Punch and Judy | |
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Chamber opera by Harrison Birtwistle | |
Librettist | Stephen Pruslin |
Based on | Punch and Judy |
Premiere |
Punch and Judy is a chamber opera with music by Harrison Birtwistle and a libretto by Stephen Pruslin, based on the puppet figures of the same names. Birtwistle wrote the score from 1966 to 1967. The opera was first performed at the Aldeburgh Festival, which had commissioned the work, on 8 June 1968, with David Atherton conducting the English Opera Group. [1] The premiere cast included John Cameron as Mr Punch. [2]
The work caused great controversy with members of the audience, because of the violence of the plot and the nature of the music. Benjamin Britten was reported to have left the premiere at the interval. [3] The first US performance was in Minneapolis, and the first New York performance took place in 1988. [4] The first performance in Austria was in 1991, by Wien Modern, with Birtwistle supervising the production. [5] Birtwistle directed a revival of the opera at Aldeburgh in June 1991. [6]
With reference to the ballet of Igor Stravinsky, Paul Griffiths has characterized Mr Punch as "the exact contrary of Petrushka : a human being behaving as a puppet". [7] David Wright has summarized how Birtwistle and Pruslin attempted to treat the characters and music in an archetypal manner to write what they have described as a "source opera". [8] Jonathan Cross has published a detailed analysis of the opera. [9]
The orchestra consists of:
Punch is rocking his baby, then throws it into the fire. He stabs Judy to death when she finds the charred baby. Punch is now free to seek Pretty Polly, and he leaves on his horse. He finds her and offers her a flower, which she refuses, saying it was tarnished by his murder of his baby.
The Doctor and Lawyer revive Punch, but they too are murdered (with a gigantic hypodermic needle and quill, respectively), and join Judy at the chorus gibbet. Punch again woos Pretty Polly, giving her a prism. Again she rejects him. Punch murders the Choregos, a narrator figure, by sawing him in half (within a bass viol case). This is a turning point in Punch's life, and the cyclical nature of the work changes.
Punch is haunted by nightmarish images of his cruelty and a satanic wedding with Judy. Punch goes to the gallows for his crimes, but cheats the hangman into hanging himself. Pretty Polly reappears and the two sing a love duet around the gallows, now transformed into a maypole.
Sir Harrison Birtwistle was an English composer of contemporary classical music best known for his operas, often based on mythological subjects. Among his many compositions, his better known works include The Triumph of Time (1972) and the operas The Mask of Orpheus (1986), Gawain (1991), and The Minotaur (2008). The last of these was ranked by music critics at The Guardian in 2019 as the third-best piece of the 21st century. Even his compositions that were not written for the stage often showed a theatrical approach. A performance of his saxophone concerto Panic during the BBC's Last Night of the Proms caused "national notoriety". He received many international awards and honorary degrees.
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Twice Through the Heart is a musical work by the English composer Mark-Anthony Turnage, variously described as a dramatic scena, as a monodrama, as a song cycle, as a chamber opera or even as a "dramatic song-cycle-cum-scena". It is scored for mezzo-soprano and 16 instrumentalists and sets an English-language libretto by the Scottish poet Jackie Kay based on her script for a television programme about a woman jailed for killing her violent husband.
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Michael Barrie Gordon Anderson, known as Barry Anderson, was a New Zealand-born composer, teacher, and pioneer in the dissemination of electroacoustic music in the United Kingdom. Internationally, his best-known work is his realisation of the electronic music for Harrison Harrison Birtwistle's opera The Mask of Orpheus.
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