Glitter and Be Gay

Glitter and Be Gay is an aria from the operetta Candide, sung by the character of Cunegonde. It was written by Leonard Bernstein. The tune of the up-tempo section ("Ha ha, ha ha ha ha") is well-known from its prominence in the show's overture as well as from its use for years as the theme music of Dick Cavett's talk show.

This aria poses considerable difficulties. In sheer vocal/technical terms, it is among the most fiendishly challenging coloratura soprano arias. If sung as written throughout (alternative phrases are provided at several points in the score), there are four high E-flats (above high C), two staccato and two sustained; there are also numerous requests for high C and D-flat. Some of the florid passages are very intricate, calling for marksmanship of the highest order. Theatrically it is also far from simple. It demands an elaborate comic staging (in which Cunegonde adorns herself with jewelry while singing and dancing around the stage), and the actress must perform in deadly earnest if she is to capture the piece's satirical quality.

"Glitter and Be Gay" was introduced by Barbara Cook, who never sang the aria again after the show's original Broadway run, despite many requests once she launched the concert career that has occupied her for more than three decades. Once she reportedly announced from the stage that she would perform the aria, and did so — on the kazoo. More recently, in her 2003 Lincoln Center concerts, she ended the program with an abbreviated rendition of "GABG," beginning with the slow opening, then cutting to the final stretch of coloratura and high notes — which she lip-synched.

Barbara Cook discussed the most difficult part of this aria--the "Ha ha hahahaha" section-- with Renee Fleming for Opera News in December of 2001:

Barbara Cook: It was terrible how nervous I was. I'd been singing stuff like "I'll be loving you always," and here I was singing Cunegonde. You know what else is hard with that thing? Lenny insisted on the "Ha-ha-ha"s really being "Hha-hha-hha"s. No "Ah-ee-ah-ee-ah"s but "Ha-ha-ha-HA-ha-ha"s. And I was never, never able to do it the way he really, really wanted it done. He wanted the ...

Renee Fleming: You mean the aspiration?

Barbara Cook: Oh, that. I did do that. But what he wanted was the syncopation. So it would have to be [speaks, beating time], "Ha-ha-hahahaha. HAhahahaHAhahaha." You try that on for size. That's hard, because you are losing all that air.

Apart from Cook, most other singers of this aria generally simplify this section by eliminating the aspirated "H's" and sing staccatti instead.

Subsequent performers of the role of Cunegonde have included singing comediennes extraordinaire Madeline Kahn (in a 1968 concert version), Michael Callen (in his 1996 posthumously released LEGACY 2-CD album) and Kristin Chenoweth (in a 2004 concert production with the New York Philharmonic) as well as operatic sopranos Mary Costa (in the 1959 London premiere), Erie Mills (at the New York City Opera), June Anderson (under Bernstein's direction in concerts and a recording shortly before his death; her understudy, Constance Hauman, filled in for at least one performance), Maureen Brennan ( In Hal Prince's first broadway revival of the show in 1974), Elizabeth Futral (at Lyric Opera of Chicago) and Harolyn Blackwell (in Hal Prince's second Broadway revival of the show).

This aria has been performed and is favourited by many musical theatre and opera stars. Some of the singers daring enough to take the challenge are June Anderson, Kristin Chenoweth, Natalie Dessay, Renée Fleming, Edita Gruberová, Marilyn Hill Smith, Sumi Jo, Dale Kristien, Roberta Peters and Dawn Upshaw.