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 fiendish 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 (hilariously) lip-synched.

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), Elizabeth Futral (at Lyric Opera of Chicago) and Harolyn Blackwell (in Hal Prince's second Broadway revival of the show).

The aria has been recorded by many singers, ranging from musical theater ladies like Dale Kristien to opera stars such as Edita Gruberová, Renée Fleming, Sumi Jo and Dawn Upshaw. Most of them -- despite their great gifts -- do not command the requisite combination of technical élan and dramatic flair. (The temptation to overdo the histrionics and silliness is, it seems, difficult to resist, and even the most trained sopranos tend to sloppiness in some of the passagework.)

Apart from Barbara Cook's (justly) legendary recording, only a few other "Glitter and Be Gay" recordings really merit repeat acquaintance. One was made by operatic soprano Roberta Peters, whose technical mastery surpasses Miss Cook's (she nails the trills and staccati more cleanly), and whose mock-serious delivery is quite adroit (if not Cook's equal). Also noteworthy are those by Marilyn Hill Smith, June Anderson and Natalie Dessay.

While performances of Candide are few and far between, one sure way to witness a brilliant and creative staging of this number is from the DVD of the semi staged production with the New York Philharmonic orchestra. Kristin Chenoweth delivers a dazzling madcap performance with just the right mix of silliness and operatic professionalism. She has also performed this song at various events and concerts.