The Duenna | |
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Comic opera by Thomas Linley and his son | |
Language | English |
Premiere |
The Duenna is a three-act comic opera, mostly composed by Thomas Linley the elder and his son, Thomas Linley the younger, to an English-language libretto by Richard Brinsley Sheridan. At the time, it was considered one of the most successful operas ever staged in England, [1] and its admirers included Samuel Johnson, William Hazlitt and George Byron (the latter called it "the best opera ever written" [2] ).
First performed in the Covent Garden Theatre on 21 November 1775, The Duenna was performed seventy-five times in its first season, and was frequently revived in Britain until the 1840s. In total, 256 performances of the opera had been held in London from its opening in 1775 to the end of the 18th century. Another 194 performances occurred in the capital during the 19th century, with the last known London staging happening in January 1851 (there were some subsequent Dublin performances in 1853). The opera was first performed in the Colony of Jamaica in 1779, and subsequently spread round the English-speaking world. Soon after its first London performance, representations sprang up in British provincial theatres, though these often used invented dialogue (Sheridan's original text was not published until 1794) to link the published songs and musical numbers. In Autumn 2010, English Touring Opera performed the complete opera in venues around the UK, beginning in the Linbury Studio Theatre within the Royal Opera House as part of ROH2's Autumn season – bringing the opera back to its Covent Garden home. Two modern operas based on Sheridan's libretto have been performed: Sergei Prokofiev's Betrothal in a Monastery (composed 1940-1), and Roberto Gerhard's version of 1945–7.
After the triumph of The Rivals , and having effectively chosen the life of a playwright over that of a lawyer, Sheridan needed a commercial success to cement his position economically and culturally. To do this he skilfully used to his advantage the resources available to him at the time. He judged correctly the popular trend in the last quarter of the 18th century theatre towards operas, pantomime and music. [3]
The Duenna was considered a pastiche opera, though not by choice but as a result of the "extraordinary circumstances in which it was cobbled together." In 1772–73, Sheridan and Elizabeth Linley had a courtship, eventually eloping due to the opposition of their parents towards the relationship. This incident was to later become a major theme in the opera, in the form of Louisa's elopement so she could marry Antonio. After his marriage to Elizabeth Linley in April 1773, their parents eventually relented their opposition to the couple. [4]
Using the musical experience of Elizabeth's father, Thomas Linley the elder, Sheridan asked him to provide music for The Duenna; whilst refraining from telling him about the true nature of the opera or giving him all of the lyrics to it. The remaining lyrics in the opera were written to fit melodies from the Italian operas of that time, as well as some Scottish tunes, such as Michael Arne's The Highland Laddie, made popular in ballad operas. The Scottish tunes were later sent to Linley as they needed harmonising. Linley gave these tunes to his son, Thomas Linley the younger, to harmonise. Linley the younger had proved to be a source of inspiration for his father when creating music for the opera. [4] Illustrating his disdain for Sheridan's decision to incorporate parts of other operas in The Duenna, Thomas Linley the elder wrote to David Garrick:
My son has likewise written some tunes for him . . . This is a mode of proceeding I by no means approve of. I think he ought first to have finished his opera with the songs he intends to introduce in it, and then have got it entirely new set. No musician can set a song properly unless he understands the character,-and knows the performer who is to exhibit it. [4]
The basics of the plot of The Duenna originate in the tradition of Spanish honour dramas and the play includes many features of the genre. Its nearest predecessors are John Fletcher's The Chances and Sir Samuel Tuke's The Adventures of Five Hours . However, for the benefit of the polite 18th-century audience, Sheridan left out the risqué situations of the previous honour dramas, so that when Louisa escapes from her father's house, the street is not the dangerous place her father has threatened her with. It is, in fact, very safe.
Sheridan's personal life also provided models for the plot and characters, as was also the case in The Rivals . Louisa is a sketch of Elizabeth Linley/Sheridan; both have beautiful voices, both are forced by their fathers into marrying wealthy men whom they detest, and both flee to convents to avoid those marriages. The quarrelling of Ferdinand and Antonio can also be traced to the brotherly quarrelling of Richard and Charles Sheridan contemporary to the writing of The Duenna. [5]
The songs in The Duenna were among the fundamental reasons for its success. While it does owe its heritage to the Ballad opera of the 1720s (John Gay's The Beggar's Opera being the most famous example) the songs in The Duenna were more technically complex and required trained singers in the lead roles. [6] The musical score was a combination of successful works by other composers, traditional ballads and new compositions. About half of the pieces are new, composed by Linley the elder and (mainly) by Linley the younger. Editions of the vocal score were published but a complete orchestral score was never printed. Nevertheless, about half the numbers survive in manuscript full score (numbers 1, 3, 5, 11, 16, 21–26, 28–29), printed parts (the overture, by Linley the younger) and published full score (the borrowed numbers 6, 18, 24). The original scoring of the remaining numbers in this most popular opera may never be heard again, though they were orchestrated for the English Touring Opera performances in 2010.
1. Song (Antonio): Tell me, my lute, can thy soft strain
2. Trio (Antonio, Louisa, Don Jerome): The breath of morn bids hence the night
3. Air (Ferdinand): Could I her faults remember
4. Air (Antonio): I ne'er could any lustre see
5. Air (Antonio): Friendship is the bond of reason
6. Air (Ferdinand): Tho' cause for suspicion appears
7. Air (Louisa): Thou canst not boast of fortune's store
8. Air (Don Jerome): If a daughter you have, she's the plague of your life
9. Air (Clara): When sable night, each drooping plant restoring
10. Air (Carlos): Had I a heart for falsehood fram'd
11. Trio (Isaac, Louisa and Carlos): My mistress expects me
12. Song (Isaac): Give Isaac the nymph who no beauty can boast
13. Song (Don Jerome): When the maid whom we love
14. Song (Duenna): When a tender maid is first essay'd
15. Song (Carlos): Ah! sure a pair was never seen
16. Duet (Isaac, Don Jerome): Believe me, good sir
17. Glee (Jerome, Ferdinand and Isaac): A bumper of good liquor
18. Air (Louisa): What Bard, O Time, discover
19. Song (Carlos): O, had my love ne'er smil'd on me
20. Trio (Antonio, Carlos, Louisa): Soft pity never leaves the gentle breast
21. Song (Don Jerome): O, the days when I was young
22. Air (Ferdinand): Ah! Cruel maid, how hast thou chang'd
23. Recit. Accomp. & Air (Ferdinand): Shall not my soul?/Sharp is the woe
24. Air (Clara): By him we love offended
25. Song (Antonio): How oft, Louisa, hast thou told
26. Air (Clara): Adieu, thou dreary pile
27. Glee and Chorus (Father Paul, Francis, Augustine, and Friars): This bottle's the sun of our table
28. Duet (Louisa and Clara): Turn thee round, I pray thee
29. Chorus: Oft does Hymen smile to hear
30. Final ensemble (Jerome, Louisa, Ferdinand, Antonio, Clara): Come now for jest and smiling
Sheridan wrote many of the roles in The Duenna to match a specific performer's ability, tailoring the text to the capacities of the singer. For example, Michael Leoni was cast for the role of Don Carlos, but his heavy German-Jewish accent meant that he could not deliver long lines of dialogue. To counter this problem Don Carlos's speeches were cut and his dialogues turned into duets and trios. [7] John Quick, who had proved himself as a great actor of Sheridan's comic characters as Bob Acres in The Rivals and Doctor Rosy in St Patrick's Day , was given the part of the equally ridiculous Isaac Mendoza; Mrs. Green, the original Mrs Malaprop, was given the role of the duenna.
In his Reminiscences, Michael Kelly tells the story that in 1807 he was appearing in The Duenna at Drury Lane, as Ferdinand. One morning he went out for a ride, and returned home to find Sheridan with pen and ink correcting his printed copy of the dialogue. 'Do you act the part of Ferdinand from this printed copy?' asked Sheridan. Kelly replied that he had done so for 20 years. 'Then you have been acting great nonsense,' came the reply, and Sheridan went through correcting every sentence. Kelly adds, 'What could prove his negligence more than correcting an opera which he had written in 1775 in the year 1807; and then, for the first time, examining it and abusing the manner in which it was printed?' [8]
The scene is Seville.
Premiere 21 November 1775 | Revival December 1924 | ||
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Don Jerome | baritone | Mr. Wilson | Nigel Playfair |
Donna Louisa, his daughter | soprano | Mrs. Mattocks | Elsa Macfarlane |
Don Ferdinand, his son | tenor | George Mattocks | Michael Cole |
Isaac Mendoza, a rich Jewish merchant | tenor | John Quick | Frank Cochrane |
Don Carlos | Michael Leoni | Guy Lefeuvre tenor | |
Lady Margaret, Louisa's duenna | mezzo-soprano | Mrs Green | Elsie French |
Donna Clara | soprano | Mrs. Cargill (née Brown) | Isobel McLaren |
Don Antonio | tenor | Mr. Dubellamy | Denys Erlam |
Father Paul | tenor | Robert Mahon | Frederick Carlton |
Father Francis | Mr. Fox | ||
Father Augustine | Mr. Baker | ||
Lopez, Ferdinand's manservant | Mr. Wewitzer | Alfred Harris | |
Maids, servants, friars and masqueraders |
The play is set in Seville, and centres on the family of the wealthy Don Jerome. His son, Don Ferdinand, is in love with Donna Clara, whose cruel father is set upon forcing her into a nunnery – the nearby convent of St Catherine. In desperation, Don Ferdinand bribes her maid to admit him to her bedchamber at dead of night, to beg her to run away with him, but she indignantly refuses – but keeps the duplicate key he has made, and runs away by herself on the morrow.
Meanwhile, Don Ferdinand’s sister Donna Louisa is in love with the poor but gallant Don Antonio. Her avaricious father Don Jerome wants to marry her to the equally avaricious and cunning Isaac Mendoza, who through his inordinate fondness for overreaching whosoever he has to do, is generally as much a fool as a knave, and is thus the dupe of his own art, as Donna Louisa tells her father.
The Duenna was first performed on 21 November 1775 at Covent Garden Theatre, London. The play catered to the reputation of the Covent Garden Theatre as the home of low comedy, the comedy of the jape, the leer and the pratfall. [9] However, Covent Garden was also the traditional home of opera and musical entertainment, being built with the original profits from Gay's The Beggar's Opera (Covent Garden Theatre is now called the Royal Opera House). The opera was an immediate hit, with 75 performances in its first season and a total of 254 performances at Covent Garden alone in the 25 years between its opening and the end of the eighteenth century. [6]
Interest in The Duenna was renewed in the early 20th century with performances at the Maddermarket Theatre, Norwich in 1923, and by Sir Barry Jackson at Birmingham soon after: and a further revival was advocated by Lovat Fraser, designer of the scenery and dresses for Frederic Austin's restoration of The Beggar's Opera at Hammersmith with Nigel Playfair in 1920–23. Playfair took up the challenge with George Sheringham as his designer of costumes and scenery, in a production with the music reharmonised, and in some cases rewritten, at the Lyric Theatre, Hammersmith in December 1924. The full text (without music) and designs (in colour plates) were published as a book with a foreword by Playfair in 1925. [10]
The Duenna has two modern reworkings that use the storyline of the opera but not the original music. The first is The Duenna by the Spanish Catalan exile Roberto Gerhard in 1947–49. [11] The second is by Sergei Prokofiev in 1940 (first performed in 1946 owing to the Second World War) – Prokofiev changes the name of the play to Betrothal in a Monastery . [12]
Michael Arne was an English composer, harpsichordist, organist, singer, and actor. He was the son of the composer Thomas Arne and the soprano Cecilia Young, a member of the famous Young family of musicians of the seventeenth and eighteenth centuries. Like his father, Arne worked primarily as a composer of stage music and vocal art song, contributing little to other genres of music. He wrote several songs for London's pleasure gardens, the most famous of which is Lass with the Delicate Air (1762). A moderately prolific composer, Arne wrote nine operas and collaborated on at least 15 others. His most successful opera, Cymon (1767), enjoyed several revivals during his lifetime and into the early nineteenth century.
Richard Brinsley Butler Sheridan was an Anglo-Irish playwright, writer and Whig politician who sat in the British House of Commons from 1780 to 1812, representing the constituencies of Stafford, Westminster and Ilchester. The owner of the Theatre Royal, Drury Lane in London, he wrote several prominent plays such as The Rivals (1775), The Duenna (1775), The School for Scandal (1777) and A Trip to Scarborough (1777), along with serving as Treasurer of the Navy from 1806 to 1807. After dying in 1816, Sheridan was buried at Poets' Corner in Westminster Abbey, and his plays remain a central part of the Western canon and are regularly performed around the world.
A chaperone in its original social usage was a person who for propriety's sake accompanied an unmarried girl in public; usually she was an older married woman, and most commonly the girl's own mother.
Comic opera, sometimes known as light opera, is a sung dramatic work of a light or comic nature, usually with a happy ending and often including spoken dialogue.
The Rivals is a comedy of manners by Richard Brinsley Sheridan in five acts which was first performed at Covent Garden Theatre on 17 January 1775. The story has been updated frequently, including a 1935 musical and a 1958 episode of the TV series Maverick starring James Garner and Roger Moore, with attribution.
Thomas Linley was an English bass and musician active in Bath, Somerset. Born in Badminton, Gloucestershire, Linley began his musical career after he moved to Bath at age 11 and became apprentice to the organist Thomas Chilcot. After his marriage to Mary Johnson in 1752, Linley at first supported his wife and growing family predominantly as a music teacher. As his children grew and he developed their musical talent, he drew an increasing amount of income from their concerts while also managing the assembly rooms in Bath. When the new Bath Assembly Rooms opened in 1771, Linley became musical director and continued to promote his children's careers. He was eventually able to move to London with the thousands of pounds which he had amassed from their concerts.
Michael Kelly was an Irish tenor, composer and theatrical manager who made an international career of importance in musical history. One of the leading figures in British musical theatre around the turn of the nineteenth century, he was a close associate of playwright and poet Richard Brinsley Sheridan. He also became friends with musicians such as Mozart and Paisiello, and created roles for the operas of both composers. With his friend and fellow singer Nancy Storace, he was one of the first tenors of that era from Britain and Ireland to become famous in Italy and Austria. In Italy he was also known as O'Kelly or even Signor Ochelli. Although the primary source for his life is his Reminiscences, doubt has been cast on the reliability of his own account, and it has been said that '[a]ny statement of Kelly's is immediately suspect.'
Betrothal in a Monastery is an opera in nine scenes by Sergei Prokofiev to a Russian libretto by the composer and Mira Mendelson after Sheridan's The Duenna.
Peter Robert Auty is an English operatic tenor who has worked with most of the major opera companies in Britain and a number of companies in continental Europe.
Elizabeth Ann Sheridan was an English singer who was known to have possessed great beauty. She was the subject of several paintings by Thomas Gainsborough, who was a family friend, Joshua Reynolds and Richard Samuel. An adept poet and writer, she became involved with the Blue Stockings Society and participated in Whig politics.
Thomas Linley the younger, also known as Thomas Linley Junior or Tom Linley, was the eldest son of the composer Thomas Linley and his wife Mary Johnson. He was one of the most precocious composers and performers that have been known in England. A highly talented violinist, Tom Linley was also the most promising of all native English composers between Purcell and Elgar, combining prodigious talent with a delightful personality. He is sometimes referred to as the "English Mozart". His early promise was cut short when he drowned in a boating accident, aged just 22 years.
Thomas Welsh was an English composer and operatic bass. Welsh spent most of his life in London and is now particularly remembered for his light-hearted stage works.
Robert Schell Taber was an American Broadway actor of the late nineteenth and early twentieth centuries.
Robert Keeley was an English actor-manager, comedian and female impersonator of the nineteenth century. In 1823 he originated the role of 'Fritz' in Presumption; or, the Fate of Frankenstein, the first known stage adaptation of Mary Shelley's novel Frankenstein.
Thomas Ryder (1735–1790) was a British actor and theatre manager, associated with the Smock Alley Theatre in Dublin. As a player, he was considered at his best in low comedy.
Thomas Sheridan, known as Tom Sheridan, was the only son of the Irish playwright and poet Richard Brinsley Sheridan and the soprano Elizabeth Ann Linley, although his father had at least one other son from a second marriage. Born in mid-November 1775, Thomas initially tried for a career in politics but was unsuccessful.
Margaret Kennedy was a contralto singer and actress. She was best known for her performances in male roles, especially in the operas of Thomas Arne.
Isabella Mattocks was a British actress and singer.
The Duenna is an English/German-language opera in three acts composed by Robert Gerhard to libretto by the composer, after the 1775 comedy The Duenna by Richard Brinsley Sheridan. Composed from 1945 to 1947, the opera was premiered on BBC radio in 1949, conducted by Stanford Robinson and was received well. It was revised in 1951 for performance at the ISCM Festival in Wiesbaden, but there the use of popular melodies did not go down well with critics. The opera is in part atonal, following Gerhard's teacher Schoenberg.
Mariya-Cecilia Abramovna Mendelson-Prokofieva, typically referred to as Mira Mendelson, was a Russian poet, writer, and translator who was the second wife of the composer Sergei Prokofiev. She was the co-librettist of her husband's operas Betrothal in a Monastery, The Story of a Real Man, and War and Peace, as well as the ballet The Tale of the Stone Flower.