Mostrando postagens com marcador MUSICAL. Mostrar todas as postagens
Mostrando postagens com marcador MUSICAL. Mostrar todas as postagens
MÁS DE CIEN MENTIRAS
JOAQUIN SABINA
COMPOSITOR: JOAQUIN SABINA
PAIS: ESPAÑA
ALBUM: ESTA BOCA ES MÍA
DISCOGRÁFICA: GREEN ALBUMS
GÉNERO: MUSICAL
AÑO: 1994

Más de cien mentiras es un musical basado en las canciones del cantautor español Joaquín Sabina. La obra, que toma su nombre de la canción homónima del cantautor del álbum Esta boca es mía, narra la historia de 'el Tuli', un delincuente que, tras tres años en prisión, sale con la intención de vengarse de Fernando Villegas, quien provocó su encarcelamiento y acabó con la vida de su amigo Samuel. Se estrenó El 6 de octubre de 2011 en el Teatro Rialto de Madrid (España). Está protagonizado por Juan Pablo Di Pace, Álex Barahona y Guadalupe Lancho y dirigido por David Serrano, que además es el guionista principal y forma parte de la dirección musical de la obra, junto a Pancho Varona, José María Cámara, Daniel García y el propio Joaquín Sabina.
Más de cien mentiras es una historia de venganza que gira alrededor de cuatro personajes: Juan (Juan Pablo Di Pace), Tuli (Álex Barahona), Samuel (Víctor Massán) y Magdalena (Guadalupe Lancho). En el pasado, los tres primeros estuvieron involucrados en un atraco que salió mal y que tuvo consecuencias distintas para cada uno de ellos: Juan consiguió huir de la policía, mientras que Tuli acabó en la cárcel (en parte por culpa de Juan) y Samuel muerto tras comenzar a disparar a la policía y ser abatido por los disparos de respuesta de estos.
Tres años después, 'El Tuli' sale de la cárcel con la obsesión de vengarse de Fernando Villegas (Felipe García Vélez), un mafioso tío de Juan y cerebro del atraco. Para ello, busca a Juan, Magdalena y 'Manitas' (Diego París), un antiguo boxeador y amigo común de los tres, en El Darling's, el bar de Juan donde se reúnen las prostitutas del barrio y que Villegas utiliza para blanquear dinero. La idea de 'el Tuli' es vengar la muerte de Samuel y que los tres se hagan millonarios.
Magdalena, hermana de Samuel, novia de Juan y exprostituta, tiene un plan para estafar a Villegas, al que 'el Tuli' accede de buen grado, mientras que Juan es reticente. El plan consiste en fingir que un cliente habitual del local ha conseguido una importante suma de dinero jugando a la lotería. Dado que una de las actividades de la organización de Villegas es el blanqueo de dinero, esperan que estos les ofrezcan dinero a cambio del billete premiado, que ellos falsifican. Para lograr su objetivo, Magdalena se acuesta con Ocaña (Juan Carlos Martín), lugarteniente del mafioso y que está locamente enamorado de ella.
Tenemos memoria, tenemos amigos,
tenemos los trenes, la risa, los bares,
tenemos la duda y la fe, sumo y sigo,
tenemos moteles, garitos, alteres.

Tenemos urgencias, amores que matan,
tenemos silencio, tabaco, razones,
tenemos Venecia, tenemos Manhattan,
tenemos cenizas de revoluciones.

Tenemos zapatos, orgullo, presente,
tenemos costumbres, pudores, jadeos,
tenemos la boca, tenemos los dientes,
saliva, cinismo, locura, deseo.

Tenemos el sexo y el rock y la droga,
los pies en el barrio, y el grito en el cielo,
tenemos Quintero, León y Quiroga,
y un bisnes pendiente con Pedro Botero.

Más de cien palabras, más de cien motivos
para no cortarse de un tajo las venas,
más de cien pupilas donde vernos vivos,
más de cien mentiras que valen la pena.

Tenemos un as escondido en la manga,
tenemos nostalgia, piedad, insolencia,
monjas de Fellini, curas de Berlanga,
veneno, resaca, perfume, violencia.

Tenemos un techo con libros y besos,
tenemos el morbo, los celos, la sangre,
tenemos la niebla metida en los huesos,
tenemos el lujo de no tener hambre.

Tenemos talones de Aquiles sin fondos,
ropa de domingo, ninguna bandera,
nubes de verano, guerras de Macondo,
setas en noviembre, fiebre de primavera.

Glorietas, revistas, zaguanes, pistolas,
que importa, lo siento, hastasiempre, te quiero,
hinchas del atleti, gángsters de Coppola,
verónica y cuarto de Curro Romero.

(Estribillo)

Tenemos el mal de la melancolía,
la sed y la rabia, el ruido y las nueces,
tenemos el agua y, dos veces al día,
el santo milagro del pan y los peces.

Tenemos lolitas, tenemos donjuanes;
Lennon y McCartney, Gardel y LePera;
tenemos horóscopos, Biblias, Coranes,
ramblas en la luna, vírgenes de cera.

Tenemos naufragios soñados en playas
de islotes son nombre ni ley ni rutina,
tenemos heridas, tenemos medallas,
laureles de gloria, coronas de espinas.

(Estribillo)

Tenemos caprichos, muñecas hinchables,
ángeles caídos, barquitos de vela,
pobre exquisitos, ricos miserables,
ratoncitos Pérez, dolores de muelas.

Tenemos proyectos que se marchitaron,
crímenes perfectos que no cometimos,
retratos de novias que nos olvidaron,
y un alma en oferta que nunca vendimos.

Tenemos poetas, colgados, canallas,
Quijotes y Sanchos, Babel y Sodoma,
abuelos que siempre ganaban batallas,
caminos que nunca llevaban a Roma.

(Estribillo).
STEP IN TIME
DICK VAN DYKE
SONGWRITER: GEORGE STILES
MOVIE: MARY POPPINS
COUNTRY: U.S.A.
ALBUM: MARY POPPINS
LABEL: WALT DISNEY PROCUCTION
GENRE: MUSICAL FANTASY
YEAR: 1964

Mary Poppins is a 1964 American musical-fantasy film directed by Robert Stevenson and produced by Walt Disney, with songs written and composed by the Sherman Brothers. The screenplay is by Bill Walsh and Don DaGradi, loosely based on P. L. Travers' book series Mary Poppins. The film, which combines live-action and animation, stars Julie Andrews in the role of Mary Poppins who visits a dysfunctional family in London and employs her unique brand of lifestyle to improve the family's dynamic. Dick Van Dyke, David Tomlinson, and Glynis Johns are featured in supporting roles. The film was shot entirely at the Walt Disney Studios in Burbank, California using painted London background scenes.
Mary Poppins was released on August 27, 1964, to universal acclaim, receiving a total of thirteen Academy Award nominations, including Best Picture – an unsurpassed record for any other film released by Walt Disney Studios – and won five; Best Actress for Andrews, Best Film Editing, Best Original Music Score, Best Visual Effects, and Best Original Song for "Chim Chim Cher-ee". In 2013, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". Mary Poppins is widely considered to be Walt Disney's "crowning achievement", being his only film to garner a Best Picture nomination at the Oscars in his lifetime.
Brush away the dirt and soot
Brush away your tears
Cobwebs that aren't swept away
Hang around for years
In all weathers, up all hours
We can see for miles
Our idea of heaven is
A night out on the tiles
We may look a motley crew (we may look a motley crew)
Smudged with tar and grime (Smudged with tar and grime)
But when you need a helping hand (but when you need a helping hand)
We try to step in
Try to step in
Try to step in
Just in time
We will step in
Step in time
We will step in
Step in time
Never need a reason, never need a rhyme
We will step in, step in time
Over the rooftops step in time
Over the rooftops step in time
Never need a reason, never need a rhyme
Over the rooftops step in time
Watch where you step but step in time
Watch where you step but step in time
Never need a reason, never need a rhyme
Watch where you step but step in time
Kick your knees up step in time
Kick your knees up step in time
Never need a reason, never need a rhyme
Kick your knees up step in time
Childhood is a step in time
Parenthood's the same
Never miss a chance to get it right
Don't it seem a perfect crime
Don't it seem a shame
When the steps aren't going as smoothly as they might
That's when we step in time, step in time
That's when we step step in time
Never need a reason, never need a rhyme
That's when we step in, step in time
Spin spin spin spin spin
Link your elbows, step in time
Link your elbows, step in time
Never need a reason, never need a rhyme
Link your elbows, step in time
Link your elbows, step in time
Step in time, step step in time
Just remember when you're low
Feeling in the wars
Someones up your chimney
And it isn't Santa Claus
If you need us, if you don't (if you need us, if you don't)
Doesn't make much odds (doesn't make much odds)
We'll be watching over you (we'll be watching over you)
Brushes, brooms and
Brushes, brooms and
Brushes, brushes, brooms and
And rods
Over the rooftops
Over the rooftops
Over the rooftops
Over the rooftops
Over the rooftops, step in time
Over the rooftops, step in time
Never need a reason, never need a rhyme
Over the rooftops step in time
Link your elbows, step in time
Link your elbows, step in time
Never need a reason, never need a rhyme
Link your elbows, step in time
Kick your knees up step in time
Kick your knees up step in time
Never need a reason, never need a rhyme
Kick your knees up step in time
Oh step in time, step in time
Step step step
Step in time, step in time
Step step step
Never need a reason, never need a rhyme
Never need a reason, never need a rhyme
If you kick your knees up
Kick your knees up
Kick your knees up
Kick your knees up
Step step step step step step step step step
Step step step step step step step step step

Never need a reason if you step in time.
FUISTE MÍA UN VERANO
LEONARDO FAVIO
COMPOSITORES: MARIO COSENTINO & LEONARDO FAVIO
PAIS: ARGENTINA
DÓNDE: FESTIVAL DE VIÑA 1997
ALBUM: FUÍSTE MÍA UM VERANO
DISCOGRÁFICA: CBS
GÉNERO: MUSICAL
AÑO: 1968

Fuad Jorge Jury (Las Catitas, 28 de mayo de 1938 - Buenos Aires, 5 de noviembre de 2012), más conocido por su sobrenombre artístico Leonardo Favio, fue un cantante, compositor, productor cinematográfico, director, guionista y actor argentino.
Con sus películas ganó premios nacionales e internacionales, considerándosele uN director de culto, exitoso y respetado. Sus películas Crónica de un niño solo y El romance del Aniceto y la Francisca suelen ser evaluadas entre las mejores de la historia del cine argentino. En el año 2000, el Museo Nacional de Cine Argentino realizó una encuesta entre cien críticos, historiadores e investigadores de cine de todo el país. La consigna era «Cuáles son los 100 mejores films del cine sonoro argentino», dando como resultado Crónica de un niño solo el mejor film (con más del 75 % de los votos). En 1998, la revista Tres Puntos (de Buenos Aires) hizo una encuesta a cien personalidades del ambiente cinematográfico (desde directores y actores hasta reflectoristas y escenógrafos) con la consigna «Elija las cinco mejores películas argentinas de la historia y el mejor director cinematográfico». La película ganadora resultó ser El Romance del Aniceto y la Francisca y Favio el elegido como mejor director, ambas distinciones por amplia mayoría. En 2001, Leonardo Favio recibió el Diploma al Mérito de los Premios Konex como uno de los cinco mejores directores de cine de la década en Argentina.
Fuiste mía un verano es una película filmada en colores de Argentina dirigida por Eduardo Calcagno según su propio guion escrito en colaboración con el guion de Adrián Suárez Passo que se estrenó el 3 de julio de 1969 y que tuvo como protagonistas a Leonardo Favio, Héctor Pellegrini, Emilio Disi y Susana Giménez.
Hoy la vi, fue casualidad.
Yo estaba en el bar
Me miro al pasar,
Yo le sonreí
Y le quise hablar.

Me pidió que no,
Que otra vez será,
Que otra vez será,
Que otra vez será.
Un tierno amanecer
Sé que nunca más.

Como olvidar, tu pelo,
Como olvidar tu aroma.
Si aun navega en mis labios,
El sabor de tu boca.
Cada día que pase,
Con un libro en la mano
Me traerá tu nombre.
Como en aquel verano
He he he he...
Fuiste mía un verano,
Solamente un verano
Yo no olvido la playa,
Ni aquel viejo café,
Ni aquel pájaro herido,
Que entibiaste en tus manos.
Ni tu voz ni tus pasos, se
Alejaran de mí,
Que otra vez será
Que otra vez será
Tierno amanecer,
Sé que nunca más.
SUPER-CALI-FRAGIL-ISTIC-ESPI-ALI-DOCIOUS
JULIE ANDREWS AND DICK VAN DYKE
SONGWRITER: ROBERT B. SHERMAN & RICHARD m. SHERMAN
COUNTRY: U.S.A.
ALBUM: SUPER-CALI-FRAGIL-ISTIC-ESPI-ALI-DOCIOUS
LABEL: WALT DISNEY
GENRE: MUSICAL SHOW
YEAR: 1964


"SUPER-CALI-FRAGIL-ISTIC-ESPI-ALI-DOCIOUS"/ˌsuːpərˌkælɪˌfrædʒɪˌlɪstɪkˌɛkspiˌælɪˈdoʊʃəs/ is a song from the 1964 Disney musical film Mary Poppins. The song was written by the Sherman Brothers, and sung by Julie Andrews and Dick Van Dyke. It also appears in the stage show version. Because Mary Poppins was a period piece set in 1910, songs that sounded similar to songs of the period were wanted. The movie version finished at #36 in AFI's 100 Years...100 Songs survey of top tunes in American cinema.
Its....

CHORUS:

Supercalifragilisticexpialidocious!
Even though the sound of it is something quite atrocious
If you say it loud enough you'll always sound precocious
Supercalifragilisticexpialidocious!
Um diddle diddle diddle, um diddle ay
Um diddle diddle diddle, um diddle ay

Because I was afraid to speak when I was just a lad
Me father gave me nose a tweak and told me I was bad
But then one day I learned a word that saved me achin' nose
The biggest word you ever heard and this is how it goes, Oh!

CHORUS

He traveled all around the world and everywhere he went
He'd use this word and all would say "There goes a clever gent"
When dukes and maharajas pass the time of day with me
I say me special word and then they ask me out to tea

CHORUS

So when the cat has got your tongue there's no need for dismay
Just summon up this word and then you've got a lot to say
But better use it carefully or it could change your life ...

She's supercalifragilisticexpialidocious!
Supercalifragilisticexpialidocious!
Supercalifragilisticexpialidocious!
Supercalifragilisticexpialidocious!
LULLABY OF BROADWAY
DORIS DAY
SONGWRITER: RAY HEINDORF &EARL BALDWIN
COUNTRY: U.S.A.
ALBUM: LULLABY OF BROADWAY
LABEL: WARNER BROS.
GENRE: MUSICAL
YEAR: 1951

Lullaby of Broadway is a musical romantic comedy film released by Warner Bros. in 1951. It stars Doris Day as Melinda Howard, an entertainer who travels to New York to see her mother, and Gene Nelson as Tom Farnham, a fellow entertainer and Melinda's love interest. Gladys George appears as Jessica Howard, Melinda's alcoholic mother, in addition to S.Z. Sakall, Billy De Wolfe, Florence Bates and Anne Triola.
Songs from the film were released in an album of the same name.
Come on along and listen to
The lullaby of Broadway
The hip hooray and ballyhoo
The lullaby of Broadway
The rumble of a subway train
The rattle of the taxis
The daffodils who entertain
At Angelo's and Maxi's

When a Broadway baby says good night
It's early in the morning
Manhattan babies don't sleep tight
Until the dawn

Good night, baby
Good night, the milkman's on his way
Sleep tight, baby
Sleep tight, let's call it a day
Hey!

The band begins to go to town
And everyone goes crazy
You rock-a-bye your baby round
'Til everything gets hazy
Hush-a-bye, I'll buy you this and that
You hear a daddy saying
And baby goes home to her flat
To sleep all day

Good night, baby
Good night, the milkman's on his way
Sleep tight, baby
Sleep tight, let's call it a day

Listen to the lullaby

Of old... Broad...way...
I MISS THE MUSIC
JASON DANIELEY
SONGWRITER: JOHN KANDER
COUNTRY: U.S.A.
THEATER: MUSICAL CURTAINS
ALBUM: CURTAINS
LABEL: ANGEL RECORDS
GENRE: plaintive ballad
YEAR: 2007

Near the end of Act One of the new Broadway musical Curtains — the show about theatre people trying to work out the kinks of a new musical while a cop seeks to solve a backstage murder — there comes what fans and cast members alike have been calling "the song."
Sung by Jason Danieley, who plays a Broadway composer, "I Miss the Music," a plaintive ballad, speaks of the character's creative and emotional frustration since losing his lyricist and wife, played by Karen Ziemba.
He sings:
I miss the music
I miss the song.
Since she's not with me
It comes out wrong.
It doesn't matter
How hard I try
I've lost the music.
I don't know why.
Not only does Curtains composer John Kander manage to explore character and plot in the number, he unknowingly paid tribute to his late, longtime lyricist Fred Ebb, who did not live to see Curtains come to commercial fruition at the Al Hirschfeld Theatre.
Cioffi (spoken):
You see what I'm saying? The song itself is kind of lackluster. It lacks ..

Chris:
Yes?

Cioffi:
Luster.

Chris:
I agree. We need a completely new composition, one that's catchier than pink eye. I'll leave you to it.

Cioffi:
Well, at least now you'll have a few minutes alone with your piano.

Aaron:
Alone, yeah.

Cioffi:
Could I ask, only because I've wondered this my entire life--which would normally come first, the music or the lyric?

Aaron:
Same answer as the chicken or the egg.

Cioffi:
Ah, so it's the lyric.

Aaron:
No. It can start with a note. Which can become a phrase. And then you try hanging words off each branch, like trimming a
tree.

Cioffi:
Sounds easy enough.

Aaron:
Really? Well don't talk about Love
Or you'll have to say "fits like a glove"
Or "As certain as push comes to shove"
You will pine for the woman you're constantly thinking of
You see the problem.

Cioffi:
Dangling participle. So you suggest staying away from love?

Aaron:
At all costs. And don't mention your life
Or you'll have to say "cuts like a knife"
Or refer to the heartbreak and strife
When you find that you're missing your ...

Cioffi:
Missing?

Aaron:
What?

Cioffi:
You were saying what you miss.

Aaron:
No I meant that, well ...

(sung)I miss the music
I miss the song
Since she’s not with me
It comes out wrong
It doesn’t matter
How hard I try
I’ve lost the music
I don’t know why
You may have known
Before I met her
I wrote alone
But if you ask me
What I prefer
I’d say the music
I wrote with her
When you’re writing a song
And you’ve a partner
The room is filled with jokes and chatter
She says something
You say something
She writes a line
You play a vamp
But when you’re writing a song
Without a partner
That’s a completely different matter
No one tells you
That’s not funny
No one says
Let’s cut that bar
No one makes you better than you are
I can’t pretend
I miss the music
I miss my friend
No need to ask me
What I prefer
I choose the music
I wrote with her
I liked the music
I made with

Georgia (spoken):

Aaron, I forgot my lyric. Can you believe it? Me.

Aaron:
Well youre not the lyricist now, youre the star.

Georgia? Break a leg.

Georgia:
Thanks. You can finish the song without me?

Aaron:
Im a one-man band.

(sung)
I miss the music
I miss my friend
No need to ask me
What I prefer
I choose the music
I wrote with her
I loved the music
I made with her.