"muggers, smugglers, prostitutes, thieves. Nobody plays by the rules, least of all MacHeath – bandit, hedonist, superhero to some, villain to others. In a world of imitators and wannabes, he’s the genuine article. But where he goes, trouble is sure to follow. MacHeath has married Polly Peachum. But he fancies Lucy Lockit. Lucy Lockit fancies MacHeath, but Polly doesn’t want to share. Mr Peachum wants MacHeath’s head, so does Mr Lockit. And the law. With so many enemies, it’s hard to tell who your friends are. John Gay’s 18th century play,"" The Beggar’s Opera ""has been reconfigured into our not"
"pieces were staged. The actor Thomas Walker, who played Macheath in the original production, wrote several ballad operas, and Gay produced further works in this style, including a much less successful sequel, ""Polly"". Henry Fielding, Colley Cibber, Charles Coffey, Thomas Arne, Charles Dibdin, Arnold, Shield, Jackson of Exeter, Hook and many others produced ballad operas that enjoyed great popularity. By the middle of the century, however, the genre was already in decline. Although they featured the lower reaches of society, the audiences for these works were typically the London bourgeois. As a reaction to serious opera (at this time almost"
"every considerable town in England gave an entertainment consisting of recitation and songs (on Dibdin's plan), with great applause and profit.' At Covent Garden a notable production was the revival of ""The Beggar's Opera"" in October 1797, with Madame Mara (engaged for twelve nights at huge cost) as Polly and Mrs Martyr as Lucy. Incledon was thought unrivalled as MacHeath. In 1800 the two-act ""Paul and Virginia"" (music by Mazzinghi and Reeve) gave Incledon two pieces, one a spirited air with oboe obbligato, and the other, 'Our Country is our Ship' by Townshend won him a general encore. In 1800"
"Waverley novels into operatic dramas. On 12 March 1818 his """"Rob Roy Macgregor, or Auld Lang Syne"""", an operatic drama in three acts, was first played at Covent Garden. William Charles Macready took the title role; John Liston played Baillie Nicol Jarvie, and Miss Stephens Di Vernon. It was acted thirty-four times. It was played at Bath, for Farren's benefit, on 15 April 1815, when James Prescott Warde was very successful as Rob Roy. In the revival of the following year Farren took Liston's place as the Baillie. This play and Pocock's """"John of Paris"""" were given together at Bath"
"Lucy, Polly) 15b. Arie der Lucy (Aria of Lucy – Lucy) 16. II. Dreigroschenfinale (Second Threepenny Finale – Macheath, Mrs Peachum, Chorus) 17. Lied von der Unzulänglichkeit menschlichen Strebens (Song of the Insufficiency of Human Struggling – Peachum) 17a. Reminiszenz (Reminiscence) 18. Salomonsong (Solomon Song – Jenny) 19. Ruf aus der Gruft (Call from the Grave – Macheath) 20. Grabschrift (Grave Inscription – Macheath) 20a. Gang zum Galgen (Walk to Gallows – Peachum) 21. III. Dreigroschenfinale (Third Threepenny Finale – Brown, Mrs Peachum, Peachum, Macheath, Polly, Chorus) The ambivalent nature of ""The Threepenny Opera"", derived from an 18th-century ballad opera"
"Grieux opposite to Jamie Tapper's Manon and Romeo to Miyako Yoshida's Juliet in Kenneth MacMillan's ""MANON"" and ""ROMEO and JULIET"" at the Royal Opera House, Covent Garden. Mr. Makhateli has performed for HM the Queen and the Royal family. His repertory includes ballets such as:""Don Quixote"", ""Swan Lake"", ""Sleeping Beauty"", ""GIselle"",""La Sylphide"", ""The Nutcracker"", ""Coppelia"", ""La Bayadere"", ""Sylvia"", ""Cinderella"", ""Cleopatra"", ""Romeo and Juliet"", ""Onegin"", ""Manon"", ""Le Corsaire"", ""Esmeralda"", ""Grand Pas Classique"" (Chor. Gzovsky), ""Thais"" (Chor. Ashton), ""Le Presage"" (Chor.Massine), ""Etudes"" (Chor. Lander), ""Miraculous Mandarine"" (Chor. Stevenson), ""Four Last Songs"" & ""Five Poems"" (Chor. Stevenson), ""In the Middle Somewhat Elevated"" (Chor."
"(""Miscellaneous Verses"", 1810, reviewed by Scott in the ""Quarterly""; ""Christina, the Maid of the South Seas"", a metrical tale based on the first news of discovery of the last surviving mutineer of the H. M. S. Bounty and a generation of British-Tahitian children on Pitcairn Island in 1811; and ""Blanche"", part of a projected series of ""Narrative Poems on the Female Character"", in 1813). Her play ""Julian"" was produced at Covent Garden, with William Charles Macready in the title role, in 1823; ""Foscari"" at Covent Garden, with Charles Kemble as the hero, in 1826; while ""Rienzi"", 1828, the best of"
"next morning. Boconnion then kisses Jenny to taunt Rosalind, but then it is revealed that Jenny has the plague. A ballad from Jenny reaffirms a link between her troupe and the earlier actors. The actors then somehow have vanished from the locked cellar, and Jenny takes her leave. Rosalind, Boconnion and Tovey see that the manor door has the plague mark painted on it, and they stay in the manor, realizing that they are doomed. The Mines of Sulphur The Mines of Sulphur is an opera in three acts by Richard Rodney Bennett, his first full-length opera, composed in 1963."
"was presented a new comic opera written by Dibdin, ""The Cabinet"" (the music by various composers), in which Incledon appeared together with John Braham and Nancy Storace, and in delivering the hunting song 'his fine volume of voice filled the whole theatre'. Incledon's MacHeath was reprised at Margate in August 1803. Another new Dibdin opera, ""The British Fleet in 1342"" (music entirely by Braham) appeared in December, and on that evening the highlight was a duet by Braham and Incledon, 'All's Well', which was encored. At Covent Garden, Incledon successfully took on as a tenor several important roles created by"
"The legend supposes that the bells of the submerged lost kingdom can be heard ringing below the waves on the beach at Aberdyfi. The song first appeared in 1785 in English in ""Liberty Hall"" which was a comic opera in two acts, written and produced by Charles Dibdin. It was first performed at the Theatre Royal in Drury Lane in London on 8 February 1785, and also contained other popular songs entitled Jock Ratlin, and The Highmettled Racer. The text to the opera, entitled """"Liberty-Hall: or, a test of good fellowship. A comic opera, in two acts. As it is"
"form of the ballad opera, and traces even of the satiric kind can be found in the work of ""serious"" practitioners such as John Barnett. Much of the satiric spirit (albeit in a greatly refined form) of the original ballad opera can be found in Gilbert's contribution to the Savoy operas of Gilbert and Sullivan, and the more pastoral form of ballad opera is satirised in one of Gilbert and Sullivan's early works, ""The Sorcerer"" (1877). Balfe's opera ""The Bohemian Girl"" (1843) is one of the few British Ballad operas of the 20th century to gain international recognition. ""The Threepenny"
"an opera by Thomas Shadwell in April 1674; Shadwell's revision had a musical score created by a team of composers that included Matthew Locke and Pelham Humfrey. This was the version of ""The Tempest"" most familiar to audiences up until William Macready's enormously successful production of Shakespeare's original on 13 October 1838. Shadwell's version was revived in 1701, in 1702 through 1704, in 1706 through 1708, in 1710, in 1712 through 1717, and more than 20 times between 1729 and 1747. Dryden and D'Avenant keep a great deal of Shakespeare's verse, but generally tone the play down, simplifying grammar and"
"of Jonathan Wild, Charles Hitchen, the Earl of Macclesfield, and others. John Gay parodied the opera with his satirical ""Beggar's Opera"" (1728) and with it delivered a satire of Robert Walpole's actions during the South Sea Bubble. Superficially, the play is about a man named Macheath who runs a gang for a criminal fence named Peachum, whose daughter, Polly Peachum, is in love with him, and who escapes prison over and over again because the daughter of the jailor, Lucy Lockitt, is also in love with him. Peachum wishes to see Macheath hanged because Polly has married Macheath, unlike Lucy"
"strings them all along, causing confusion in the lives of all concerned, including the aristocratic Admiral and Lady Hawser, their niece Dorothy and her lover, Harry, who gets involved in situations full of jealousy, disguises and misunderstandings. Finally everything is revealed, and a chastened Suzette returns to her faithful gendarme. Act I Act II Additional item The French Maid The French Maid is a musical comedy in two acts by Basil Hood, with music by Walter Slaughter, first produced at the Theatre Royal, Bath, England, under the management of Milton Bode on 4 April 1896. It then opened London's Terry's"
"Wells. His productions (from 1844 to 1862), notably of ""Macbeth"" (1844), ""Antony and Cleopatra"" (1849) and ""Pericles"" (1854), were much admired. The well-known actress Isabella Glyn made her first notable appearance as Lady Macbeth on this stage. In latter part of the 19th century the pendulum swung back to melodrama by the 1860s. This period of the theatre's history is affectionately depicted in Pinero's play ""Trelawny of the 'Wells'"" (1898), which portrays Sadler's Wells as outmoded by the new fashion for realism. The theatre declined until, by 1875, plans to turn it into a bath house were proposed and, for"
"Opera"", the singer with his street organ introduces and closes the drama with the tale of the deadly ""Mackie Messer"", or ""Mack the Knife"", a character based on the dashing highwayman Macheath in John Gay's ""The Beggar's Opera"" (who was in turn based on the historical thief Jack Sheppard). The Brecht-Weill version of the character was far more cruel and sinister and has been transformed into a modern anti-hero. The play opens with the singer comparing Macheath (unfavorably) with a shark and then telling tales of his crimes: arson, robbery, rape, murder. The song was a last-minute addition that was"
"trying to keep Gilfain from acquiring his ancestral home. Tweedlepunch finally confronts Gilfain and spins a wild ghost yarn that terrifies Gilfain into admitting that he has stolen the perfume business. Gilfain returns the properties he has taken from Dolores and Frank. Frank marries Dolores; Gilfain marries Lady Holyrood; and Angela marries Captain Donegal. Florodora Florodora is an Edwardian musical comedy. After its long run in London, it became one of the first successful Broadway musicals of the 20th century. The book was written by Jimmy Davis under the pseudonym Owen Hall, the music was by Leslie Stuart with additional"
"Opera"" in 2010, but as of 2018, this has not materialized. In 2009, BBC Radio 3 in collaboration with the BBC Philharmonic broadcast a complete radio production of the Michael Feingold translation directed by Nadia Molinari with the music performed by the BBC Philharmonic. The cast included Joseph Millson as Macheath, Elen Rhys as Polly/Whore, Ruth Alexander-Rubin as Mrs Peachum/Whore, Zubin Varla as Mr. Peachum/Rev. Kimball, Rosalie Craig as Lucy/Whore, Ute Gfrerer as Jenny, Conrad Nelson as Tiger Brown and HK Gruber as the Ballad Singer. Recordings are in German, unless otherwise specified. The Threepenny Opera The Threepenny Opera ()"
"Macavity Macavity is a fictional character who is described in a poem in ""Old Possum's Book of Practical Cats"", by T. S. Eliot. He also appears in ""Cats"", the Andrew Lloyd Webber musical. The name ""Macavity"" is a pun by T. S. Eliot, on the names of several characters from other works of literature : ""Macheath,"" a supervillain who appears both in John Gay's ""The Beggar's Opera"", its sequel ""Polly"" and roughly 200 years later as Mack the Knife in ""The Threepenny Opera"" written by Bertolt Brecht and Kurt Weill in 1928, ""macuahuitl"", the Aztec obsidian sword, and ""Moriarty"", the"
"and clad in a clinging nightdress, and, in 1888, a critic noted Ellen Terry was ""the stormy dominant woman of the eleventh century equipped with the capricious emotional subltety of the nineteenth century."" In 1915 and 1918, Sybil Thorndike played the role at Old Vic and then at the Prince's Theatre in 1926. Flora Robson played the role in Tyrone Guthrie's Old Vic production in 1934. In 1955, Vivien Leigh played Lady Macbeth opposite Laurence Olivier at the Shakespeare Memorial Theatre in Stratford-upon-Avon. In 1977 at The Other Place in Stratford, Judi Dench and Ian McKellen played the infamous husband"
"Sweet Polly Oliver Sweet Polly Oliver is an English broadside ballad (Roud #367), traceable from 1840 or earlier. It is also known as ""Pretty Polly Oliver"" and has several variant sets of lyrics, set to a single anonymous melody. It is one of the best known of a number of folk songs describing women disguising themselves as men to join the army to be with their lovers. Thomas Root wrote a symphonic band arrangement and Benjamin Britten wrote an arrangement for voice and piano. The main theme of Terry Pratchett’s book, Monstrous Regiment, in which a young woman named Polly,"
"he should live for Jessie's sake. Barney pulls Harry out of the wheelchair and they fight on the floor. The fight is broken up and Maxwell tells the Heegans to take Harry home. Harry hurls the Tassie to the ground. The Heegans leave, Sylvester pushing the chair and guiding Teddy. Jessie, Susie, Maxwell and Barney return to the dance. The Silver Tassie (opera) The Silver Tassie is an opera in four acts by the English composer Mark-Anthony Turnage. The English libretto was written by Amanda Holden based on the 1927/28 play of the same name by Seán O'Casey. The opera"
"Ballad opera has been called an ""eighteenth-century protest against the Italian conquest of the London operatic scene."" It consists of racy and often satirical spoken (English) dialogue, interspersed with songs that are deliberately kept very short (mostly a single short stanza and refrain) to minimize disruptions to the flow of the story, which involves lower class, often criminal, characters, and typically shows a suspension (or inversion) of the high moral values of the Italian opera of the period. It is generally accepted that the first ballad opera, and the one that was to prove the most successful, was ""The Beggar's"
"English grand opera, but complained of slow pacing in the libretto. The scene is England, 1154-5. Act I opens in the home of Lord Clifford, who is with his daughter Rosamond, and her fiance Aubrey de Vere. They are paid a visit by a troubadour named Edgar, who is actually King Henry II in disguise. Lord Clifford is wary, de Vere is jealous, and Rosamond is entranced. Everyone dances. Rosamond runs off with Edgar. As Act II opens, Queen Eleanor is singing a song of farewell to her native France (""The lily no longer my brow must bind""). Rosamond has"
"breeches roles, and she played the title role in Arne's ""Artaxerxes"" on 25 January 1777, Belford in Thomas Hull's ""Love Finds the Way"", Colin in Charles Dibdin's ""Rose and Colin"", and most notably Captain Macheath in John Gay's ""The Beggar's Opera"" where in 1777 she was the first person to sing ""A-Hunting We Will Go"", a song written by Arne for that performance. Her debut performance in ""The Beggar's Opera"" was greeted by protests because a woman was playing the role of a lead character. She sang at Ranelagh Gardens in 1777 and 1778, in the theatre, and at festivals"
"Pirate Jenny ""Pirate Jenny"" (German: """") is a well-known song from ""The Threepenny Opera"" by Kurt Weill, with lyrics by Bertolt Brecht. The English lyrics are by Marc Blitzstein. It is probably the second most famous song in the opera, after ""Mack the Knife"". The song depicts Low-Dive Jenny (German: Spelunken-Jenny), a character based on Jenny Diver (1700–1741). Low-Dive Jenny is a lowly maid at a ""crummy old hotel"", imagining avenging herself for the contempt she endures from the townspeople. A pirate ship – with eight sails, and with 50 cannons – enters the harbor, fires on the city and"
"Ballad opera The ballad opera is a genre of English stage entertainment that originated in the early 18th century, and continued to develop over the following century and later. Like the earlier ""comédie en vaudeville"" and the later ""Singspiel"", its distinguishing characteristic is the use of tunes in a popular style (either pre-existing or newly composed) with spoken dialogue. These English plays were 'operas' mainly insofar as they satirized the conventions of the imported ""opera seria"". Music critic Peter Gammond describes the ballad opera as ""an important step in the emancipation of both the musical stage and the popular song."""
"John Le Hay John Le Hay was the stage name of John Mackway Healy (25 March 1854 – 2 November 1926), an English singer and actor known for his portrayal of the comic baritone roles in the Savoy Operas. He also appeared in non-musical plays, adaptations of French comic operas and opérettes, and in Edwardian musical comedy, usually in comic roles, though sometimes in more serious character parts. As a skilled ventriloquist he appeared before royalty, and periodically he presented his own one-man entertainment during his half-century long stage career. Le Hay was born in Bethnal Green, London, although later"
"as only beggars can imagine, and yet cheap enough for beggars to be able to watch, it is called the ""Threepenny Opera""."" A street singer entertains the crowd with the illustrated murder ballad or Bänkelsang, titled ""Die Moritat von Mackie Messer"" (""Ballad of Mack the Knife""). As the song concludes, a well-dressed man leaves the crowd and crosses the stage. This is Macheath, alias ""Mack the Knife"". The story begins in the shop of Jonathan Jeremiah Peachum, the boss of London's beggars, who outfits and trains the beggars in return for a slice of their takings from begging. In the"
"performed with full orchestra and chorus a number of times at the Royal Opera House, Covent Garden, in the 1920s. Smyth's music subsequently went out of fashion and no productions had been recorded for more than 50 years until a chamber version of the opera was arranged by the Primavera Productions theatre company at the Finborough Theatre in London in June 2007. Mrs Waters is a widow running a lonely country inn called ""The Beehive"". She has no wish to remarry. Among her customers is a retired boatswain, Harry Benn. After rejecting his latest offers of marriage, she goes off"
"""Harold"" (1895). Similar trends can be seen in operas such as George Alexander Macfarren's ""Robin Hood"" (1860), Sullivan's ""Ivanhoe"" (1891) and in the operas of Arthur Goring Thomas, which included ""Esmeralda"" (1883) and ""Nadeshda"" (1885). The works of Handel, Mendelssohn and Spohr continued to be a major part of the British musical repertoire but there was an increasing emphasis on religious drama. The Italian-born Sir Michael Costa's ""Eli"" (1855) and ""Naaman"" (1864) set the pace for the later development in the works of Sullivan, including ""The Martyr of Antioch"" (1880) ""The Light of the World"" (1873), and ""The Golden Legend"""
"her lamp above"" and ""Eily Mavourneen"" – remain in the repertoire. The opera is mentioned in James Joyce's ""Ulysses"" and Djuna Barnes' ""Nightwood"". Killarney at the end of the 18th century. Cregan has married Eily (the 'colleen bawn' = Gaelic 'the fair maid') in secret. Corrigan threatens to dispossess Cregan and his mother, who have mortgaged their lands to him, unless Cregan marries the heiress Ann Shute. Cregan's friend Danny offers to resolve the situation by killing Eily. Cregan demurs, but the unwitting Mrs. Cregan is persuaded by Danny to give a signal for Eily's death. But before he can"
"Sally"" and Mandane in his 1762 opera ""Artaxerxes"". Eventually Brent and Arne went their separate ways and she married a violinist named Thomas Pinto in 1766. During the 1760s Arne frequently collaborated with the Irish writer Isaac Bickerstaffe. ""Thomas and Sally"" was the first English comic opera to be sung throughout (it contained no dialogue). ""Artaxerxes"" was one of the most successful and influential English operas of the 18th century and is the only known attempt to write an Italianate, Metastasian ""opera seria,"" in the English language. It was frequently performed in London into the 1830s and it was the"