Word: krag
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...Krag is the first woman to conduct a Harvard Gilbert and Sullivan musical and probably the first female undergraduate to conduct any Harvard production. It is not a distinction that particularly impresses her and only occasionally has it been called to her attention by anyone else. When she asked Michael Loo to be her concertmaster, a service he has performed for past Gilbert and Sullivan shows, he replied, "What happened? Did no one else want to be conductor?" but comments like his have been rare. Krag is not an Antonia Brico, either in her ambitions or disappointments. Talent and effort...
...production is still in its infancy, so tonight there is no real rehearsal, only a singthrough with Fuller and David Bachrach, a baritone. The director, Kathy Gratto, sits and talks with whichever singer isn't working with Krag. Krag stops Fuller periodically, marking points of emphasis, interjecting at a particular phrase, "Dance it," and indicating with her hands and body how she wants the melody to move. For the next few weeks she will be teaching the singers their music and trying to improve their diction. Most of the humor of a Gilbert and Sullivan play depends on being able...
...question arises about the way Fuller should sing the line "hearts of stone, heart of fire" which Hilarion, the hero, sings to his beloved, Princess Ida. Everyone pauses for a moment. Krag, Fuller and Gratto discuss various interpretations and finally compromise with Krag saying, "Emphasize the note on heart and the diction on stone and fire." Throughout the evening the singthrough is punctuated by conferences, laughter and corny jokes. Afterwards, walking back to North House. Krag talks about choosing the cast. The auditions were low-key and relaxed; Krag and Gratto sat cross-legged on a couch and listened...
...Krag was eating dinner at Jordan K one night last spring when the musical director of Kiss Me Kate began to complain about his accompanist, who wasn't any good. Krag "jumped at the chance" to accompany the musical and pretty soon was showing up for every rehearsal, an unheard of thing for an accompanist to do. That led to an offer for the next fall to be associate music director with John Posner for Fiorello!, a Grant-In-Aid production, which led to an offer this spring from the Gilbert and Sullivan board, to be music director of Princess...
...much of the Grant-In-Aid board's reluctance to let Krag handle the musical direction of Fiorello! alone is due to her being a woman is "debatable," says Krag, and she cites her inexperience and the fact that Grant-in-Aid has worked with Posner before as more important factors. "Right now I'm much happier I did it with John. I learned so much from him....Fiorello! really worked. I got on really well with the orchestra and they thought I taught them...