Work Information
| Work Notes |
Revised 2008 |
Publisher |
G Schirmer Inc |
| Category |
Opera and Music Theatre |
Year Composed |
1985 |
| Duration |
2 Hours, 10 Minutes |
Chorus |
SATB chorus |
| Solo Instrument(s) |
coloratura Soprano, 2 Sopranos, 2 Tenors, 4 Baritones, 2 Basses, Bass Baritone, Mezzo soprano, Countertenor |
Orchestration |
2222/4221/timp.perc/hp.pf/str |
| Languages |
English |
Availability |
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| Discography |
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| Vocal Score(s): |
50481437 |
Vocal Score(s): |
GS81437 |
Programme Note
Cast List: PROSPERO, the rightful Duke of Milan; a magician: Bass Baritone MIRANDA, his daughter: Soprano ARIEL, an airy spirit of the island: Coloratura Soprano FERDINAND, son to Alonso. the King of Naples: Lyric Baritone CALIBAN, a savage native, Prospero's slave: Dramatic Tenor TRINCULO, a jester: Baritone STEPHANO, a drunken butler: Bass COURTIERS: ALONSO, King of Naples: Bass GONZALO, his honest old counselor: Tenor SEBASTIAN, his brother: Baritone ANTONIO, the usurping Duke of Milan, Prospero's brother: Baritone MEN'S CHORUS GODDESSES: IRIS: Lyric Soprano CERES: Mezzo-Soprano JUNO: Contralto WOMEN'S CHORUS
Twelve years ago, Prospero, the Duke of Milan, and also a great magician, was exiled with his infant daughter Miranda to a deserted island by his treacherous brother, allied with the King of Naples. Now his enemies' ships have strayed near his shore, and with the aid of Ariel, the airy spirit who serves him, Prospero has the opportunity to revenge himself. But he finally chooses forgiveness, consecrated in the wedding of Miranda and Ferdinand, son of the King of Naples. Synopsis: Act I As a furious storm abates, Miranda tells her father, Prospero, of seeing a ship caught in the storm. Prospero assures her that no harm came to the ship or to its passengers. He recalls how, twelve years ago, his brother, allied with the King of Naples, deposed him as Duke of Milan and set him adrift with Miranda on the open sea. Ariel reports that following Prospero’s orders, the storm was used to separate the King’s ship from its fleet. Ariel now requests release from servitude but Prospero angrily tells him that, as promised, freedom will be granted in due time. Following the phantom voices of Ariel and his spirits, Ferdinand, son of the King of Naples, appears and he and Miranda fall instantly in love. Prospero has Ariel lead him away. Caliban rants to Prospero that the island by rights belongs to him, and that he should not be forced to labor for him. Prospero threatens severe punishments if the work is not completed. Stephano, the King’s butler, arrives carrying a jug of wine and Caliban now swears to serve Stephano in return for payment of wine. Trinculo joins them as they all stumble off drunkenly. Act II Alonso, the King of Naples, is grief stricken at the loss of his son, Ferdinand, as Gonzalo tries to cheer him. When all suddenly fall asleep, Sebastian and Antonio plot to kill the King so that Sebastian can replace him. They draw their swords, but are magically frozen in place. Ariel observes the scene he has conjured and then allows the spells to fade. The King decides they should move on in search of Ferdinand. Caliban convinces Stephano and Trinculo to help him kill Prospero and become rulers of the island. Ariel attempts to foil them but the prospect of having Miranda as their mistress seals the bargain. The King and his party stop to rest. Antonio and Sebastian renew their plot and Ariel appears announcing that their situation is punishment for their crime against Prospero. The King cries out in horror. Act III Ferdinand and Miranda exchange expressions of affection. Prospero invokes a spectacle of goddesses that blesses the union before renouncing his powers and meditating on the illusory nature of all things. Ariel, on Prospero’s orders, leads in a dazed King and his court. The King renounces claim to the dukedom and Ariel presents Miranda and Ferdinand in wedding finery. Prospero forgives those who wronged him and Ariel anticipates her liberty. A finale of joyous thanksgiving is celebrated.
Reviews
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Since its 1986 premiere, The Tempest has undergone two revisions, each further streamlining the work to its essentials. This third version is perhaps the charm. The drama was taut without seeming truncated, and the musical flow seemed natural. This fine production featured a combination of professionals and SUNY Purchase students. Jacque Trussel, who created and performed the role of Caliban in the premiere performances, served quite well as director.
Arlo McKinnon, Opera News, 01/05/2008
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Dallas Opera came up with a winner in Lee Hoiby's The Tempest. [It] is a real opera, melodious and sensitively orchestrated. Hoiby's music is rock solid and absorbing, and enhances the text instead of competing with it. His Act II [aria for Caliban] "Be not afeared " may be the most beautiful aria written into an opera for nearly fifty years. This sumptuously, beautifully written modern masterpiece stacked up as Dallas Opera's most enjoyable contemporary effort in memory.
John Briggs, Opera News, 22/11/1996
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Granted, Shakespeare's The Tempest is already perfect without music. But audiences are all the richer for American composer Lee Hoiby's operatic setting. The real star of the show is Hoiby's music, always beautifully and colorfully orchestrated around a constant flow of melody...with a fluid lyricism pulling into some magnificent sweeping set numbers. Hoiby is clearly hypnotized by the spell of Shakespeare's words [as] the opera builds to a chilling, ceremonial grandeur in the final apotheosis.
Wayne Lee Gay, Fort Worth Star-Telegram, 22/11/1996
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Hoiby's opera The Tempest utilizes traditional forms and practices. It is intensely melodic, lush, rich, full, colorful... His musical form is always perfectly suited to the libretto. Hoiby's orchestration is masterful. The music is intriguingly constructed, with gratifying solo and ensemble music for vocal and instrumental groups, written with great understanding and flair that continually appeals to the imagination.
John McCauley, Notes, 01/09/1996
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American composer Lee Hoiby's THE TEMPEST [is an] operatic retelling of Shakespeare's last play. Hoiby's score sidesteps angular modernism in favor of richly textured melodies, tonality and conventional structure. There is a gentleness and sweetness to this music, which seems shot through with a pervasive sense of nostalgia. The orchestration is subtle, complex and clever, and follows Shakespeare's original text with a great deal of reverence for the story and language.
The beauty of the language is foremost. Hoiby seems almost hyper-aware of Shakespeare's poetry. Typically, he wrapped up the famous "We are such stuff as dreams are made on, and our little life is rounded with a sleep," with the sweetest of string lines. His music heightens, rather than diminishes… [With] challenging roles and notable duets, nothing really tops the finale - the siren-like wedding masque. The vocal harmonies are absolutely seraphic, with a shimmering quality slightly reminiscent of Delibes' LAKMÉ. Hoiby and the POV succeed in conjuring up a magical island suffused, in Shakespeare's words, by the "sounds and sweet airs of a thousand twangling instruments."
Adrian Chamberlain, Victoria Times Colonist
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