Muh! Wenn s heute gefällig ist, heute ziehe ich mit! NASONI überlegend Heute? Hm! Heute schon wieder? Ach, wenn s nicht wegen der tausend Zechinen Belohnung wäre, die ich so notwendig brauche! Also einverstanden! Wir ziehen abends wieder aus ich, du, die Gendarmen und die Zollwache! BENOZZO Ja, namentlich die brave, ortskundige Zollwache! für sich Wir haben noch eine ganze Schiffsladung draussen! ... plötzlich kleinlaut Aber ... wenn sich Gasparone an mir rächt ... mich über den Haufen schiesst? NASONI Oho! Keine Schafsmilch! Büffelblut! Büffelmut! Wenn Gasparone dich tötet, das schwöre ich, hängt er zehn Minuten später am nächsten Baum! BENOZZO Zehn Minuten früher wäre mir lieber! Man hört, ziemlich entfernt, kurz nacheinanderfolgende Pistolenschüsse; Bewegung. Alles springt auf und greift zu den Waffen. NASONI Was ist das? BENOZZO zeigt links Schüsse im Pinienwäldchen! NASONI Gasparone etwa? BENOZZO für sich Gasparone? Sollte dahinter nicht eher "Zucker und Kaffee" stecken? NASONI ersteigt einen hohen Stein Da kommt Sora ... sie winkt, sie deutet, sie ruft! allgemeine Stille FÜNFTE SZENE Die Vorigen, Sora, dann Carlotta Nr. 3 - Melodram, Ensemble und Couplet SORA ruft hinter der Szene Rettet die Gräfin Santa Croce! NASONI gesprochen Die Gräfin Santa Croce? Meine künftige Schwiegertochter in Gefahr? Entsetzlich! für sich Ohne ihre Million wäre ich ein ruinierter Mann! BENOZZO, NASONI, CHOR FRAUEN, MÄNNER, ZOLLWÄCHTER Da ist sie! Sprich, was ist geschehn? SORA auftretend, sinkt erschöpft in Benozzos Arme, der sie nach vorn geleitet; alle folgen Geduld! BENOZZO Wie soll ich das verstehn? So sag! CHOR Was ist mit ihr? SORA sich angstvoll umschauend Der Schreck! NASONI Was fehlet dir? SORA stockend und atemlos Mir fehlt der Atem noch! Ich bin ganz ausser mir! NASONI Ja, ja, das sehen wir! BENOZZO So sprich, erzähle doch! SORA Im dichten Walde hier ein Hilferuf ... ganz nah! Die Angst, ich kann nicht mehr! NASONI Und weisst du, was geschah? SORA Gewiss! Die Gräfin, sie ward angefallen! NASONI Wie? Die Gräfin Santa Croce? SORA Schon ist sie in des Räubers Krallen! NASONI, CHOR Schnell hin zu ihr, zu retten sie! sich gegen den Hintergrund wendend CARLOTTA in leichter Erregung, doch lächelnd, plötzlich entgegen Ich bin schon da! SORA, BENOZZO, NASONI, CHOR Sie ist da! Was geschah? NASONI bietet Carlotta einen Stuhl an, den sie verweigert Was haben wir gehört? Ist s möglich, dass Sie in Gefahr geschwebt? CARLOTTA lächelnd s war nicht der Rede wert! NASONI O teilen Sie uns mit, was Sie erlebt! CARLOTTA mit heiterer Laune 1. Ein höchst romantisch Abenteuer, nicht weit von hier, im Pinienwald! Zwar, die Gefahr schien ungeheuer, doch ging s zum Glück vorüber bald. Mein muntres Pferd war der Begleitung vorausgeeilt auf schmalem Pfad; ich überliess mich seiner Leitung und träumte von der Zukunft grad. Da plötzlich wurd aus meinen Träumen ich aufgeschreckt recht schauerlich zwei Räuber stürzten aus den Bäumen, der packt mein Pferd, der andre mich! Da fühlte ich, mein Mut entwich, erbleichend dacht ich innerlich Recht gefährlich ist der Aufenthalt so allein im dunklen Pinienwald! Ja, gefährlich ist der Aufenthalt so allein im dunklen Pinienwald! SORA, BENOZZO, NASONI, CHOR Ja, gefährlich, ist s im dunklen Pinienwald! CARLOTTA 2. Im Innern fühlt ich mich erbeben! Kein Wunder, wenn so plötzlich man den Raubgesellen preisgegeben, an Widerstand nicht denken kann! Schon war vom Rosse ich gesunken, da knallt ein Schuss, ein zweiter dann, ich blick empor ... und freudetrunken sah einen Helfer kühn ich nahn! Die feigen Räuber fiohn ins Weite. Mein Retter hob mit sichrer Hand mich in den Sattel, trat zur Seite, verbeugt sich artig und verschwand! Was ich galant, diskret auch fand, weil er die Situation verstand! Denn gefährlich ist der Aufenthalt so zu zwein im dunklen Pinienwald! Ja, gefährlich ist der Aufenthalt so zu zwein im dunklen Pinienwald! SORA, BENOZZO, NASONI, CHOR Ja, gefährlich ist s im dunklen Pinienwald! NASONI Und jener Retter? CARLOTTA War NASONI Mein Sohn! Das dacht ich mir! CARLOTTA leicht verlegen O nein! Es war ein andrer Kavalier, sehr artig scheint er immer gegen Damen. NASONI Sie kennen ihn? CARLOTTA Nicht seinen Namen, doch bin ich früher schon begegnet ihm. NASONI parodistisch Gleichviel! Die Heldentat war gross, sublim! Wo ist der edle Mann, dass ich ihm danken kann? Der teuren Schwiegertochter Leben erhielt er mir! CARLOTTA blickt in den Hintergrund, mit leichtem Schrei, da sie Erminio erblickt Ha! Da kommt er eben! NASONI Mein Sohn! Kommt endlich er hierher? CARLOTTA Nein, nicht Ihr Sohn! Mein Retter! Er! SECHSTE SZENE Die Vorigen, Erminio NASONI Wer? CARLOTTA Er! NASONI Der? BENOZZO Der? SORA Der? CARLOTTA Ja, er! SORA, BENOZZO, NASONI Wie, der wär Er? ERMINIO war anfangs im Hintergrund geblieben, tritt jetzt vor Vergebung, wenn ich stör ! zu Carlotta Mich zog s hierher, zu sehn, wie Ihr Befinden wär! CARLOTTA Nach dem Malheur? Ich danke sehr! NASONI für sich Dieser Er kommt hierher? Meinem Sohn zum Malheur! Was ist sein Begehr? Mir ist verdächtig gar mancherlei! Erfahren möcht ich, wer er wohl sei! Als Unbekannter, als Ungenannter kommt er hierher, der Herr von Er! Er! CARLOTTA für sich Scheint auch verdächtig noch mancherlei, erfahren möcht ich doch, wer er sei! Ein Ungekannter, ein Ungenannter blieb er bisher, doch hübsch ist er! ERMINIO für sich Ja, wetten möcht ich bei meiner Treu, dass ich allen verdächtig hier sei, und trotzdem kam ich hierher! NASONI für sich Mir ist verdächtig gar mancherlei! Erfahren möcht ich, wer das wohl sei! Als Ungekannter, als Ungenannter kommt er hierher, der Herr von Er! BENOZZO für sich Mir ist verdächtig gar mancherlei! Erfahren möcht ich, wer das wohl sei! Als Ungekannter, als Ungenannter kommt er, der Herr von Er! SORA für sich Ein Ungekannter blieb er bisher, doch hübsch ist er! ERMINIO für sich Ja, wetten möcht ich, meiner Treu, dass ich verdächtig hier sei! BENOZZO, NASONI für sich Mir ist verdächtig mancherlei, und wissen möcht ich, wer er sei! CARLOTTA, SORA für sich Scheint auch verdächtig er bisher, doch hübsch ist er! Wissen möchte ich, wer er wohl wär! BENOZZO, NASONI für sich Ganz unbekannt kommt er hierher, der Herr von Er! Hier ist verdächtig gar mancherlei! Erfahren möcht ich, wer wohl der Er da sei, denn verdächtig ist er, dieser Er! ERMINIO für sich Schwören möcht ich, dass verdächtig ich hier, meiner Ehr! FRAUEN untereinander Ein Ungenannter blieb er bisher, doch ist er hübsch, der Herr von Er! MÄNNER, ZOLLWÄCHTER untereinander Ein Ungenannter blieb er bisher. Was will er hier, der Herr von Er! Erminio tritt einige Schritte näher. NASONI ihm entgegen Mein Herr! Sie nennen sich? ERMINIO Noch nicht! NASONI für sich Das klingt etwas verdächtig. laut doch meine ich, Sie kennen mich! ERMINIO Noch nicht! NASONI für sich Das klingt noch mehr verdächtig, und dabei lächelt er ganz niederträchtig! laut und heftig Mein Herr, wenn Sie s nicht wissen schon. nun so erfahren Sie ich habe einen Sohn! ERMINIO verbeugt sich lächelnd Sie sind beneidenswert! NASONI mit Grimasse Nun, wie man s nimmt... heftiger Mein Sohn ist Bräutigam der Dame! zeigt auf Carlotta ERMINIO mit Verbeugung, lächelnd Bedaure! Ist das schon bestimmt? NASONI Gewiss! Drum frag ich, wie Ihr Name? CARLOTTA Nur nicht so heftig! NASONI in Wut Ja, zur Stunde muss ich das wissen, weil s nicht klar, ob mit dem Räuber Sie im Bunde, vielleicht der Räuber selbst sogar! ERMINIO Hahaha! Hahaha! CARLOTTA Nasoni beruhigend Was fällt Ihnen ein? ERMINIO Hahaha! Hahaha! CARLOTTA Was fällt Ihnen ein? SORA, BENOZZO, FRAUEN, MÄNNER, ZOLLWÄCHTER Wie? Der soll Gasparone sein. ein Räuber sein? Romanze ERMINIO mit Innigkeit gegen Carlotta, mit leiser Ironie gegen Nasoni 1. Oh, dass ich doch der Räuber wäre,ich strebte nicht nach Eurem Gold!Erringen wollt , bei meiner Ehre,ich mir weit süssern Minnesold!Ein Lösegeld ich dann begehrte,das aufzubringen nimmermehr,das von unschätzbar hohem Werte.Oh, dass ich doch der Räuber wär! 2. Ja, wenn mir solch ein Fang gelungen,wär meine Macht zu End fürwahr!Gefangen würd ich sein, bezwungenin Ihren Fesseln ganz und gar!Doch nein, ich muss ja einem andernnun dieses Kleinod geben hin,muss meine Strasse weiter wandern,weil leider ich kein Räuber bin! hat bei den letzten Worten Carlottas Hand geküsst, verbeugt sich nun leicht und verschwindet im Hintergrund, wie er gekommen, während alle andern verblüfft dastehen. Carlotta blickt ihm mit Teilnahme nach. Millöcker,Carl/Gasparone/I-3
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Market scenario The Intelligent Process Automation Market will register a CAGR of 11.91%, witnessing substantial growth during the forecast period. The market has a market value of USD 8200.3 million in 2019, and the same is expected to reach USD 1,4392.4 million by the end of the current forecast period. North America accounted for the most significant market value of USD 2624.6 million in 2018; the market is expected to register a CAGR of 10.83% during the forecast period. Intelligent process automation (IPA) stands for application technology. Its software is designed with extra features like artificial intelligence and related new technologies, including cognitive automation, machine learning, and computer vision, which are used for high volume handling and repeatable tasks. It is constructive in improving business processes by reducing the human hand to assist workers by eliminating repetitive, replicable, and routine tasks. Thus, it enhances the customer experience by simplified methods and techniques. Furthermore, this IPA helps in doing the work in a simple and better way within time and improves the processes efficiency degree and response time. Hence, it increases the worker’s performance customer experience and also helps in reducing the operational risks. To design a new generation of hardware and software to automate industrial processes, there is a need for a few factors like improvement in sensors, advances in machine learning techniques, and increasing computing power is helpful. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/6065 Competitive Outlook This can lower administration costs while simultaneously catering to demand of clients with the help of virtual assistants. The aim of Lab Tech for expanding its application for billing, contract renewal, management, and other ad hoc tasks can bode well for the market. Some prominent global companies are as follows ,UiPath, Inc. (US),Blue Prism Group (UK),Dell EMC Corp. (US),SAP SE (Germany),IBM Corporation (US) Segmentation The Intelligent Process Automation Market will register a CAGR of 11.91%, witnessing substantial growth during the forecast period. The market has a market value of USD 8200.3 million in 2019, and the same is expected to reach USD 1,4392.4 million by the end of the current forecast period. North America accounted for the most significant market value of USD 2624.6 million in 2018; the market is expected to register a CAGR of 10.83% during the forecast period. Intelligent process automation (IPA) stands for application technology. Its software is designed with extra features like artificial intelligence and related new technologies, including cognitive automation, machine learning, and computer vision, which are used for high volume handling and repeatable tasks. It is constructive in improving business processes by reducing the human hand to assist workers by eliminating repetitive, replicable, and routine tasks. Thus it enhances the customer experience by simplified methods and techniques. Furthermore, this IPA helps in doing the work in a simple and better way within time and improves the processes efficiency degree and response time. Hence, it increases the worker’s performance customer experience and also helps in reducing the operational risks. To design a new generation of hardware and software to automate industrial processes, there is a need for a few factors like improvement in sensors, advances in machine learning techniques, and increasing computing power is helpful. Regional Analysis Globally, the intelligence process automation based on the region is divided into four main geographies North America, Asia-Pacific, Europe, and the rest of the world. During the review period, North America is expected to dominate the largest intelligent process automation market share due to its established infrastructure for developing advanced technologies in the region, which leads to fast-paced development. Industry News In June 2019, to extend automation capabilities intelligently in the cloud, a major key player Blue Prism acquired an intelligent automation industry, Thoughtonomy. To combine AI, RPA, cloud deployment in a single platform, this acquisition proves to be futuristic and helpful and is for scaling automation strategy at a high rate. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/intelligent-process-automation-market-6065 Table of Contents 1Executive Summary 2Scope of the Report 2.1Market Definition 2.2Scope of the Study 2.2.1Research objectives 2.2.2Assumptions Limitations 2.3Markets Structure 3Market Research Methodology 3.1Research Process 3.2Secondary Research 3.3Primary Research 3.4Forecast Model Continued…. List of Tables TABLE 1 LIST OF ASSUMPTIONS 31 TABLE 2 GLOBAL INTELLIGENT PROCESS AUTOMATION MARKET, BY DATA TYPE, 2020–2027 (USD MILLION) 44 TABLE 3 STRUCTURED MARKET ESTIMATES FORECAST, BY REGION, 2020–2027 (USD MILLION) 45 Continued…. Trending Report** https //pranali04.edublogs.org/2022/01/03/b2b-telecommunications-market-trends-outlook-by-types-applications-end-users-and-business-opportunities-segmentation-growth-demand-target-forecast-by-2027/ https //ict268262635.wordpress.com/2022/04/06/email-marketing-market-major-application-third-party-usage-micro-market-pricing-analysis-and-geographical-analysis-forecast-to-2030/ https //ict268262635.wordpress.com/2022/04/06/mobile-cloud-service-market-major-application-third-party-usage-micro-market-pricing-analysis-and-geographical-analysis-forecast-to-2030/ About Market Research Future Market Research Future (MRFR) has created a niche in the world of market research. It is counted among the top market research companies that offer well-researched and updated market research reports and insights to businesses of all sizes. What sets us apart is our super-responsive team that offers quality work keeping clients abridged of the prospective challenges and opportunities in various markets. Our team is adept in their space as well as patiently listens to every client. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com/
https://w.atwiki.jp/stones/pages/257.html
Estadio Maracana, Rio de Janeiro, Brazil, February 4, 1995 (Soundboard Recording) ■Bucketful of Water (2CD) Star Spangled Music SSM008/009 ■Voodoo in Rio (2CD) Midnight Beat MB CD 029/30 ■On TV from Rio 1995 More (2CD) RS 01951/52 River de la Plate Stadium, Buenos Aires, Argentina, February 16, 1995 (Soundboard Recording) ■Sympathy for the Voodoo Cult (2CD) Voodoo 001-002 ■Going Wild (2CD) Rock Solid RS-001/2 ■Satisfaction (2CD) no credit ■Buenos Aires (2CD) PARE 002-1 2 Estadio Nacional, Santiago, Chile, February 19, 1995 (Soundboard Recording) ■Southern Quotations from Chile (2CD) VGP-089 Ellis Park Stadium, Johannesburg, South Africa, February 25, 1995 (Soundboard Recording) ■Everything but the Cobra (2CD) Dr.GIG DGCD 037 ■Live in Johannesbourg (2CD) The Swingin Pig TSP-CD-185 ■Voodoo Africana (2CDR) Sister Morphine Records MORPH 39 Tokyo Dome, Tokyo, Japan, March 6, 1995■ Big Egg First Night Stand 1995 (2CD) VGP-050 Tokyo Dome, Tokyo, Japan, March 8, 1995 ■Surprise Sounds in Mixing Area Tokyo 1995 March 8 (2CD) Shaved Disc Tokyo Dome, Tokyo, Japan, March 9, 1995 ■Never Tired (2CD) VGP-065 Tokyo Dome, Tokyo, Japan, March 12, 1995 (Soundboard Recording) ■Eastern Promise (2CD) Kiss The Stone KTS 445/46 ■Tokyo 1995 (2CD) Continental Drift CD007/008 ■Fuckin Tired (3CD/disc 1, 2) VGP-051 ■Voodoo Edo (2CDR) Sister Morphine Records MORPH 17 ■Honky Tonk Tokyo (2CD) HTT 12951/2 ■Live in Japan (2CD) Octopus OCTO 105-106 Tokyo Dome, Tokyo, Japan, March 14, 1995 ■Never Fade Away (2CDR) TMOQ CD 92998 Tokyo Dome, Tokyo, Japan, March 16, 1995 ■Hope You Guess My Name (2CD) VGP-114 Tokyo Dome, Tokyo, Japan, March 17, 1995 ■Voodoo Lounge Tour Memorial March 1995 (3CD/disc 1, 2) Shaved Disc (source 1) ■94/95 Voodoo Lounge Tour Souvenir / Live in Tokyo 95 (2CD) VGP-058 (source 2) Fukuoka Dome, Fukuoka, Japan, March 23, 1995 ■Voodoo Wild 1995 (2CD) RV Records RS-001/002 Compilation■Voodoo Lounge Tour Memorial March 1995 (3CD/disc 3) Shaved Disc ■Memorial Outtakes (1CD) Shaved Disc ■Rarities Tokyo 95 (1CD) rs002 ■Fuckin Tired (3CD/disc 3) VGP-051 Melbourne Cricket Ground, Melbourne, Australia, March 27, 1995 ■Melbourne 95 / Keef Sings Slipping Away (2CD) Weeping Goat WG-035-36 (source 1) ■Lounging in Melbourne (2CD) Home Records HR6058/59 (source 2) Melbourne Cricket Ground, Melbourne, Australia, March 28, 1995 ■Voodoo Rain Dance-Melbourne (2CD) Red Hot RH-016/017 (source 1) ■Melbourne 95 / Keef Sings Happy (2CD) Weeping Goat WG-037-38 (source 2) Adelaide Football Park, Adelaide, Australia, April 5, 1995 ■You re Not Sugar, I m Not Sugar (2CD) VGP-072 Perry Lakes Stadium, Perth, Australia, April 8, 1995 ■Stoned in Perth (2CD) Weeping Goat WG-045-6 Western Springs Stadium, Auckland, New Zealand, April 16, 1995 ■They re on their Way! (2CD) VGP-066 Western Springs Stadium, Auckland, New Zealand, April 17, 1995 ■Auckland at Your Feet (2CDR) Coast 2 Coast C2C 17 Paradiso, Amsterdam, Netherlands, May 26, 1995■Through the Secret Nights (2CD) VGP-134 remastered gold CD limited edition Paradiso, Amsterdam, Netherlands, May 27, 1995 ■Live at Paradiso, Amsterdam 1995 (2CD) Idol Mind Productions IMP-CD 040-041 ■Marrellous Micky Jagger His Guys (2CD) Save the Earth STE 046 2-CD ■Acoustic (2CD) Typhoon TYN 001/02 ■The Footappers Wheel Shunters Club Gig (2CD) RSP-96011/12 original version ■The Footappers Wheel Shunters Club Gig (2CD) VGP-084 remastered version Olympic Stadium, Stockholm, Sweden, June 3, 1995 ■Voodoo, I Like It (2CD) Crystal Cat Records CC 365-66 ■Stoned S(t)ocks (1CD) Rhino RHP 901 Helsinki Olympic Stadium, Helsinki, Finland, June 6, 1995■Wild Wild Helsinki (2CD) Goldmasters 1999 Stadspark de Goffert, Nijmegen, Netherlands, June 13, 1995 ■Holland 1995 (4CD/19 Tracks) Midnight Beat MB CD 054/056 Stadspark de Goffert, Nijmegen, Netherlands, June 14, 1995 ■Holland 1995 (4CD/6 tracks) Midnight Beat MB CD 054/056 Draf en Renbaan Limburg, Landgraaf, Netherlands, June 18, 1995 ■Holland 1995 (4CD/7 tracks) Midnight Beat MB CD 054/056 Mungersdorfer Stadion, Cologne, Germany, June 20, 1995 ■Eau de Cologne 1995 (2CD) VGP-142 (source 1) ■Surprise...It s Cologne! (2CD) C20.06.95 (source 2) Niedersachsenstadion, Hanover, Germany, June 22, 1995 ■Die Cobra Im Blick (2CD) VGP-143 ■The Hannover Concert (2CD) T A Records T A 003/4 Festival Site, Werchter, Belgium, June 24, 1995 ■Beast of Belgium Vol. 1 / Vol. 2 (4CD/disc 1, 2) The Swingin Pig TSP-CD-190 Festival Site, Werchter, Belgium, June 25, 1995 ■Beast of Belgium Vol. 3 / Vol. 4 (4CD/disc 3, 4) The Swingin Pig TDP-CD-190 (source 1) ■How Does it Feel (2CD) Zero Records ZRCD 208-2 (source 2) Hippodrome de Longchamps, Paris, France, June 30, 1995 ■Comeback to Paris (2CD) VGP-076 ■Voodoo in Paris Lounge (2CDR) Pignose Records PGN 002 Hippodrome de Longchamps, Paris, France, July 1, 1995 ■The Storm at Longchamps (2CD) VGP-077 L Olympia, Paris, France, July 3, 1995■French Made 95 (2CD) VGP-059 1st-issue (source 1) ■French Made 95 (2CD) VGP-059 remastered (source 1) ■Back to the Roots (2CD) OSA/BONG SE-CD-001/002 (source 2) ■Olympia (2CD) Moonraker 001/2 (source 3) Wembley Stadium, Wembley, Middlesex, July 15, 1995■London Lounge (2CD) VGP-104 Brixton Academy, London, July 19, 1995 ■Welcome to Brixton Academy (2CD) VGP-094 (source 1) ■Brix 95 (2CD) no credit (source 2) ■Having a Laugh in Brixton (2CD) BAL 19795A/B (source 3) ■Brixton (2CD) Typhoon TYN008/09 (source 4) Estadio del Molinon, Gijon, Spain, July 22, 1995 ■Summernight (2CD) Rob s Records Avalade, Lisbon, Portugal, July 24, 1995 ■Da lapa Incident / Lisboa 95 (2CD) The Swingin Pig TSP-CD-201 Espace Grammont, Montpellier, France, July 27, 1995 ■Voodoo Minstrels (2CD) VGP-067 (source 1) ■Voodoo Minstrels (2CD) VGP-067 (source 2) Waldbuhne Oesterreich-Ring, Zeltweg/Spielberg, Austria, August 1, 1995 ■Made in Live (2CD) Dirty Work Productions DWP-005 Olympiastadion, Munich, Germany, August 3, 1995■Voodoo You Love (2CD) no credit ■The Munchen Concert (2CD) T A Records T A 005/6 Nepstadion, Budapest, Hungary, August 8, 1995■Budapest Rain (2CD) Risk Disc 001 Festivalgelande, Bad Bentheim/Schuttorf, Germany, August 12, 1995 ■Scuttorf 95 (MTTM 8.951/2) (2CD) ■The Schuttorf Concert (2CD) T A Records T A 007/8 Festwiese, Leipzig, Germany, August 15, 1995 ■The Leipzig Concert (2CD) T A Records T A 009/10 Olympiastadion, Berlin, Germany, August 17, 1995 ■Twins in Berlin (2CD) Happyweed HW.022/023 Hockenheimring, Hockenheim, Germany, August 19, 1995 ■Auf Dem Hockenheimring (2CD) VGP-169 Maimarktgelande, Mannheim, Germany, August 22, 1995 ■Mannheim 1995 (2CD) VGP-103 Volkswagengelande, Wolfsburg, Germany, August 25, 1995 ■The Last Incarnation (2CD) VGP-144 ■The Wolfsburg Concert (2CD) T A 0017/18 Kirschberg Stadium, Luxembourg City, Luxembourg, August 27, 1995 ■Made in Europe (2CD) VGP-075 (source 1) ■Voodoo in the European City of Culture (2CD) LU 27081995 (source 2) Feyenoord-Stadion, Rotterdam, Netherlands, August 29, 1995 ■All Things Must Come to an End (2CD) Spark Records SP 001/2 Feyenoord-Stadion, Rotterdam, Netherlands, August 30, 1995 ■Not Fade Away (2CD) Elmore Records 001/002 (source 1) ■Voodoo Lounge Tour Memorial / European Tour Edition (3CD/disc 1, 2) Shaved Disc (source 1) ■Sample / Rotterdam 95 (2CD) no credit (source 2) Stripped, TV (Soundboard Recording)■Stripped Companion (1CD) RSTS 001 ■Censored (1CD) Electric 30041 ■More Stripped (1CD) Kiss the Stone KTS 585 ■But Naked (2CD/disc 2) VGP-071 Compilation■Voodoo Lounge Tour Memorial / European Tour Edition (3CD/disc 3) no credit (Shaved Disc) ■Voodoo Lounge Holland 1995 (4CD/disc 4) Midnight Beat MB CD 057, August 29, 30, 1995 ■Rare Live Tracks from the Voodoo Lounge Tour 94/95 (1CD) Lost Home Syndicate RS 1, 1994-1995 BACK / NEXT
https://w.atwiki.jp/mrfrtech/pages/86.html
Market Scenario Market Research Future (MRFR) predicts the global Email Encryption Market Growth to reach USD 6.84 billion at a CAGR of 22.0% from 2019–2024 (forecast period). Email encryption is characterized as the process of encrypting email messages with public and private keys in order to secure sensitive information that can only be read by the intended recipient. With the rise of cyber-attacks and crimes, it is important for users to encrypt email conversations in order to secure potentially sensitive information—login credentials, social security numbers, and bank account numbers—from hackers, which may result in the loss of a variety of valuable assets. The encryption makes email content unreadable during the time it takes for the email to move from its origin to its destination, protecting the content from any person or hacker. The increased use of email for corporate, government, and personal communication between businesses, individuals, and government agencies has increased the need for email encryption to secure confidential information from third parties, unknown sources, or hackers. Furthermore, the growing loss of data, assets, and information as a result of cyber-attacks and threats such as viruses, malware, and spam has increased the demand for email encryption among various business organizations. COVID-19 Impact on the Global Email Encryption Market During this COVID-19 pandemic, even small businesses are gravitating toward working digitally, as required by regulatory and government bodies in order to maintain social distance. The increased use of email on home servers has increased the risk of fraud. The use of digital technologies like Data Loss Prevention, email authentication, and email encryption has increased globally as a result of the increased incidence of phishing and email scams in this pandemic. Organizations have been more proactive in protecting their sensitive data stored on email servers. Organizations can use email encryption to secure their data, resources, and confidential information from cyber-attacks. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/8049 Competitive Outlook MRFR recognizes the main players in the global email encryption market as Micro Focus International PLC (UK), Trend Micro Inc. (Japan), Symantec Corporation (US), BAE Systems PLC (UK), Cisco Systems, Inc. (US), Sophos Group PLC (UK), Mimecast Services Limited (US), Proofpoint, Inc. (US), Entrust Datacard Corporation (US), Egress Software Technologies Ltd (UK), Zix Corporation (US), and Intermedia.net, Inc. (US). Segmentation The global email encryption industry has been segmented into type, organization size, deployment, and vertical. By type, the global email encryption market has been segmented into end-to-end encryption, hybrid encryption, gateway email encryption, boundary email encryption, and client plugins. By organization size, the global email encryption market has been segmented into large enterprises and SMEs. By deployment, the global email encryption market has been segmented into cloud and on-premise. By vertical, the global email encryption market has been segmented into BFSI, government defense, IT telecom, healthcare, manufacturing, retail, and others. Regional Analysis By region, the global email encryption market has been segmented into North America, Europe, Asia Pacific, and the rest of the world. Because of the involvement of key vendors such as Symantec Corporation, Cisco Systems, Inc., and Proofpoint, Inc., North America has the highest market share. As these vendors provide a variety of solutions to improve data security, reduce and prevent cyber-attacks, and ensure business continuity by protecting data security and privacy for business organizations. Furthermore, the region s early adoption of email encryption is a primary factor influencing the development of the email encryption market in North America. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/email-encryption-market-8049 Table of Contents 1Executive Summary 2Scope of the Report 2.1Market Definition 2.2Scope of the Study 2.2.1Research objectives 2.2.2Assumptions Limitations 2.3Markets Structure Continued…. Trending Report** Application Management Services Market Open Source Intelligence (OSINT) Market https //www.scutify.com/articles/2022-04-25-b2b-telecommunication-market-research-focused-on-the-core-business-key-vendors-development- https //www.scutify.com/articles/2022-04-25-enterprise-file-synchronization-and-sharing-market-size-focused-on-the-core-business-key-vendors https //blogfreely.net/pranali004/social-media-security-market-companies-focused-on-the-core-business-global About Market Research Future Market Research Future (MRFR) has created a niche in the world of market research. It is counted among the top market research companies that offer well-researched and updated market research reports and insights to businesses of all sizes. What sets us apart is our super-responsive team that offers quality work keeping clients abridged of the prospective challenges and opportunities in various markets. Our team is adept in their space as well as patiently listens to every client. The best part is they know their work inside out and possess the expertise to guide the client in the right direction and achieve results on a tight deadline. We are a one-stop solution for all your data research needs. Our team does not believe in the “one size fits all” approach to creating a report that is detailed and concise. We handle 13 industry verticals including Healthcare, Chemicals and Materials, Information and Communications Technology, Semiconductor and Electronics, Energy and Power, Food, Beverages Nutrition, Automobile, Consumer and Retail, Aerospace and Defense, Industrial Automation and Equipment, Packaging Transport, Construction, and Agriculture. With our unique approach for every market report, we aim to reach the zenith in qualitative business intelligence and syndicated market research. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com
https://w.atwiki.jp/vocaloidenglishlyric/pages/380.html
【Tags Kiraboshi Hikaru Meiko Michiru Gahaku Y tD tT】 Original Music title 夕闇ノ殺メ唄 English music title Twilight Homicide Song \ Dusk Murder Song Romaji music title Yuuyami no Ayame Uta Lyrics written by みちる画伯(Michiru Gahaku) Music by キラ星ひかる (Kiraboshi Hikaru) Music arranged by キラ星ひかる (Kiraboshi Hikaru) Singer(s) Meiko Click here for the original Japanese Lyrics English Lyrics (translated by Kanannon): I stained my lips with the flowing blood I will never forgive you, for all of eternity Hiding ourselves in the late afternoon The promise we mad back then ["I LOVE YOU"] ["ME TOO"] Just a beautiful stack of lies destroyed by her "WE CAN T MEET ANYMORE" "NO YOU RE LYING!" "GOOD=BYE" It s too late for regrets now That s the kind of woman I am This is the end The glimmer of the silver knife Shines brighter as reality fades I can hear a scream I stained my lips with the flowing blood I will never forgive you, for all of eternity A never-ending world of darkness That lovely person. The very first person that ever reached his out to me I thought I could do anyrhing for you As long as you wer by my side, I wouldn t care even if my body decyed The read drops color the pale and skinny body Those eyes that were supposively devoid of consciousness waverd emptily No matter how much you regret, you cannot return to the past The thing I killed was the other me In this room that s supposed to be empty The breathing darkness constricts my chest "Good=Bye" If that s what s you re going to say i will take you away and never let you go KAGOME KAGOME WHO IS THE ONE LOOKING AT YOU FROM BEHIND? The tearing apart threads the monstrous pain eating away I already know, that no matetr how much I struggle, The thread will not return to what they were And yet, I still fumble through the threads No matter how much you regret, it s too late Because I m that s kind of a woman This is the end The glimmer of the silver knife Brightens as my vision fades away I can hear a scream I stained my lips with the flowing blood YOU ARE NOW MINE, FOR ALL OF ETERNITY I LOVE YOU Romaji lyrics (transliterated by haru47): nagaredasu chi de kuchibiru o some ta eien ni yurusa nai wa anata yuugure-doki mi o hisome te yubikiri shi ta ano chikai wa ("aishite ru." "watashi mo.") tada, kirei de uso kasaneru kanojo ga kowash ita no ("mou, aenu." "uso." "sayounara.") koukaishi te mo mou osoi no yo datte watashi wa sou iu on na na no kore de owari gin-iro no ha ga kagayaki o mashi te genjitsu ga kasumi himei ga kikoeru nagaredasu chi de kuchibiru o some ta eien ni yurusa nai wa anata (owaru koto no nai yuuyami no sekai.) (hajimete watashi ni te o sashinobe te kure ta itoshii hito.) (anata no tame nar aba nan de mo shi you to omotta.) (anata ga tonari ni i te kureru nara, kono mi ga kuchi te mo kamawa nakatta.) yase ta karada shiroi hada o kurenai no shizuku irodori ishiki no nai hazu no hitomi utsuro ni yuramei ta koukai shi te mo mou modore nai kako ni watashi ga koroshi ta no wa mou hitori no watashi dare mo iru hazu no nai heya ikizuku yami ga watashi no mune shimetsukeru "sayounara" to ima, tsugeru nara tsuresatte shima ou nigasa nai wa anata kagome kagome ushiro no shoumen daare (chigire te yuku ito.) (mushibamu igyou no itami.) (dore dake aragaou to mo,) (ito ga modoranu koto o shitte iru no ni.) (sore de mo watashi wa ito o taguritsuzukeru.) koukai shite mo mou osoi no yo datte watashi wa sou iu on na na no kore de owari gin-iro no ha ga kagayaki o mashi te kasunda shikai himei ga kikoeru nagare dasu chi de kuchibiru o some ta eien ni yurusa nai wa anata aishi teru wa
https://w.atwiki.jp/oper/pages/2096.html
ACT I (Courtyard of Ko-Ko’s Palace in Titipu. Japanese nobles discovered standing and sitting in attitudes suggested by native drawings) CHORUS OF NOBLES If you want to know who we are, We are gentlemen of Japan On many a vase and jar, On many a screen and fan, We figure in lively paint Our attitude’s queer and quaint; You’re wrong if you think it ain’t, oh! If you think we are worked by strings, Like a Japanese marionette, You don’t understand these things It is simply Court etiquette. Perhaps you suppose this throng Can’t keep it up all day long? If that’s your idea, you’re wrong, oh! (Enter Nanki-Poo in great excitement. He carries a native guitar on his back and a bundle of ballads in his obi.) Recitative NANKI-POO Gentlemen, I pray you tell me Where a gentle maiden dwelleth, Named Yum-Yum, the ward of Ko-Ko? In pity speak, oh, speak, I pray you! A NOBLE Why, who are you who ask this question? NANKI-POO Come gather round me, and I’ll tell you. Song and Chorus NANKI-POO A wandering minstrel I A thing of shreds and patches, Of ballads, songs and snatches, And dreamy lullaby! My catalogue is long, Through every passion ranging, And to your humours changing I tune my supple song! Are you in sentimental mood? I’ll sigh with you, Oh, sorrow, On maiden’s coldness do you brood? I’ll do so, too Oh, sorrow, sorrow! I’ll charm your willing ears With songs of lovers’ fears, While sympathetic tears My cheeks bedew Oh, sorrow, sorrow! But if patriotic sentiment is wanted, I’ve patriotic ballads cut and dried; For where’er our country’s banner may be planted, All other local banners are defied! Our warriors, in serried ranks assembled, Never quail, or they conceal it if they do And I shouldn’t be surprised if nations trembled Before the mighty troops of Titipu! CHORUS We shouldn’t be surprised, etc. NANKI-POO And if you call for a song of the sea, We’ll heave the capstan round, With a yeo heave ho, for the wind is free, Her anchor’s a-trip and her helm’s a-lee, Hurrah for the homeward bound! CHORUS Yeo-ho, heave-ho Hurrah for the homeward bound! NANKI-POO To lay aloft in a howling breeze May tickle a landsman’s taste, But the happiest hour a sailor sees Is when he’s down At an inland town, With his Nancy on his knees, yeo-ho! And his arm around her waist! CHORUS Then man the capstan – off we go, As the fiddler swings us round, With a yeo heave ho, And a rum below, Hurrah for the homeward bound! NANKI-POO A wandering minstrel I, etc. (Enter Pish-Tush) PISH-TUSH And what may be your business with Yum-Yum? NANKI-POO I’ll tell you. A year ago I was a member of the Titipu town band. It was my duty to take the cap round for contributions. While discharging this delicate office, I saw Yum-Yum. We loved each other at once, but she was betrothed to her guardian Ko-Ko, a cheap tailor, and I saw that my suit was hopeless. Overwhelmed with despair, I quitted the town. Judge of my delight when I heard, a month ago, that Ko-Ko had been condemned to death for flirting! I hurried back at once, in the hope of finding Yum-Yum at liberty to listen to my protestations. PISH-TUSH It is true that Ko-Ko was condemned to death for flirting, but he was reprieved at the last moment, and raised to the exalted rank of Lord High Executioner under the following remarkable circumstances Song Pish-Tush and Chorus PISH-TUSH Our great Mikado, virtuous man, When he to rule our land began, Resolved to try A plan whereby Young men might best be steadied. So he decreed, in words succinct, That all who flirted, leered or winked (Unless connubially linked), Should forthwith be beheaded. And I expect you’ll all agree That he was right to so decree. And I am right, And you are right, And all is right as right can be! CHORUS And you are right, And we are right, etc. PISH-TUSH This stern decree, you’ll understand, Caused great dismay throughout the land! For young and old And shy and bold Were equally affected. The youth who winked a roving eye, Or breathed a non-connubial sigh, Was thereupon condemned to die He usually objected. And you’ll allow, as I expect, That he was right to so object. And I am right, And you are right, And everything is quite correct! CHORUS And you are right, And we are right, etc. PISH-TUSH And so we straight let out on bail A convict from the county jail, Whose head was next On some pretext Condemnëd to be mown off, And made him Headsman, for we said, ‘Who’s next to be decapited Cannot cut off another’s head Until he’s cut his own off.’ And we are right, I think you’ll say, To argue in this kind of way; And I am right, And you are right, And all is right, too-looral-lay! CHORUS And you are. right, And we are right, etc. (Exeunt Chorus) (Enter Pooh-Bah) NANKI-POO Ko-Ko, the cheap tailor, Lord High Executioner of Titipu! Why, that’s the highest rank a citizen can attain! POOH-BAH It is. Our logical Mikado, seeing no moral difference between the dignified judge who condemns a criminal to die, and the industrious mechanic who carries out the sentence, has rolled the two offices into one, and every judge is now his own executioner. NANKI-POO But how good of you, for I see that you are a nobleman of the highest rank, to condescend to tell all this to me, a mere strolling minstrel! POOH-BAH Don’t mention it. I am, in point of fact, a particularly haughty and exclusive person, of pre-Adamite ancestral descent. You will understand this when I tell you that I can trace my ancestry back to a protoplasmal primordial atomic globule. Consequently, my family pride is something inconceivable. I can’t help it. I was born sneering. But I struggle hard to overcome this defect. I mortify my pride continually. When all the great officers of State resigned in a body, because they were too proud to serve under an ex-tailor, did I not unhesitatingly accept all their posts at once? PISH-TUSH And the salaries attached to them? You did. POOH-BAH It is consequently my degrading duty to serve this upstart as First Lord of the Treasury, Lord Chief justice, Commander-in-Chief, Lord High Admiral, Master of the Buckhounds, Groom of the Back Stairs, Archbishop of Titipu, and Lord Mayor, both acting and elect, all rolled into one. And at a salary! A Pooh-Bah paid for his services! I a salaried minion! But I do it! It revolts me, but I do it! NANKI-POO And it does you credit. POOH-BAH But I don’t stop at that. I go and dine with middle-class people on reasonable terms. I dance at cheap suburban parties for a moderate fee. I accept refreshment at any hands, however lowly. I also retail State secrets at a very low figure. For instance, any further information about Yum-Yum would come under the head of a State secret, (Nanki-Poo takes the hint, and gives him money.) (Aside.) Another insult, and, I think, a light one! Song Poo-Bah, Nanki-Poo, Pish-Tush. POOH-BAH Young man, despair, Likewise go to, Yum-Yum the fair You must not woo. It will not do I’m sorry for you, You very imperfect ablutioner! This very day From school Yum-Yum Will wend her way, And homeward come, With beat of drum And a rum-tum-tum, To wed the Lord High Executioner! And the brass will crash, And the trumpets bray, And they’ll cut a dash On their wedding day. She’ll toddle away, as all aver, With the Lord High Executioner! NANKI-POO, PISH TUSH And the brass will crash, etc. ALL She’ll toddle away, etc. POOH-BAH It’s a hopeless case, As you may see, And in your place Away I’d flee; But don’t blame me. I’m sorry to be Of your pleasure a diminutioner. They’ll vow their pact Extremely soon, In point of fact This afternoon. Her honeymoon With that buffoon At seven commences, so you shun her! NANKI-POO, PISH-TUSH And the brass will crash, etc. ALL She’ll toddle away, etc. (Exit Pish-Tush) Recitative Nanki-Poo, Pooh-Bah NANKI-POO And I have journeyed for a month, or nearly, To learn that Yum-Yum, whom I love so dearly, This day to Ko-Ko is to be united! POOH-BAH The fact appears to be as you’ve recited But here he comes, equipped as suits his station; He’ll give you any further information. (Exeunt Nanki-Poo and Pooh-Bah) (EnterChorus of Nobles.) NOBLES Behold the Lord High Executioner! A personage of noble rank and title, A dignified and potent officer, Whose functions are particularly vital! Defer, defer, To the Lord High Executioner! (Enter Ko-Ko attended.) KO-KO Taken from the county jail By a set of curious chances; Liberated then on bail, On my own recognizances; Wafted by a favouring gale As one sometimes is in trances, To a height that few can scale, Save by long and weary dances; Surely, never had a male Under such-like circumstances So adventurous a tale, Which may rank with most romances. CHORUS Taken from the county jail, etc. Defer, defer, To the Lord High Executioner, etc. KO-KO Gentlemen, I’m much touched by this reception. I can only trust that by strict attention to duty I shall ensure a continuance of those favours which it will ever be my study to deserve. If I should ever be called upon to act professionally, I am happy to think that there will be no difficulty in finding plenty of people whose loss will be a distinct gain to society at large. Song Ko-Ko with Chorus KO-KO As some day it may happen that a victim must be found, I’ve got a little list. I’ve got a little list Of society offenders who might well be underground, And who never would be missed who never would be missed! There’s the pestilential nuisances who write for autographs All people who have flabby hands and irritating laughs All children who are up in dates, and floor you with ’em flat All persons who in shaking hands, shake hands with you like that And all third persons who on spoiling tête-à-têtes insist They’d none of ’em be missed! They’d none of ’em be missed! CHORUS He’s got ’em on the list! He’s got ’em on the list; And they’ll none of ’em be missed! They’ll none of ’em be missed. KO-KO There’s the banjo serenader, and the others of his race, And the piano-organist I’ve got him on the list! And the people who eat peppermint and puff it in your face, They never would be missed! They never would be missed! Then the idiot who praises, with enthusiastic tone, All centuries but this, and every country but his own; And the lady from the provinces, who dresses like a guy, And who ‘doesn’t think she dances, but would rather like to try’; And that singular anomaly, the lady novelist I don’t think she’d be missed I’m sure she’d not be missed! CHORUS He’s got her on they list! He’s got her on the list! And I don’t think she’ll be missed I’m sure she’ll not be missed! KO-KO And that "Nisi Prius" nuisance, who just now is rather rife, The judicial humorist. I’ve got him on the list! All funny fellows, comic men, and clowns of private life. They’d none of ’em be missed! They’d none of ’em be missed! And apologetic statesmen of a compromising kind, Such as, What d’ye call him, Thing’em-bob, and likewise Never-mind, And ’St, ’st, ’st and What’s-his-name, and also You-know-who. The task of filling up the blanks I’d rather leave to you. But it really doesn’t matter whom you put upon the list, For they’d none of ’em be missed! They’d none of ’em be missed! CHORUS You may put ’em on the list! you may put ’em on the list! And they’ll none of ’em be missed! They’ll none of ’em be missed! (Exeunt Chorus) (Enter Pooh-Bah) KO-KO Pooh-Bah, it seems that the festivities in connection with my approaching marriage must last a week. I should like to do it handsomely, and I want to consult you as to the amount I ought to spend upon them. POOH-BAH Certainly. In which of my capacities? As First Lord of the Treasury, Lord Chamberlain, Attorney-General, Chancellor of the Exchequer, Privy Purse, or Private Secretary? KO-KO Suppose we say as Private Secretary. POOH-BAH Speaking as your Private Secretary, I should say that, as the city will have to pay for it, don’t stint yourself, do it well. KO-KO Exactly, as the city will have to pay for it. That is your advice. POOH-BAH As Private Secretary. Of course you will understand that, as Chancellor of the Exchequer, I am bound to see that due economy is, observed. KO-KO Oh! But you said just now ‘Don’t stint yourself, do it well’. POOH-BAH As Private Secretary. KO-KO And now you say that due economy must be observed. POOH-BAH As Chancellor of the Exchequer. KO-KO Come over here, where the Chancellor can’t hear us. (They cross the stage.) Now, as my Solicitor, how do you advise me to deal with this difficulty? POOH-BAH Oh, as your Solicitor, I should have no hesitation in saying ‘Chance it’ KO-KO Thank you. (Shaking his hand) I will. POOH-BAH If it were not that, as Lord Chief Justice, I am bound to see that the law isn’t violated. KO-KO I see. Come over here where the Chief Justice can’t hear us. (They cross the stage.) Now, then, as First Lord of the Treasury? POOH-BAH Of course, as First Lord of the Treasury, I could propose a special vote that would cover all expenses, if it were not that, as Leader of the Opposition, it would be my duty to resist it, tooth and nail. Or, as Paymaster-General, I could so cook the accounts that, as Lord High Auditor, I should never discover the fraud. But then, as Archbishop of Titipu, it would be my duty to denounce my dishonesty and give myself into my own custody as First Commissioner of Police. KO-KO That’s extremely awkward. POOH-BAH I don’t say that all these distinguished people couldn’t be squared; but it is right to tell that they wouldn’t be sufficiently degraded in their own estimation unless they were insulted with a very considerable bribe. KO-KO The matter shall have my careful consideration. But my bride and her sisters approach, and any little compliment on your part, such as an abject grovel in a characteristic Japanese attitude, would be esteemed a favour. POOH-BAH No money – no grovel! (Exeunt together) (Enter procession of Yum-Yum’s school fellows, heralding Yum-Yum, Peep-Bo and Pitti-Sing) GIRLS Comes a train of little ladies From scholastic trammels free, Each a little bit afraid is, Wondering what the world can be! Is it but a world of trouble Sadness set to song? Is its beauty but a bubble Bound to break ere long? Are its palaces and pleasures Fantasies that fade? And the glory of its treasures Shadow of a shade? Schoolgirls we, eighteen and under, From scholastic trammels free, And we wonder, how we wonder! What on earth the world can be! Trio with chorus Yum-Yum, Peep-Bo, Pitti-Sing THE THREE Three little maids from school are we, Pert as a school-girl well can be Filled to the brim with girlish glee, Three little maids from school! YUM-YUM Everything is a source of fun. (Chuckle.) PEEP-BO Nobody’s safe, for we care for none! (Chuckle.) PITTI-SING Life is a joke that’s just begun! (Chuckle.) THE THREE Three little maids from school! ALL (dancing) Three, little maids who, all unwary, Come from a ladies’ seminary, Freed from its genius tutelary. THE THREE (suddenly demure) Three little maids from school! YUM-YUM One little maid is a bride, Yum-Yum. PEEP-BO Two little maids in attendance come. PITTI-SING Three little maids is the total sum. THE THREE Three little maids from school! YUM-YUM From three little maids take one away. PEEP-BO Two little maids remain, and they PITTI-SING Won’t have to wait very long, they say THE THREE Three little maids from school! ALL (dancing) Three little maids who, all unwary, Come from a ladies’ seminary, Freed from its genius tutelary. THE THREE (suddenly demure) Three little maids from school! ACT I (Courtyard of Ko-Ko’s Palace in Titipu. Japanese nobles discovered standing and sitting in attitudes suggested by native drawings) CHORUS OF NOBLES If you want to know who we are, We are gentlemen of Japan On many a vase and jar, On many a screen and fan, We figure in lively paint Our attitude’s queer and quaint; You’re wrong if you think it ain’t, oh! If you think we are worked by strings, Like a Japanese marionette, You don’t understand these things It is simply Court etiquette. Perhaps you suppose this throng Can’t keep it up all day long? If that’s your idea, you’re wrong, oh! (Enter Nanki-Poo in great excitement. He carries a native guitar on his back and a bundle of ballads in his obi.) Recitative NANKI-POO Gentlemen, I pray you tell me Where a gentle maiden dwelleth, Named Yum-Yum, the ward of Ko-Ko? In pity speak, oh, speak, I pray you! A NOBLE Why, who are you who ask this question? NANKI-POO Come gather round me, and I’ll tell you. Song and Chorus NANKI-POO A wandering minstrel I A thing of shreds and patches, Of ballads, songs and snatches, And dreamy lullaby! My catalogue is long, Through every passion ranging, And to your humours changing I tune my supple song! Are you in sentimental mood? I’ll sigh with you, Oh, sorrow, On maiden’s coldness do you brood? I’ll do so, too Oh, sorrow, sorrow! I’ll charm your willing ears With songs of lovers’ fears, While sympathetic tears My cheeks bedew Oh, sorrow, sorrow! But if patriotic sentiment is wanted, I’ve patriotic ballads cut and dried; For where’er our country’s banner may be planted, All other local banners are defied! Our warriors, in serried ranks assembled, Never quail, or they conceal it if they do And I shouldn’t be surprised if nations trembled Before the mighty troops of Titipu! CHORUS We shouldn’t be surprised, etc. NANKI-POO And if you call for a song of the sea, We’ll heave the capstan round, With a yeo heave ho, for the wind is free, Her anchor’s a-trip and her helm’s a-lee, Hurrah for the homeward bound! CHORUS Yeo-ho, heave-ho Hurrah for the homeward bound! NANKI-POO To lay aloft in a howling breeze May tickle a landsman’s taste, But the happiest hour a sailor sees Is when he’s down At an inland town, With his Nancy on his knees, yeo-ho! And his arm around her waist! CHORUS Then man the capstan – off we go, As the fiddler swings us round, With a yeo heave ho, And a rum below, Hurrah for the homeward bound! NANKI-POO A wandering minstrel I, etc. (Enter Pish-Tush) PISH-TUSH And what may be your business with Yum-Yum? NANKI-POO I’ll tell you. A year ago I was a member of the Titipu town band. It was my duty to take the cap round for contributions. While discharging this delicate office, I saw Yum-Yum. We loved each other at once, but she was betrothed to her guardian Ko-Ko, a cheap tailor, and I saw that my suit was hopeless. Overwhelmed with despair, I quitted the town. Judge of my delight when I heard, a month ago, that Ko-Ko had been condemned to death for flirting! I hurried back at once, in the hope of finding Yum-Yum at liberty to listen to my protestations. PISH-TUSH It is true that Ko-Ko was condemned to death for flirting, but he was reprieved at the last moment, and raised to the exalted rank of Lord High Executioner under the following remarkable circumstances Song Pish-Tush and Chorus PISH-TUSH Our great Mikado, virtuous man, When he to rule our land began, Resolved to try A plan whereby Young men might best be steadied. So he decreed, in words succinct, That all who flirted, leered or winked (Unless connubially linked), Should forthwith be beheaded. And I expect you’ll all agree That he was right to so decree. And I am right, And you are right, And all is right as right can be! CHORUS And you are right, And we are right, etc. PISH-TUSH This stern decree, you’ll understand, Caused great dismay throughout the land! For young and old And shy and bold Were equally affected. The youth who winked a roving eye, Or breathed a non-connubial sigh, Was thereupon condemned to die He usually objected. And you’ll allow, as I expect, That he was right to so object. And I am right, And you are right, And everything is quite correct! CHORUS And you are right, And we are right, etc. PISH-TUSH And so we straight let out on bail A convict from the county jail, Whose head was next On some pretext Condemnëd to be mown off, And made him Headsman, for we said, ‘Who’s next to be decapited Cannot cut off another’s head Until he’s cut his own off.’ And we are right, I think you’ll say, To argue in this kind of way; And I am right, And you are right, And all is right, too-looral-lay! CHORUS And you are. right, And we are right, etc. (Exeunt Chorus) (Enter Pooh-Bah) NANKI-POO Ko-Ko, the cheap tailor, Lord High Executioner of Titipu! Why, that’s the highest rank a citizen can attain! POOH-BAH It is. Our logical Mikado, seeing no moral difference between the dignified judge who condemns a criminal to die, and the industrious mechanic who carries out the sentence, has rolled the two offices into one, and every judge is now his own executioner. NANKI-POO But how good of you, for I see that you are a nobleman of the highest rank, to condescend to tell all this to me, a mere strolling minstrel! POOH-BAH Don’t mention it. I am, in point of fact, a particularly haughty and exclusive person, of pre-Adamite ancestral descent. You will understand this when I tell you that I can trace my ancestry back to a protoplasmal primordial atomic globule. Consequently, my family pride is something inconceivable. I can’t help it. I was born sneering. But I struggle hard to overcome this defect. I mortify my pride continually. When all the great officers of State resigned in a body, because they were too proud to serve under an ex-tailor, did I not unhesitatingly accept all their posts at once? PISH-TUSH And the salaries attached to them? You did. POOH-BAH It is consequently my degrading duty to serve this upstart as First Lord of the Treasury, Lord Chief justice, Commander-in-Chief, Lord High Admiral, Master of the Buckhounds, Groom of the Back Stairs, Archbishop of Titipu, and Lord Mayor, both acting and elect, all rolled into one. And at a salary! A Pooh-Bah paid for his services! I a salaried minion! But I do it! It revolts me, but I do it! NANKI-POO And it does you credit. POOH-BAH But I don’t stop at that. I go and dine with middle-class people on reasonable terms. I dance at cheap suburban parties for a moderate fee. I accept refreshment at any hands, however lowly. I also retail State secrets at a very low figure. For instance, any further information about Yum-Yum would come under the head of a State secret, (Nanki-Poo takes the hint, and gives him money.) (Aside.) Another insult, and, I think, a light one! Song Poo-Bah, Nanki-Poo, Pish-Tush. POOH-BAH Young man, despair, Likewise go to, Yum-Yum the fair You must not woo. It will not do I’m sorry for you, You very imperfect ablutioner! This very day From school Yum-Yum Will wend her way, And homeward come, With beat of drum And a rum-tum-tum, To wed the Lord High Executioner! And the brass will crash, And the trumpets bray, And they’ll cut a dash On their wedding day. She’ll toddle away, as all aver, With the Lord High Executioner! NANKI-POO, PISH TUSH And the brass will crash, etc. ALL She’ll toddle away, etc. POOH-BAH It’s a hopeless case, As you may see, And in your place Away I’d flee; But don’t blame me. I’m sorry to be Of your pleasure a diminutioner. They’ll vow their pact Extremely soon, In point of fact This afternoon. Her honeymoon With that buffoon At seven commences, so you shun her! NANKI-POO, PISH-TUSH And the brass will crash, etc. ALL She’ll toddle away, etc. (Exit Pish-Tush) Recitative Nanki-Poo, Pooh-Bah NANKI-POO And I have journeyed for a month, or nearly, To learn that Yum-Yum, whom I love so dearly, This day to Ko-Ko is to be united! POOH-BAH The fact appears to be as you’ve recited But here he comes, equipped as suits his station; He’ll give you any further information. (Exeunt Nanki-Poo and Pooh-Bah) (EnterChorus of Nobles.) NOBLES Behold the Lord High Executioner! A personage of noble rank and title, A dignified and potent officer, Whose functions are particularly vital! Defer, defer, To the Lord High Executioner! (Enter Ko-Ko attended.) KO-KO Taken from the county jail By a set of curious chances; Liberated then on bail, On my own recognizances; Wafted by a favouring gale As one sometimes is in trances, To a height that few can scale, Save by long and weary dances; Surely, never had a male Under such-like circumstances So adventurous a tale, Which may rank with most romances. CHORUS Taken from the county jail, etc. Defer, defer, To the Lord High Executioner, etc. KO-KO Gentlemen, I’m much touched by this reception. I can only trust that by strict attention to duty I shall ensure a continuance of those favours which it will ever be my study to deserve. If I should ever be called upon to act professionally, I am happy to think that there will be no difficulty in finding plenty of people whose loss will be a distinct gain to society at large. Song Ko-Ko with Chorus KO-KO As some day it may happen that a victim must be found, I’ve got a little list. I’ve got a little list Of society offenders who might well be underground, And who never would be missed who never would be missed! There’s the pestilential nuisances who write for autographs All people who have flabby hands and irritating laughs All children who are up in dates, and floor you with ’em flat All persons who in shaking hands, shake hands with you like that And all third persons who on spoiling tête-à-têtes insist They’d none of ’em be missed! They’d none of ’em be missed! CHORUS He’s got ’em on the list! He’s got ’em on the list; And they’ll none of ’em be missed! They’ll none of ’em be missed. KO-KO There’s the banjo serenader, and the others of his race, And the piano-organist I’ve got him on the list! And the people who eat peppermint and puff it in your face, They never would be missed! They never would be missed! Then the idiot who praises, with enthusiastic tone, All centuries but this, and every country but his own; And the lady from the provinces, who dresses like a guy, And who ‘doesn’t think she dances, but would rather like to try’; And that singular anomaly, the lady novelist I don’t think she’d be missed I’m sure she’d not be missed! CHORUS He’s got her on they list! He’s got her on the list! And I don’t think she’ll be missed I’m sure she’ll not be missed! KO-KO And that "Nisi Prius" nuisance, who just now is rather rife, The judicial humorist. I’ve got him on the list! All funny fellows, comic men, and clowns of private life. They’d none of ’em be missed! They’d none of ’em be missed! And apologetic statesmen of a compromising kind, Such as, What d’ye call him, Thing’em-bob, and likewise Never-mind, And ’St, ’st, ’st and What’s-his-name, and also You-know-who. The task of filling up the blanks I’d rather leave to you. But it really doesn’t matter whom you put upon the list, For they’d none of ’em be missed! They’d none of ’em be missed! CHORUS You may put ’em on the list! you may put ’em on the list! And they’ll none of ’em be missed! They’ll none of ’em be missed! (Exeunt Chorus) (Enter Pooh-Bah) KO-KO Pooh-Bah, it seems that the festivities in connection with my approaching marriage must last a week. I should like to do it handsomely, and I want to consult you as to the amount I ought to spend upon them. POOH-BAH Certainly. In which of my capacities? As First Lord of the Treasury, Lord Chamberlain, Attorney-General, Chancellor of the Exchequer, Privy Purse, or Private Secretary? KO-KO Suppose we say as Private Secretary. POOH-BAH Speaking as your Private Secretary, I should say that, as the city will have to pay for it, don’t stint yourself, do it well. KO-KO Exactly, as the city will have to pay for it. That is your advice. POOH-BAH As Private Secretary. Of course you will understand that, as Chancellor of the Exchequer, I am bound to see that due economy is, observed. KO-KO Oh! But you said just now ‘Don’t stint yourself, do it well’. POOH-BAH As Private Secretary. KO-KO And now you say that due economy must be observed. POOH-BAH As Chancellor of the Exchequer. KO-KO Come over here, where the Chancellor can’t hear us. (They cross the stage.) Now, as my Solicitor, how do you advise me to deal with this difficulty? POOH-BAH Oh, as your Solicitor, I should have no hesitation in saying ‘Chance it’ KO-KO Thank you. (Shaking his hand) I will. POOH-BAH If it were not that, as Lord Chief Justice, I am bound to see that the law isn’t violated. KO-KO I see. Come over here where the Chief Justice can’t hear us. (They cross the stage.) Now, then, as First Lord of the Treasury? POOH-BAH Of course, as First Lord of the Treasury, I could propose a special vote that would cover all expenses, if it were not that, as Leader of the Opposition, it would be my duty to resist it, tooth and nail. Or, as Paymaster-General, I could so cook the accounts that, as Lord High Auditor, I should never discover the fraud. But then, as Archbishop of Titipu, it would be my duty to denounce my dishonesty and give myself into my own custody as First Commissioner of Police. KO-KO That’s extremely awkward. POOH-BAH I don’t say that all these distinguished people couldn’t be squared; but it is right to tell that they wouldn’t be sufficiently degraded in their own estimation unless they were insulted with a very considerable bribe. KO-KO The matter shall have my careful consideration. But my bride and her sisters approach, and any little compliment on your part, such as an abject grovel in a characteristic Japanese attitude, would be esteemed a favour. POOH-BAH No money – no grovel! (Exeunt together) (Enter procession of Yum-Yum’s school fellows, heralding Yum-Yum, Peep-Bo and Pitti-Sing) GIRLS Comes a train of little ladies From scholastic trammels free, Each a little bit afraid is, Wondering what the world can be! Is it but a world of trouble Sadness set to song? Is its beauty but a bubble Bound to break ere long? Are its palaces and pleasures Fantasies that fade? And the glory of its treasures Shadow of a shade? Schoolgirls we, eighteen and under, From scholastic trammels free, And we wonder, how we wonder! What on earth the world can be! Trio with chorus Yum-Yum, Peep-Bo, Pitti-Sing THE THREE Three little maids from school are we, Pert as a school-girl well can be Filled to the brim with girlish glee, Three little maids from school! YUM-YUM Everything is a source of fun. (Chuckle.) PEEP-BO Nobody’s safe, for we care for none! (Chuckle.) PITTI-SING Life is a joke that’s just begun! (Chuckle.) THE THREE Three little maids from school! ALL (dancing) Three, little maids who, all unwary, Come from a ladies’ seminary, Freed from its genius tutelary. THE THREE (suddenly demure) Three little maids from school! YUM-YUM One little maid is a bride, Yum-Yum. PEEP-BO Two little maids in attendance come. PITTI-SING Three little maids is the total sum. THE THREE Three little maids from school! YUM-YUM From three little maids take one away. PEEP-BO Two little maids remain, and they PITTI-SING Won’t have to wait very long, they say THE THREE Three little maids from school! ALL (dancing) Three little maids who, all unwary, Come from a ladies’ seminary, Freed from its genius tutelary. THE THREE (suddenly demure) Three little maids from school! Sullivan,Arthur/The Mikado/I-2