The Fairy-Queen
The Fairy-Queen | |
---|---|
Queen's Theatre, Dorset Garden , London |
The Fairy-Queen (1692; Purcell catalogue number Z.629) is a semi-opera by Henry Purcell; a "Restoration spectacular".[1] The libretto is an anonymous adaptation of William Shakespeare's comedy A Midsummer Night's Dream.[2] First performed in 1692, The Fairy-Queen was composed three years before Purcell's death at the age of 35. Following his death, the score was lost and only rediscovered early in the twentieth century.
Purcell did not set any of Shakespeare's text to music; instead he composed music for short masques in every act but the first. The play itself was also slightly modernised in keeping with seventeenth-century dramatic conventions, but in the main the spoken text is as Shakespeare wrote it. The masques are related to the play metaphorically, rather than literally. Many critics have stated that they bear no relationship to the play. Recent scholarship has shown that the opera, which ends with a masque featuring Hymen, the God of Marriage, was composed for the fifteenth wedding anniversary of
Growing interest in Baroque music and the rise of the countertenor contributed to the work's re-entry into the repertoire. The opera received several full-length recordings in the latter part of the 20th century and several of its arias, including "The Plaint" ("O let me weep"), have become popular recital pieces.
In July 2009, in celebration of the 350th anniversary of Purcell's birth, The Fairy-Queen was performed by Glyndebourne Festival Opera using a new edition of the score, prepared for the Purcell Society by Bruce Wood and Andrew Pinnock.
Original production
The Fairy-Queen was first performed on 2 May 1692 at the
A letter describing the original performance shows that the parts of Titania and Oberon were played by children of eight or nine.[5] Presumably other fairies were also played by children; this affects our perspective on the staging.
Context and analysis
Following the huge success of his operas Dioclesian (1690) and King Arthur (1691), Purcell composed The Fairy-Queen in 1692. Purcell's "First" and "Second Music" were played while the audience were taking their seats. The "Act Tunes" are played between acts, as the curtain was normally raised at the beginning of a performance and not lowered until the end. After act 1, each act commences with a short symphony (3–5 minutes).
The English tradition of semi-opera, to which The Fairy-Queen belongs, demanded that most of the music within the play be introduced through the agency of supernatural beings, the exception being pastoral or drunken characters. All the masques in The Fairy-Queen are presented by Titania or Oberon. Originally act 1 contained no music, but due to the work's enormous success it was revived in 1693, when Purcell added the scene of the Drunken Poet and two further songs later on in the work; "Ye gentle spirits of the air" and "The Plaint".
The music
Written as he approached the end of his brief career, The Fairy-Queen contains some of Purcell's finest theatre music,[6] as musicologists have agreed for generations. In particular, Constant Lambert was a great admirer; from it he arranged a suite and in collaboration with Edward Dent arranged the work to form the then new Covent Garden opera company's first postwar production.[7] It shows to excellent effect Purcell's complete mastery of the pungent English style of Baroque counterpoint, as well as displaying his absorption of Italian influences. Several arias such as "The Plaint", "Thrice happy lovers" and "Hark! the echoing air" have entered the discographic repertory of many singers outside their original context.
The orchestra for The Fairy-Queen consists of two recorders, two oboes, two trumpets, timpani, string instruments and harpsichord continuo.
Performance history
Following Purcell's premature death, his opera Dioclesian remained popular until well into the eighteenth century,
However, Purcell's music (and with it The Fairy-Queen) was resuscitated by two related movements: a growing interest in Baroque music and the rise of the countertenor, led by pioneers such as Alfred Deller and Russell Oberlin. The former movement led to performances of long-neglected composers such as Purcell, John Dowland, John Blow and even George Frideric Handel, while the latter complemented it by providing a way of making such performances as authentic as possible as regards the original music and the composer's intentions (less true for Handel, where countertenors appear as castrati replacements).[10] This has led to The Fairy-Queen's increased popularity, and numerous recordings have been made, often using period instruments. The format of the work presents problems to modern directors, who must decide whether or not to present Purcell's music as part of the original play, which uncut is rather lengthy. Savage calculated a length of four hours.[11] The decision to curtail the play is usually taken together with the resolution to modernise to such an extent that the cohesion between music, text and action sketched above is entirely lost, a criticism levelled at the English National Opera's 1995 production directed by David Pountney.[12] The production was released on video the same year, and revived by the company in 2002. A bold approach was taken at the Brazilian Opera Company's 2000 staging by Luiz Päetow, with the libretto becoming unstuck in time.[13]
In July 2009, two months before the 350th anniversary of Purcell's birth, The Fairy-Queen was performed in a new edition, prepared for The Purcell Society by Bruce Wood and Andrew Pinnock, which restored the entire theatrical entertainment as well as the original pitch used by Purcell. The performance by Glyndebourne Festival Opera with the Orchestra of the Age of Enlightenment conducted by William Christie was repeated later that month at the Royal Albert Hall as part of the BBC Proms.[14]
In June 2016, the opera was performed by the Hungarian State Opera, in a new, neo-noir production directed by András Almási-Tóth
Roles
The role of Mopsa was originally performed by a soprano; however, a later revision by Purcell stated that it was to be performed by "Mr. Pate in woman's habit", presumably to have a grotesque effect and highlight the refrain "No, no, no, no, no; no kissing at all" in the dialogue between Corydon and Mopsa.
For a list of non-singing characters see A Midsummer Night's Dream, with the exception of Hippolyta, who was removed by Purcell's librettist.
Role | Voice type | Premiere cast, 2 May 1692 |
---|---|---|
Drunken Poet | bass | |
First Fairy | soprano | |
Second Fairy | soprano | |
Night | soprano | |
Mystery | soprano | Mary Hodgson[16] |
Secrecy | countertenor | |
Sleep | bass | |
Corydon | bass | |
Mopsa | soprano/countertenor | |
Nymph | soprano | |
3 Attendants to Oberon | 1 soprano, 2 countertenors | |
Phoebus
|
tenor | |
Spring | soprano | |
Summer | countertenor | |
Autumn | tenor | |
Winter | bass | |
Juno | soprano | |
Chinese Man | countertenor | |
Chinese Woman, Daphne | soprano | |
Hymen | bass | |
Chorus: Fairies and Attendants.[17] |
Synopsis
For the plot of the play see A Midsummer Night's Dream. Only a synopsis of scenes provided with music is given here.
Masque I (The Drunken Poet)
The first scene set to music occurs after Titania has left Oberon, following an argument over the ownership of a little Indian boy. Two of her fairies sing of the delights of the countryside ("Come, come, come, come, let us leave the town"). A drunken, stuttering poet enters, singing "Fill up the bowl". The stuttering has led many to believe the scene is based on the habits of Thomas d'Urfey. However, it may also be poking fun at Elkanah Settle, who stuttered as well and was long thought to be the librettist, due to an error in his 1910 biography.[6] The fairies mock the drunken poet and drive him away. With its quick repartee and its broadly "realistic" portrayal of the poor victim, the Masque of the Drunken Poet is the closest episode in Purcell's London stage works to full-fledged opera as the Italians knew it.[18]
Masque II (The Night and Sleep)
It begins after Oberon has ordered
Masque III (Corydon and Mopsa)
Titania has fallen in love with Bottom (now equipped with his ass' head), much to Oberon's gratification. A Nymph sings of the pleasures and torments of love ("If love's a sweet passion") and after several dances, Titania and Bottom are entertained by the foolish, loving banter of two haymakers, Corydon and Mopsa.
Masque IV (Phoebus and the Four Seasons)
It begins after Titania has been freed from her enchantment, commencing with a brief
Masque V (The Plaint and Hymen)
After Theseus has been told of the lovers' adventures in the wood, it begins with the goddess Juno singing an epithalamium, "Thrice happy lovers", followed by a woman who sings the well-known "The Plaint" ("O let me weep"). A Chinese man and woman enter singing several songs about the joys of their world. ("Thus, the gloomy world", "Thus happy and free" and "Yes, Xansi"). Two other Chinese women summon Hymen, who sings in praise of married bliss, thus uniting the wedding theme of A Midsummer Night's Dream, with the celebration of William and Mary's anniversary.[3]
Recordings
Audio
- Bruno Maderna, (Excerpts) Orchestra dell'Angelicum of Milan, (1 LP) – 1957 – Fonit Angelicum LPA970. This was also the first recording of Cathy Berberian mentioned on the cover as Catherine Berio.
- Decca4685612
- The Deller Consort, Stour Music Chorus (2 CDs) – 1972 – Harmonia Mundi
- John Eliot Gardiner, The English Baroque Soloists The Monteverdi Choir, (2 CDs) – 1982 – Archiv Produktion 419 221–2
- William Christie, Les Arts Florissants (2 CDs) – 1989 – Harmonia Mundi HMC 90 1308/0
- David van Asch, The Scholars Baroque Ensemble (2 CDs) – 1992 – Naxos 8.550660-1
- Roger Norrington, The London Classical Players, The Schütz Choir of London (2 CDs) – 1994 – EMI Classics 7243 5 55234 2 6
- Harry Christophers, The Sixteen, (2 CDs) – 1993 – (Coro COR16005
- Ton Koopman, Amsterdam Baroque Orchestra & Choir, (2 CDs) – 1994 – Erato 98507
- Nikolaus Harnoncourt, Concentus Musicus Wien, Arnold Schoenberg Choir (2 CDs) – 1995 – Teldec Classics 4509-97684-2
- ABC ClassicsABC4762879
- Christopher Monks, Armonico Consort, (1 CD) – 2006 – Deux-Elles DXL1120
- Ottavio Dantone, Accademia Bizantina & New English Voices, (2 CDs) – 2012 – Brilliant Classics 94221
- Gabrieli Consort, (2 CDs) 2020 Signum Records: SIGCD615
Video
- Nicholas Kok, David Pountney (stage director), English National Opera, (1 DVD) – 1995 – Arthaus Musik 100200
- William Christie, Jonathan Kent (stage director), The Glyndebourne Chorus & Orchestra of the Age of Enlightenment, (2 DVDs) – 2010 – Opus Arte OA1031D
- Cathryn Robertson, (director, producer) Ballet B.C. and CBC television. Inside the Faerie Queene
See also
- List of compositions by Henry Purcell
- A Midsummer Night's Dream (opera by Britten)
- The Modification and Instrumentation of a Famous Hornpipe as a Merry and Altogether Sincere Homage to Uncle Alfred
References
Notes
- ^ Milhous, pp. 50–61
- ^ It has nothing to do with Edmund Spenser's poem The Faerie Queene
- ^ a b c d Muller 2005 pp. 667–681
- ^ Savage 2000
- ^ Burden 2003 pp. 596–607
- ^ a b c d Price 2006
- ^ Ashman 7 May 2005
- ^ Milhous 1984 p. 57
- ^ Westrup & Harrison p.199
- ^ Steane
- ^ Savage 1973 pp. 201–222
- ^ White 29 October 1995. For a contrasting view, see Kimberley 21 October 1995.
- ^ "Ópera apresenta versao moderna de Shakespeare". O Estado de S. Paulo. 25 April 2000. Archived from the original on 4 March 2016. Retrieved 4 March 2016.
- ^ Breen 2009
- ^ Steane. See also DeMarco 2002 pp. 174–185.
- .
- ^ Typically, the chorus is used at the end of airs to provide a recapitulation of the main theme of the air, as well as at moments of particular dramatic grandeur, such as at the entry of Phoebus during act 4.
- ^ http://www.oxfordwesternmusic.com ex. 3-13 Henry Purcell, The Fairy Queen, act 2 masque, Secrecy's song
Sources
- Ashman, Mike, "Lost in Music." The Guardian, 7 May 2005
- Breen, Ed, "Purcell: The Fairy Queen", Musical Criticism, July 2009
- Burden, Michael. "Casting issues in the original production of Purcell's opera The Fairy-Queen " Music & Letters 84/4 (Nov.2003) oxfordjournals.org (subscription access)
- DeMarco, Laura. oxfordjournals.org "The Fact of the Castrato and the Myth of the Countertenor." The Musical Quarterly 86 (2002), 174–185. (subscription access). An argument against the use of countertenors as castrati replacements, but the relevance to this article comes in the more balanced discussion of countertenors as used by Purcell.
- Dent, Edward J. Foundations of English Opera, Cambridge University Press, Cambridge, 1928.
- Holst, Imogen [ed]. Henry Purcell 1659–1695: Essays on His Music, Oxford University Press, London, 1959.
- Kimberley, Nick, "The Fairy Queen Crass? Vulgar? Magic!", The Independent, 21 October 1995
- van Lennep, William et al. [eds], The London Stage, parts 1 (1965) and 2 (1959), Southern Illinois University Press, Carbondale.
- Moore, R. E. Henry Purcell and the Restoration Theatre, Greenwood Press, Westport CT, 1961.
- Milhous, Judith, "The Multimedia Spectacular on the Restoration Stage", in British Theatre and the Other Arts, 1660–1800, ed. Shirley Strum Kenny, Associated University Presses, Cranbury, New Jersey, 1984
- Muller, Frans and Julia, oxfordjournals.org "Completing the picture: the importance of reconstructing early opera". Early Music, vol XXXIII/4 (November 2005). (subscription access).
- Price, Curtis A. Henry Purcell and the London Stage,Cambridge University Press, Cambridge, 1984.
- Grove Music Online, ed. L. Macy (accessed 25 January 2006), (subscription access).
- Savage, Roger. "The Shakespeare-Purcell Fairy-Queen: A Defence and Recommendation", Early Music, vol I (1973) oxfordjournals.org (subscription access).
- Savage, Roger. "The Fairy-Queen: an Opera" in Henry Purcell's Operas, The Complete Texts, ed. Michael Burden, Oxford University Press, Oxford, 2000.
- Shay, Robert, and Robert Thompson. Purcell Manuscripts: The Principal Musical Sources (Cambridge, 2000).
- Steane, J. B. grovemusic.com "Countertenor" Archived 16 May 2008 at the Grove Music Online, ed. L. Macy (accessed 25 July 2006), (subscription access).
- Westrup, Sir Jack and Harrison, F.Ll. Collins Encyclopedia of Music, William Collins Sons & Company, London and Glasgow, 1976, ISBN 0-00-434331-X.
- White, Michael, "What a drag – it's just not Purcell", The Independent on Sunday, 29 October 1995
External links
- The Fairy Queen, Z.629 (Purcell): Scores at the International Music Score Library Project
- Libretto, opera.stanford.edu
- Facsimile of the libretto, Early English Books Online (login required)
- Purcell: The Fairy Queen, The Prophetess, classicalacarte.net