| Comus | |
|---|---|
| Masque by Thomas Arne | |
 1778 portrait of the composer | |
| Librettist | John Dalton |
| Based on | Milton's Comus |
| Premiere | |
Comus is a masque in three acts by English composer Thomas Arne. The work uses a libretto by John Dalton (1709-1763) that is based on John Milton's 1634 masque of the same name. The work was first performed at the Theatre Royal, Drury Lane, London, on 4 March 1738. [1]
Comus was Arne's first major success, and the masque enjoyed regular revivals throughout his lifetime. The work boasts some of his finest music with songs like "Now Phoebus sinketh in the West" and "Would you taste the noontide air" displaying a fresh lyrical style. The work was published in 1740 but without the recitatives and choruses. The original score containing the additional music is now lost, but a copy of that score, made around 1785, does exist with all of the original music and some additional pieces taken from Handel’s L'Allegro, il Penseroso ed il Moderato that supplement Arne’s limited chorus writing. [1]
| Role [2] | Voice type | Premiere Cast, 4 March 1738 (Conductor: - Thomas Arne) |
|---|---|---|
| A Lady | non-singing role | Susannah Maria Cibber |
| Comus, a Magician | non-singing role | James Quin |
| Euphrosyne, a Grace | soprano | Catherine "Kitty" Clive |
| Sabrina, a Nymph | soprano | Cecilia Arne (born Cecilia Young) |
| First brother of the lady | non-singing role | William Milward |
| Second brother of the lady | non-singing role | Theophilus Cibber |
| Assorted spirits, revelers in Comus's pleasure crew, etc. | various voice types | John Beard, Cecilia Arne, Kitty Clive |
A lady is lost in the forest where the magician Comus dwells; masquerading as a shepherd he entices her to his palace. A spirit warns the lady's two brothers that their sister is in Comus's control. They are waylayed by Comus's stooges. The spirit supplies the brothers with an enchanted potion to help them thwart Comus's spell over the lady. A banquet is organized in Comus's palace and the lady, succumbed to the power of the spell, is diverted by the songs and dances of the festivities. Comus forcefully encourages her to drink from his cup but the brothers dash in just in time, putting Comus to flight. The nymph Sabrina frees the lady from the magician's spell and all rejoice the triumph of virtue in the masque's final chorus. [1]
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The masque was a form of festive courtly entertainment that flourished in 16th- and early 17th-century Europe, though it was developed earlier in Italy, in forms including the intermedio. A masque involved music, dancing, singing and acting, within an elaborate stage design, in which the architectural framing and costumes might be designed by a renowned architect, to present a deferential allegory flattering to the patron. Professional actors and musicians were hired for the speaking and singing parts. Masquers who did not speak or sing were often courtiers: the English queen Anne of Denmark frequently danced with her ladies in masques between 1603 and 1611, and Henry VIII and Charles I of England performed in the masques at their courts. In the tradition of masque, Louis XIV of France danced in ballets at Versailles with music by Jean-Baptiste Lully.
Thomas Augustine Arne was an English composer. He is best known for his patriotic song "Rule, Britannia!" and the song "A-Hunting We Will Go", the latter composed for a 1777 production of The Beggar's Opera, which has since become popular as a folk song and a nursery rhyme. Arne was a leading British theatre composer of the 18th century, working at the West End's Drury Lane and Covent Garden. He wrote many operatic entertainments for the London theatres and pleasure gardens, as well as concertos, sinfonias, and sonatas.
Henry Lawes was the leading English songwriter of the mid-17th century. He was elder brother of fellow composer William Lawes.
In Greek mythology, Comus is the god of festivity, revels and nocturnal dalliances. He is a son and a cup-bearer of the god Dionysus. He was represented as a winged youth or a child-like satyr and represents anarchy and chaos. His mythology occurs in the later times of antiquity. During his festivals in Ancient Greece, men and women exchanged clothes. He was depicted as a young man on the point of unconsciousness from drink. He had a wreath of flowers on his head and carried a torch that was in the process of being dropped. Unlike the purely carnal Pan or purely intoxicated Dionysos, Comus was a god of excess.
In Greek mythology, Comus or Komus is the god of festivity, revels, and nocturnal dalliances.
King Arthur, or The British Worthy, is a semi-opera in five acts with music by Henry Purcell and a libretto by John Dryden. It was first performed at the Queen's Theatre, Dorset Garden, London, in late May or early June 1691.
Acis and Galatea is a musical work by George Frideric Handel with an English text by John Gay. The work has been variously described as a serenata, a masque, a pastoral or pastoral opera, a "little opera", an entertainment and by the New Grove Dictionary of Music as an oratorio. The work was originally devised as a one-act masque which premiered in 1718.
Comus is a masque in honour of chastity written by John Milton. It was first presented on Michaelmas 1634 before John Egerton, 1st Earl of Bridgewater at Ludlow Castle in celebration of the Earl's new post as Lord President of Wales.
Kenilworth, A Masque of the Days of Queen Elizabeth, is a cantata with music by Arthur Sullivan and words by Henry Fothergill Chorley that premiered at the Birmingham Festival on 8 September 1864.
The Vision of Delight was a Jacobean era masque written by Ben Jonson. It was most likely performed on Twelfth Night, 6 January 1617 in the Banqueting House at Whitehall Palace, and repeated on 19 January that year.
The Judgment of Paris is an operatic libretto written by William Congreve. It was set by four British Baroque composers – John Weldon, John Eccles, Daniel Purcell and Gottfried Finger – as part of a music competition held in 1700-1701. Thomas Arne later composed a score to the libretto in 1742.
Alfred is a sung stage work about Alfred the Great with music by Thomas Arne and libretto by David Mallet and James Thomson. The work was initially devised as a masque in 1740 and was first performed at Cliveden, country home of Frederick, Prince of Wales, on 1 August 1740 to commemorate the accession of his grandfather George I and the birthday of the Princess Augusta. Arne later revised the work turning it into an all-sung oratorio in 1745 and then an opera in 1753. It is best known for its finale "Rule, Britannia!".
Arcades is a masque written by John Milton and performed on 4 May 1634. The piece was written to celebrate the character of Alice Spencer, the Countess Dowager of Derby, widow of Ferdinando Stanley, 5th Earl of Derby, during her 75th birthday. The masque distinguishes Spencer as having a greater far superior to other noble women by titling Spencer as queen of a metaphorical Arcadia that is far superior to any other realm. The piece served as a basis for Milton's later masque, Comus.
Eliza is an opera in three acts by the composer Thomas Arne to an English libretto by Richard Rolt. The opera was premiered in London at the New Theatre in the Haymarket on 29 May 1754.
The Fairy Prince is a masque in three acts by composer Thomas Arne. The English libretto, by George Colman the Elder, is based on Ben Jonson’s Oberon, the Faery Prince (1611). The work premiered at the Covent Garden Theatre, London, on 12 November 1771.
Artaxerxes is an opera in three acts composed by Thomas Arne set to an English adaptation of Metastasio's 1729 libretto Artaserse. The first English opera seria, Artaxerxes premiered on 2 February 1762 at the Theatre Royal, Covent Garden, and continued to be regularly performed until the late 1830s. Its plot is loosely based on the historical figure, Artaxerxes I who succeeded his father Xerxes I after his assassination by Artabanus.
Luca Antonio Predieri was an Italian composer and violinist. A member of a prominent family of musicians, Predieri was born in Bologna and was active there from 1704. In 1737 he moved to Vienna, eventually becoming Kapellmeister to the imperial Habsburg court in 1741, a post he held for ten years. In 1765 he returned to his native city where he died two years later at the age of 78. A prolific opera composer, he was also known for his sacred music and oratorios. Although his operas were largely forgotten by the end of his own lifetime and most of their scores lost, individual arias as well some of his sacred music are still performed and recorded.
The masque Comus, or There in the Blissful Shades is a short version of John Milton's Comus, based on a libretto earlier made by John Dalton for composer Thomas Arne's own Comus. The sixty-year-old Handel composed the setting in 1745 for the pleasure of other guests during his summer recuperation at the country seat of the Earl of Gainsborough. Some of the music was later recycled by Handel, for example as the tenor aria Then will I Jehovah's praise from the Occasional Oratorio.
John Dalton (1709–1763) was an English cleric and poet. He is now remembered as a librettist.
Alice Vaughan, Countess of Carbery (1619-1689), known before her marriage as Alice Egerton, was the daughter of John Egerton, 1st Earl of Bridgewater. She was a musician and performer who acted in two notable masques: Aurelian Townshend's Tempe Restored (1632), and John Milton's Maske Performed at Ludlow Castle (1634).
