By Ulrike Küpper
William Shakespeare’s comedy A Midsummer Night’s Dream (1595) has survived and flourished as a drama for over 5 centuries. The paintings has additionally loved enormous attractiveness in track. Its lyrical verse, its consistent use of musical terminology, and its references to and deployment of songs and dances have served to draw significant composers over greater than 4 centuries. The ebook compares their libretti with the unique textual content, and analyzes how adjustments in textual content and constitution have affected the character of Shakespeare’s unique play - its plot, characterization and lyricism. The research additionally offers with the constituent components of tune theater, together with instrumental song, and, to a lesser volume, with creative and cinematic representations of Shakespeare’s comedy.
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12: The Fairy Queen, p. 191. 59 35 as they’re fair’,64 a celebration of marital love. 1). The Fairy King and Queen address the onstage lovers in a suitably elevated manner when they bless their house and marriage. ). The six masques embedded in Purcell’s The Fairy Queen stand securely in the court-masque tradition associated with the courts of James I and Charles I. Noble masque elements stand alongside rustic anti-masque features. Among the former are the allegorical appearances of mythical gods such as Phoebus, Juno and Hymen who symbolize heavenly virtues and universal harmony.
33. 30 The prelude to Act II is a lively symphony, which accompanies a change of scene from Titania’s palace to a moonlit wood, her fairy kingdom. In the stage directions to this second act it is easy to see how and why the Queen’s Theatre Company had spent £3000 on the first production of The Fairy Queen. 1). Whereas in Shakespeare’s day stage settings existed largely in the audience’s imagination, by the late-seventeenth century elaborate stage machinery was much in evidence: The scene changes to a Prospect of Grotto’s, Arbors, and delightful Walks: The Arbors are Adorn’d with all variety of Flowers, the Grotto’s supported by Teams, these lead to two Arbors on either side of the Scene, of a great length, whose prospect runs toward the two Angles of the House.
Xix. ”58 Juno arrives in a peacockdrawn chariot, and dedicates her richly ornamented Italianate coloratura aria ‘Thrice happy Lovers’ to Hermia and Lysander and to Helena and Demetrius. ”59 Furthermore, Juno advises them that constancy and chastity will help to secure their marital happiness. This joyful mood then changes when Juno delivers her famous lamento aria ‘The Plaint’. Reinhold Sietz suggests that this may only have been added at the time of the revised edition of The Fairy Queen in 1693, because of its great popularity.