Sunny Chan, seen with local TVB artists, in the UK as guests' compère for TVB- Europe's Happy Family Gala promo-event Alternative names include compère (for men), commère (for women), host, presenter, announcer, and microphone controller.
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Old English u became in Early Scots then in Modern Scots, for example but and cut, but in some words it merged with vowel 15 (), for example Modern Scots: din (dun), hinnie (honey), simmer (summer), son and nit (nut) from dunn, huniġ, sumor, sunne and hnut. Similarly in some Romance words, for example Modern Scots: kimmer (commère), kiver (cover), ingan (onion), stibble (stubble) and tribble (trouble).
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The opera features two 16th- century Spanish saints—the former mercenary Ignatius of Loyola and the mystic Teresa of Avila—as well as their colleagues, real and imagined: St. Plan, St. Settlement, St. Plot, St. Chavez, etc. Thomson decided to divide St. Teresa's role between two singers, "St. Teresa I" and "St. Teresa II", and added the master and mistress of ceremonies (Compère and Commère—literally, the "godparents") to sing Stein's stage directions.
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Victor de Cottens (21 August 1862 – 26 February 1956) was a French dramatist, librettist, stage director, and theatre critic. De Cottens was born in Paris. For the Folies Bergère, he directed every edition of the Revue des Folies- Bergère produced by Émile and Vincent Isola; each of these revues offered various acts linked by two commentators, the commère and compère. Between 1908 and 1911, he and H. B. Marinelli ran the Olympia music hall in Paris.
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Santa Fe Opera archives She made her debut at the Metropolitan Opera as the Commère on February 20, 1973 in a cast that included Clamma Dale as St. Teresa I, David Britton as St. Stephen, and Barbara Hendricks as St. Settlement.Metropolitan Opera Archives She was invited to sing at Mexico´s city for Casals´hommage in The Manger. In 1975 she sang Monisha in the first fully staged production of Scott Joplin’s Treemonisha at the Houston Grand Opera. She portrayed the role again in the Fall of 1975 at the Kennedy Center and in 1976 in New York City.
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In Spanish, the verb comadrear (from comadre) similarly means "to gossip," as does the French cognate commérage (from commère). The term compadre has been extended in some regions, such as Brazil to describe a common relationship between two good friends. In Argentina and Paraguay, the word is used in popular speech (especially in the diminutive, compadrito) to mean "braggart, loud-mouth, bully." However, among more traditional Latin American and Hispanic/Latino families, the word retains its original meaning and symbolism, and for its members, to be asked to be a padrino or compadre is a great, lifelong honor.
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One of the songs he recorded in July was "Chinese Laundry Blues", telling the story of Mr Wu, which became one of his standard songs, and part of a long-running series of songs about the character. Over the course of his career Formby went on to record over 200 songs, around 90 of which were written by Fred Cliffe and Harry Gifford. In the 1932 winter season Formby appeared in his first pantomime, Babes in the Wood, in Bolton, after which he toured with the George Formby Road Show around the north of England, with Beryl acting as the commère; the show also toured in 1934.
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Paulette del Baye performed as "La commère au bois" in the revue at the Moulin Rouge in 1904. "Paulette del Baye est une comédienne fine, une chanteuse spirituelle, une danseuse exquise, qui fait de véritables tours de force d'art en souriant," said one report about the revue."La revue de Moulin Rouge" Paris qui chante (11 December 1904): 2, 6. She created the role of "Zézé" in Vous n'avez rien a declarer? (1906) at the Théâtre des Nouveautés,Maurice Hennequin & Pierre Veber, Vous n'avez rien a declarer? Pièce en trois actes (Paris 1906). via Internet Archive and also appeared in Les plaques de l'Année (1906) in Paris."Les plaques de l'Année" La Revue Théâtrale (March 1906): 1356.
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Allen's first major performance came in 1951 while studying at the Tanglewood Music Festival's Berkshire Music Center. At Tanglewood, she was chosen by Leonard Bernstein to be the mezzo-soprano soloist in a presentation of his Jeremiah Symphony with the Boston Symphony Orchestra. She made her opera debut the following year as St. Theresa II in Virgil Thomson’s Four Saints in Three Acts at the August Wilson Theatre in a production mounted by the American National Theater and Academy; twenty-nine years later she would record the role of Commère for the same opera's first complete recording. In 1952 she won the Marian Anderson Award after winning its namesake's singing competition in Philadelphia.
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