884:, Queen of the Moon – came to tempt him to carnal sin in a dream the previous night. He then kneels and prays that the temptation be taken from him. Tewke next suggests that the minister is more than ripe for marriage, and suggests his daughter as a suitable candidate, noting her foolish fancy for him. Bradford had previously chosen to remain celibate, but now sees that marriage might perhaps be the will of God. Tewke calls Plentiful out; she admits her love, and he leaves the couple together. Bradford urges marriage at once, while Plentiful seeks the delay of a month, or at least a week; to the last he agrees. At her bidding, he follows custom by giving her half of a coin; she kisses his hand, inflaming his passion. He kisses her brutally; she recoils. This causes him dismay, as he sees no cure for himself in the marriage.
1244:. Lucifer, pale and with a bloody bandage across his chest, stands on the ridge; his attendants help him down the rocks. Thrones appear from the ground, one each for him and for Astoreth, and for the nine princes. The monsters kneel as Lucifer passes among them; Bradford tries to stand, but cannot. As Lucifer stands before his throne the assembled company bow down; thunder and lightning accompany them as they greet their master. At a signal from him they stand and begin to dance, stopping when he signals again. Bradford is seized, brought forward, and ordered to reject his God. Courtesans dance to tempt him, but it is Marigold, in
1399:... The cast and orchestra were admirable. Mr. Tibbett had to shout his way, against prevailingly heavy orchestration, all through the opera, so that it was no wonder his tone showed sign of strain. He was nevertheless as effective as he possibly could be in an ineffective part. Mme. Ljungberg also shouted, but with evident care for the purpose and respect for the composer's intention and melodic line ... Mr. Johnson sang excellently with a fine quality. ... The chorus was superb, and Mr. Serafin, very plainly, had prepared the opera with the greatest care. (Times, February 11, 1934.)
969:, but then dashes it by saying that she wishes him to marry her to Lackland. They leave, and the minister, in anguish, orders his followers to break the truce and attack the Cavaliers. The Puritans resolve to do so. Plentiful approaches Bradford and touches his arm; he appears not to recognize her, and throws down his half of the betrothal coin, grinding it underfoot to her tearful dismay. The act ends with both parties expressing resolve to do as they please; the Cavaliers wish to dance and sing, while the Puritans wish to destroy their enemies.
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1142:; the minister bids him open it and leave the couple together. He wishes, he says, to wrestle with her soul. The two men leave, and Bradford declares his love to Marigold, who responds with dismay and loathing. He threatens to kill her rather than see her with Lackland; he seizes her, and she strikes him. Lackland staggers in during their struggle. His costume is dishevelled and torn. He fights the minister, but breaks off when Tewke enters with other Puritans, who are armed and carry
1300:; he will never again pray. The Puritans lament the loss of their leader. Marigold, distraught and fatigued, appears, her festal dress torn. She recoils from the minister in horror. The Puritans heap abuses on her, calling her a witch and demanding her death. She tells them that she is no witch; happy once, her husband is dead, and she will be happy no more, but must soon join him. The people prepare to stone her, but stop when Bradford tears off his clerical bands and
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alarming his friends. But he urges the
Cavaliers to repentance, only to be mocked first by Prence and then by Scrooby, before the others join in. Tewke thunders at them to return to England; at last a truce is called. Marigold and Lackland are left gazing at each other lovingly, to the consternation of Bradford. Observed by Plentiful Tewke, he falls to his knees and begs Marigold to allow him to free her from Satan. She gives him hope by telling him to come to her at
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1379:... The music is at times conventionally and noisily effective. Otherwise, it displays neither originality nor any special aptitude for the theatre. Its strongest point is the choral writing. That is somewhat inappropriate, in the sense of dramatic verity, because we know that no Puritans sang these elaborate choruses, or anything much like them.
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1387:"Merry Mount" is almost a one-part opera and that part is Wrestling Bradford. In it Mr. Tibbett exhibits once more his intelligence and skill as a singing actor, as well as splendid courage and endurance. The wooden angularity of his movements and gestures, however, was a mistaken exaggeration. That the terrific
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Another feature of the occasion was the uncommon character of the audience. On the social and musical side it was exceptionally representative, but it had also an element not often present in such force in this lyric theatre. For this was an audience more thoughtful and conservative than is customary
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he call for the first full-dress rehearsal of Mr. Hanson's first act, to be held today, found several of the singing actors wondering whether modern censorship would approve the candor of some of the "plain
English" sung or spoken by the Pilgrim Fathers to their disturbing neighbors, the Cavaliers of
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revelry and the maypole. Armed
Puritans enter; the Cavaliers, unarmed, cannot defend themselves. Morton accuses Tewke of breaking the truce; undaunted, the Puritans drive the Cavaliers away, and set about taking down the maypole and removing all signs of revelry. Samoset and his followers appear;
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are ranged against them, carrying the preparations for their maypole. Tinker threatens to fire, but Tewke appears and rebukes the fighters. The parties make introductions; Scrooby, with his evident interest in worldly things, causes particular offense with his appearance. The
Cavaliers present a
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of feathers and jewels. He immediately becomes enraptured by her; she, for her part, belabors him and sets Prence free. Brodrib makes as if to threaten her, but
Bradford stops him. Marigold calls on her friends, the handsome and arrogant Sir Gower Lackland among them, who enter with swords drawn
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dance or to strike the witching note called for by the wild doings at the "Hellish
Rendezous". Unfortunately his writing for the solo voices is not free from awkwardness and at times the weight and density of the orchestral fabric constitutes a barrier between the word that is sung and the ears of
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and lanterns. Lackland seizes an axe, but is immediately run through, to Tewke's dismay, by a pike carried by one of the
Puritans. He dies in Marigold's arms; she kisses his brow, then stands and calls for vengeance and for her own death. Tewke orders her taken to the village as a prisoner, and
1374:. Our Puritan fore-fathers, despite all the present-day condemnation of "suppressions" and the like, were much more than that. They had very noble sides; they had superb heroism. There should be more conflicting impulse and action, and relieving traits, in this character, for us to believe in him.
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stands to one side. Lackland proclaims a
Commonweal of Joy and renames the hill "Merry Mount" before taking his seat with the Worthies. Morton and Scrooby marshal the revellers, who dance around the pole. Samoset enters with members of his tribe during the dance, and offers Lackland gifts; the
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Children enter, led by Love
Brewster (who brings flowers for Plentiful) and the serious young Peregrine Brodrib; seeing the couple together, they delightedly begin to sing, "Plentiful Tewke hath catched the preacher!" before Bradford rebukes them for profaning the Sabbath. He reminds them of the
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before they go out, leaving the minister alone with
Plentiful Tewke and her father Praise-God. The latter two whisper together for a moment before Plentiful pushes her father forward, herself withdrawing into the meeting house to observe what will happen; meanwhile, on the roof of the building,
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To other facts of the occasion should be added these: That the performance was repeatedly punctuated by applause; that after the first curtain there was a particular burst of approval for Lawrence Tibbett; that after the second curtain there were recalls after recalls for Dr. Hanson and for Mr.
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The groups express their contrasting views of each other; the Puritans view the Cavaliers as idle fools, while the Cavaliers see the Puritans as rebels. Bradford interrupts and rebukes his townsmen, welcoming the newcomers and even promising Pence shelter in his own house. His manner is wild,
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While he sleeps, Bradford's dream of the Valley of Tophet is seen. An infernal glen with ramparts of sandstone, crags and molten stone, trickling down. Vapors arise from the cinders on the ground, meteorites smoulder and human bones glisten on the plain. The maypole has become a giant
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his men exit, dragging her away and removing Lackland's body. Left alone with him, Tewke rebukes the minister, and urges his repentance. He leaves, and Bradford prays for divine aid. Exhausted by his anguish and his fight, he falls asleep to the sound of mystic voices, echoing his
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Those who do not always patronize opera as an amusement were there. They listened and they looked with a special seriousness and interest. It is reasonable to believe that this substantial gathering in a theatre crowded to capacity was attracted by the nature of Mr. Stoke's subject
1304:, revealing the mark of the Devil on his brow. He calls on his new master; flames engulf the village. Marigold swoons in fear, and Bradford seizes her, carrying her in his arms into the fire. In horror, the Puritans kneel in prayer, and the opera closes as they intone the
313:, a lavish production was designed for the opera, and it was lushly cast. Lawrence Tibbett was already well-known to New York audiences for his work in American opera, but the others were more familiar from other fields; Göta Ljungberg was known primarily as a
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for orchestra from excerpts of the piece which consists of the prelude, the children's dance from Act I, the love duet from Act II, and the prelude and ballet from Act II. This has enjoyed more popularity than the opera, and has received multiple recordings.
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was on the podium. At its premiere, the opera received a total of fifty curtain calls, still a house record. The opera was performed eight more times during the season, but never returned to the Met's repertory, and subsequent performances have been scarce.
254:; he found that it often reached pathological levels, and usually ended in death as a form of punishment, or redemption, for its victims. While he found his title in a story by Nathaniel Hawthorne, Stokes crafted an original libretto which some compared to
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Stokes, who came back and forth with complete éclat, and showed clearly their approval of the audience! Enthusiasm grew. There was more applause after the second act-the Maypole scene-than after the first, and more after the third than after the second.
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and death threats from the assembled townsfolk. Nevertheless, he is set free, and leaves to the accompaniment of blows from the crowd. The people now continue their singing, praising God and cursing the Devil; Bradford joins with them in a final
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Tibbett recorded Bradford's first-act aria "Oh, 'tis an earth defiled" on 19 January 1934, shortly before his performance of the role at the stage premiere. This was for many years the only excerpt of the opera that was commercially available.
993:, cannon fire, and the bell of a distant ship signal the beginning of May Day festivities, and the procession, led by Morton and Scrooby, enters. Morton is bedecked as Master of Merry Disports, while Scrooby, vested as English priest, wears a
808:; the men, armed, are led by Myles Brodrib, and exit to the left, while the women turn to the right. All wait for Bradford to reappear, especially Plentiful Tewke, who has dared to accent her plain grey gown with a bow of flame-colored
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Indian war drums may be heard, and as the curtain rises Samoset and his braves are seen finishing a war dance. The church is completely gone; other structures are burning. An Indian drags in Love Brewster; she tries to scream, but is
916:; soon, Peregrine wants to join in, and demands to replace Love's partner. All save him are amused when he is knocked over and finds himself relegated to Hell; he leaves angrily, and threatens to tell his father what has transpired.
1276:. Bradford calls out in his sleep to Astoreth and tries to embrace Plentiful, who shrinks from him in horror. He awakens, and tells her that in his dream he was crowned Emperor of Hell. In fear they hurry away together.
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with a jewel in its forehead and a calf-like beast with a coronet and eyes before and behind. Bradford remains invisible and inaudible to them all. Lucifer enters the plain, to the accompaniment of ancient instruments and
260:. Upon completion of the text, Stokes went in search of a composer, finally finding one in Howard Hanson. Hanson, for his part, was new to the composition of opera, although he had already written a fair amount of
1292:. A shot is heard, and Samoset falls, dead. The Indians flee as the Puritans, some wounded, return. Love's grandmother is distraught to see her granddaughter's body, while Tewke and others cry out in biblical
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Vigorous in denunciation, the more clerical characters do not mince their words. One of them uses a series of unmistakable Anglo-Saxon epithets in accosting a woman described as Desire Annable, "a sinner."
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Not long after the opera's premiere, the composer led a group of student performers in a recording, now long out of print, of excerpts from the piece. Numerous recordings of the orchestral suite exist.
1110:, sits at the rear. The revellers greet the Lady of May on her wedding-day. Lackland, too, greets her, praising her beauty; she responds in kind. The two advance to the maypole, where Scrooby stands,
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over one shoulder; he is Abbot of Misrule. Lackland enters behind them; he is May Lord; he wears white, with a rainbow scarf across his breast and a small dress sword at his side. Prence is his comic
850:, Bradford tells her to go and sin no more, and releases her. She staggers up; Love Brewster tries to help her, but is angrily pushed away by her grandmother. They exit, shunned by the other women.
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over the destruction that they see. Bradford appears, and the townsfolk turn to him for prayer and aid. But he is horrified at the realization of his curse, and tells them of his dream, and of his
952:, Jewel Scrooby. Lackland and Brodrib fight, while the others join in; Bradford stands apart, still transfixed by Marigold. Tinker sounds the alarm on his drum, calling other Puritans to rush in;
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was successful at its appearance – "A Stirring Ovation ... Reception of Hanson-Stokes Opera most Enthusiastic of 10 Years at Metropolitan", read the headline on page 1 of the second section of the
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Tewke begins praising Bradford's sermon, leading the latter to resume his harangue against the evils of the world, with which the older man concurs. But Bradford is haunted by visions of the
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and their sorcery are responsible for the loss of the Puritans' crops and provisions, continues Bradford, pointing as he does so to Samoset, who reacts indignantly and stalks out.
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he story is too cluttered up with incidental diversions. ... he principal defect of this book lies ... in the inhumanity of Bradford. He is nothing but a maddened and perverted
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are heard calling for God's retribution on unbelievers. They are being urged on by their minister, Wrestling Bradford. The service ends, and the congregation leaves the
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in 1998. Small snippets of music, missing from the original master discs, are missing from the recording; the release does, however, feature commentary by the announcer
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by the Metropolitan Opera was given on February 10, 1934. As that performance took place at a Saturday matinée, it was broadcast nationally as part of the company's
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and signs the Devil's book, taking the Devil's mark on his brow. Lucifer leaves, laughing contemptuously, but Astoreth stays with Bradford, who, remembering the
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in hand, ready to perform the marriage service. As he is about to pronounce them man and wife, Bradford enters and bids him stop; the minister rails against the
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ultimately relegate a large portion of the score to the realm of background music. Hanson establishes no distinctive sound signature either in the predictably
1475:, accompanied by the inevitable drums, brings the opera to a close. One must echo Johnson's lament that all their labors and money had "gone for nothing."
1123:, and leaves in anger, to be followed a moment later by Bradford. Tewke, satisfied, watches as the Puritans complete their task to the sounds of wind and
923:, interrupting the game. They question Prence about his company of merry gentleman that has recently landed, and that appears ready to celebrate with a
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passages, which are plentiful. Take the chant of the men within the church after the impressive choral prelude. True there is oftener the suggestion of
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Bradford lies asleep; Plentiful has covered him with her cloak, and crouches in terror at his side. A lantern lies on the ground; the scene is lit by
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singer, while Edward Johnson had been the company's principal tenor since 1922, and Gladys Swarthout had won fame as a singer of the French repertory.
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To the angry person's entirely specific charges, the woman not only confesses, but accepts meekly a rejoinder in terms rarely used in a theatre today.
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Horns sound, and the revellers stop dancing to make way for thirty-six girls; they form a coach for Lady Marigold, dressed as Flora, twirling
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This follows the first scene at once. Bradford enters, followed by two Puritans who drag Marigold between them. One carries a dark
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The opera was given a further eight times during the season, including three tour performances; the last of these took place in
857:, and it is to him that Bradford now turns his attention. Banks denies the minister's religion, bringing upon himself cries of
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Critics were, however, nearly universal in their applause for the cast, especially for Tibbett. Sanborn, in his review, said:
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ended, Bradford next turns his attention to Desire Annable, who is held in the stocks by her wrists and ankles; mother of an
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is unusual in that its libretto was written without a composer in mind. Stokes had conducted comprehensive research into
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1236:. Warriors with sinister banners and bizarre weapons arrive, accompanying nine princes and their acolytes, who swing
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Indians are made welcome and offered wine and food. As the dancing becomes wilder, they leave in search of the wine.
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was dropped from the repertory after the 1933–34 season, and has not enjoyed many revivals since. Hanson compiled a
1349:, but who would be so ungracious as to object to that? Nor has Dr. Hanson failed to assemble lively measures for the
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The bluntness of the language used in the libretto surprised many, and was remarked upon even during rehearsals; the
1256:, bids her rise up and come away. He leads her to the door of a tent; they embrace and then enter as the act ends.
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the chief claps Brodrib on the shoulder, only to have the wine cup struck from his hand. He is then slashed with a
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and begin to whip him. Bradford, in thoughtful mood, enters, and is met by Lady Marigold Sandys, richly attired in
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would be the fifteenth American opera, and the last but one, presented at the Met during the tenure of
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1483:. Johnson, after two weeks' rehearsal, confessed that he was "pretty well fed up with it ...
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costume with a crescent of jewels on her head, that persuades him to fall. He curses Puritan
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demonology. The Cavaliers have become Princes, Warriors, and Courtesans of Hell; Lackland is
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of his part interferes with his vocal security and freedom was, of course, not his fault.
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just as Faint-Not Tinker awakens and falls from the parapet. Lackland is accompanied by
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tree at the center; a throne sits before it, and to its left are tables for a banquet.
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dance. They are appalled at even the thought of such behavior, and tie Prence to the
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Annals of the Metropolitan Opera: The Complete Chronicle of Performances and Artists
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is a very pretentious, ineffective work," later calling his role "simply lousy."
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The curtain rises after a short prelude. Women are seen preparing the maypole.
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Saturday Afternoons at the Old Met: The Metropolitan Opera Broadcasts, 1931–1950
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music. Still, he was already respected as an elder statesman of American
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Adapted from the synopsis given by Keith Anderson in the Naxos recording.
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vocal writing for the principals ... Hanson is overfond of length choral
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on "Ah"; too often the music calls to mind the trappings of a Hollywood
169:(at Hill Auditorium), on May 20, 1933, with the composer conducting the
1765:. Seattle Symphony Orchestra, Recorded 1996, released by Naxos in 2007
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Downes also found occasion to comment upon the makeup of the audience:
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child, she has been serving her sentence after being found guilty of
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1010:. Every form of traditional English reveller is present, including
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904:. Prence devises a game with three chalk circles; one symbolizes
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The end of their interview is the traditional "Go and sin no more"
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Faint-Not Tinker, who has been keeping watch, falls asleep.
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Gladys Swarthout, originator of the role of Plentiful Tewke.
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Lawrence Tibbett, creator of the role of Wrestling Bradford.
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Despite the fiscal frugality imposed on the company by the
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Illustration to the short story on which the opera is based
1631:"American Opera at the Met: A Look at 1910-1935: Part Two"
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in New York, its first New York performance in 80 years.
1589:, celebrating the 100th anniversary of Hanson's birth.
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in concert at the fortieth annual May Festival of the
1723:"Howard Hanson's 'Merry Mount' receives mini-revival"
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lovers, Lady Marigold Sandys and Sir Gower Lackland;
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compilation, Lebendige Vergangenheit 89576, Germany.
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A recording of the 1934 world premiere broadcast of
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to represent the wheels. Two children serve as the
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1479:Even some members of the cast were disappointed in
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146:. Hanson's only opera, it was commissioned by the
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2001:Opera world premieres at the Metropolitan Opera
204:in the central role of Wrestling Bradford, the
1550:by the Metropolitan Opera was issued on CD by
766:The main street of a Puritan settlement, with
360:May Festival of the University Musical Society
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1530:. On May 7, 2014, the same orchestra played
1362:, writing for the February 11 edition of the
1203:are present, as is Samoset, in the form of a
919:Brodrib arrives with three Puritans carrying
200:serving as announcer. The premiere featured
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2021:Operas based on works by Nathaniel Hawthorne
1794:American Opera at the Met: Part 1: 1910–1935
1337:Dr. Hanson's music is most effective in the
212:as his betrothed, Plentiful Tewke. Swedish
2031:Cultural depictions of Charles I of England
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1506:Despite its initial appearance of success,
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1751:Lebendige Vergangenheit: Lawrence Tibbett
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2046:Moloch in literature and popular culture
888:bears that ate the children that mocked
853:In the pillory stands Jonathan Banks, a
823:while the people listen in admiration.
488:beloved, later husband, of Lady Marigold
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332:Göta Ljungberg, the first Lady Marigold.
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1522:was revived in two performances at the
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377:World Stage Premiere, February 10, 1934
1424:Later critics have not been kinder to
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983:A hilltop, with a maypole made from a
816:and his attempts to demolish the new
362:Ann Arbor, Michigan (Hill Auditorium)
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1939:Classical music of the United States
1573:released a complete CD recording of
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173:. The cast included Leonora Corona,
1494:, where Hanson was director of the
1408:in many places of public amusement.
116:in three acts by American composer
1727:Rochester Democrat & Chronicle
1430:Saturday Afternoons at the Old Met
250:fanaticism, sexual obsession, and
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1395:Downes, for his part, wrote that
997:of vine leaves on his head and a
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733:Max Altglass, Pompilio Malatesta
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1528:Rochester Philharmonic Orchestra
1467:. After Bradford's penitential
846:'s words to the woman caught in
796:Day sometime in May; during the
2066:Cultural depictions of Muhammad
2016:Operas set in the United States
1285:The main street of the village.
16:Opera composed by Howard Hanson
1981:Operas set in the 17th century
1721:Spevak, Jeff (April 6, 2014).
792:The opera begins at noon on a
752:The action takes place in the
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357:
354:
351:
239:Creation and first performance
1:
1102:for the coach; a third plays
285:wrote, on February 11, 1934:
2061:Fiction about the Antichrist
1558:as originally heard on-air.
1428:; Paul Jackson, in his book
1006:, and he is attended by the
880:, telling how one of them –
739:Puritans, Cavaliers, Indians
379:New York, Metropolitan Opera
358:World Premiere, May 20, 1933
1782:Metropolitan Opera Archives
1074:; there are even an ape, a
138:The May-Pole of Merry Mount
71:The May-Pole of Merry Mount
2097:
1579:Seattle Symphony Orchestra
366:Chicago Symphony Orchestra
171:Chicago Symphony Orchestra
163:University Musical Society
1947:
737:
37:
26:
2081:Fauns in popular culture
1986:Massachusetts in fiction
900:Jack Prence, dressed in
754:Massachusetts Bay Colony
389:Wilhelm von Wymetal, Jr.
87:March 20, 1933
1996:Operas by Howard Hanson
1991:English-language operas
1775:Gerald Fitzgerald, ed.
1697:"Telarc International:"
1581:under the direction of
1502:Subsequent performances
1496:Eastman School of Music
1330:New York World-Telegram
1209:Beast of the Apocalypse
157:The opera received its
2076:The Beast (Revelation)
1477:
1422:
1416:
1410:
1401:
1393:
1381:
1376:
1358:Less enthusiastic was
1356:
435:Lady Marigold Sandys,
341:
333:
325:
307:
302:
297:
292:
226:took the roles of the
185:, and George Galvani.
128:, is loosely based on
1434:
1417:
1411:
1405:
1397:
1385:
1377:
1368:
1335:
1106:, while a fourth, as
544:Giordano Paltrinieri
339:
331:
323:
303:
298:
293:
287:
276:as company director.
1664:BiblioTech PRO V3.2b
1593:Notes and references
1526:in Rochester by the
756:in the 17th century.
685:Henriette Wakefield
643:twelve-year-old girl
486:Sir Gower Lackland,
465:Bradford's betrothed
408:Wrestling Bradford,
274:Giulio Gatti-Casazza
190:world stage premiere
1577:, performed by the
1492:Rochester, New York
1455:sections or in his
1436:incessant drumbeat
1127:somewhere distant.
957:royal warrant from
624:Peregrine Brodrib,
424:John Charles Thomas
194:weekly radio series
183:John Charles Thomas
167:Ann Arbor, Michigan
130:Nathaniel Hawthorne
98:Ann Arbor, Michigan
77:Nathaniel Hawthorne
1787:2010-02-18 at the
1327:'s review for the
800:the voices of the
676:Bridget Crackston
549:Faint-Not Tinker,
342:
334:
326:
257:The Scarlet Letter
148:Metropolitan Opera
140:", taken from his
2011:Orchestral suites
1961:
1960:
1471:, a final choral
786:embrasures and a
744:
743:
670:George Cehanovsky
633:Marjorie McClung
608:Praise-God Tewke
463:Plentiful Tewke,
181:, Chase Baromeo,
105:
104:
2088:
1953:
1952:
1829:
1822:
1815:
1806:
1754:
1744:
1738:
1737:
1735:
1733:
1718:
1712:
1711:
1709:
1708:
1699:. Archived from
1693:
1687:
1684:
1678:
1675:
1666:
1661:
1655:
1652:
1646:
1645:
1643:
1642:
1633:. Archived from
1627:
1608:
1603:
782:, complete with
682:Hope Bauer Eddy
650:Hope Bauer Eddy
551:Puritan watchman
530:Jonathan Banks,
524:Alfredo Gandolfi
480:Gladys Swarthout
429:Lawrence Tibbett
349:
311:Great Depression
210:Gladys Swarthout
202:Lawrence Tibbett
143:Twice Told Tales
94:
92:
42:
19:
2096:
2095:
2091:
2090:
2089:
2087:
2086:
2085:
1966:
1965:
1962:
1957:
1943:
1922:
1856:
1838:
1833:
1789:Wayback Machine
1768:Howard Hanson,
1761:Howard Hanson,
1758:
1757:
1745:
1741:
1731:
1729:
1720:
1719:
1715:
1706:
1704:
1695:
1694:
1690:
1685:
1681:
1676:
1669:
1662:
1658:
1653:
1649:
1640:
1638:
1629:
1628:
1611:
1604:
1600:
1595:
1544:
1524:Eastman Theater
1518:In April 2014,
1504:
1440:and repetitive
1314:
1282:
1267:
1262:
1254:Song of Solomon
1157:
1133:
980:
975:
763:
749:
713:George Galvani
706:Cavalier priest
704:Jewel Scrooby,
699:Marek Windheim
641:Love Brewster,
588:Desire Annable
558:George Galvani
520:George Galvani
511:Puritan marshal
509:Myles Brodrib,
498:Frederick Jagel
441:lady, niece of
398:
392:
386:
380:
378:
369:
363:
361:
359:
347:
266:classical music
241:
208:minister, with
179:Frederick Jagel
101:
100:
95:
90:
88:
74:
45:
17:
12:
11:
5:
2094:
2092:
2084:
2083:
2078:
2073:
2068:
2063:
2058:
2053:
2048:
2043:
2038:
2033:
2028:
2023:
2018:
2013:
2008:
2003:
1998:
1993:
1988:
1983:
1978:
1968:
1967:
1959:
1958:
1948:
1945:
1944:
1942:
1941:
1936:
1934:Neoromanticism
1930:
1928:
1924:
1923:
1921:
1920:
1916:A Sea Symphony
1911:
1906:
1902:Sinfonia Sacra
1897:
1888:
1883:
1874:
1864:
1862:
1858:
1857:
1855:
1854:
1846:
1844:
1840:
1839:
1834:
1832:
1831:
1824:
1817:
1809:
1803:
1802:
1798:Paul Jackson,
1796:
1791:
1779:
1773:
1766:
1756:
1755:
1747:Victor Records
1739:
1713:
1688:
1679:
1667:
1656:
1647:
1609:
1597:
1596:
1594:
1591:
1583:Gerard Schwarz
1543:
1540:
1503:
1500:
1313:
1310:
1281:
1278:
1266:
1263:
1261:
1258:
1191:, Scrooby the
1156:
1153:
1136:In the forest.
1132:
1129:
1040:Morris dancers
979:
976:
974:
971:
939:skirts, and a
762:
759:
748:
745:
742:
741:
735:
734:
731:
727:Herman Skoog,
725:
722:
718:
717:
714:
711:
708:
701:
700:
697:
696:Robert Miller
694:
691:
687:
686:
683:
680:
679:mezzo-soprano
677:
673:
672:
667:
664:
661:
655:
654:
653:Lillian Clark
651:
648:
645:
638:
637:
636:Helen Gleason
634:
631:
628:
621:
620:
618:Louis D'Angelo
615:
614:Chase Baromeo
612:
609:
605:
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589:
585:
584:
581:
578:
573:
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562:
559:
556:
553:
546:
545:
542:
541:Robert Miller
539:
536:
527:
526:
521:
518:
513:
506:
505:
503:Edward Johnson
500:
495:
490:
483:
482:
477:
472:
467:
460:
459:
457:Göta Ljungberg
454:
452:Leonora Corona
449:
446:
432:
431:
426:
421:
416:
405:
404:
383:Tullio Serafin
375:
356:
353:
346:
343:
282:New York Times
240:
237:
232:Tullio Serafin
224:Edward Johnson
217:Göta Ljungberg
159:world premiere
126:Richard Stokes
103:
102:
96:
86:
84:
80:
79:
67:
63:
62:
59:
55:
54:
53:Richard Stokes
51:
47:
46:
43:
35:
34:
24:
23:
15:
13:
10:
9:
6:
4:
3:
2:
2093:
2082:
2079:
2077:
2074:
2072:
2069:
2067:
2064:
2062:
2059:
2057:
2054:
2052:
2051:Gog and Magog
2049:
2047:
2044:
2042:
2039:
2037:
2034:
2032:
2029:
2027:
2024:
2022:
2019:
2017:
2014:
2012:
2009:
2007:
2004:
2002:
1999:
1997:
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1992:
1989:
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1979:
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1866:
1865:
1863:
1859:
1853:
1852:
1848:
1847:
1845:
1841:
1837:
1836:Howard Hanson
1830:
1825:
1823:
1818:
1816:
1811:
1810:
1807:
1801:
1797:
1795:
1792:
1790:
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1767:
1764:
1760:
1759:
1752:
1748:
1743:
1740:
1728:
1724:
1717:
1714:
1703:on 2006-11-09
1702:
1698:
1692:
1689:
1683:
1680:
1674:
1672:
1668:
1665:
1660:
1657:
1651:
1648:
1637:on 2003-03-30
1636:
1632:
1626:
1624:
1622:
1620:
1618:
1616:
1614:
1610:
1607:
1602:
1599:
1592:
1590:
1588:
1584:
1580:
1576:
1572:
1571:Naxos Records
1569:In May 2007,
1567:
1563:
1559:
1557:
1553:
1552:Naxos Records
1549:
1541:
1539:
1537:
1536:Carnegie Hall
1533:
1529:
1525:
1521:
1516:
1513:
1509:
1501:
1499:
1497:
1493:
1488:
1486:
1482:
1476:
1474:
1470:
1466:
1462:
1461:vocalizations
1458:
1457:monochromatic
1454:
1450:
1447:
1443:
1439:
1433:
1432:, writes that
1431:
1427:
1421:
1415:
1409:
1404:
1400:
1396:
1392:
1390:
1384:
1380:
1375:
1373:
1367:
1365:
1361:
1355:
1354:the audience.
1352:
1348:
1347:Massachusetts
1344:
1340:
1334:
1332:
1331:
1326:
1325:Pitts Sanborn
1322:
1318:
1311:
1309:
1307:
1306:Lord's Prayer
1303:
1299:
1295:
1291:
1286:
1279:
1277:
1275:
1271:
1264:
1259:
1257:
1255:
1251:
1247:
1243:
1239:
1235:
1230:
1226:
1222:
1218:
1214:
1210:
1206:
1202:
1198:
1194:
1190:
1187:. Morton is
1186:
1185:Gog and Magog
1182:
1178:
1174:
1170:
1166:
1161:
1154:
1152:
1150:
1145:
1141:
1137:
1130:
1128:
1126:
1122:
1117:
1113:
1109:
1105:
1101:
1097:
1092:
1089:
1085:
1081:
1077:
1073:
1069:
1065:
1061:
1057:
1053:
1049:
1045:
1044:sword dancers
1041:
1037:
1036:shepherdesses
1033:
1029:
1025:
1021:
1017:
1013:
1009:
1008:Nine Worthies
1005:
1000:
996:
992:
988:
986:
977:
972:
970:
968:
962:
960:
955:
951:
947:
946:Thomas Morton
942:
938:
934:
930:
929:whipping-post
926:
922:
917:
915:
911:
907:
903:
899:
895:
891:
885:
883:
879:
875:
870:
867:
866:
860:
856:
851:
849:
845:
842:. Recalling
841:
837:
833:
828:
826:
822:
819:
815:
811:
807:
806:meeting house
803:
799:
795:
791:
789:
785:
781:
777:
773:
769:
768:meeting house
760:
758:
757:
755:
746:
740:
736:
732:
730:
726:
723:
721:Two Puritans
720:
719:
715:
712:
709:
707:
703:
702:
698:
695:
692:
689:
688:
684:
681:
678:
675:
674:
671:
668:
666:Herman Skoog
665:
662:
660:
659:Thomas Morton
657:
656:
652:
649:
646:
644:
640:
639:
635:
632:
629:
627:
623:
622:
619:
616:
613:
610:
607:
606:
603:
600:
598:
595:
593:
592:mezzo-soprano
590:
587:
586:
582:
580:Herman Skoog
579:
577:
574:
572:
570:
565:
564:
561:Arnold Gabor
560:
557:
554:
552:
548:
547:
543:
540:
537:
535:
534:
529:
528:
525:
522:
519:
517:
514:
512:
508:
507:
504:
501:
499:
496:
494:
491:
489:
485:
484:
481:
478:
476:
473:
471:
468:
466:
462:
461:
458:
455:
453:
450:
447:
445:
444:
443:Thomas Morton
440:
434:
433:
430:
427:
425:
422:
420:
417:
415:
413:
407:
406:
402:
399:choreography
396:
390:
384:
373:
372:Howard Hanson
367:
350:
344:
338:
330:
322:
318:
316:
312:
306:
301:
296:
291:
290:Quincy, Mass.
286:
284:
283:
277:
275:
271:
267:
263:
259:
258:
253:
249:
245:
238:
236:
233:
229:
225:
222:
219:and Canadian
218:
215:
211:
207:
203:
199:
195:
191:
186:
184:
180:
176:
172:
168:
164:
160:
155:
153:
152:New York City
149:
145:
144:
139:
135:
131:
127:
123:
119:
118:Howard Hanson
115:
111:
110:
99:
85:
81:
78:
72:
68:
64:
60:
56:
52:
48:
41:
36:
33:
32:Howard Hanson
29:
25:
20:
1963:
1915:
1901:
1892:
1878:
1869:
1850:
1849:
1799:
1776:
1769:
1762:
1750:
1742:
1730:. Retrieved
1726:
1716:
1705:. Retrieved
1701:the original
1691:
1682:
1659:
1650:
1639:. Retrieved
1635:the original
1601:
1574:
1568:
1564:
1560:
1556:Milton Cross
1547:
1545:
1531:
1519:
1517:
1507:
1505:
1489:
1484:
1480:
1478:
1435:
1429:
1425:
1423:
1418:
1412:
1406:
1402:
1398:
1394:
1386:
1382:
1378:
1369:
1363:
1357:
1336:
1328:
1320:
1316:
1315:
1284:
1283:
1269:
1268:
1240:filled with
1205:medicine man
1159:
1158:
1148:
1135:
1134:
1093:
1080:dancing bear
1004:train-bearer
982:
981:
963:
933:riding habit
918:
886:
871:
863:
852:
836:illegitimate
829:
802:congregation
765:
764:
751:
750:
738:
724:tenor, bass
716:Millo Picca
705:
690:Jack Prence
642:
626:son of Myles
625:
597:Rose Bampton
583:James Wolfe
567:
550:
531:
510:
487:
475:Rose Bampton
464:
436:
409:
401:Rosina Galli
395:Jo Mielziner
355:Vocal range
308:
304:
299:
294:
288:
280:
278:
269:
255:
243:
242:
198:Milton Cross
187:
175:Rose Bampton
156:
141:
108:
107:
106:
1976:1934 operas
1851:Merry Mount
1770:Merry Mount
1763:Merry Mount
1686:Jackson, 51
1677:Jackson, 50
1606:Merry Mount
1575:Merry Mount
1548:Merry Mount
1532:Merry Mount
1520:Merry Mount
1508:Merry Mount
1485:Merry Mount
1481:Merry Mount
1446:Polovetzian
1426:Merry Mount
1360:Olin Downes
1343:Moussorgsky
1317:Merry Mount
1270:The forest.
1250:New England
1112:prayer book
1076:hobby horse
1072:mountebanks
729:Nelson Eddy
602:Irra Petina
381:(conductor
270:Merry Mount
244:Merry Mount
134:short story
109:Merry Mount
22:Merry Mount
1970:Categories
1861:Symphonies
1707:2006-11-01
1641:2006-11-01
1542:Recordings
1473:apotheosis
1469:immolation
1465:soundtrack
1246:Babylonian
1193:Antichrist
1108:postillion
874:concubines
370:conductor
252:demonology
91:1933-03-20
50:Librettist
2056:Beelzebub
1389:tessitura
1312:Reception
1274:moonlight
1242:brimstone
1189:Beelzebub
1169:Christian
1165:toadstool
1064:minstrels
1048:green men
1032:shepherds
959:Charles I
954:Cavaliers
898:hunchback
894:catechism
859:blasphemy
710:baritone
663:baritone
611:baritone
566:Samoset,
555:baritone
470:contralto
387:director
315:Wagnerian
1955:Category
1879:Romantic
1785:Archived
1442:fanfares
1438:ostinati
1345:than of
1302:skullcap
1298:apostasy
1225:minotaur
1121:gauntlet
1104:coachman
1096:parasols
1060:tumblers
1056:jugglers
1052:wild men
991:Trumpets
910:Paradise
882:Astoreth
848:adultery
780:fortress
647:soprano
630:soprano
448:soprano
439:Cavalier
419:baritone
414:minister
228:Cavalier
122:libretto
83:Premiere
66:Based on
58:Language
2036:Lucifer
2026:Astarte
1927:Related
1914:No. 7 (
1900:No. 5 (
1893:Requiem
1891:No. 4 (
1877:No. 2 (
1868:No. 1 (
1732:6 April
1587:Seattle
1351:Maypole
1290:scalped
1280:Scene 2
1265:Scene 1
1260:Act III
1238:censers
1234:heralds
1221:Witches
1207:. The
1197:Mahomet
1173:Lucifer
1155:Scene 3
1140:lantern
1131:Scene 2
1125:thunder
1068:archers
1028:mummers
999:garland
995:chaplet
978:Scene 1
967:sundown
925:maypole
840:whoring
825:Indians
818:English
798:prelude
794:Sabbath
788:parapet
776:pillory
412:Puritan
393:design
248:Puritan
214:soprano
206:Puritan
196:, with
89: (
61:English
2071:Anubis
2006:Operas
1870:Nordic
1453:ballet
1449:choral
1372:sadist
1339:choral
1294:lament
1223:and a
1201:Anubis
1183:, and
1181:Moloch
1100:horses
1084:effigy
1082:. An
1078:and a
1070:, and
1020:dwarfs
1016:satyrs
1012:nymphs
973:Act II
950:parson
937:velvet
908:, one
906:Heaven
902:motley
890:Elisha
855:Shaker
844:Christ
832:sermon
821:Israel
810:ribbon
784:cannon
774:, and
772:stocks
693:tenor
569:Indian
538:tenor
533:Shaker
262:choral
120:; its
112:is an
2041:Dagon
1909:No. 6
1886:No. 3
1843:Opera
1512:suite
1364:Times
1321:Times
1213:eagle
1177:Dagon
1160:Hell.
1116:pagan
1088:Flora
1024:fauns
921:pikes
814:Satan
761:Act I
571:chief
516:tenor
493:tenor
352:Role
345:Roles
221:tenor
124:, by
114:opera
28:Opera
1734:2014
1451:and
1229:toad
1217:lion
1215:and
1199:and
1149:Amen
1144:axes
1034:and
985:pine
878:Hell
865:Amen
830:His
747:Plot
576:bass
188:Its
1534:at
1414:...
1195:.
1086:of
941:hat
914:tag
876:of
165:in
150:in
132:'s
75:by
30:by
1972::
1725:.
1670:^
1612:^
1498:.
1333::
1308:.
1179:,
1151:.
1066:,
1062:,
1058:,
1054:,
1050:,
1046:,
1042:,
1038:,
1030:,
1026:,
1022:,
1018:,
1014:,
935:,
770:,
437:a
410:a
403:)
397:,
385:,
374:)
177:,
154:.
1918:)
1904:)
1895:)
1881:)
1872:)
1828:e
1821:t
1814:v
1736:.
1710:.
1644:.
1366::
790:.
391:,
368:,
364:(
136:"
93:)
73:"
69:"
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