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Beauties from the
Writing, that it is now no more what it was formerly..." He also made alterations to suit Purcell's musical needs: "the Numbers of Poetry and Vocal Musick, are sometimes so contrary, that in many places I have been oblig'd to cramp my Verses, and make them rugged to the Reader, that they may be harmonious to the Hearer: Of which I have no Reason to repent me, because these sorts of Entertainments are principally design'd for the Ear and the Eye; and therefore in Reason my Art on this occasion, ought to be subservient to his."
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479:) to defeat a potential usurper (Alonzo/Oswald). The relationship between Arthur and Emmeline is like that between Ferdinand and Miranda. Like Miranda, Emmeline is an innocent who has "never seen a man" (quite literally true in the case of the blind Emmeline). Finally, there are obvious similarities between the "earthy spirits" Grimbald and Caliban, although there is no evil wizard corresponding to Osmond in
1255:
blindness. Emmeline is amazed at the new world before her eyes. Merlin's spells also allow Arthur and
Emmeline to meet for a brief moment and some performances insert the additional duet "You say 'tis love" here. Emmeline, however will not be free until the enchanted wood is destroyed. Osmond enters, intent on seducing Emmeline for himself, having drugged his master Oswald.
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Philidel tells Merlin that
Grimbald is planning to deceive the victorious Britons by leading them to drown in rivers or fall off cliffs. Merlin leaves Philidel his band of spirits to save the Britons from this trap. Grimbald arrives disguised as a shepherd guiding Arthur and his men. Philidel and his spirits and Grimbald and his spirits compete to win Arthur's trust:
1064:"a puleing Sprite" who "Sighs when he should plunge a Soul in Sulphur,/As with Compassion touched of foolish man." Philidel was supposed to have drawn up the vapours from the marsh and blown them in the face of the Christian soldiers but when he saw the crosses on their banners, he refused to carry out this task. Osmond says he will punish Philidel later.
562:(1677); but, as Peter Holman writes, Purcell's "daring chromatic harmonies transform the Cold Genius from the picturesque figure of Lully (or Dryden, for that matter) into a genuinely awe-inspiring character — the more so because Cupid's responses are set to such frothy and brilliant music". It has been suggested that the whole scene was inspired by the
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and the
Britons have already defeated the Saxons in ten battles. Conon, Duke of Cornwall, explains the origins of the war. Oswald had sought his daughter, the blind Emmeline's, hand in marriage but she rejected him because she is in love with Arthur. Arthur enters reading a letter of support from his
373:
was revived at least twice during
Purcell's lifetime and continued to be performed in the later 1690s. The first major revival in the eighteenth century was staged in 1736. This production left the work unaltered, but later revivals involved varying degrees of revision. They included a performance in
366:
was most impressed by
Charlotte Butler's singing of Cupid, describing it as "beyond anything I ever heard upon the stage", partly ascribing her success to "the liberty she had of concealing her face, which she could not endure should be so contorted as is necessary to sound well, before her gallants,
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In his preface to the printed edition, Dryden explained he had had to adapt the libretto to the changed political circumstances of 1691: "But not to offend the present Times, nor a
Government which has hitherto protected me, I have been oblig'd so much to alter the first Design, and take away so many
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Oswald and his magician Osmond sacrifice horses and pray to the Saxon gods for victory in the coming battle. Osmond's servant, the spirit
Grimbald, arrives and says he has persuaded six Saxons to offer themselves as a human sacrifice. He also admits he has lost control of the other spirit, Philidel,
1440:
Arthur and the
Britons are preparing to storm the castle when Oswald comes out and challenges his rival to single combat for the hand of Emmeline and the crown. They fight and Arthur disarms Oswald. Arthur spares his life but tells Oswald he and his Saxons must return to Germany because the Britons
1404:
Again, Arthur rejects them and begins the task of destroying the wood. When he chops a tree with his sword, blood pours out of it and the voice of
Emmeline cries out in pain. It convinces Arthur that it is Emmeline, who has been turned into a tree by Osmond, and Arthur is just about to embrace the
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Grimbald catches Philidel as he scouts the enchanted wood for Merlin. Philidel pretends to submit but secretly casts a spell on Grimbald which renders him powerless to move. Merlin asks Philidel to guide Arthur through the wood and gives him the vial, which the spirit uses to rid Emmeline of her
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The tender-hearted Philidel pities those soldiers who have lost their lives in the battle. Merlin arrives in his chariot and orders Philidel to tell him who he is. Philidel explains he is a spirit of the air and one of the fallen angels, but he has repented. He deserts Osmond and joins Merlin.
419:, a major political dispute over who would succeed Charles II: his Catholic brother, James, Duke of York or the Duke of Monmouth, his illegitimate — but Protestant — son. The faction backing James was nicknamed the "Tories"; that in favour of Monmouth, the "Whigs". The latter were led by
552:, commenting on the 1736 production, described it as "excessive fine" and said that the Cold Genius' solo was "the finest song in the play". This aria ("What power art thou who from below") is accompanied by shivering strings, probably influenced by a scene from Act IV of
2173:
301:. Purcell's career had also suffered after the death of the music-loving Charles II. With their sources of royal patronage gone, both playwright and composer were looking to make money as freelance professionals and the London stage offered attractive opportunities.
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tree when Philidel reveals it is really a trick by Grimbald. Philidel captures Grimbald and Arthur cuts down the tree, dispelling the enchantment from the wood and freeing the way to Oswald's castle. Philidel drags off Grimbald in chains.
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Arthur and his men attack Oswald's castle but Osmond's magic defeats them. Osmond has conjured a "Magick Wood" which bars access to the castle. Merlin promises to help Arthur reach Emmeline and restore her sight with potion in a vial.
429:(1681). In Price's reading, King Arthur represents Charles II, the Britons are the Tories, and the Saxons are the Whigs. Oswald is the Duke of Monmouth and Osmond/Grimbald is the Earl of Shaftesbury. Philidel is the
547:
wrote, "The Frost Scene is one of Purcell's most famous achievements" with "its bold contrasts of style, and the masterly piling up of the music to a climax at the end of the chorus ''Tis love that has warmed us'".
1441:"brook no Foreign Power/ To Lord it in a Land, Sacred to Freedom." Osmond is cast into a dungeon with Grimbald. Arthur is reunited with Emmeline and the work ends with a celebratory masque.
322:. Purcell's music for the production and the lavish staging made it a triumph and Betterton was eager for another such success. He persuaded Dryden to dust off and revise the libretto for
1380:
Merlin leaves Arthur at the entrance to the wood with the spirit Philidel as his guide. Philidel has a wand which will banish all magical deception. Arthur hears seductive music from two
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The freed Grimbald warns Osmond that Arthur is approaching the enchanted wood, where Merlin has undone his spells. Osmond decides to replace the threatening spells with seductive ones.
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The masque fails to persuade Emmeline and Osmond resorts to force but the captive Grimbald's shouts interrupt him. Osmond goes to free him, promising Emmeline he will be back.
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entertainment, but in Act 4 and parts of Act 2, as supernatural beckonings. The singing in Act 1 is religious observance by the Saxons, ending with their heroic afterlife in
2368:
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but it proved the most financially successful for the theatre. Betterton himself took the role of King Arthur, despite being in his fifties. The contemporary writer
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500:; and Andrew Pinnock suggests the rivalry between Arthur and Oswald is like the conflict between Gondibert and Oswald in Sir William Davenant's unfinished poem
1038:
The Britons prepare for the battle which will decide who will rule their land: the Christian Arthur or the pagan Saxon Oswald. It augurs well for them: it is
471:
in 1674). Ellen T. Harris has described the links between the characters: Prospero and Merlin are both good magicians who use an "airy spirit" (Ariel in
1170:
Emmeline and her maid Matilda await news of the battle. To pass the time, a "Crew of Kentish Lads and Lasses" entertain them with songs and dances:
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prologue. For unknown reasons Dryden abandoned his intention to have the whole work set to music and developed the prologue into another opera,
420:
527:...". But Andrew Pinnock believes "practically all the ritual came from a far handier source (which unaccountably Dryden forgot to mention):
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to write the sacrifice scene in the first act: "When I wrote it, seven years ago, I employ'd some reading about it, to inform my self out of
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from 4 to 8 June 1691, suggesting a recent staging. Peter Holman believes it was performed in May. The production was not as spectacular as
625:
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Though tempted, Arthur realises it is an illusion and presses on. Next, "Nymphs and Sylvans" emerge from the trees singing and dancing.
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Now his magic has been destroyed, Osmond is terrified of the approaching Arthur. He decides he must persuade Oswald to fight for him.
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Oswald and his comrade Guillamar stray from the battlefield, chance upon the pavilion and kidnap Emmeline and Matilda.
2003:
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Scene 3: "A battle supposed to be given behind the Scenes, with Drums, Trumpets, and military Shouts and Excursions."
445:
Dryden did not base his libretto on standard versions of Arthurian myth, although he was familiar with such books as
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magician Merlin. He meets Emmeline and tries to explain to her what seeing means. A trumpet calls Arthur to battle.
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453:. He did, however, use other works of literature as sources of inspiration. There are clear parallels between
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so Purcell could set it. The two had already collaborated on stage works (Dryden had written the prologue for
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Merlin conjures a vision of the ocean around Britain. The Four Winds create a storm which is calmed by
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recorded the same aria as "Cold Song" with lyrics rewritten in Japanese and included it in the album.
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192:: the principal characters do not sing, except if they are supernatural, pastoral or, in the case of
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1667:, with the participation of Corinne & Gilles Benizio (alias Shirley & Dino), (Glossa, 2009)
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1507:(Duet for "He" and "She"; according to the printed libretto, the words were written by "Mr. Howe")
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423:. Dryden was a convinced Tory and had already satirised Shaftesbury and other Whigs in his poem
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Arthur holds a parley with Oswald and begs him to return Emmeline, offering him land from the
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433:, a political moderate much admired by Dryden (he would dedicate the printed edition of
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contains some of Purcell's most lyrical music, using adventurous harmonies for the day.
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1693:(Viking, 1993) p.824, which notes that Dryden preferred to call it a "dramatick opera".
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According to Curtis Price, the original 1684–5 version was probably an allegory of the
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In the meantime, England entered a turbulent period in its history. After the Catholic
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Princess Emmeline, who has been abducted by his arch-enemy, the Saxon King Oswald of
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consists of spoken text. This was normal practice in 17th century English opera.
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Scene 2: The scene represents a place of Heathen worship; The three Saxon Gods,
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decided to risk putting on another operatic work, the first since the ill-fated
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In his preface, Dryden explained how he had conducted historical research into
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463:(which Dryden had revised in line with Restoration taste in collaboration with
1928:
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2105:, parts 1 (1965) and 2 (1959), Southern Illinois University Press, Carbondale
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1561:
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379:
348:
The exact date of the premiere is unknown but the wordbook was advertised in
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112:
102:
33:
1976:
Gilman, Todd, S., "London Theatre Music: 1660–1719", in Susan J. Owen (ed.)
174:. The tale centres on Arthur's endeavours to recover his fiancée, the blind
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2019:, ed. Shirley Strum Kenny, Cranbury NJ: Associated University Presses, 1984
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The Frost Scene in the third act has always attracted praise from critics.
274:. It was a failure and Dryden shelved any plans he had for the rest of the
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took the throne, Dryden too converted to Catholicism. When the Protestant
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2051:: Legend and Politics on the Restoration Stage", in Richard Barber (ed.)
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487:
459:
383:
263:
131:
120:
74:
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2015:
Milhous, Judith, "The Multimedia Spectacular on the Restoration Stage",
336:) and Dryden was effusive in his praise of Purcell's musical abilities.
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The Britons sing a song of triumph as the Saxons flee the battlefield:
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29:
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Price, Curtis A., Notes in the booklet accompanying the recording of
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in 1688, Dryden refused to renounce his faith and so lost his job as
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in 1667 and which had been turned into a semi-opera with music by
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to rise from the waves on an island with fishermen at her feet.
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Grimbald admits defeat, vows revenge on Philidel and vanishes.
490:: the idea of the "enchanted wood" is taken from Canto XVII of
375:
139:
2065:
Davies, H. Neville, "King Arthur: or, The British Worthy" in
1492:
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to Halifax). Emmeline personifies the "national conscience."
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193:
171:
163:
155:
1987:
journey into the eighteenth century" in Curtis Price (ed.)
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515:
270:
was first inauspiciously performed in June 1685 during the
179:
167:
1350:(Cupid and Cold Genius, followed by ritornello and chorus)
2369:
Funeral Sentences and Music for the Funeral of Queen Mary
1175:
14. "How blest are the shepherds, how happy their lasses"
609:
The prelude to Act III serves as the basis for the piece
523:, and other Authors, concerning the rites of the Heathen
1550:
St Anthony Singers, Philomusica of London, conducted by
252:
no longer exists but it was to be in three acts with an
200:, drunk. Secondary characters sing to them, usually as
1914:
By James Winn, referred to by Dearing in the notes to
1291:
wakes the "Cold Genius", who is the spirit of Winter).
1297:(The Cold Genius reluctantly wakes from his slumbers)
588:"What power art thou who from below" was recorded by
330:
and Purcell the incidental music for Dryden's comedy
2026:
expos'd: a lesson in anatomy" in Curtis Price (ed.)
162:
plus references to the Germanic gods of the Saxons,
1560:The Deller Consort & Choir, The King's Musick,
1489:
37. "Your hay it is Mow'd, and your Corn is Reap'd"
1258:Osmond tries to win Emmeline over by showing her a
2098:ed. Michael Burden, Clarendon Press, Oxford, 1996.
208:. The protagonists are actors, as a great deal of
3082:
1195:16b. "Come, shepherds, lead up a lively measure"
266:. However, Charles II died in February 1685 and
236:Dryden probably wrote the original libretto for
1973:Volume 16, University of California Press, 1997
2080:, Cambridge University Press, Cambridge, 1928.
1867:p.6; "Bochartus" is Alain Bouchart, author of
1389:29. "Two Daughters of this Aged Stream are we"
1262:acted by spirits. He conjures up a vision of "
421:Anthony Ashley-Cooper, the Earl of Shaftesbury
2653:
2374:Thou knowest, Lord, the secrets of our hearts
2200:
2121:"King Arthur or The British Worthy: Libretto"
2017:British Theatre and the Other Arts, 1660–1800
1477:35. "Round thy Coasts, Fair Nymph of Britain"
626:The Cook, the Thief, His Wife & Her Lover
240:in 1684 to mark the 25th anniversary of King
2149:"Purcell: King Arthur (Libretto in English)"
1901:
1899:
1309:(The Cold Genius acknowledge's love's power)
1295:20. "What Power art thou, who from below..."
613:in Michael Nyman's score for the 1982 movie
262:, a collaboration with the Catalan composer
154:, including such supernatural characters as
2094:and Cold People: How Should They Shiver?",
1824:
1822:
1731:
1729:
1483:36. "For Folded Flocks, on Fruitful Plains"
1313:23. "No part of my dominion shall be waste"
2660:
2646:
2207:
2193:
2067:Henry Purcell's Operas, The Complete Texts
1521:41. "Saint George, the Patron of our Isle"
411:Interpretation based on political allegory
127:, London, in late May or early June 1691.
40:
2085:Henry Purcell and the Restoration Theatre
1896:
1456:33. "Ye Blust'ring Brethren of the Skies"
1144:11. "Let not a moonborn elf deceive thee"
1094:7. "Brave souls, to be renown'd in story"
684:Duke of Cornwal, Tributary to King Arthur
440:
248:the following year. The original text of
130:The plot is based on the battles between
2667:
2073:, Oxford University Press, Oxford, 2000.
1819:
1726:
1225:, but Oswald refuses to relinquish her.
1209:A group of Britons continue the battle.
1181:15. "Shepherd, shepherd, leave decoying"
223:
1285:19. "What ho! thou genius of this isle"
1118:(Symphony followed by tenor and chorus)
611:Chasing Sheep Is Best Left to Shepherds
3083:
2143:
1743:
1741:
1532:(The masque ends with a "grand dance")
1399:30. Passacaglia: "How happy the lover"
486:Dryden also used material he found in
343:
2641:
2310:
2188:
2096:Performing the Music of Henry Purcell
2087:, Greenwood Press, Westport CT, 1961.
1326:(Chorus and dance of the Cold People)
16:1691 semi-opera by Dryden and Purcell
2047:Shay, Robert, "Dryden and Purcell's
1376:Scene 2: Scene of the Wood continues
619:. Nyman then reused it for his 1984
398:into a two-act after-piece entitled
1929:"COLD SONG / 平沢進 (Susumu Hirasawa)"
1738:
1610:Le Concert Spirituel, conducted by
1511:40. "Trumpet Tune (Warlike Consort)
1100:8. "I call you all to Woden's hall"
668:King of Kent, a Saxon and a Heathen
623:and again in 1989 in the score for
318:(1690), an adaptation of a play by
13:
2978:Mr. Limberham; or, the Kind Keeper
2115:
2037:, Cambridge University Press, 1984
2035:Henry Purcell and the London Stage
2030:, Cambridge University Press, 1995
1998:, New York: Penguin Putnam, 2001.
1991:(Cambridge University Press, 1995)
1078:5. "The white horse neigh'd aloud"
150:does make an appearance). It is a
14:
3157:
2214:
2109:
1307:22. "Great Love, I know thee now"
596:as "The Cold Song". In his album
2695:
2624:
2623:
2319:Remember not, Lord, our offences
2168:
1978:A Companion to Restoration Drama
1008:(Musical numbers given in bold)
885:tenor, two sopranos/SATB chorus
583:Love Divine, All Loves Excelling
577:" achieved wide fame, inspiring
123:. It was first performed at the
2012:, Oxford University Press, 1994
1947:
1921:
1908:
1883:
1874:
1858:
1849:
1840:
1831:
1810:
1801:
1792:
1783:
1600:The English Concert and Choir,
716:a Saxon Magician, and a Heathen
1935:. hirasawasusumu. 20 July 2021
1869:Grandes Croniques de Bretaigne
1774:
1762:
1750:
1717:
1708:
1696:
1683:
1623:, Lionel Meunier (Alpha, 2018)
1344:'Tis Love that has warm'd us")
1059:placed on Pedestals. An Altar.
646:Premiere cast, May/June? 1691
367:or at least her envious sex."
219:
125:Queen's Theatre, Dorset Garden
89:Queen's Theatre, Dorset Garden
1:
2350:
2336:
2322:
1671:
1536:
854:bass (or baritone) and tenor
304:In 1690, the theatre manager
142:, rather than the legends of
2823:A Song for St. Cecilia's Day
2101:Van Lennep et al. William,
2078:Foundations of English Opera
1354:28. Third Act Tune: Hornpipe
882:Shepherds and Shepherdesses
533:Britannia Antiqua Illustrata
101:King Arthur, or The British
7:
3034:Cleomenes, the Spartan Hero
2178:public domain audiobook at
1996:The New Penguin Opera Guide
1969:Dearing, Vinton, A. (Ed.),
1479:(Duet for Pan and a Nereid)
1340:and chorus of Cold People:
1334:'Tis I that have warm'd ye"
1324:25. "See, see, we assemble"
1003:
602:released on July 28, 2021,
405:
228:Portrait of John Dryden by
111:in five acts with music by
10:
3162:
2713:Fables, Ancient and Modern
1846:Ellen T. Harris pp.257–258
857:one played by John Bowman
749:Captain of Arthur's Guards
616:The Draughtsman's Contract
312:. This was the semi-opera
188:is a "dramatick opera" or
3052:
2841:
2758:
2723:
2704:
2693:
2685:Essay of Dramatick Poesie
2676:
2621:
2596:
2570:
2410:
2387:
2347:Rejoice in the Lord alway
2303:
2231:
2222:
1084:6. "The lot is cast, and
1072:4. "Woden, first to thee"
972:She (in Mr. Howe's song)
451:Historia Regum Britanniae
80:
69:
61:
51:
39:
28:
23:
2815:The Hind and the Panther
1971:The Works of John Dryden
1571:English Baroque Soloists
1541:
1415:
1410:31. Fourth Act Tune: Air
1362:
1235:
1230:17. Second Act Tune: Air
1122:
1074:(Tenor, bass and chorus)
1011:
962:He (in Mr. Howe's song)
632:
538:
386:'s version in 1770; and
3116:Operas by Henry Purcell
3106:English-language operas
3096:Libretti by John Dryden
2922:The Conquest of Granada
1980:, Wiley-Blackwell, 2001
1505:39. "You say 'tis love"
289:overthrew James in the
152:Restoration spectacular
2783:Absalom and Achitophel
2732:The State of Innocence
2333:Hear my prayer, O Lord
2140:Libretto of sung parts
2044:by John Eliot Gardiner
1994:Holden, Amanda (Ed.),
1723:H. Neville Davies 2000
1640:
1564:(Harmonia Mundi, 1979)
1301:21. "Thou doting fool"
1158:(Philidel and spirits)
441:Sources and influences
426:Absalom and Achitophel
233:
3146:Fiction about deities
3121:Operas set in England
2520:The Canterbury Guests
2464:The Massacre of Paris
2433:Britons, Strike Home!
2127:. Stanford, CA, USA:
1889:Quoted by Dearing in
1485:(Trio of male voices)
1473:(The fishermen dance)
1384:bathing in a stream.
1197:(Chorus of shepherds)
1177:(Shepherd and chorus)
1150:12. "Hither this way"
1138:10. "Hither this way"
1116:9. "Come if you dare"
1067:The sacrifice scene:
594:eponymous first album
585:" to the same tune.
394:'s transformation of
320:Beaumont and Fletcher
227:
46:Henry Purcell c. 1695
2994:Troilus and Cressida
2954:The Mistaken Husband
2807:Threnodia Augustalis
2588:Edward Henry Purcell
2512:The Female Virtuosos
2496:The Richmond Heiress
2480:Distressed Innocence
2426:Nymphs and Shepherds
2225:List of compositions
2165:at Project Gutenberg
2053:King Arthur in Music
1661:Le Concert Spirituel
1651:Nikolaus Harnoncourt
1588:Les Arts Florissants
1513:(Merlin reveals the
1348:27. "Sound a parley"
1336:(Cupid, followed by
1250:Scene 2: A deep wood
1156:13. "Come follow me"
497:Gerusalemme liberata
465:Sir William Davenant
447:Geoffrey of Monmouth
198:Your hay it is mow'd
2874:The Indian Emperour
2740:Albion and Albanius
2456:A Fool's Preferment
2396:Come Ye Sons of Art
2147:(22 August 2005) .
2129:Stanford University
1579:John Eliot Gardiner
1523:(Honour and chorus)
1515:Order of the Garter
1183:(Two shepherdesses)
1166:Scene 2: A pavilion
554:Jean-Baptiste Lully
431:Marquess of Halifax
400:Arthur and Emmeline
344:Performance history
310:Albion and Albanius
291:Glorious Revolution
268:Albion and Albanius
259:Albion and Albanius
3070:Restoration comedy
2938:Marriage à la mode
2898:Sir Martin Mar-all
2528:The Fatal Marriage
2361:Ode to St. Cecilia
2090:Sawkins, Lionel, "
2033:Price, Curtis A.,
2022:Pinnock, Andrew, "
1983:Harris, Ellen T.,"
1714:Milhous, p. ?
1691:Viking Opera Guide
1499:38. "Fairest Isle"
1040:Saint George's Day
700:a famous Inchanter
573:Venus' act V air "
570:during the 1680s.
457:and Shakespeare's
350:The London Gazette
272:Monmouth Rebellion
234:
3078:
3077:
3010:The Duke of Guise
3002:The Spanish Friar
2906:An Evening's Love
2831:Alexander's Feast
2635:
2634:
2605:The Moor's Pavane
2560:The Rival Sisters
2448:Sir Barnaby Whigg
2419:Music for a While
2406:
2405:
2383:
2382:
2055:, DS Brewer, 2002
1552:Sir Anthony Lewis
1445:The final masque:
1102:(Alto and chorus)
1001:
1000:
865:soprano and alto
781:Daughter of Conon
511:Germanic paganism
97:
96:
3153:
3101:Arthurian operas
2882:The Maiden Queen
2866:The Rival Ladies
2858:The Indian Queen
2850:The Wild Gallant
2699:
2662:
2655:
2648:
2639:
2638:
2627:
2626:
2488:Sir Anthony Love
2385:
2384:
2355:
2352:
2341:
2338:
2327:
2324:
2308:
2307:
2293:The Indian Queen
2209:
2202:
2195:
2186:
2185:
2172:
2171:
2159:
2157:
2155:
2139:
2137:
2135:
2103:The London Stage
2076:Dent, Edward J.
1957:
1951:
1945:
1944:
1942:
1940:
1925:
1919:
1912:
1906:
1903:
1894:
1887:
1881:
1878:
1872:
1862:
1856:
1853:
1847:
1844:
1838:
1835:
1829:
1826:
1817:
1816:Price pp.290–293
1814:
1808:
1805:
1799:
1796:
1790:
1787:
1781:
1778:
1772:
1766:
1760:
1754:
1748:
1745:
1736:
1733:
1724:
1721:
1715:
1712:
1706:
1703:The London Stage
1700:
1694:
1689:A. Holden (ed.)
1687:
1653:(Euroarts, 2005)
1630:Gabrieli Consort
1592:William Christie
1575:Monteverdi Choir
1435:32. Trumpet tune
1343:
1333:
1266:" and "farthest
1080:(Tenor and alto)
872:British Warrior
830:an Earthy Spirit
822:Charlotte Butler
804:Mrs. Richardson
789:Anne Bracegirdle
765:Friend to Oswald
732:Friend to Arthur
660:Thomas Betterton
637:
636:
417:Exclusion crisis
306:Thomas Betterton
196:and the popular
44:
21:
20:
3161:
3160:
3156:
3155:
3154:
3152:
3151:
3150:
3081:
3080:
3079:
3074:
3048:
3042:Love Triumphant
2930:The Assignation
2837:
2775:Annus Mirabilis
2754:
2719:
2700:
2691:
2672:
2666:
2636:
2631:
2617:
2592:
2566:
2536:Love Triumphant
2402:
2379:
2353:
2339:
2325:
2299:
2285:The Fairy-Queen
2240:Dido and Aeneas
2227:
2218:
2213:
2169:
2153:
2151:
2133:
2131:
2112:
2028:Purcell Studies
2008:Holman, Peter,
1989:Purcell Studies
1961:
1960:
1952:
1948:
1938:
1936:
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1709:
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1697:
1688:
1684:
1674:
1659:, performed by
1643:
1632:& Players,
1590:, conducted by
1577:, conducted by
1544:
1539:
1418:
1365:
1341:
1331:
1275:The Frost Scene
1238:
1125:
1014:
1006:
740:John Verbruggen
724:Samuel Sandford
708:Edward Kynaston
676:Joseph Williams
635:
604:Susumu Hirasawa
541:
443:
413:
408:
359:The Fairy Queen
346:
299:Thomas Shadwell
230:Godfrey Kneller
222:
107:(Z. 628), is a
93:
92:
86:
47:
17:
12:
11:
5:
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3098:
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3076:
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3060:Heroic couplet
3056:
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3022:
3014:
3006:
2998:
2990:
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2926:
2918:
2914:Tyrannick Love
2910:
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2600:
2598:
2594:
2593:
2591:
2590:
2585:
2583:Edward Purcell
2580:
2578:Daniel Purcell
2574:
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2403:
2401:
2400:
2391:
2389:
2381:
2380:
2378:
2377:
2365:
2357:
2354: 1683–85
2343:
2329:
2326: 1679–82
2314:
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2111:
2110:External links
2108:
2107:
2106:
2099:
2088:
2081:
2074:
2071:Michael Burden
2057:
2056:
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2038:
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1637:
1636:(Signum, 2019)
1624:
1615:
1614:(Glossa, 2004)
1605:
1604:(Archiv, 1992)
1602:Trevor Pinnock
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869:
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866:
863:
862:Two Valkyries
859:
858:
855:
852:
851:Saxon Priests
848:
847:
842:
832:
825:
824:
819:
814:
811:an Airy Spirit
806:
805:
802:
799:
792:
791:
786:
783:
776:
775:
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767:
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742:("Alexander")
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631:
579:Charles Wesley
545:Edward J. Dent
540:
537:
475:, Philidel in
442:
439:
412:
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407:
404:
345:
342:
221:
218:
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26:
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9:
6:
4:
3:
2:
3158:
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3044:
3043:
3039:
3036:
3035:
3031:
3028:
3027:
3023:
3020:
3019:
3018:Don Sebastian
3015:
3012:
3011:
3007:
3004:
3003:
2999:
2996:
2995:
2991:
2988:
2987:
2983:
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2979:
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2812:
2809:
2808:
2804:
2801:
2800:
2799:Religio Laici
2796:
2793:
2792:
2788:
2785:
2784:
2780:
2777:
2776:
2772:
2769:
2768:
2767:Astraea Redux
2764:
2763:
2761:
2757:
2750:
2749:
2745:
2742:
2741:
2737:
2734:
2733:
2729:
2728:
2726:
2722:
2715:
2714:
2710:
2709:
2707:
2703:
2698:
2687:
2686:
2682:
2681:
2679:
2675:
2671:
2663:
2658:
2656:
2651:
2649:
2644:
2643:
2640:
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2620:
2613:
2609:
2607:
2606:
2602:
2601:
2599:
2595:
2589:
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2579:
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2575:
2573:
2569:
2562:
2561:
2557:
2554:
2553:
2549:
2546:
2545:
2541:
2538:
2537:
2533:
2530:
2529:
2525:
2522:
2521:
2517:
2514:
2513:
2509:
2506:
2505:
2501:
2498:
2497:
2493:
2490:
2489:
2485:
2482:
2481:
2477:
2474:
2473:
2469:
2466:
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2461:
2458:
2457:
2453:
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2445:
2442:
2441:
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2430:
2427:
2423:
2420:
2416:
2415:
2413:
2409:
2398:
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2393:
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2390:
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2362:
2358:
2348:
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2334:
2330:
2320:
2316:
2315:
2313:
2309:
2306:
2302:
2295:
2294:
2290:
2287:
2286:
2282:
2277:
2273:
2272:
2270:
2269:
2265:
2262:
2261:
2257:
2253:
2250:
2248:
2247:Dido's Lament
2245:
2244:
2242:
2241:
2237:
2236:
2234:
2230:
2226:
2221:
2217:
2216:Henry Purcell
2210:
2205:
2203:
2198:
2196:
2191:
2190:
2187:
2181:
2177:
2176:
2167:
2164:
2163:Complete text
2161:
2150:
2146:
2142:
2130:
2126:
2122:
2118:
2114:
2113:
2104:
2100:
2097:
2093:
2089:
2086:
2083:Moore, R. E.
2082:
2079:
2075:
2072:
2068:
2064:
2063:
2062:
2061:
2060:Other sources
2054:
2050:
2046:
2043:
2039:
2036:
2032:
2029:
2025:
2021:
2018:
2014:
2011:
2010:Henry Purcell
2007:
2005:
2004:0-14-029312-4
2001:
1997:
1993:
1990:
1986:
1985:King Arthur's
1982:
1979:
1975:
1972:
1968:
1967:
1966:
1965:
1955:
1950:
1934:
1930:
1924:
1917:
1911:
1902:
1900:
1892:
1886:
1880:Pinnock p.247
1877:
1870:
1866:
1861:
1855:Pinnock p.246
1852:
1843:
1837:Holden, p.567
1834:
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1823:
1813:
1804:
1795:
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1730:
1720:
1711:
1704:
1699:
1692:
1686:
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1679:
1678:
1666:
1663:conducted by
1662:
1658:
1655:
1652:
1649:conducted by
1648:
1645:
1644:
1635:
1634:Paul McCreesh
1631:
1628:
1625:
1622:
1619:
1616:
1613:
1609:
1606:
1603:
1599:
1596:
1594:(Erato, 1995)
1593:
1589:
1586:
1583:
1581:(Erato, 1985)
1580:
1576:
1572:
1569:
1566:
1563:
1562:Alfred Deller
1559:
1556:
1554:(Decca, 1958)
1553:
1549:
1546:
1545:
1531:
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1525:
1522:
1519:
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1509:
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1500:
1497:
1495:and peasants)
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1021:
1020:
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1009:
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977:
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967:
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957:
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951:
950:
947:
944:
941:
940:
937:
934:
931:
930:
927:
924:
921:
920:
917:
914:
912:Three Nymphs
911:
910:
907:
904:
901:
900:
897:
894:
891:
890:
887:
884:
881:
880:
877:
874:
871:
870:
867:
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861:
860:
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849:
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843:
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836:
833:
831:
827:
826:
823:
820:
818:
815:
812:
808:
807:
803:
800:
798:
797:Her Attendant
794:
793:
790:
787:
784:
782:
778:
777:
774:
773:Joseph Harris
771:
768:
766:
762:
761:
758:
757:William Bowen
755:
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529:Aylett Sammes
526:
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469:Matthew Locke
466:
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403:
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397:
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392:Thomas Linley
389:
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380:David Garrick
377:
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365:
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356:or the later
355:
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297:to his rival
296:
295:poet laureate
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113:Henry Purcell
110:
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90:
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68:
64:
60:
57:
54:
50:
43:
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34:Henry Purcell
31:
27:
22:
19:
3065:Heroic drama
3040:
3032:
3024:
3016:
3008:
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2992:
2984:
2976:
2970:All for Love
2968:
2960:
2952:
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2791:Mac Flecknoe
2789:
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2765:
2747:
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2738:
2730:
2711:
2705:Translations
2683:
2612:Lillibullero
2603:
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2276:Fairest Isle
2267:
2266:
2258:
2238:
2174:
2154:22 September
2152:. Retrieved
2145:Dryden, John
2134:22 September
2132:. Retrieved
2124:
2117:Dryden, John
2102:
2095:
2091:
2084:
2077:
2066:
2059:
2058:
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2048:
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2027:
2023:
2016:
2009:
1995:
1988:
1984:
1977:
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1963:
1962:
1953:
1949:
1937:. Retrieved
1932:
1923:
1915:
1910:
1905:Holman p.205
1890:
1885:
1876:
1868:
1864:
1860:
1851:
1842:
1833:
1812:
1807:Harris p.257
1803:
1794:
1789:Holman p.208
1785:
1776:
1768:
1764:
1756:
1752:
1747:Shay pp.9–11
1735:Holman p.204
1719:
1710:
1702:
1698:
1690:
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1676:
1675:
1665:Hervé Niquet
1656:
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1626:
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1612:Hervé Niquet
1607:
1597:
1584:
1567:
1557:
1547:
1526:
1520:
1510:
1504:
1498:
1488:
1482:
1476:
1471:34. Symphony
1470:
1461:
1455:
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1428:
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1219:River Medway
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892:Cold Genius
829:
810:
801:spoken role
796:
785:spoken role
780:
769:spoken role
764:
753:spoken role
748:
736:spoken role
731:
720:spoken role
715:
704:spoken role
699:
692:John Hodgson
688:spoken role
683:
672:spoken role
667:
656:spoken role
624:
614:
608:
597:
587:
575:Fairest Isle
572:
566:held on the
557:
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267:
257:
249:
237:
235:
213:
209:
197:
185:
184:
129:
100:
99:
98:
18:
3126:Semi-operas
3091:1691 operas
2962:Aureng-zebe
2890:The Tempest
2748:King Arthur
2670:John Dryden
2504:Epsom Wells
2340: 1682
2268:King Arthur
2252:discography
2175:King Arthur
2049:King Arthur
2042:King Arthur
2024:King Arthur
1828:Price p.292
1798:Price p.298
1759:Vol 16. p.4
1657:King Arthur
1647:King Arthur
1627:King Arthur
1621:Vox Luminis
1618:King Arthur
1608:King Arthur
1598:King Arthur
1585:King Arthur
1568:King Arthur
1558:King Arthur
1548:King Arthur
1319:24. Prelude
1280:18. Prelude
1033:3. Overture
1023:1. Overture
902:Two Sirens
845:John Bowman
763:Guillamar,
652:King Arthur
643:Voice type
564:frost fairs
550:Thomas Gray
488:epic poetry
481:The Tempest
477:King Arthur
473:The Tempest
460:The Tempest
455:King Arthur
435:King Arthur
396:King Arthur
388:John Kemble
384:Thomas Arne
371:King Arthur
364:Roger North
324:King Arthur
287:William III
276:King Arthur
264:Louis Grabu
254:allegorical
250:King Arthur
246:Restoration
238:King Arthur
220:Composition
214:King Arthur
210:King Arthur
186:King Arthur
132:King Arthur
121:John Dryden
75:King Arthur
73:battles of
56:John Dryden
24:King Arthur
3085:Categories
3026:Amphitryon
2472:Amphitryon
2440:Theodosius
2411:Incidental
2260:Dioclesian
2125:OperaGlass
2092:trembleurs
1672:References
1537:Recordings
1338:ritornello
1146:(Grimbald)
828:Grimbald,
809:Philidel,
779:Emmeline,
747:Albanact,
730:Aurelius,
590:Klaus Nomi
354:Dioclesian
333:Amphitryon
328:Dioclesian
315:Dioclesian
278:libretto.
242:Charles II
190:semi-opera
146:(although
109:semi-opera
52:Librettist
30:Semi-opera
2786:(1681-82)
2668:Works by
2544:Abdelazer
1464:Britannia
1462:allowing
1090:(Soprano)
915:sopranos
905:sopranos
795:Matilda,
581:'s hymn "
556:'s opera
535:(1676)."
521:Bochartus
503:Gondibert
402:in 1784.
378:in 1763;
2629:Category
2435:" (1695)
2428:" (1692)
2421:" (1692)
2372:(1695, "
2180:LibriVox
1780:Shay p.9
1705:, part 1
1529:Chaconne
1458:(Aeolus)
1189:Hornpipe
1152:(Chorus)
1140:(Chorus)
1096:(Chorus)
1088:pleas'd"
1004:Synopsis
995:soprano
975:soprano
955:soprano
935:soprano
839:baritone
714:Osmond,
698:Merlin,
666:Oswald,
621:Memorial
506:(1650).
406:Libretto
283:James II
206:Valhalla
202:diegetic
138:and the
117:libretto
91:, London
81:Premiere
70:Based on
62:Language
3053:Related
2986:Oedipus
2946:Amboyna
2597:Related
2552:Bonduca
2388:Secular
2271:(1691)
2243:(1689)
1964:Sources
1939:30 July
1933:YouTube
1501:(Venus)
1429:Scene 2
1421:Scene 1
1368:Scene 1
1315:(Cupid)
1303:(Cupid)
1264:Yzeland
1241:Scene 1
1221:to the
1213:Scene 4
1205:Scene 3
1128:Scene 1
1017:Scene 1
992:Honour
932:Nereid
922:Aeolus
817:soprano
813:/Cupid
682:Conon,
592:on his
176:Cornish
144:Camelot
136:Britons
65:English
3141:Freyja
3111:Operas
3045:(1694)
3037:(1692)
3029:(1691)
3021:(1689)
3013:(1682)
3005:(1681)
2997:(1679)
2989:(1679)
2981:(1678)
2973:(1678)
2965:(1675)
2957:(1674)
2949:(1673)
2941:(1672)
2933:(1672)
2925:(1670)
2917:(1669)
2909:(1668)
2901:(1667)
2893:(1667)
2885:(1667)
2877:(1665)
2869:(1664)
2861:(1664)
2853:(1663)
2834:(1697)
2826:(1687)
2818:(1687)
2810:(1685)
2802:(1682)
2794:(1682)
2778:(1667)
2770:(1660)
2759:Poetry
2751:(1691)
2743:(1685)
2735:(1677)
2724:Operas
2716:(1700)
2688:(1668)
2677:Essays
2571:Family
2563:(1695)
2555:(1695)
2547:(1695)
2539:(1694)
2531:(1694)
2523:(1694)
2515:(1693)
2507:(1693)
2499:(1691)
2491:(1690)
2483:(1690)
2475:(1690)
2467:(1689)
2459:(1688)
2451:(1681)
2443:(1680)
2399:(1694)
2364:(1692)
2311:Sacred
2304:Choral
2296:(1695)
2288:(1692)
2263:(1690)
2069:, ed.
2002:
1871:(1514)
1449:Aeolus
1382:Sirens
1260:masque
1223:Severn
1086:Tanfan
1055:, and
1028:2. Air
982:Comus
952:Venus
875:tenor
599:Beacon
568:Thames
525:Saxons
376:Dublin
232:, 1698
170:, and
148:Merlin
140:Saxons
115:and a
103:Worthy
2842:Plays
2232:Opera
1956:p.299
1954:Works
1918:p.328
1916:Works
1893:p.328
1891:Works
1865:Works
1769:Works
1757:Works
1677:Notes
1542:Audio
1493:Comus
1416:Act 5
1363:Act 4
1289:Cupid
1268:Thule
1236:Act 3
1187:16a.
1123:Act 2
1057:Freya
1049:Woden
1012:Act 1
985:bass
965:bass
945:bass
925:bass
895:bass
640:Cast
633:Roles
539:Music
492:Tasso
194:Comus
172:Freya
164:Woden
160:Venus
156:Cupid
3136:Thor
3131:Odin
2156:2012
2136:2012
2000:ISBN
1941:2021
1527:42.
1330:26.
1053:Thor
942:Pan
835:bass
559:Isis
516:Beda
390:and
382:and
180:Kent
168:Thor
158:and
85:1691
2349:" (
2335:" (
2321:" (
1771:p.4
1641:DVD
1270:".
837:or
531:'s
494:'s
449:'s
244:'s
134:'s
119:by
32:by
3087::
2376:")
2351:c.
2337:c.
2323:c.
2123:.
2119:.
1931:.
1898:^
1821:^
1740:^
1728:^
1573:,
1451::
1051:,
841:?
629:.
519:,
483:.
182:.
166:,
2661:e
2654:t
2647:v
2614:"
2610:"
2431:"
2424:"
2417:"
2356:)
2345:"
2342:)
2331:"
2328:)
2317:"
2278:"
2274:"
2208:e
2201:t
2194:v
2158:.
2138:.
1943:.
1517:)
1491:(
1342:"
1332:"
1287:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
