Glitter And Be Gay Lyrics - Candide

Song Overview

Leonard Bernstein rarely wrote an easy bar, and his coloratura showpiece “Glitter and Be Gay” proves it—five-plus minutes of aerial acrobatics masquerading as cabaret sparkle. Premiering on New Year’s Eve 1956 in the operetta-turned-Broadway-romp Candide, the aria asks Cunegonde (Barbara Cook) to juggle satire, self-pity, and diamond-drunk glee. Richard Wilbur’s razor-bright song text rhymes “champagne” with “complain,” while a chamber orchestra ping-pongs between harpsichord tinkles and full-brass fanfares. By curtain call, nobody doubts why “Glitter and Be Gay” Lyrics enjoy legendary status in soprano audition rooms—and nightmare status in their neighbors’ apartments.

Song Credits

• Featured Performer: Barbara Cook (Cunegonde)
• Composer: Leonard Bernstein
• Lyricist: Richard Wilbur (additional English lyrics by John La Touche & Stephen Sondheim)
• Producer: Goddard Lieberson
• Conductor: Samuel Krachmalnick
• Orchestrations: Hershy Kay & Leonard Bernstein
• Album: Candide (Original Broadway Cast Recording) — Track 6
• Release Date: December 31, 1956
• Genre: Operetta-Flavored Broadway / Coloratura Show-Tune
• Length: 5 minutes 42 seconds
• Label: Columbia Masterworks
• Mood: Sparkling, sardonic, jewel-box effervescent
• Instruments: Harp, celesta, piccolo, trumpet flourishes, string pizzicati, slapstick percussion
• Copyright © 1956, renewed 1984 The Leonard Bernstein Music Publishing Co.

Song Meaning and Annotations

Voltaire’s Cunegonde has survived war, piracy, and serial “rescues” that land her in gilded captivity as a Parisian courtesan. The aria begins with a sigh—“Glitter and be gay, that’s the part I play”—framing her fate as a theatrical role she can neither audition for nor quit. Bernstein’s melody leaps a tenth on “glitter,” a musical wink: the note itself glitters.

Yet satire sneaks under every arpeggio. Harp glissandi evoke jewelry cascades, while a mock-tragic minor cadence under “victimized by bitter circumstance” lets us peek at genuine grief before the next champagne cork pops. The iconic laugh motif—twenty-plus “Ha!”s fired like confetti cannons—lampoons polite Parisian laughter even as it dares the soprano to keep rhythmic control.

Opening Verses

“Forced to bend my soul / To a sordid role / Victimized by bitter circumstance”

Notice the descending chromatic bass under “sordid role”; Bernstein paints moral slippage one half-step at a time.

Mid-Song Soliloquy

“Pearls and ruby rings—ah, how can worldly things / Take the place of honor lost?”

Here the orchestra thins to harp and solo violin. Cook’s diction sharpens on consonants—pearls, ruby—like light bouncing off cut gems.

Final Cabaletta

The tempo ratchets up; high-wire coloratura runs scale to a high E-flat on “name,” then pirouette through triplet laughter. It’s bravura vocal jewelry—luxurious, but with razor edges.

Similar Songs

1. “The Jewel Song” – Faust (Charles Gounod, 1859)
   Another soprano revels in gemstones while dodging moral fallout. Where Cunegonde’s satire sparks, Marguerite’s aria drips innocent wonder—yet both pieces demand fearless top notes and agile trills.
2. “Art Is Calling for Me” – The Enchantress (Victor Herbert, 1911)
   Herbert’s showpiece and “Glitter and Be Gay” Lyrics share comedic self-mockery and stratospheric F’s. Each heroine declares a new identity—diva first, damsel second—wrapped in tongue-in-cheek grandeur.
3. “Glitter and Be Gay” – Kristin Chenoweth live (2004)
   A modern reference point: Chenoweth’s concert version underscores the aria’s Broadway-opera hybrid, swapping 1950s straight tone for modern belt-mix flourishes while keeping Bernstein’s fortress of coloratura intact.

Questions and Answers

Why is “Glitter and Be Gay” considered fiendishly difficult?

It combines operatic coloratura—a high E-flat, rapid chromatic runs—with Broadway comedic timing. Few singers can nail both breath-control and punch-line speed.

Did Barbara Cook master it in one take?

Studio lore says Cook required several passes to balance diction and stratospheric pitch, but conductor Samuel Krachmalnick called the final master “as effortless as giggling.”

Is the laughter written or improvised?

Every “Ha!” is inked in the score with precise rhythmic values; Bernstein trusted nothing to chance—even the giggles are metered.

How does Wilbur’s lyric differ from Voltaire’s prose?

Wilbur amplifies irony, turning Cunegonde’s plight into a self-aware cabaret act. Voltaire’s Cunégonde rarely laughs; Wilbur’s revels because she must.

What voice type is ideal for the aria?

Full lyric-coloratura soprano with ringing top E-flat, agile middle register, and comic instincts. Queen-of-the-Night notes won’t impress if the jokes land flat.

Awards and Chart Positions

• The Candide Original Broadway Cast album was inducted into the Grammy Hall of Fame (1998) :contentReference[oaicite:0]{index=0}
• Recognized by the Library of Congress National Recording Registry shortlist (2005) for cultural significance :contentReference[oaicite:1]{index=1}

Fan and Media Reactions

“That high E-flat is the original mic-drop.” —Opera blogger, 2020

“Cook makes the word ‘champagne’ fizz twice—once in the glass, once on the stave.” —Playbill retrospective

“If diamonds had sound effects, they’d imitate her trills.” —YouTube commenter @ColoraturaCaffeine

“The aria is basically Voltaire doing stand-up through a soprano throat.” —Podcast Classical Sass

“Every time she laughs, my dog’s ears perk up. Even he knows it’s a showstopper.” —TikTok user @SingingSpanielMom