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Sondheim's score was not well received; although the show won several Tony Awards including best musicalhe did not receive a nomination. Broadway failures and other projects[ edit ] Sondheim had participated in three straight hits, but his next show — 's Anyone Can Whistle — was a nine-performance failure although it introduced Angela Lansbury to musical theatre.

Do I Hear a Waltz? A new lyricist was needed, [28] and Laurents and Rodgers' daughter, Maryasked Sondheim to fill in. Although Richard Rodgers and Sondheim agreed that the original play did not lend itself to musicalization, they began writing the musical version.

According to Sondheim and director Paul Bogartthe musical was written only because Goldman needed money for rent. Leonard Bernstein had not written for the stage in some time, and his contract as conductor of the New York Philharmonic was ending. Sondheim was invited to Robbins' house in the hope that Guare would convince him to write the lyrics for a musical version of The Exception and the Rule; according to Robbins, Bernstein would not work without Sondheim.

When Sondheim agreed, Guare asked: Guare said that working with Sondheim was like being with an old college roommate, and he depended on him to "decode and decipher their crazy way of working"; Bernstein worked only after midnight, and Robbins only in the early morning.

Bernstein's score, which was supposed to be light, was influenced by his need to make a musical statement. An opening night was scheduled, but during auditions Robbins asked to be excused for a moment. When he did not return, a doorman said he had gotten into a limousine to go to John F. Bernstein burst into tears and said, "It's over"; Sondheim said, "I was ashamed of the whole project.

It was arch and didactic in the worst way. Eighteen years later, Sondheim refused Bernstein and Robbins' request to retry the show. Ten years later, while he was playing music he heard a knock on the door. His neighbor, Katharine Hepburnwas in "bare feet — this angry, red-faced lady" and told him "You have been keeping me awake all night! When Sondheim asked why she had not asked him to play for her, she said she lost his phone number.

According to Sondheim, "My guess is that she wanted to stand there in her bare feet, suffering for her art". He collaborated with producer-director Hal Prince on six musicals from tobeginning with the concept musical Company.

Without a straightforward plot, Company with a book by George Furth centered on a set of characters and themes. It opened on April 26, at the Alvin Theatrewhere it ran for performances after seven previews, and won Tony Awards for best musical, best music and best lyrics. It was revived on Broadway in and Follieswith a book by James Goldmanopened on April 4, at the Winter Garden Theatre and ran for performances after 12 previews. The plot centers on a reunion, in a crumbling Broadway theatre scheduled for demolition, of performers in Weismann's Follies a musical revue, based on the Ziegfeld Follieswhich played in that theatre between the world wars.

Follies focuses on two couples: The show enjoyed two revivals on Broadway in and A Little Night Musicwith a more traditional plot based on Ingmar Bergman 's Smiles of a Summer Night and a score primarily in waltz timewas one of the composer's greatest successes.

Time magazine called it "Sondheim's most brilliant accomplishment to date".

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A Little Night Music opened on Broadway at the Shubert Theatre on February 25, and closed on August 3,after performances and 12 previews. It moved to the Majestic Theatre on September 17,where it finished its run.

The show received a Broadway revival in By Bernstein premiered at the off-Broadway Westside Theatre on November 23, and closed on December 7, running for 40 previews and 17 performances. Its lyrics and music were by Leonard Bernsteinwith additional lyrics by others including Sondheim. The show explored the westernization of Japan and was originally presented in Kabuki style, and was revived on Broadway in The Demon Barber of Fleet StreetSondheim's most operatic score and libretto which, with Pacific Overtures and A Little Night Music, has been produced in opera housesexplores an unlikely topic: The book, by Hugh Wheeleris based on Christopher Bond 's stage version of the Victorian original.

It currently runs off-Broadway at the Barrow Street Theatre. According to Sondheim's music director, Paul Gemignani"Part of Steve's ability is this extraordinary versatility. Martin Gottfried wrote, "Sondheim had set out to write traditional songs But [despite] that there is nothing ordinary about the music. I'm not sure I would put it like that.

What did surprise me was the feeling around the Broadway community — if you can call it that, though I guess I will for lack of a better word — that they wanted Hal and me to fail. However, Sondheim decided "that there are better places to start a show" and found a new collaborator in James Lapine after he saw Lapine's Twelve Dreams off-Broadway in Their first collaboration was Sunday in the Park with Georgewith Sondheim's music evoking Georges Seurat 's pointillism.

Sondheim and Lapine won the Pulitzer Prize for Drama for the play, and it was revived on Broadway inand again in a limited run in They collaborated on Into the Woodsa musical based on several Brothers Grimm fairy tales. Although Sondheim has been called the first composer to bring rap music to Broadway with the Witch in the opening number of "Into the Woods"he attributes the first rap in theatre to Meredith Willson 's "Rock Island" from The Music Man.

With a run of performances, Passion was the shortest-running show to win a Tony Award for Best Musical. The musical closed on February 16,after 73 performances. Its idea derived from Sondheim's days as a panelist at producer Stuart Ostrow's Musical Theater Lab, when he read a script by playwright Charles Gilbert.

He asked Gilbert for permission to use his idea; although Gilbert offered to write the book, Sondheim had Weidman in mind. Saturday Night was shelved until its production at London's Bridewell Theatre. The following year, its score was recorded; a revised version, with two new songs, ran off-Broadway at Second Stage Theatre in and at London's Jermyn Street Theatre in A Broadway production, starring Nathan Lane and Victor Garberdirected by Sam Mendes and planned for the spring of[48] was delayed.

Although after poor reviews Bounce never reached Broadway, a revised version opened off-Broadway as Road Show at the Public Theater on October 28, Directed by John Doyleit closed on December 28, Asked about writing new work, Sondheim replied in It's a diminution of energy and the worry that there are no new ideas.

It's also an increasing lack of confidence. I'm not the only one. I've checked with other people. People expect more of you and you're aware of it and you shouldn't be. The revue's cast included Barbara CookVanessa L. Directed by John Doyle with choreography by Parker Esse, it consisted of "more than two dozen Sondheim compositions, each piece newly re-imagined by Marsalis". Half of the songs come from Company and Follies; most of the other Sondheim musicals are represented, including the lesser-known Passion and Road Show".

Sondheim described the project as "two people and what goes into their relationship We'll write for a couple of months, then have a workshop. It seemed experimental and fresh 20 years ago. I have a feeling it may not be experimental and fresh any more". The Cleveland Jewish News reported on their Oberlin appearance: Sondheim took a dim view of today's musicals. What works now, he said, are musicals that are easy to take; audiences don't want to be challenged". Melich described the evening: He was visibly taken by the university choir, who sang two songs during the evening, "Children Will Listen" and "Sunday", and then returned to reprise "Sunday".

During that final moment, Sondheim and I were standing, facing the choir of students from the University of Utah 's opera program, our backs to the audience, and I could see tears welling in his eyes as the voices rang out. Then, all of a sudden, he raised his arms and began conducting, urging the student singers to go full out, which they did, the crescendo building, their eyes locked with his, until the final "on an ordinary Sunday" was sung.

It was thrilling, and a perfect conclusion to a remarkable evening — nothing ordinary about it. In Time called his love of puzzlemaking "legendary in theater circles," adding that the central character of Anthony Shaffer 's play Sleuth was inspired by the composer. Sondheim tried playwriting one more time, collaborating with Company librettist George Furth on Getting Away with Murder inbut the unsuccessful Broadway production closed after 29 previews and 17 performances.

His compositions have included a number of film scores, including a set of songs written for Warren Beatty 's film version of Dick Tracy. Unfinished and canceled works[ edit ] According to Sondheim, he was asked to translate Mahagonny-Songspiel: I like Weill's music when he came to America better than I do his stuff before I love The Threepenny Opera but, outside of The Threepenny Opera, the music of his I like is the stuff he wrote in America — when he was not writing with Brecht, when he was writing for Broadway.

McNally said, "Steve was interested in telling the story of a relationship from the present back to the moment when the couple first met. After Drake heard the song he loved it and decided to write and record a verse on it. Shortly after Braithwaite stayed at Rihanna's home in Malibu, where he played her the song.

The vocal recording was assisted by Thomas Warren, while additional vocals were provided by PartyNextDoor. Hugh McIntyre of Forbes wrote "It's a well-produced song, but is it the pop hit that she needed? She opined that the song is a prime example of "an unapologetic black woman proudly showing her heritage at a time when our politics are dominated by BlackLivesMatter and Donald Trump's racist, xenophobic and misogynistic tirades.

One of America's most reliable singles artists created an arch, moody album instead of a handful of chart-ready pop confections, but we still couldn't resist this barely-there tune with a beat like a dancehall wisp and lyrics like a freestyle.

It also clicked perfectly, a song that captured two era-defining artists and one all the more infectious for its rule-defying restraint. The single also broke the record for the most streams in a single week, with 2. It became the 27th top-ten hit for Rihanna and 15th for Drake. With this feat, Rihanna tied Mariah CareyJanet Jackson and Elton John as the artists with the fifth-most top-ten songs on the chart.

It debuted at number nine on the Hot Subsequently, she became the artist with the third-most number-one songs on the chart following The Beatles with 20 and Mariah Carey with She broke a tie with Michael Jackson, who had reached 13 chart-toppers on the Billboard Hot in his lifetime. Additionally, "Work" became Drake's second number-one single on the chart, the previous being the pair's collaboration, "What's My Name?

For the same issue, it rose to number 10 on the Radio Songs chart and became her 24th top-ten single, surpassing Mariah Carey's lead of 23 top-tens on that chart. The song remained at number-one on the Hot for nine consecutive weeks and was unseated by Desiigner 's " Panda ".

Stephen Sondheim

As of Decemberit has sold 1. Background and concept[ edit ] Director X directed the first of the song's two accompanying videos. Two music videos were released for the single; the first was directed by Director X who had previously worked with Rihanna on her debut video " Pon de Replay " [46] while the second was directed by Tim Erem.

Laura McMillan and Nick Rondeau were the editors of the video, while Nick Cortes served as the production coordinator. After thirty minutes they came up with the idea of shooting a video in a whole pink room.

Speaking about filming in the pink studio Erem said: We actually loved [the studio] from day one. That was also the first thing we shot that day [in L. The concept came up in the most spontaneous way ever.