The Fairy-Queen ist eine Masque oder Semi-Oper von Henry Purcell. Die Uraufführung des Werks erfolgte am 2. Mai im Queen's Theatre, Dorset Garden. Fairy Queen (engl. „Feenkönigin“) bezeichnet: die Königin der Feen in der keltischen und angelsächsischen Sage; die Feenkönigin in der Dichtung. Jan. Am Donnerstag, Januar , hatte die Neuinszenierung der Oper "The Fairy Queen" von Henry Purcell am Theater an der Wien Premiere.
The character Erza Scarlet from Hiro Mashima 's Fairy Tail rightfully earned the alias "Titania" due to her overwhelming power being well known throughout the series' fictional land of Fiore.
The concept of a Dianic queen of spirits influenced the neopagan cultures developed from Charles Godfrey Leland 's concept of Aradia "Queen of the Witches".
From Wikipedia, the free encyclopedia. For other uses, see Fairy Queen disambiguation. Eight Sabbats for Witches. Fairy-like beings in folklore.
See also Portal Category List of beings referred to as fairies. Edmund Spenser 's The Faerie Queene Retrieved from " https: Fairy royalty English legendary creatures Irish legendary creatures Female legendary creatures Fictional queens.
Views Read Edit View history. The "Act Tunes" are played between acts, as the curtain was normally raised at the beginning of a performance and not lowered until the end.
After act 1, each act commences with a short symphony 3—5 minutes. The English tradition of semi-opera, to which The Fairy-Queen belongs, demanded that most of the music within the play be introduced through the agency of supernatural beings, the exception being pastoral or drunken characters.
Originally act 1 contained no music, but due to the work's enormous success it was revived in , when Purcell added the scene of the Drunken Poet and two further songs later on in the work; "Ye gentle spirits of the air" and "The Plaint".
In this manner we have Night and Sleep in act 2, which is apt as that act of the play consists of Oberon's plans to use the power of the " love-in-idleness " flower to confuse various loves, and it is therefore appropriate for the allegorical figures of Secrecy, Mystery et al.
The masque for Bottom in act 3 includes metamorphoses, songs of both real and feigned love, and beings who are not what they seem.
The Reconciliation masque between Oberon and Titania at the end of act 4 prefigures the final masque. The Birthday of King Oberon".
Significantly, William and Mary were married on his birthday, 4 November. The Chinese scene in the final masque is in homage to Queen Mary's famous collection of china.
The garden shown above it and the exotic animals bring King William back into the picture and Hymen's song in praise of their marriage, plus the stage direction bringing Mary's china vases containing William's orange trees to the front of the stage complete the symbolism.
Written as he approached the end of his brief career, The Fairy-Queen contains some of Purcell's finest theatre music,  as musicologists have agreed for generations.
In particular, Constant Lambert was a great admirer; from it he arranged a suite and in collaboration with Edward Dent arranged the work to form the then new Covent Garden opera company's first postwar production.
Several arias such as "The Plaint", "Thrice happy lovers" and "Hark! The orchestra for The Fairy-Queen consists of two recorders , two oboes , two trumpets, timpani, string instruments and harpsichord continuo.
Following Purcell's premature death, his opera Dioclesian remained popular until well into the eighteenth century,  but the score of The Fairy-Queen was lost and only rediscovered early in the twentieth century.
Changing tastes were not the only reason for this; the voices employed had also become difficult to find.
The list of singers below shows the frequent employment of the male alto, or countertenor , in the semi-opera, a voice which, after Purcell, essentially vanished from the stage, probably due to the rise of Italian opera and the attendant castrati.
After that Romantic opera emerged, with the attendant predominance of the tenor. Until the early music revival, the male alto survived mainly in the ecclesiastical tradition of all-male church choirs and twentieth-century American vocal quartets.
However, Purcell's music and with it The Fairy-Queen was resuscitated by two related movements: The former movement led to performances of long-neglected composers such as Purcell, John Dowland , John Blow and even George Frideric Handel , while the latter complemented it by providing a way of making such performances as authentic as possible as regards the original music and the composer's intentions less true for Handel, where countertenors appear as castrati replacements.
The format of the work presents problems to modern directors, who must decide whether or not to present Purcell's music as part of the original play, which uncut is rather lengthy.
Savage calculated a length of four hours. A bold approach was taken at the Brazilian Opera Company's staging by Luiz Päetow , with the libretto becoming unstuck in time.
In July , two months before the th anniversary of Purcell's birth, The Fairy-Queen was performed in a new edition, prepared for The Purcell Society by Bruce Wood and Andrew Pinnock, which restored the entire theatrical entertainment as well as the original pitch used by Purcell.
The role of Mopsa was originally performed by a soprano; however, a later revision by Purcell stated that it was to be performed by "Mr.
Pate in woman's habit", presumably to have a grotesque effect and highlight the refrain "No, no, no, no, no; no kissing at all" in the dialogue between Corydon and Mopsa.
The record is ambivalent as to whether Purcell himself a countertenor used a tenor with a particularly high range though lighter at the top and tessitura known sometimes as a haute-contre , the descendants of the contratenors alti of medieval polyphony or a falsettist.
It seems that throughout his career he used both. For a list of non-singing characters see A Midsummer Night's Dream , with the exception of Hippolyta.
That character was cut by Purcell's librettist. For the plot of the play see A Midsummer Night's Dream. Only a synopsis of scenes provided with music is given here.
The first scene set to music occurs after Titania has left Oberon, following an argument over the ownership of a little Indian boy.
Two of her fairies sing of the delights of the countryside "Come, come, come, come, let us leave the town". A drunken, stuttering poet enters, singing "Fill up the bowl".
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