The author or at least co-author of the libretto was presumably Thomas Bettertonthe manager of Dorset Garden Theatre, with whom Purcell worked regularly. A letter describing the original performance shows that the parts of Titania and Oberon were played by children of eight or nine.
Operas, as far as Purcell and his contemporaries were concerned, were small-scale, through-composed pieces, intended for private performance. The Fairy Queen, in contrast, is a big public statement, written in the form most popular with the audiences of its day - a play with substantial incidental music, and with each of its five acts completed with an extended masque.
The score avoids operatic terminology — many of the numbers are simply called "song," dance," or just "tune" - and in some respects the work is closer to a modern musical than to anything conventionally operatic.
Unlike the modern musical, however, the vocal The fairy music are allotted not to the protagonists, but to a second group of characters with generic names such as "Dryad," "Fairy," "Haymaker," and so on. The score is, however, integral to the drama rather than subordinate to it. The musical numbers, proliferating as the work progresses, are primarily linked with the idea of magic, which Purcell, in a stroke of genius, associates with nature, perceived throughout as being at once mutable and glorious.
Some of the numbers are subsumed into extended sequences modelled on the patterns of nature. The second masque marks the progress of day to night, and forms a fitting prelude to the mayhem that Oberon and Puck wreak, intentionally or otherwise, on the sleepers in the wood.
Benjamin Britten argued that Purcell had a greater understanding of the English language than any other composer who set it, and it is his ability to blend text, sound and structure into something utterly remarkable that makes him unique.
Centuries of very English prudery, together with an often staid approach to his work in performance, saddled Purcell until recently with a reputation for chastity that is far from appropriate.
He was very much a Restoration man, and therefore a libertarian optimist, with none of the hang-ups that characterised later ages. At one point a counter-tenor gracefully informs us that "one charming night gives more delight than a thousand lucky days.
The work of a man who clearly loved life, The Fairy Queen celebrates it in all its wonder and fullness.First performed in , The Fairy-Queen was composed three years before Purcell's death at the age of Following his death, the score was lost and only rediscovered early in the twentieth century.
Purcell did not set any of Shakespeare's text to music; instead . Watch the music video for each Real Tooth Fairy’s hit song!
Print the words for free! Or buy the downloadable Real Tooth Fairy songs. Your girl will love to dance to the Real Tooth Fairy songs and learn the Real Tooth Fairy dance! Puffin' Billy (72k). WIENIAWSKI, Henri () Polish Legende op.
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Tinker Bell When a fairy shuns her calling, it threatens to cancel the coming of spring and only inspiration and a belief in herself can lead the young fairy to fulfill her . Fairy Music The magic of the faerie realm is beckoning Enter a world of ancient Celtic lore and enchantment where you will discover a world of innocence that can your life with beauty.
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