A Midsummer Night's Dream, Op. 64, is an opera with music by Benjamin Britten and set to a libretto adapted by the composer and Peter Pears from William Shakespeare's play, A Midsummer Night's Dream. It was premiered on 11 June 1960 at the Aldeburgh Festival, conducted by the composer and with set and costume designs by Carl Toms.[1] Stylistically, the work is typical of Britten, with a highly individual sound-world – not strikingly dissonant or atonal,[1] but replete with subtly atmospheric harmonies and tone painting. The role of Oberon was composed for the countertenor Alfred Deller. Atypically for Britten, the opera did not include a leading role for his partner Pears, who instead was given the comic drag role of Flute/Thisbe.
A Midsummer Night's Dream was first performed on 11 June 1960 at the Jubilee Hall, Aldeburgh, UK as part of the Aldeburgh Festival. Conducted by the composer, it was directed by the choreographer John Cranko.[2]
The work received wide critical approval following its early performances.[3][bettersourceneeded]Howard Taubman in his review of the Aldeburgh premiere wrote that the orchestral colors of the score conveyed a sense of "soaring illusion" that never wavered and concluded:
Not every problem posed by Shakespeare has been solved, but Mr. Britten has accomplished so much that one may safely predict a wide vogue for his latest and happiest opera.[4]
A dissenting voice was Britten's estranged collaborator W. H. Auden. In a letter to Stephen Spender after seeing the 1961 London production, Auden dismissed it as "Dreadful! Pure Kensington".[3][5]
Dream was performed at the Royal Opera House, Covent Garden, in 1961, produced by John Gielgud and conducted by Georg Solti. This production was revived six times to 1984.[6]
In 2005, the Royal Opera House, Covent Garden, produced a version directed by Olivia Fuchs at the Linbury Studio Theatre with the Tiffin Boys' Choir. William Towers was Oberon, and Gillian Keith Tytania.[8]
English National Opera's production of 2011, directed by Christopher Alden, set the opera in a mid-20th-century school, with Oberon (Iestyn Davies) and Tytania (Anna Christy) as teachers and Puck and the fairies as schoolboys. Oberon's relationship with Puck (Jamie Manton) is given overtly sexual overtones, and Puck responds with alternate anger and despair to Oberon's new-found interest in Tytania's Changeling boy. The silent older man who stalks the action in the first two acts is revealed to be Theseus (Paul Whelan); reviewers have suggested that in this staging Theseus himself was once the object of Oberon's attentions, and is either watching history repeating itself, or is in fact daydreaming the magical events of the opera prior to his marriage to Hippolyta.[9][10]
Britten delineated the three tiers of characters, the rustics being given folk-like "simple" music, the lovers a more romantic sound-world and the fairies being represented in a very ethereal way. Almost all of the action now takes place in the woods around Athens, and the fairies inhabit a much more prominent place in the drama. The comic performance by the rustics of Pyramus and Thisbe at the final wedding takes on an added dimension as a parody of nineteenth-century Italian opera. Thisbe's lament, accompanied by obbligatoflute, is a parody of a Donizetti "mad scene" ("Il dolce suono").[1]
The opera contains several innovations: it is extremely rare in opera that the lead male role is written for the countertenor voice to sing. The part of Oberon was created by Alfred Deller. Britten wrote specifically for his voice, which, despite its ethereal quality, had a low range compared to more modern countertenors. Oberon's music almost never requires the countertenor to sing both at the top of the alto range and forte.
The plot of the opera follows that of the play, with several alterations. Most of Shakespeare's act 1 is cut, compensated for by the opera's only added line: "Compelling thee to marry with Demetrius." Therefore, much greater precedence is given to the wood, and to the fairies.[1] This is also indicated by the opening portamenti strings, and by the ethereal countertenor voice that is Oberon, the male lead, who throughout is accompanied by a characteristic texture of harp and celeste, in the same way that Puck's appearance is heralded by the combination of trumpet and snare-drum.[1]
The opera opens with a chorus, "Over hill, over dale" from Tytania's attendant fairies, played by boy sopranos. Other highlights include Oberon's florid – the exotic celeste is especially notable[1] – aria,"I know a bank" (inspired by Purcell's "Sweeter than roses", which Britten had previously arranged for Pears to sing),[13] Tytania's equally florid "Come now, a roundel", the chorus's energetic "You spotted snakes", the hilarious comedy of Pyramus and Thisbe, and the final trio for Oberon, Tytania and the chorus.
The original play is an anomaly among Shakespeare's works, in that it is very little concerned with character, and very largely concerned with psychology. Britten follows this to a large extent, but subtly alters the psychological focus of the work.[citation needed] The introduction of a chorus of boy-fairies means that the opera becomes greatly concerned with the theme of purity. It is these juvenile fairies who eventually quell the libidinous activities of the quartet of lovers, as they sing a beautiful melody on the three "motto chords" (also on the four "magic" chords) of the second act:[1] "Jack shall have Jill/Naught shall go ill/The man shall have his mare again/And all shall be well." Sung by boys, it could be considered that this goes beyond irony, and represents an idealised vision of a paradise of innocence and purity that Britten seems to have been captivated by throughout his life.[13]
Britten also pays attention to the play's central motif: the madness of love. Curiously he took the one relationship in the play that is grotesque (that of Tytania and Bottom) and placed it in the centre of his opera (in the middle of act 2).[13] Women in Britten operas tend to run to extremes, being either predators or vulnerable prey, but Tytania is an amalgam; she dominates Bottom, but is herself completely dominated by Oberon and Puck, the couple that are usually considered to really hold power in The Dream.[13] Their cruel pranks eventually quell her coloratura, which until she is freed from the power of the love-juice is fiendishly difficult to sing.
Britten also parodied operatic convention in less obvious ways than Pyramus and Thisbe. Like many other operas, A Midsummer Night's Dream opens with a chorus, but it is a chorus of unbroken boys' voices, singing in unison. After this comes the entrance of the prima donna and the male lead, who is as far away as possible from Wagner's heldentenors, and as close as it is possible to get to Handel'scastrati of the 18th century.:[1] "There is an air of baroque fantasy in the music." Britten's treatment of Puck also suggests parody.[13] In opera, the hero's assistant is traditionally sung by baritones, yet here we have an adolescent youth who speaks, rather than sings.
Britten thought the character of Puck "absolutely amoral and yet innocent."[14] Describing the speaking, tumbling Puck of the opera, Britten wrote "I got the idea of doing Puck like this in Stockholm, where I saw some Swedish child acrobats with extraordinary agility and powers of mimicry, and suddenly realised we could do Puck this way."[14]
Recordings
There are many recordings available, including two conducted by the composer, one a live recording of the 11 June 1960 premiere with the complete original cast, the second a studio recording made in 1967 with some of the original cast, Deller as Oberon, Owen Brannigan as Bottom, and Peter Pears elevated from Flute to Lysander, which omits some music from the lovers' awakening early in act 3.[15]
A Midsummer Night's Dream is a comedy play written by William Shakespeare in about 1595 or 1596. The play is set in Athens, and consists of several subplots that revolve around the marriage of Theseus and Hippolyta. One subplot involves a conflict among four Athenian lovers. Another follows a group of six amateur actors rehearsing the play which they are to perform before the wedding. Both groups find themselves in a forest inhabited by fairies who manipulate the humans and are engaged in their own domestic intrigue. A Midsummer Night’s Dream is considered one of Shakespeare's most popular and widely performed plays.
Pyramus and Thisbe are a pair of ill-fated lovers whose story forms part of Ovid's Metamorphoses. The story has since been retold by many authors.
Alfred George Deller, CBE, was an English singer and one of the main figures in popularising the return of the countertenor voice in Renaissance and Baroque music during the 20th century.
The Aldeburgh Festival of Music and the Arts is an English arts festival devoted mainly to classical music. It takes place each June in the town of Aldeburgh, Suffolk and is centred on Snape Maltings Concert Hall.
The mechanicals are six characters in A Midsummer Night's Dream who perform the play-within-a-play Pyramus and Thisbe. They are a group of amateur and mostly incompetent actors from around Athens, looking to make names for themselves by having their production chosen among several acts as the courtly entertainment for the royal wedding party of Theseus and Hippolyta. The servant-spirit Puck describes them as "rude mechanicals" in Act III, Scene 2 of the play, in reference to their occupations as skilled manual laborers.
Nick Bottom is a character in Shakespeare's A Midsummer Night's Dream who provides comic relief throughout the play. A weaver by trade, he is famously known for getting his head transformed into that of a donkey by the elusive Puck. Bottom and Puck are the only two characters who converse with and progress the three central stories in the whole play. Puck is first introduced in the fairies' story and creates the drama of the lovers' story by messing up who loves whom, and places the donkey head on Bottom's in his story. Similarly, Bottom is performing in a play in his story intending it to be presented in the lovers' story, as well as interacting with Titania in the fairies' story.
Titania is a character in William Shakespeare's 1595–1596 play A Midsummer Night's Dream.
James Thomas Bowman was an English countertenor. His career spanned opera, oratorio, contemporary music and solo recitals. Arguably, he was after Alfred Deller the most important countertenor in the 20th century revival of the voice part. He combined early and baroque repertoire with contemporary work, becoming recognised for his portrayal of Oberon in Britten's A Midsummer Night's Dream and performing world premieres.
The Fairy-Queen is a semi-opera by Henry Purcell; a "Restoration spectacular". The libretto is an anonymous adaptation of William Shakespeare's comedy A Midsummer Night's Dream. 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.
Francis Flute is a character in William Shakespeare's A Midsummer Night's Dream. His occupation is a bellows-mender. He is forced to play the female role of Thisbe in "Pyramus and Thisbe", a play-within-the-play which is performed for Theseus' marriage celebration.
Jennifer Brigit Vyvyan was a British classical soprano who had an active international career in operas, concerts, and recitals from 1948 up until her death in 1974. She possessed a beautifully clear, steady voice with considerable flexibility in florid music. She was praised for her subtle phrasing and her dramatic gifts enabled her to create vivid individual portrayals. Although she sang a broad repertoire, she is particularly remembered for her association with the works of Benjamin Britten; notably singing roles created for her in the world premieres of several of his operas with the English Opera Group.
A Midsummer Night's Dream is a 1999 fantasy romantic comedy film written, directed and co-produced by Michael Hoffman, based on the 1600 play of the same name by William Shakespeare. The ensemble cast features Kevin Kline as Bottom, Michelle Pfeiffer and Rupert Everett as Titania and Oberon, Stanley Tucci as Puck, and Calista Flockhart, Anna Friel, Christian Bale, and Dominic West as the four lovers.
A Midsummer Night's Dream is a 1935 American romantic comedy fantasy film of William Shakespeare's play, directed by Max Reinhardt and William Dieterle, and starring James Cagney, Mickey Rooney, Olivia de Havilland, Jean Muir, Joe E. Brown, Dick Powell, Ross Alexander, Anita Louise, Victor Jory and Ian Hunter. Produced by Henry Blanke and Hal B. Wallis for Warner Brothers, and adapted by Charles Kenyon and Mary C. McCall Jr. from Reinhardt's Hollywood Bowl production of the previous year, the film is about the events surrounding the marriage of the Duke of Athens, Theseus, and the Queen of the Amazons, Hippolyta. These include the adventures of four young Athenian lovers and a group of six amateur actors, who are controlled and manipulated by the fairies who inhabit the forest in which most of the story is set. The play, which is categorized as a comedy, is one of Shakespeare's most popular works for the stage and is widely performed across the world. Felix Mendelssohn's music was extensively used, as re-orchestrated by Erich Wolfgang Korngold. The ballet sequences featuring the fairies were choreographed by Ballets Russes veteran Bronislava Nijinska.
José Lemos is a Brazilian countertenor.
(Albert) Meredith Davies CBE was a British conductor, renowned for his advocacy of English music by composers such as Benjamin Britten, Frederick Delius and Ralph Vaughan Williams.
Pyramus and Thisbe is a "mock opera" by the German-born composer John Frederick Lampe on the story of Pyramus and Thisbe. It was first performed at Covent Garden Theatre, London, on 25 January 1745. The anonymous libretto is based on Richard Leveridge's The Comickal Masque of Pyramus and Thisbe (1716), itself inspired by the "play within a play" in act 5 of William Shakespeare's A Midsummer Night's Dream.
Gillian Keith is a Canadian/British operatic soprano, originally from Toronto, Canada, and living in London, UK.
The Dream is a one-act ballet adapted from Shakespeare's A Midsummer Night's Dream, with choreography by Frederick Ashton to music by Mendelssohn arranged by John Lanchbery. It was premiered by The Royal Ballet at the Royal Opera House, Covent Garden on 2 April 1964 in a triple bill with Kenneth MacMillan's Images of Love and Robert Helpmann's Hamlet.
Randall Scotting is an American countertenor performing internationally at opera houses and concert venues. As a young singer, he made his American stage debut performing the role of Nireno in Handel's Giulio Cesare at Opera Colorado. Randall's first leading role in an opera was singing Oberon in Britten's A Midsummer Night's Dream in New York as part of the Juilliard Opera Center. The next year he made his European stage debut performing the role of Teseo in Vivaldi's Ercole sul Termodonte at the Festival dei Due Mondi in Spoleto, Italy. In December 2019, Scotting made his Royal Opera House Covent Garden mainstage debut in London performing the role of Apollo in McVicar's production of Britten's Death in Venice In May 2022, Scotting made his Bayerische Staatsoper debut in Munich performing the role of Michael in a production of Haas's micro-tonal opera Thomas. On 2 September 2022, Scotting's debut solo album with the Orchestra of the Age of Enlightenment, The Crown: Heroic Arias for Senesino was released by Signum Classics.
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