winning roulette and spends his money on the other ladies ("The Venice Gavotte"). Candide, however, masked for the Carnival, is accosted by Cunegonde and the Old Lady (both of whom are also masked), who try to swindle him out of his money. During the exchange, all the masks come off and they are horrified to recognize each other. Seeing what Cunegonde has become, Candide's image of and belief in her is shattered ("Nothing More Than This"). Candide does not speak for several days; with what little money they have left, they purchase a small farm outside Venice and the chorus says that life is just life and paradise is nothing ("Universal Good"). Candide finally speaks and resolves to marry Cunegonde ("Make Our Garden Grow"). Music Though the show as a whole received mixed reviews at its opening, the music was immediately a hit. Much of the score was recorded on an original cast album, which was a success and is still in print as of 2009. "Glitter and Be Gay" Cunegonde's coloratura aria "Glitter and Be Gay" is a favourite showpiece for many sopranos. Barbara Cook's performance of the aria at its introduction impressed audience and critics, bringing her wide recognition. This aria poses some difficulties. If sung as written throughout (alternative phrases are provided at several points in the score), there are three high E-flats (above high C), two staccato and one sustained; there are also numerous uses of high C and D-flat. Some of the florid passages are very intricate. Theatrically, it demands an elaborate comic staging, in which Cunegonde adorns herself with jewelry while singing and dancing around the stage, and has a satirical quality that is a challenge to perform. Subsequent performers of the role of Cunegonde have included: Mary Costa (in the 1959 London premiere) Mimi Coertse (in the 1963 Vienna premiere) Madeline Kahn (in a 1968 concert version) Maureen Brennan (In Hal Prince's first Broadway revival of the show in 1974) Erie Mills (at the New York City Opera in 1982) June Anderson (under Bernstein's direction in concerts and a 1989 recording shortly before his death) Constance Hauman (understudy to Anderson, filled in for at least one performance) Elizabeth Futral (at Lyric Opera of Chicago in 1994) Michael Callen (in his 1996 posthumously released LEGACY 2-CD album) Harolyn Blackwell (in Hal Prince's 1997 Broadway revival of the show). Kristin Chenoweth (in a 2004 concert