Work Information
| Publisher |
Novello & Co Ltd |
Category |
Opera and Music Theatre |
| Arranger / Editor |
Lewis |
Duration |
2 Hours, 8 Minutes |
| Chorus |
SATB |
Solo Instrument(s) |
8 Sopranos, Alto, 2 Countertenors, 3 Tenors, 5 Basses |
| Orchestration |
2200/0200/timp/str |
Languages |
English |
| Availability |
Hire Explain this... |
Programme Note
BRIEF PROGRAMME NOTE
The plot follows the star-crossed lovers of A Midsummer Night’s Dream, as they wander through the Forest of Arden amid hilarious confusion and misunderstandings – which also beset the quarrelling king and queen of the fairies. The action is punctuated by elaborate musical entertainments. In Act I a drunken poet blunders in, and is blindfolded and teased by mischievous fairies. At the end of Act II a series of allegorical figures lull the Fairy Queen, Titania, with a Masque of Sleep. The Act III masque conjures up love, in all its rich variety, for the diversion of Titania and her new paramour – Bottom in his ass’s head. In Act IV King Oberon’s birthday is celebrated with a sumptuous Masque of the Four Seasons. For the fantastical Masque of Hymen which concludes the final act, with all the characters now happily reconciled, the forest is spectacularly transformed into an exotic oriental garden.
Reviews
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There was not a hint of vanity or extravagance in The Sixteen's concert performance of Purcell's most opulent semi-opera.
Hilary Finch, The Times, 07/09/2009
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After a festival stuffed with Handel at his most prolix, what a relief to fall back on Purcell’s elegant concision. To make me even happier, The Sixteen presented its concert version of The Fairy Queen shorn of its Shakespearean dialogue, leaving us with just an hour of music, an interval, and then another hour of music. Bliss.
The performance was completely delightful, although I could have done without its rather arch attempts at “semi-staging”. But Harry Christophers conducted with the lightest and sunniest of touches, and, with a fine chorus and soloists of the calibre of James Gilchrist, Iestyn Davies and Gillian Keith (who sang “O let me weep” to perfection), this adorable score was as well – if not better – served than it had been at Glyndebourne this summer.
Rupert Christiansen, The Daily Telegraph, 07/09/2009
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Though purists insist that Purcell's score for The Fairy Queen can only really be appreciated when it's heard in the context of the adaptation of A Midsummer Night's Dream for which it was conceived, the music alone still makes a satisfying enough concert package. The Edinburgh festival performance – a nod towards this year's 350th anniversary of Purcell's birth – came from Harry Christophers and The Sixteen, who introduced just enough entrances, exits and dramatic byplay to give a frisson of theatricality to these charming masques.
It was a pleasant if slightly low-key performance, though vocally and instrumentally it was first rate. Christophers ensured that the instrumental numbers had a good sinewy energy, and all of the soloists made the most of his or her party pieces. The bass Jonathan Best and counter-tenor Iestyn Davies camped up the dialogue of Coridon and Mopsa to the manner born, while James Gilchrist brought wonderful polish and verbal clarity to all the tenor numbers.
Andrew Clements, The Guardian, 06/09/2009
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