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Candide
Playbill from 1974 revival
Music	Leonard Bernstein
Lyrics	Richard Wilbur John Latouche Dorothy Parker Lillian Hellman Stephen Sondheim Leonard Bernstein
Book	Lillian Hellman Hugh Wheeler
Based upon	Candide, novella by Voltaire
Productions	1956 Broadway 1973 Broadway revival 1982 New York City Opera 1988 Scottish Opera Version 1997 Broadway revival 1998 Royal National Theatre 2004 New York Philharmonic 2006 Théâtre du Châtelet
Awards	Tony Award for Best Book Drama Desk for Outstanding Book

Candide (1956) is an operetta with music composed by Leonard Bernstein, based on the novella of the same name by Voltaire. The original libretto was written by Lillian Hellman, but since 1974, has been generally performed with a book by Hugh Wheeler, which is more faithful to Voltaire's novel.^{[citation needed]} The primary lyricist was Richard Wilbur. Other contributors to the text were John Latouche, Dorothy Parker, Lillian Hellman, Stephen Sondheim, and Leonard Bernstein. Hershy Kay, John Mauceri, and Maurice Peress contributed orchestrations.

Contents 1 Origins 2 Performance history 3 Musical numbers 4 Characters 5 Notable elements 6 Trivia 7 References 8 Bibliography 9 External links

Candide was originally conceived by Lillian Hellman as a play with incidental music in the style of her previous work, The Lark. Bernstein, however, was so excited about this idea that he convinced Hellman to do it as a "comic operetta"; she did the original book for the operetta. Many lyricists worked on the show: first James Agee, then Dorothy Parker, John Latouche and Richard Wilbur. In addition, the lyrics to "I Am Easily Assimilated" were done by Leonard and Felicia Bernstein, and Hellman wrote the words to "Eldorado". Hershy Kay orchestrated all but the overture, which Bernstein did himself.^[1]

None of Agee's lyrics were eventually used.

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Candide first opened on Broadway as a musical on December 1, 1956. The premiere production was directed by Tyrone Guthrie and conducted by Samuel Krachmalnick. The sets and costumes were designed by Oliver Smith and Irene Sharaff, respectively.^[1] It was choreographed by Anna Sokolow. It featured Robert Rounseville as Candide, Barbara Cook as Cunegonde, Max Adrian as Dr. Pangloss, and Irra Petina as the Old Lady. While this production was a box office disaster, running only two months for a total of 73 performances, much of the score was recorded on an original cast album, which became a cult hit and kept the memory of the show alive. Hellman's libretto had been criticized in a The New York Times review as being too serious. ^[1]

“

When Voltaire is ironic and bland, [Hellman] is explicit and vigorous. When he makes lightning, rapier thrusts, she provides body blows. Where he is diabloical, [she] is humanitarian ... the libretto ... seems too serious for the verve and mocking lyricism of Leonard Bernstein's score which, without being strictly 18th century, maintains, with its gay pastiche of past styles and forms, a period quality.[1]

”

Without Bernstein's involvement, the show underwent a series of Broadway revivals under the direction of Harold Prince, previously known for, among other work, producing the first run of Fiddler on the Roof. Lillian Hellman, the author of the original book, refused to let any of her work be used in the revival, so Prince commissioned a new, one-act book from Hugh Wheeler. The sole element of Hellman's book that remained was her invented name for Cunegonde's brother: "Maximilian." The character has no given name in Voltaire's novella. The lyrics were worked on by the team of artists listed above. This 105-minute version, omitting over half of the musical numbers, was known as the "Chelsea version", and opened in 1973 at the Brooklyn Academy of Music, before moving to Broadway and running there for nearly two years.

In response to requests from opera companies for a more legitimate version, the show was expanded based on Wheeler's book. The two-act "opera house version" contains most of Bernstein's music, including some songs that were not orchestrated for the original production. It was first performed by the New York City Opera in 1982 under Prince's direction, and ran for thirty-four performances. Since then, opera companies around the world have performed this version. The production continues to be a staple of New York City Opera's repertoire, with performances underway in Spring 2008.

In 1988, by which point Hellman had died, Bernstein started working alongside John Mauceri to produce a version that expressed his final wishes regarding Candide. He thought that in recent versions too much had been jettisoned or amended, with songs given to different characters and/or put in the wrong context. The new show was first produced by Scottish Opera and then, after a few more minor changes, Bernstein conducted and recorded what he called his "final revised version" with Jerry Hadley, June Anderson, Christa Ludwig, and Adolph Green.

Ten years later, when the Royal National Theatre in the UK decided to produce Candide, another revision was deemed necessary and Wheeler's book was rewritten by John Caird. This book stuck far closer to Voltaire's original text than any previous version. The songs remained largely as Bernstein intended, bar a few more tweaks from Sondheim and Wilbur. This, the "RNT version", was a major success and has been performed a number of times since.

Candide was revived on Broadway in 1974 (see above) and again in 1997, directed both times by Harold Prince. Lonny Price directed a 2004 semi-staged concert production with the New York Philharmonic under conductor Marin Alsop. It ran for four performances, May 5–8, 2004. This production was also broadcast on PBS's Great Performances. The cast featured Paul Groves as Candide, Kristin Chenoweth as Cunegonde, Sir Thomas Allen as Dr. Pangloss, Patti LuPone as the Old Lady, with choruses from both Westminster Choir College and the Juilliard School completing the performance cast. This production included the rarely sung duet between Cunegonde and the Old Lady, "We Are Women".

In 2006, in honor of the 50th anniversary of the creation of Candide, the Théâtre du Châtelet in Paris produced a new production under the direction of Robert Carsen. The production was to move to Milan's Teatro alla Scala in 2007 and to the English National Opera in 2008. The production transforms the proscenium into a giant 1950s-era TV set, and has Voltaire, appearing as the narrator, changing channels between certain scenes. Carsen sets the action in a 1950s-1960s world, with an American slant commenting on contemporary world politics. This production was filmed and broadcast on Arte. For an open-house day in French opera houses on February 17, 2007, this video was projected in high definition on a screen filling the proscenium of the Théâtre du Châtelet. The production was harshly criticized in the monthly magazine American Record Guide for mangling the style and intentions of the operetta.

Candide has overcome its initial unenthusiastic reaction and achieved enormous popularity. It is very popular among major music schools as a student show because of its wonderful music and the spectacular opportunities it offers to talented student singers.

Act I Overture Life Is Happiness Indeed The Best of All Possible Worlds Oh, Happy We It Must Be So Battle Candide's Lament Lisbon Fair / The Inquisition It Must Be Me Paris Waltz Glitter and Be Gay You Were Dead, You Know Pilgrims' Procession My Love I'm Easily Assimilated Quartet

Act II Quiet We Are Women Eldorado Bon Voyage What's the Use? Venice Gavotte No More Than This Make Our Garden Grow

• Candide (tenor)
• Voltaire/Pangloss (baritone, but occasionally played by a non-singing actor in a style similar to Rex Harrison's in My Fair Lady)
• Maximilian (baritone, but can be played as a tenor)
• Cunegonde (soprano)
• Paquette (alto in versions of the musical from 1974 on. Although a major character in Voltaire's novella, she is a walk-on part with only one line in the 1956 stage version.)
• Old Woman (alto)
• Cacambo (tenor)
• Martin (baritone. Doubles with Pangloss in the 1956 version and some later versions.)

Candide is most famous for its popular overture which is often performed alone as a concert piece. In 1987, it was the most often performed piece of concert music by Bernstein.^[1] Cunegonde's coloratura aria Glitter and Be Gay is a favourite showpiece for many sopranos.

A version of the wordless vocalise in "Glitter and Be Gay" has long been the theme song for TV and radio talk-show host Dick Cavett. The tune was used at the midpoint of his ABC late-night TV show and became his signature introduction during the years the Cavett show aired on PBS.

1. ^ ^{a b c d e} Peyser, Joan (1987). Bernstein, a biography. New York: Beech Tree Books, 248. ISBN 0-688-04918-4. 

• Leonard Bernstein, Lillian Hellman, and Richard Wilbur et al. Candide: Original Broadway Cast Recording. Columbia Soundtracks, 1957.

• Candide at Internet Broadway Database
• A Guide to Leonard Bernstein's Candide
• List of articles about Candide
• Live, Laugh, Love: Candide
• Great Performances: Leonard Bernstein's "Candide" in Concert
• June Anderson sings "Glitter and Be Gay", Leonard Bernstein conducting, London, 1989.
• Diana Damrau sings "Glitter and Be Gay", WM-Concert 2006.
• Natalie Dessay sings "Glitter and Be Gay", 2007, TV show.
• International Herald Tribune article on 2006 Théâtre du Châtelet production

Awards
Preceded by A Little Night Music by Hugh Wheeler	Tony Award for Best Book of a Musical 1974 by Hugh Wheeler	Succeeded by Shenandoah by James Lee Barrett, Peter Udell, and Phillip Rose

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