SCHIRMER - ACT 1

A few prefatory comments.  First, as no doubt you have noticed,
I have already posted notes for some sections of the Chappell
edition; though there aren't many differences in text or notes,
the pagination is entirely different.  Second, I have indicated
sections of the score with three numbers, corresponding to page,
system, and measure.  Thus, 17,1,5 is the fifth measure of the
first system on page seventeen.  Third, I use the apostrophe
to indicate placing a schwa after a consonant.  Thus, d' means
d followed by a sort of u-umlaut sound (see general musical notes
for explanation).  Fourth, please mark these into your scores.
We've little enough time together; I'd prefer to spend it on
building choral sound and on the finer points of interpretation,
rather than on diction and cutoff drills and the like.  Fifth,
and last, don't hesitate to ask me about unlcear or troublesome
musical notes, or (especially for principals) to suggest alternative
approaches.

=====
ACT I
=====

No. 1
-----
tempo: half = 92-96

16,4,2: quarters slightly detached, but do not break the phrase
16,4,3: phrase end on 2
17,1,1: same as 16,4,2; no hard r in warm; st of west attached
to w of wind, with schwa in between
17,1,2: wind rhymes with blind or find, not tinned or sinned;
phrase end on second quarter
17,1,3: nyoo, not noo
17,2,1: no phrase break; no breath until kind
17,2,2: lower parts, sing "uh-huh-vmay-hay" on eighths; dehn,
not dun
17,2,3: kind - sing on ah, putting e at cutoff
17,3,1: keep phrase going through measure - no breaths
17,3,2: no hard r on virgin
17,3,3: phrase runs to end of choral passage; cut off precisely
to allow for full breath
18,3,1: tempo: half = 84; phrase runs to end of line
18,4,2-3: d'ca (at "famed Can't")
18,4,3: nt'l
19,1,1-2: d'd
19,2,1-2: molto legato
19,2,3-4: more detached
19,3,4: no rest here; phrase runs to end of line
19,4,2: rallentando to end of line
20,1,1: tempo is half = 66
20,1,3: slight ritard; emphasize m of months; somewhat petulant
20,1,4: tempo primo at forte; follow earlier instructions
21,3,1: legato; flipped r at start of is (same next bar)
21,3,5 - 22,1,1: legato; no "ro-ho-ho"; z of Rose at start of
is
22,1,1: rallentando to end


No. 2
-----

Tempo: dotted quarter = 76-80

23,2,3: emphasize consonants; no louder than mf, and usually
mp
23,2,4: leh-shzure, not lee-shzure; not leh-heh, for that matter
23,3,1: accented eighths; sharp cutoff
23,3,2: slightly rolled r on ruthlessly
24,1,1-2: use consonants for effect here and below -- terrify
the chorus, or that part of it that is supposed to show terror
24,2,5: chorus p-mp; lots of consonants, so the words will carry;
lots of air, so the notes will
24,3,2: cutoff on second beat
24,3,4: same
24,4,3: very slight ritard to end of choral line
25,1,1: a tempo
25,3,1: start at mp, and crescendo starting at pickup to 25,4,1
25,4,2: slight ritard leading into fermata
25,4,4: a tempo
26,1,1: mf
26,4,2: slight ritard to end of line
27,1,1: a tempo
27,3,1: recit begins mf, goes to f at "I'll sin no more!"
27,4,2: mp
28,1,1: mp to mf, back down at phrase end
28,1,4: chorus enters mp/p
28,2,2: cloyed is an eighth here, so a very sharp cutoff.  d'
on second eighth as the cutoff
28,3,1: same; a bit louder at "and so"
28,4,1: slight dim and ritard to end; mysterious effect, but
emphasize consonants even more


No. 3
-----

tempo: dotted half = 63-66

generally: legato, but not too operetta-waltz-songish until the
latter half of each verse (the A major sections).  The first
halves should use shorter phrases, though there should be the
suggestion of eight-bar phrases (the phrases thus carrying through
the rests).  Draw some contrast between what you would like to
do (more legato) and what you must do (more detached).

31,2,6: cut off point and print at start of beat 2
31,4,4-5: "to point" and "in print" accented and detached
31,4,6-8: slight rallentando; slight crescendo; effect of (modified)
rapture
32,1,1: a tempo
32,2,4: even more lyrical; take advantage of the aspirated wh
32,2,4 - 32,3,3: greater freedom in line, swelling in dynamics;
the effect should be giving way to emotiion . . . until . . .
32,3,4: this portion in each verse should steadily become less
lyrical, less legato
32,4,6: detached
33,1,1: same


No. 4
-----

tempo: quarter = 104-108

generally: make the parentheses distinct from the main text.
Legato throughout, but not to the detriment of text.  Bring
out the words designed to affect the other person -- weep, wail,
gallant, loves, wretched, et al.

34,2,3: slight accent on sight; anticipate the s of sight a bit
34,3,2: emphasize w words a little
34,3,3: slight accent on wretched
35,1,1: separate the quarter notes, but not staccato or marcato
35,1,3: bring out gallant a little
35,3,3: separate the notes in this measure, but not staccato
or marcato.  Cut off on fourth beat.
35,4,1 et seq.: poor -- rhyme with boor, not spore; increase
emphasis on poor in each successive verse
36,1,2: crescendo through whole note
36,1,3: subito mp/mf; detached
36,2,1: half note cuts off on four
36,2,2: aspirate wh; legato phrase
36,2,3: last two quarters almost staccato
37,2,1: s of sight should be anticipated, and word accented a
little
37,2,3: aspirate fs (fan, flame), and anticipate
37,3,3: a bit bolder; a full mf, dropping back for parenthesis
38,1,1-2: same
39,1,1: no diphthong on ought


Nos. 5-6
--------

tempo for chorus: half = 104

generally: this should be count-sung (see general notes).  Lots
of energy.  Make certain that the eighth notes are precise and
distinct, with separate attacks on each (Cuh-huhms young Rih-hih-chard,
etc.).

40,3,2: accent both half notes
40,3,3-4: separate attacks on eighth notes; despite the markings,
do not slur
41,1,1: cutoff on upbeat
41,1,3: phrase ends on he; cut off to allow for fully aspirated
h on his
41,2,1: rious cuts off on upbeat
41,2,3: phrase carries through whole note; stagger breathing
to avoid premature phrase break
41,3,1: phrase ends here; cutoff on upbeat
41,3,2: lots of t; cutoff just before upbeat; give half-note
full value
41,3,3: same
42,1,1: sopranos -- bow-how, staccato
42,1,2: start note mf, crescendo through whole note
42,1,4: keep dotted rhythms crisp (count-singing helps); ehth,
not ihth
42,2,1 et seq.: ah-hahl, to-hoh-, fru-huhm, etc. through re-teuh-heuh-nehth
42,3,2-3: half notes accented, but don't break up the legato
line

Dick's song: tempo is half = 96 (a bit flexible)
-----------

generally: play with the words.  We will do the traditional slowing
down in verse 3 at "I'll wager in their joy," etc., coming to
a full stop for business, and resuming a tempo at "(Which is
what . . ."  More parlando than legato; consecutive eighths
should get a little aspirate (as in verse 1, "ah-hahnd off Cape
Finistere") -- not too much, but a separate attack, rather than
a legato blurring.  CHORUS -- do not try to imitate Dick's accent.

44,3,1: in verse 2, note that the syllables are arranged differently
for the chorus (and chorus, do not sing what Richard has for
that verse)
44,4,1: verse 1, sing whih-hih
44,4,2: verse 1, put a little d with the th in "lysed the" --
do not insert a schwa (no time); verse 2, sing oh-hoh


No. 7
-----

tempo: dotted quarter = 138

generally: allow a pause for business at the usual spots in verses
2 and 3.

47,3,1: accent "passion"; a little hamminess -- extra diction,
etc. -- welcome
47,4,1-2: "I've thought so again and again" almost thrown away,
as an aside
48,3,1-2: verse 3, try two different approaches, and we'll see
which works better.  (1) Start the phrase mp; sustain "shy" over
a crescendo, with cutoff on downbeat of next measure.  (2) Begin
phrase mf/f, with a diminuendo on "shy," sustained until next
measure, with a slight relaxing of tempo (to be picked up on
re-entry).
49,3,1: here and in the duet passage, sing "your" as one syllable
(no extra h to set off the eighth note)


No. 8
-----

tempo: quarter = 108

generally: take care that the dotted rhythm doesn't slide into
triplets.  In doing so, however, pray don't make this marcato.
A gentle legato, with consonants slightly anticipating the beat,
should do the job.  Also use the punctuation to set the phrasing.
Contrary to some earlier instructions, carry vowels through
tied noted without adding aspirates.

51,2,3 - 51,3,2: keep as one phrase; do not overemphasize the
initial f
51,3,3: no phrase break after shelter (not until arms in 33,4,1)
52,1,2: slight rallentando
52,1,3: a tempo at downbeat
52,2,1: lyooring
52,3,1: dyooring
52,3,4: a tempo at Rose's entry
53,2,1: aye pronounced a, not i
53,4,2: slight ritard and diminuendo (duet passage should be
a comfy mf or a little under; cut the marked crescendo short at the start
of this bar)
54,1,1: a tempo; back to just under mf
54,2,3 et seq.: poco a poco dim. e rit.
54,3,1: rather slow; notes will be dictated


No. 9
-----

tempo: half = 100

55,3,5: syoot
55,4,1: slight breaks at commas
55,4,4 - 56,1,2: teh-hel, dah-hahth (a little darker than a plain ah),
may-hay-dehn
56,1,4: detached quarters; give a sense of eager anticipation
with slight staccato; follow dynamics in piano part
56,2,4 et seq.: light attacks, a bit of bounce in the voice
-- but don't bounce off center in pitch; observe punctuation
in vocal phrasing; be sure to give proper attention to the grace
note


No. 10
------

tempo: quarter = 132

Generally: individual verses should be crisp, reflecting the underlying
orchestration (though the last two measures of each should be more legato).
The trio portions should generally be more legato, though the repeated
eighths and dotted passages need to be clear.  Much opportunity for verbal
acting, with Dick as basically innocent, until Rose's verse, of what is
going on, Robin as rather calculating, and Rose showing that that she's a
little less sweet than she gives out.

59,1,2: phrase ends at guide; if necessary, take catch-breath, but try to
keep sense of line
60,1,1: wind rhymes with blind
60,1,3: slight d' at find
60,3,3: this measure legato
61,1,2: same
61,2,1-2: legato, with slight crescendo to end of phrase
61,4,2: legato; give a sense of deprecating -- almost sneering at --
Richard's statement, perhaps by sliding a little from pitch to pitch.
Martyn Green does this especially well on the 1950s recording.
62,1,1: same; bring out "merely" with lots of m (anticipated slightly) and
slight accent on vowel
62,3,3: staccato on left and right, with accents
62,4,1: legato
62,4,4: detached, with lost of closing consonants; almost staccato
63,1,1: agayn, not agehn
63,1,3 - 63,2,1: detached, with accents; closing consonants with each note,
not
carried over to next
64,1,2: detached
64,2,1 - 64,3,1: underneath Rose's long legato line, precise and detached,
with lots of closing consonants
65,1,2-3: crescendo, then diminuendo
65,1,4 - 65,2,1: same
65,2,2: forte to end; accented; detached


No. 11
------

tempo: dotted quarter = 58 (changes frequently)

Generally: David will obviously have a great deal to say about this
number, and most of what I have to say will better be done through
coaching.  My main musical points are: (1) The transition from the more
melodramatic madness of the recit to the song proper starts at "No crime,"
though there are hints of the more Ophelia-like in, say, "Comfort me not!"
(2) In "To a garden full of posies," avoid at all costs heavily emotional
sorrow.  The impression should be more of deadened emotion, so that the
little bits of feeling that come out will be more powerful (just as the
perfectly still person on stage draws all the focus).  I have seen this
staged quite effectively with Margaret sitting for both verses, rocking
gently as she sings, almost absently plucking the petals from a flower (and
noticing that she has done so at the last line, with a catch in the voice
accompanying this).  This, at any rate, is the general idea.

66,4,1: tempo is dotted quarter = 69
67,1,3: very slight ritard to vocal entry
68,1,4 - 68,2,1: ritard
68,2,3: a tempo; slight accelerando for next six measures
68,4,1: ritard to previous tempo (omit a tempo at 68,4,2)
69,1,1: tempo is quarter = 108
69,2,1: ritard
69,2,5: a tempo (108).  Lyric should read (and sound) "Mad. I?" rather than
"Mad, I?" as found in Schirmer
69,4,1: tempo is quarter = 54
70,1,1-2: ritard even further; separate words, but keep phrase going;
linger a bit on "t's" of "that's"
70,2,1: tempo is dotted quarter = 54
70,4,4 - 71,1,1: slightly separated (observe commas in second verse)
71,2,2-4: on repeating the earlier phrase, drop the dynamic, slow down
very slightly, and bring out the words more
71,2,4 - 71,3,2: more legato, but not overly romantic.  Schmaltz strictly
forbidden.
71,3,2: slight stress on "doubting," and slightly more on "breaking"
71,4,1: in verse 2, slight break at comma; lower dynamic here, slow a
little for final phrase


No. 12
------

tempo: dotted quarter = 116

48,3,3-4: no sharp breaks in the eighth-note phrases (no cuh-huhm, for
example), but make the separate notes distinct.  We may have some of the
chorus  separate these notes sharply, depending on how the rehearsal goes.
48,3,4: do not end phrase at "entry"; phrase doesn't end until "beating."
48,4,2: altos should accent second note a little; "-ing" should be sung as
eighth note with eighth rest, to allow proper preparation of next note.
S2s should omit the final quarter note to prepare adequately for the high G
of the next measure.
48,4,3: give effect to comma at end of measure
48,4,4: do not end phrase at "-tion"; phrase runs to "greeting" at end of
49,1,1
49,1,2: do not swoop up or down.  We may have some women make a glottal
attack on the D; for the time being, sing this measure and the next as one
legato phrase
49,1,4: practice this slowly with separate attacks until the notes are
absolutely accurate, only then making the phrase legato.  This phrase ends
at "we!" in 49,2,2; take a catch-breath if necessary, but try not to take
it between "greeting" and "offer."
49,2,2: practice this passage with count-singing
(a-one-and-a-two-and-a-tee-and-a-four-and-a, etc.) slowly until the notes
are accurate and the timing precise.  Do not add words until then.  At this
tempo, flip rs -- no time to roll them.
49,3,2 et seq.: get off the fs and fls quickly
49,4,1: second flee -- sing as eighth with eighth rest.  Accent first flee
-- throw away the second.
49,4,2: nehss, not nihss
50,1,1: In Elysian, eh, not uh (or ih)
50,2,1: slight crescendo through phrase
50,2,2: legato to end of section
50,3,1: cut off "moment" at start of fourth beat
50,4,1: women should follow instructions in 49,2,2
50,5,1: accent "most"
51,1,1: slight emphasis on each occupation
51,2,2: legato phrase starts at end of measure through "me!" at 51,3,2.
Preceding part of bar definitely non legato, with slight crescendo.
51,3,1: linger a little on "lover" -- even more legato.  Give the sense of
swooping -- but don't do it!
51,4,1-2: again, very legato, almost melting
51,4,3 et seq.: carry old instructions forward.  We will do this with
count-singing when together, so you should practice it this way by yourselves.
53,1,3-4: crescendo and diminuendo (only up to mp+)
53,2,1: back to p; do not anticipate the subito f in the next bar
53,2,2: forte passage non legato
53,2,3: the sustained e should be a little darkened -- mouth more vertical
than horizontal, with a vowel sound tending toward ih rather than the often
overly bright ee


No. 13
------

tempo: dotted quarter = 69

Generally: Despard should begin as more or less a stock melodrama villain,
though we get a hint of his real views at "I once was a nice-looking
youth," and rather more by the last verse.  The chorus needs great
precision in its short interjections, with no carrying over of the closing
consonant from one word to the next, and definitely without overstaying the
eighth notes.  The choral passages should be as crisp as possible.

54,2,4: "Oh, yes" should not be exclaimed -- this is, after all, pretty
obvious
55,1,4: chorus should accent "my"
56,1,2-4: Despard should sound a bit wistful -- less marcato than usual,
more legato.  Go back to firmer tone with "But like stone . . ."
56,2,3: roll r a bit with "rushed" -- lots of consonants, including the sh
57,1,2 et seq.: Despard should be more legato until "Or you'll be as ugly
as I'm."  Note that in this verse Despard's final notes are dotted
quarters, rather than eighths, until "time" at 57,3,4; until then, the
chorus should not wait for Despard to cut off before it sings.
57,2,3: note that the usual dotted rhythm is changed in the latter half of
the bar
57,3,1: same
57,3,3: same (reverts after)
58,1,3: back to harsher, more marcato singing; accent "ugly"
58,1,4: separate each no
58,1,4 et seq.: Despard should be more legato here -- almost delicate.
Observe the comma at 58,2,2 -- "if you please" should be almost an aside
58,2,3: d' at end of proceed



No. 14
------

tempo: dotted quarter = 138-144

Generally: Of necessity, this is rather clipped, but make certain that the
words are not so clipped that we can no longer understand them (a problem I
had as Despard).

88,3,3: Despard should just touch the second r in bridegroom to ensure
that we can hear the oo -- almost bridegoom.  Be sure to get the d, even
putting a little schwa after it so we can get the g.
89,2,1: Richard -- similarly, just touch the ll in I'll.  Despard --
slight accent on lash; start the sh a little early for emphasis.
89,3,1: dyootee, not dootee (throughout)
89,3,2: must'be (very, very short neutral vowel after st)
90,3,2: cut off task on downbeat
90,3,3 et seq.: if possible, a bit of crescendo through the
fiddle-de-dees.  We may abridge the final note, depending on the blocking.


No. 15
------

starting tempo: dotted quarter = 96

92,4,2-5: slight ritard to about 80
93,1,1: new tempo is 88
93,1,4: seh-vehn-teen, not seh-vuhn-teen (as would be suggested by
"sev'nteen")
93,2,1: phra-zehs, not -zuhs (same for praises, 93,2,2)
93,2,2: cut closing eighth a little short to end phrase
93,2,4: we should hear the comma, but not to the point of breaking the line
93,4,1: elide eighths -- do not add aspirates on the second of tied eighths
94,1,1: mai-dehns, not -duhns (notice the trend?)
94,1,3 et seq.: phrase ends at day; be sure to prepare it with adequate
breath (cutting "her" short if need be); dynamics should rise and fall with
the line
94,2,1-2: don't put in separate s sounds with brides and some; one will do
for the two of them
94,2,3: a little extra d in day, given the falling dynamic
94,2,3 et seq.: men should be vigorous, accenting firmly -- not choppy,
but non legato
94,2,4: make sure to bring out the F#
94,3,2: first phrase ends here; hit the d hard, and strong aspirate on the h
94,4,3-5: slight ritard with the crescendo -- almost a tempo at the choral
entry
95,1,2: first phrase ends at end of 94,1,4, so no real break at the end of
95,1,2
95,2,1: pull back dynamic to mf, then swell through bar 1, dim through bar
2, swell through bar 3, dim through bar 4
95,2,2: altos and tenors should bring out the eighth notes
95,3,1: crescendo to f through this line
96,2,1: tempo is quarter = 116-120
96,3,1: dynamic is a little under mf; the phrase runs through spring
96,4,1: cut spring short for a breath (down to a quarter, if need be)
97,1,2: cut love a little short for phrasing
97,1,4: quarters a little detached
97,1,5: quarters a little detached (not marcato)
97,2,1-2: phrase should peak at downbeat of 4 (same with next quartet phrase)
98,1,1-2: Richard should bring out phrases in eighths
98,2,2: tenors should not change their dynamic (mf) here (wait until the
next verse)
99,1,2-3: drop dynamic for second "far away"; crescendo through "fa la
la," dropping back a bit for the balance
99,1,4: mf; notes distinct, but not marcato
99,2,2: T2 -- bring out the C (also at 99,2,4) (we may move a B1 or two up
for these four bars)
100,1,1 et seq.: A & T should bring out the running eighths; aspirate the
second eighth of each phrase for clarity.  Think of the eighths as a solo
and the quarters as accompaniment.
100,2,2: B should accent the low A, and T should accent the B
100,2,3: T -- eighths a little detached
101,1,1: mind the rest
101,1,2: I will move two B1s to T2 for the fourth beat (the two eighths).
Let us say Pascoe and Scott, barring piteous pleas.  Head back to the B1
line at the start of 101,1,3.
101,1,3-4: non rit.
101,2,1 et seq.: where appropriate, copy the musical notes from the earlier
verse. Hannah -- molto legato, until it starts interfering inordinately
with diction
101,3,2 - 102,1,3: phrase builds to end; cut "sleep" a little short for
breathing; in any event, remove the dot from the dotted half on sleep (typo)
102,1,3 et seq.: very slight ritard to end of solo (a tempo with soprano
entrance); also very slight diminuendo
104,1,1-2: "Winter, rest" is p; lots of consonants
105,1,3: bring out commas
106,2,3: ritard; I'll dictate the notes and cutoffs (after each half note)
107,1,1: tempo is quarter = 100


No. 15 (part II)
----------------

108,3,1: tempo is half note = 112; this will be a bit flexible, particularly
to allow for extended rests here and there.  The recit will, however,
largely be in tempo.
108,3,3-4: roll rs in bride and bridegroom (first r only in latter)
109,1,2: strong accents on both halfnotes of elder
109,1,3: tempo is half note = 96
109,3,1: tempo is half note = 104-108; Despard should wait for cue to enter
109,4,3-4: cut "as" short; extra emphasis on "Sir Ruthven Murgatroyd"
111,1,1-3: s of "base" should be put at the end of base, not carried
forward to the start of "one"; slight separation between base and one
111,2,1: tempo is quarter = 88
111,2,5: bring out commas; perhaps drop the dynamic slightly on "I regret"
111,3,4 - 112,1,1: drop dynamic for "I am that baronet" -- definite show of
reluctance to admit this
112,1,1-3: note p dynamic
112,3,1-3: roll r on "recklessly"; otherwise make clear the assumption of
the bad baronetcy.  Martyn Green did this nicely in the 1950s recording, in
part by accenting "deny."
112,3,3 - 113,1,1: forte
113,1,1: tempo is dotted quarter = 126-132.  Chorus should try for a more
sung vocal technique -- high palate, more notes between the (clearly
brought out) consonants.  This would apply until about 117,1,2.
113,2,2: flip r in "taradiddles" -- almost "tadadiddles."  (If you can't
flip the r easily, then sing tadadiddles, but without emphasizing the first
d.)
113,2,3: t of "Bart" comes at end of the eighth, not at the start of the
next eighth.  Keep it short to allow a distinct gap between the chorus and
Robin.
113,3,3: no hard r in "very"; as before, flip the r, or sing "veddy."
114,1,1: "part" should be sung as an eighth with an eighth rest
115,1,3: final s of "sententious" should be very short and on the downbeat
of 115,2,1.
115,2,1 et seq.: chorus is accompaniment -- keep it down.  Lots of consonants.
Take breaths when you must here and in the forte passage upcoming.  Try
not to take them at phrase endings, except when there's a rest -- staggered
breathing will be much more effective.  If you take a breath mid-phrase,
don't try to catch up with the missed words -- just jump back in on time.
117,1,3: women -- d of "Bad" should go just before the downbeat of 117,2,1,
joined to the B of "Bart" with a short schwa (neutral vowel) -- thus,
bad-uh-baaht.  The B of "Bart" must be exactly on the downbeat.
117,2,1: women -- t of "Bart" should be on beat 2 (the start of the fourth
eighth note). All -- from "When" to the upbeat of 117,2,3 is piano (as
marked in the accompaniment).
117,2,3: as in the accompaniment, forte at the last note (A for women,
He'll for men).  The comments from 117,1,3 -- 117,2,1 apply.
117,3,2: "On" should be piano, molto crescendo to f at "play" (118,1,2).
118,3,1: tempo is quarter = 104
119,1,1: tempo is half = 88.  This passage (up to the allegretto maestoso)
will be essentially in strict time.  (At least one recording, and some
performances, take the choral passage at about half speed.  We won't.)
119,4,1: tempo is quarter = 80.  Generally, Dick should follow the dynamics
marked in the accompaniment, at least until 120,3,1.  Watch the phrasing.
This shouldn't be strictly marcato, but we do need a firm sense of the beat.
120,2,1: more legato through "great"
120,3,1: mp, resolutely
120,3,4: f
120,4,1: practice just the rhythms using count-singing.  This passage often
degenerates into triplets.  We will not let it.
120,4,2: t of "heart" on downbeat of 120,4,3
120,4,4: quarter-note of "impart" should be sung as an eighth note with an
eighth rest.  The t falls on the start of the eighth rest.
120,4,4 - 121,1,1: "immediately" has only four syllables (ih-mee-dyah-tlee)
121,1,2: 'd on third beat
121,2,1: tempo is quarter = 76-80
121,2,1: insert a slight pause between "farewell" and the start of the next
measure.  Generally, this passage should show some measure of regret on
Rose's part -- but not too much; after all, she now has a virtuous chap to
marry, as her book of etiquette doubtless demands.  Some extra emphasis at
121,4,1-2 -- more consonants will bring this out.
122,1,4: tenderly, a bit regretfully; slight rall. 
122,3,1: tempo is half = 100.  Carry over notes from past appearances.
123,1,2-4: non legato
123,2,3 - 123,3,3: if possible, crescendo through the phrase (particularly
the last two bars) 
123,3,4 - 123,4,1: hold back a little on the emotion; save it for the next
phrase
123,4,1: quarter rest will be slightly extended
123,4,1 - 124,1,3: in old tempo (not greatly slowed, as in some recordings).
Phrase ends are "joy," "warm'd," and the end of the line.
123,4,3: nyoo-lee
124,2,3: take lower notes.  Legato, expressivo for "How I adore you!"
125,1,2 - 125,2,2: slight annoyance, esp. at "through thy design"
125,3,2-3: slightly detached
125,4,3: this bar will be conducted as a downbeat in the old tempo plus a
three-four bar in the new tempo.  This is how it comes out in the D'Oyly
Carte recordings.  The cutoff will thus be on beat three of the three-four
bar.
126,1,1: tempo is dotted quarter = 144-152.  Generally, think of this
passage as having three two-bar phrases and one five-bar phrase, with each
phrase having its own shape.  Thus, for instance, the downbeat of 126,2,1
should be firmer than that of 126,2,2.
126,3,1 - 127,1,3: poco a poco crescendo.  There should be a sense of building
through the phrase.
127,1,2: do not separate the three dotted quarters
127,3,3 - 128,2,2: same as 126,3,1 - 127,1,3
127,3,3: Despard -- watch the eighth rest, which Margaret doesn't have.
Or, if you prefer, Margaret -- sing the full quarter on descent, rather
than follow Despard's eighth and eighth rest.
128,2,1: same as 127,1,2
129,1,2 - 129,3,1: same as 126,3,1 - 127,1,3
129,2,3: observe the rests
130,3,1: accent "curse"
130,3,2: crescendo through phrase
131,2,1: lots of tenor on the eighth note passages here and the next two
measures.
131,2,1 - 132,1,2: steady crescendo through phrase.  Pull back a little at the
start, so you have somewhere to go.
132,1,2: some S1s will sing the top Bbs (marked as optional in the Chappell
score).  We'll sort that out when we sing it together.
132,1,3: forte
132,2,1: start the new phrase a little over mf, and crescendo through to
the end.
133,1,2: cut the dotted half short; the s should fall on the second beat,
giving you time for a catch-breath.
133,1,4: d' on beat three