歌剧cats
第一幕第一首是介绍每年都有聚会第二首介绍猫的名字，并且举例猫都有不止一个名字第三首说杰里科猫每年都去参加舞会第四首介绍一只名叫jenny any dots，她很热心，每天找个舒适的地方坐着，到了晚上就开始忙活起来，她教老鼠缝窗帘要蟑螂找工作，而且发明了一种甲虫纹身第四首介绍的猫俗称摇滚猫，他很喜欢唱反调，并且很有魅力第五首唱魅力猫美丽逝去之后的凄惨第六首讲一只绅士猫，他很胖，混迹于上流社会，猫们都以他为荣第七首讲两只爱偷鸡摸狗的小猫，他们貌似是双胞胎，我觉得他们很可爱第八首介绍猫们的领袖，说他的寿命非常长，所有的猫都是他的后代第九首是munkustrap向old D介绍两种狗打起来的过程，满公园都能听到他们的叫声，直到有一只超人猫制止了他们。
介绍超人猫那段挺有意思第十首就是在不停的夸杰里科猫第十一首基本上就是别的猫把第六首的歌唱了，然后魅力猫想找回过去的荣光，试着起舞，但是失败了。
然后唱起了第二幕第一首从名上就知道一切了第二首是用的调唱的，一只小猫用非常清澈的声音唱的，歌词大致内容差不多第三首介绍一只曾经是演员的猫，说他年轻的时候演技也好记词的功夫也棒第四首是他曾经演过的一个角色，是个海盗，和一个客串他情人的猫一起唱了一首咏叹调第五首是一只在火车上工作的猫，他自己说火车离开他就运行不了第六首是两只母猫介绍一只叫macavity的猫，说他是犯罪界的，他最大恶极，但是永远不可能在犯罪现场逮到他，macavity把old d抓走了第七首是讲一只会变魔术的小猫，他把old D变回来了第八首继续是魅力猫的歌，不用介绍都知道内容第九首就是选定魅力猫上九重天了第十首是说猫都是骄傲聪明的，跟狗不一样，所以要尊重猫累死.......
歌剧《cats（猫）》里的那个唱memory的女的叫什么名字啊
歌剧《猫》中的经典唱段《MEMORY》是,它的演唱者包括世界闻名的歌手芭芭拉-史翠珊(Barbara Streisand)、拜瑞-曼塔洛(Barry mantilow)和茱迪-柯林丝(Judy collins)。
芭芭拉史翠珊是一位多才多艺的艺术家，影歌双栖女星，推出过超过50张专辑，制、编、导、演的影片也有20多部。
从流行歌曲到古典歌曲，从歌坛到舞台剧、影坛，她都有了不起的成绩，这位1942年出生的犹太女歌星有着得天独厚的优美声线，自幼就显示了喜剧表演的才能和良好的音乐天赋。
1960年她参加了纽约格林威治村的一次夜总会歌唱比赛夺得冠军，1963年她录制了第一张专辑唱片，显示了她掌握各种风格的技艺和惊人的声乐技巧
求歌剧《猫\\\/CATS》的中英对照字幕
这个麻烦...《猫》这个东西是个老东西了大概没有人愿意去弄它的字幕了我也只是见过中英分开的其实，《猫》的英文难度不难也就是高2水平中文翻译不建议dvd版的（那叫做一个恶心）你可以熟悉几遍音乐剧大概记住歌词然后看中字，这样好些《猫》吧里面有剧本可以看到全文
歌剧 Cats 的原唱是Sarah Brightman,还是芭芭拉 史翠珊啊?
一个都不是 是个叫peggie的
急求歌剧《猫》的英文剧本
回忆是美好的，是幸福的，希望你幸福
急求
不好意思，《猫》我没找到，给你一个网址，你自己选一下歌剧魅影 The Phantom of the Opera (Le Fantôme de l’Opéra in French) is a French novel by Gaston Leroux. It was first published as a serialization in Le Gaulois from September 23, 1909 to January 8, 1910. It is believed to have been inspired by George du Maurier's Trilby. It was translated into English in 1911. It has since been adapted many times into film and stage productions, the most notable of which was Andrew Lloyd Webber's 1986 musical, which is now the longest running Broadway show in history, and the most lucrative entertainment enterprise of all time, its worldwide box office over the past 20 years out-grossing even the highest grossing film in history, Titanic. Leroux's original 1910 novel is set in 19th century Paris at the Opera Garnier (The Paris Opera or The National Academy of Music), which was built between 1857 and 1874 over a huge underground lake. The employees claim that the opera house is haunted by a mysterious ghost who wreaks chaos and destruction when displeased. Erik, posing as the Phantom of the Opera (Opera Ghost in the Mattos and Bair translation), sends the managers of the Opera Garnier repeated threats of catastrophe should they not pay him a monthly stipend of 20,000 francs and perpetually reserve Box no.5 for him at every show. This arrangement, unbroken during the many years of the manager's tenure, is abruptly terminated when two new proprietors, Armand Moncharmin and Firmin Richard, take over the opera house and refuse to give in to what they view as the empty threats, originally thinking it a practical joke by former managers, and eventually growing suspicious of each other. Meanwhile, Erik has taken on a new protégée, Christine Daaé. He tells her that he is the Angel of Music, a heavenly spirit sent by her dead father to help her, and proceeds to give her regular voice lessons through the wall. Under the tutelage of her new teacher, Christine makes rapid progress in her musical studies and achieves new prominence on stage when she is selected to replace the current prima donna Carlotta, whose act is sabotaged by the Phantom. Christine shines in her featured debut and immediately wins the hearts of the audience, including that of her childhood boyfriend, Raoul, the Vicomte de Chagny. Erik becomes envious of Christine's relationship with Raoul and takes her to his Gothic world beneath the opera house. Christine quickly finds that there is nothing angelic about Erik, and learns to her disappointment that he is just a man, and that he and the ghost are one and the same (and comes to know him as malicious, volatile, dangerous and somewhat bitter, yet also brilliant and pitiful). She is infuriated at having been deceived, and demands to be set free. Erik promises to release her after five days. After some awkward moments (dining by herself while he watches, being shown his room which looks like a death chamber, his bed a coffin...) Erik and Christine eventually begin a duet from Otello, and in a fit a of passion Christine rips off his mask, driven by curiosity to see the face of the man who loves her, and why he wears a mask. If I live to be one hundred, I should always hear that superhuman cry of grief and rage which he uttered before that terrible sight reached my eyes, Christine later tells Raoul. The Phantom is furious and threatens to keep her in his lair forever, but later changes his mind. Christine is released, but only after promising to return by her own will and swearing never to give her love to anyone else. Christine does return, but only out of pity for Erik. But Erik isn't the only one who is envious. After Christine's debut performance, Raoul overhears Christine succumbing to a tyrannical, disembodied voice in her dressing room (Erik). He becomes suspicious that another man is taking advantage of her innocent belief in an Angel of Music in order to seduce her. He starts spying on her in an attempt to find the mysterious seducer. Christine suddenly becomes aware of this and is very angry, but after Erik reveals himself, and with Raoul's persistence and threat not to leave on his naval expedition unless she tells him the truth (while promising to help her escape it), she decides to tell Raoul, on the roof of the Opera Garnier, everything that has happened between her and Erik. The two of them plan to run away from Paris and the horror of Erik. Erik overhears everything on the roof, and abducts Christine from the stage during her final performance at the Opera Garnier as Margarita in Gounod's Faust, at the point where Christine, as Margarita, is appealing to the angels. Raoul follows them down into the depths of the cavern beneath the opera house, and is guided to Erik's house by a character known as the Persian. Unfortunately for both of them, the route they take to Erik's house leads instead to a torture chamber (a catoptric cistula), where they helplessly listen to Erik raging at Christine, who lied to him and betrayed him. He threatens that should Christine not marry him, he will destroy the Opera House with explosives, in turn, many members of the human race would be destroyed. Christine, already on the brink of suicide, sadly accepts his proposal at 11pm the next night, Erik's deadline. Eventually, Christine shows Erik genuine sympathy and displays an act of love by crying with him, not running away when he takes off his mask, and even going so far as to kiss him on the forehead. This granted Erik a happiness he never thought possible. In despair, Erik releases Raoul and Christine and gives them his blessings to marry. He asks only that Christine come back after his death, and bury him with the ring he gave her, which is indeed not long afterwards. Right before his death, Erik delivers a monologue expressing his grief, in which he describes how Christine was the only woman to let him kiss her, his brief euphoria when she kissed him, his despair at having the love of his life betrothed to another, and his gratitude to the Persian, who once saved his life. This is the only part of the novel written in Erik's perspective. Choking and sobbing, he dedicates his death to his beloved Christine. He had a heart that could have held the empire of the world, and in the end, he had to content himself with a cellar, writes Leroux in the epilogue of his book.
