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system of characterisation in which vocal manner and accompaniment style are more important than leitmotifs. Qualities of place and status are as important as individual personalities, so the island is represented by evenly flowing accompaniments in woodwind and strings, while the world of the Milan court is represented by more declamatory writing in which the brass are often evident.
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838:
So cities will perish/ Palaces vanish/ The globe itself/ Dissolve/ Nothing stay/ All will fade". Caliban, Trincolo and
Stefano return, the former re-affirming his lust for Miranda with whom "We'll have Calibans/ Many and strong". In disgust, Prospero makes them disappear, Ariel re-appears and is promised her freedom within an hour.
374:... For one composer at least, contemporary lyric opera is still a viable medium. It looks like an opera and it behaves like an opera, offering a musical drama in which the traditional operatic virtues of musically delineated characterisation and musically satisfactory dramatic pacing are wonderfully sustained.
846:
Prospero reveals himself to the King and his court, and reveals
Ferdinand and Miranda to Alonso. With the re-appearance of Stefano and Trincolo the court is joyously reunited; "Bless this isle/ Where Prospero found his dukedom/ Ferdinand his bride/ And Naples Ferdinand" says Gonzalo as all make their
757:
Ariel tells
Prospero that she has obeyed his commands. He then orders her to bring the King's son, Ferdinand, to this part of the island. While loyal to Prospero, Ariel questions when she will be freed from his service and she is assured that after twelve years, this will happen. The pair then hides,
276:
The libretto is structured into three acts, approximately equal in length. As in
Shakespeare's act 1, scenes 1 and 2, the five main characters are introduced. However, as the relationship between Miranda and Ferdinand progresses, the opera turns away from Shakespeare's presentation of Prospero as the
837:
The couple tells
Prospero that they are married and Ariel arrives with her good wishes in addition to telling the young man that his father is actually alive. As he causes Ariel to vanish, Prospero announces that he is ending the magic: "Our revels are ended/ Why do you stare?/ He's melted into air/
828:
Ariel explains that she has led the court around the island and, once more, asks to be freed. The King and the court arrive exhausted and ready to collapse; quickly all but
Antonio and Sebastian fall asleep. The two begin to plot to kill the King but are interrupted by the unseen Ariel's plea to the
789:
They confront each other in amazement and soon
Trincolo and Stefano begin to ply Caliban with drink. As Ariel's trickery continues, he assures the group not to be afraid, that "the island's full of noises" and explains his presence there, but, before he can reveal Prospero's name, he is silenced and
296:
and later, as his methods begin to take effect: "It works". The libretto suggests a more fatalistic acceptance by
Prospero of the loss of his daughter to the young Prince. Therefore, whereas Shakespeare's act 1 concludes with Prospero urging on Ariel to further tasks which involve bringing the court
780:
The chorus is amazed at how they come through the storm and shipwreck so unscathed. From his hidden vantage point, Prospero orders Ariel to "Taunt them, haunt them/ Goad and tease/ Prick them, trick them/ Give them no peace". The king laments the loss of his son and
Gonzalo attempts to comfort him,
376:
The musical action of the opera is continuous but is divided into a sequence of sharply distinct scenes. The techniques of pitch derivation found in earlier Adès scores are used again, so that instead of providing his characters with a set of musical identity cards there is a fluid, evolutionary
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Ferdinand arrives on the island to find
Miranda asleep. At first he thinks that she is a spirit and, as she wakes up, she wonders who he is: "I never saw/ Your like before". They are immediately attracted to each other, but Prospero appears, confronts Ferdinand, tells him of Alonso's deeds, and
235:
Rather than transfer Shakespeare's words directly into the libretto, Oakes has taken the approach of reducing much of the text to its essence, and she produces a compact libretto with the bulk of the text presented in the form of rhyming couplets. Many examples are given in the following plot
731:
Miranda is horrified at the destruction which her father has caused, but Prospero explains how his brother usurped his position and how they were cast away on a small boat twelve years before, surviving with only the help of a faithful courtier, Gonzalo. Prospero sends Miranda to sleep.
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Using his magical powers, Prospero has created a huge storm during which the ship carrying his brother Antonio (who has usurped his position as Duke of Milan) along with King Alonso, Duke of Naples, Alonso's son Ferdinand, and their courts is wrecked. Offstage the court is heard.
806:
The couple expresses their love for each other and Miranda frees Ferdinand leaving Prospero to accept the loss of his daughter: "Miranda/ I've lost her/ I cannot rule their minds/ My child has conquered me/ A stronger power than mine/ Has set the young man free".
740:
Ariel explains that she has carried out Prospero's orders, and he further instructs her to restore the shipwrecked group with "Not a hair perished/ On their clothes no blemish". "I'll clean them and dry them/ And set them on the island" she obeys.
90:
received its world premiere to critical acclaim at the Royal Opera House in London on 10 February 2004. Other productions followed in Strasbourg and Copenhagen later in 2005 and the opera was given its US premiere staging by the
767:
immobilizes the young man. Ferdinand declares his love for Miranda and accepts anything which Prospero will do to him, but Prospero declares him unworthy of Miranda and then orders Ariel to bring Alonso and his party to him.
191:
The opera is a brilliant response to the play, rather than merely a setting of it. While entirely true to the spirit of Shakespeare's play, it is not contained by it. It is its own thing, and allows its own existence and
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contrasts sharply with the end of Oakes' act 2 in which Miranda and Ferdinand find each other again and declare their love, as they are watched over by Prospero, who frees Ferdinand but laments his loss of power in:
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The evening deservedly belongs to Adès, who himself conducts a score as orchestrally lush and evocative as vocally varied and articulate. The cumulative effect is by turns ethereal, witty, incandescent, often
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sleepers to wake up. Creating a banquet out of thin air, she just as quickly causes it to disappear and then leads the group away into further confusion. Prospero comments on his power over his enemies.
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As for the words, you don't get Shakespeare's; but you get something that effectively suggests them at key moments, written by Meredith Oakes in rhyming couplets of impactful clarity. Neat and direct.
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leaves the group. Confused, the King and Gonzalo leave to search the island with Prospero working his magic to send them to "search/ Where there's no path/ Go in circles/ Drink the salt marsh".
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but Ariel's trickery begins and, impersonating the voices of the group to confuse them and divide them, they begin to squabble. Conflict is avoided by the arrival of Caliban.
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on 23 June 2007 from the Covent Garden revival and a commercial recording featuring Bostridge, Keenlyside, Sieden and Royal was released by EMI Classics in June 2009.
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Caliban appears and immediately questions why Prospero has caused such distress. Prospero dismisses him – "Abhorrent slave/ Go to your cave" – as he recalls Ariel.
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way to their restored ship. Prospero makes his peace with the King, forgives his brother, and breaks his staff as Ariel departs. Her voice is heard offstage.
225:(2002); since the early 1990s, several original plays, translations and adaptations of classics and modern dramas; and, for television, the story line for
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75:
was prepared, but the composer found it impossible to set it to music. Finally, the libretto he needed emerged from a collaboration with Meredith Oakes.
1938:
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synopsis, and they illustrate Oakes' technique but that does not always mean the complete removal of Shakespeare's text, as in the following example.
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Covent Garden revived the opera in March 2007 with the same production team, Thomas Adès conducting, and many of the original London cast, including
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Oakes' act 2 features action taking place on the stage in the presence of entire court rather than in separate scenes as in Shakespeare's act 2.
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David Patrick Stearns, "In Santa Fe, bold new 'Tempest ... Shakespeare's play became a trenchant commentary on dictatorship and racism",
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benign manipulator of events, the controller of the pace of the young couple's growing love by using his trickery and magical powers.
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Caliban stands alone on the island musing on the changes: "Who was here/ Have they disappeared?". Ariel's voice is heard off stage.
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The trio cavorts across the island proclaiming the coming moment when Stefano will be King of the island and Caliban will be free.
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Shakespeare's act 3, scene 2, in which Prospero accepts Ferdinand and Miranda's relationship, and later in act 4, scene 1, his:
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Clements, Andrew; Maddocks, Fiona; Lewis, John; Molleson, Kate; Service, Tom; Jeal, Erica; Ashley, Tim (12 September 2019).
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is regarded as the composer's towering achievement to date. This is reflected in the following writers' statements:
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The opera was listed as the fifth greatest classical composition of the 21st century in a 2019 poll by
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in act 3), with surges and outpourings of emotion contrasting with harmonic clashes of tone and color,
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repeating their original roles. Cyndia Sieden is the only member of the cast to sing her role, that of
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Michael White, "The Tempest, Royal Opera House, London: A triumph for Britain's brightest and best",
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Much has appeared in print about the striking music composed for this opera. Ranging from the almost
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165:. The 2012 Met production was streamed online on May 12, September 6 and December 7, 2020.
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Looking for ideas for a new subject, Adès saw Jonathan Kent's staging of Shakespeare's
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1279:(New York), October 2012. (A detailed analysis of the musical structure of the opera)
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The Metropolitan Opera production from 2012, conducted by Adès, was issued on DVD by
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Briefly, they plot to restore Caliban to his former position as head of the island.
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in London in 2000. For a new libretto, Adès turned to the experienced dramatist
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As a co-production with the 2012 Québec City Opera Festival created by director
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Scene 1: The King, and the court on the island. (Prospero and Ariel are unseen)
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to his part of the island, Oakes' libretto suggests a more vengeful Prospero:
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in all four previous productions. Amongst others new to the cast are soprano
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1131:, Royal Opera House, London: A triumph for Britain's brightest and best",
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A True Reportory of the Wracke and Redemption of Sir Thomas Gates, Knight
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1288:"Royal Opera Review; Noises, Sounds, Sweet Airs From Young British Hope"
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Christopher Fox, "Tempestuous Times: the Recent Music of Thomas Adès",
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James R. Oestreich, "Santa Fe Opera Offers Love on a Stormy Island",
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Quotations below come from the published libretto by Meredith Oakes.
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Kent interviewed by Craig Smith in "Shipwrecked on a desert isle",
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in the autumn of 2012 featuring Simon Keenlyside. It won the 2014
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Scene 2: Prospero and Ariel, followed by the arrival of the court
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Michael White's review of the 2004 Royal Opera House premiere in
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Scene 6: Ferdinand and Miranda (with Prospero and Ariel unseen)
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Andrew Clements, Review of the 2004 Royal Opera House premiere
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Roles, voice types, premiere casts at the UK and US premieres
1003:
Edward Seckerson, "The Tempest, Royal Opera House, London".
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They are both in either's pow'rs. But this swift business
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Hugh Canning, "Music: Brits lead the way in Santa Fe",
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221:, whose work had included a short opera libretto for
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1012:Rupert Christiansen, "The Tempest is still magic".
1061:"Detail – Aktueller Spielplan – Wiener Staatsoper"
833:Scene 3: Miranda and Ferdinand, return to Prospero
802:Scene 4: Ferdinand, Miranda, (and Prospero unseen)
816:Scene 1: Caliban, Trincolo, and Stefano all drunk
917:Anthony Holden, "A truly prosperous Prospero",
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2258:Opera world premieres at the Royal Opera House
745:Scene 4: Caliban and Prospero (Miranda asleep)
78:The new opera became a co-production with the
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315:Have given you here a third of mine own life
272:Differences between the libretto and the play
8:
944:American premiere production reviews, 2006:
753:Scene 5: Prospero and Ariel (Miranda asleep)
1273:Braun, William R., "Its Charms Crack Not",
1146:The Santa Fe Opera 2006 Program Book, p. 94
887:; Ferdinand: Alek Shrader; King of Naples:
851:Scene 5: Caliban alone, with Ariel offstage
1861:Mobile Suit Gundam: The Witch from Mercury
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912:London premiere production reviews, 2004:
290:I must uneasy make, lest too light winning
989:London revival production reviews, 2007:
908:Critical reactions to UK and US premieres
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794:Scene 3: Caliban, Stefano, and Trincolo
758:leaving Miranda sleeping on the beach.
901:Grammy Award for Best Opera Recording
875:. Prospero: Simon Keenlyside; Ariel:
163:Grammy Award for Best Opera Recording
7:
1880:Scene from Shakespeare's The Tempest
249:Those are pearls that were his eyes
57:Background and premiere performances
1203:The Tempest: An Opera in Three Acts
1049:Québec City Opera Festival website
14:
891:; Antonio: Tony Spence; Stefano:
242:The result is that the original:
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1205:, London: Faber Music Ltd, 2004
842:Scene 4: Everyone except Caliban
245:Full fathom five thy father lies
31:is an opera by English composer
2037:Noises, Sounds & Sweet Airs
785:Scene 2: Caliban with the court
414:World premiere 10 February 2004
1914:Return to the Forbidden Planet
426:American premiere 29 July 2006
1:
727:Scene 2: Miranda and Prospero
334:Has set the young man free.
247:Of his bones are coral made;
157:mounted a new production of
21:The Tempest (disambiguation)
2263:Operas based on The Tempest
994:Erica Jeal, "The Tempest".
939:, leader, 12 February 2004.
736:Scene 3: Ariel and Prospero
2284:
1137:, London, 11 February 2004
930:, London, 11 February 2004
921:, London, 15 February 2004
332:A stronger power than mine
241:
73:Jonestown Massacre of 1978
18:
1600:
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1159:, 28 July – 3 August 2006
960:The Philadelphia Inquirer
953:, London, 13 August, 2006
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330:My child has conquered me
328:I cannot rule their minds
305:Bring me to them, Ariel.
254:in the libretto becomes:
61:Following the success of
1888:Ferdinand Lured by Ariel
1627:Decades of the New World
1157:The Santa Fe New Mexican
935:"The Tempest triumphs".
169:Meredith Oakes' libretto
153:(June 2015), New York's
2253:English-language operas
2175:What's past is prologue
1883:(c, 1736-1738, Hogarth)
1853:Shakespeare's Shitstorm
1746:Three Shakespeare Songs
1372:The Exterminating Angel
976:J.A. Van Sant, "Strong
388:, London, Autumn 2004.
200:, director of the 2006
168:
2131:The Book of Watermarks
2081:The Sea and the Mirror
1829:The Journey to Melonia
1787:Don't Pay the Ferryman
1192:, London, Autumn 2004
471:rightful Duke of Milan
391:
371:
284:to Ariel he comments:
207:
188:
84:Opéra national du Rhin
80:Copenhagen Opera House
2243:Operas by Thomas Adès
1907:Beach Blanket Tempest
984:(blog), 31 July 2006.
697:Guests of King Alonso
633:King Alonso's brother
292:Make the prize light
2074:Caliban upon Setebos
2053:The Enchanted Island
1341:List of compositions
1286:(23 February 2004).
1067:on 4 September 2014.
341:
303:And the rest as well
19:For other uses, see
16:Opera by Thomas Adès
2096:A Midsummer Tempest
1539:William Shakespeare
1399:America: A Prophecy
873:Deutsche Grammophon
657:an honest councilor
641:Christopher Maltman
445:Prospero's daughter
402:
263:That were his eyes
99:Performance history
51:William Shakespeare
1749:(Vaughan Williams)
1664:Commedia dell'arte
1457:Other compositions
1293:The New York Times
1284:Tommasini, Anthony
1226:, 23–29 June 2007.
1177:, 12 February 2004
969:The New York Times
864:The BBC broadcast
718:Scene 1: The court
614:Prospero's brother
580:Stephen Richardson
548:son of King Alonso
503:coloratura soprano
398:
342:Thomas Adès' music
155:Metropolitan Opera
151:Vienna State Opera
125:Stephen Richardson
43:based on the play
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1978:I'll Be The Devil
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1406:Violin Concerto,
1201:Oakes, Meredith,
1189:The Musical Times
702:
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417:Royal Opera House
385:The Musical Times
382:Christopher Fox,
301:I must punish him
269:
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257:Five fathoms deep
204:production
95:on 29 July 2006.
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2161:Full fathom five
2021:Die Geisterinsel
2016:(1798 Reichardt)
2013:Die Geisterinsel
2005:Die Geisterinsel
1954:The Mock Tempest
1837:Prospero's Books
1813:Forbidden Planet
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1063:. Archived from
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1016:, 14 March 2007.
1007:, 14 March 2007.
998:, 14 March 2007.
971:, August 5, 2006
951:The Sunday Times
684:Philip Langridge
570:a drunken butler
537:William Ferguson
482:Simon Keenlyside
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259:Your father lies
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105:Simon Keenlyside
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135:as Miranda and
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86:in Strasbourg.
69:The Royal Opera
64:Powder Her Face
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41:Meredith Oakes
39:in English by
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2154:Ariel's Song
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2076:" (Browning)
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2040:(1991 Nyman)
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2000:(1756 Smith)
1996:
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1649:Of Cannibals
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1253:. Retrieved
1242:The Guardian
1241:
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1202:
1197:
1187:
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1174:The Guardian
1172:
1164:
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1132:
1128:
1123:
1111:. Retrieved
1107:
1098:
1086:. Retrieved
1082:
1073:
1065:the original
1055:
1044:
1035:
1034:
1024:The Guardian
1022:
1020:
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996:The Guardian
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981:
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968:
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937:The Guardian
936:
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919:The Observer
918:
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895:; Trinculo:
865:
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696:
675:
656:
646:Keith Phares
632:
613:
598:countertenor
592:
569:
560:Toby Spence
547:
521:
497:
470:
444:
434:Alan Gilbert
383:
373:
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137:countertenor
102:
87:
77:
62:
60:
44:
27:
26:
25:
2248:2004 operas
2193:The Tempest
2123:Video Games
2056:(2011 Sams)
2048:(Adès 2004)
2045:The Tempest
1997:The Tempest
1962:Une TempĂŞte
1939:The Tempest
1864:(2022-2023)
1845:The Tempest
1777:The Tempest
1770:The Tempest
1762:The Tempest
1754:The Tempest
1731:Adaptations
1670:Sea Venture
1544:The Tempest
1473:Living Toys
1364:The Tempest
1332:Thomas Adès
1223:Radio Times
1129:The Tempest
982:Opera Today
883:; Miranda:
879:; Caliban:
877:Audrey Luna
866:The Tempest
631:Sebastian,
622:John Daszak
556:Toby Spence
432:Conductor:
422:Thomas Adès
420:Conductor:
356:The Tempest
352:passacaglia
211:The Tempest
159:The Tempest
117:Toby Spence
88:The Tempest
46:The Tempest
33:Thomas Adès
28:The Tempest
2232:Categories
2168:Sea change
2099:(Anderson)
2064:Poetry and
1805:Yellow Sky
1781:(Nordheim)
1765:(Sibelius)
1757:(Sullivan)
1658:Naufragium
1656:Erasmus's
1552:Characters
1276:Opera News
1255:12 October
1113:15 October
1088:15 October
1031:References
859:Recordings
591:Trinculo,
487:Rod Gilfry
410:Voice type
363:ravishing.
223:Miss Treat
192:resonance.
133:Kate Royal
2268:Jonestown
2185:Sculpture
2083:" (Auden)
2029:Der Sturm
1779:(ballet)
1584:Ferdinand
1465:Arcadiana
1440:Totentanz
1383:Orchestra
1250:0261-3077
1104:"Week 25"
1036:Citations
1014:Telegraph
637:baritone
612:Antonio,
544:Ferdinand
348:dissonant
2115:(Atwood)
2112:Hag-Seed
2107:(Rogers)
2091:(Warner)
1942:(Dryden)
1899:Musicals
1872:Painting
1789:" (1982)
1594:Stephano
1559:Prospero
1499:Category
1079:"Week 9"
881:Alan Oke
705:Synopsis
695:Chorus:
674:Alonso,
593:a jester
522:a savage
498:a spirit
476:baritone
467:Prospero
380:—
366:—
195:—
177:—
149:and the
82:and the
37:libretto
2146:Phrases
1921:Amaluna
1821:Tempest
1641:Ovid's
1612:Sources
1589:Gonzalo
1579:Sycorax
1574:Caliban
1564:Miranda
1432:Polaris
978:Tempest
653:Gonzalo
566:Stefano
518:Caliban
441:Miranda
324:Miranda
213:at the
185:
35:with a
2238:Operas
2208:Portal
2196:(1966)
2134:(1999)
2104:Island
2088:Indigo
1981:(2008)
1973:(1973)
1856:(2020)
1848:(1998)
1840:(1991)
1832:(1989)
1824:(1982)
1816:(1956)
1808:(1948)
1797:Screen
1635:Essays
1484:(1996)
1476:(1994)
1468:(1994)
1449:(2018)
1443:(2013)
1435:(2010)
1427:(2008)
1419:(2007)
1411:(2005)
1402:(1999)
1394:(1997)
1375:(2016)
1367:(2004)
1359:(1995)
1248:
1209:
680:tenor
618:tenor
552:tenor
280:In an
230:(1995)
123:, and
2222:Opera
1989:Opera
1931:Plays
1738:Music
1680:Films
1569:Ariel
1416:Tevot
1391:Asyla
1348:Opera
811:Act 3
771:Act 2
713:Act 1
527:tenor
494:Ariel
406:Role
394:Roles
313:for I
282:aside
129:Ariel
1722:2010
1717:1992
1712:1980
1707:1979
1702:1963
1697:1960
1692:1911
1687:1908
1257:2019
1246:ISSN
1207:ISBN
1115:2020
1090:2020
480:Sir
1541:'s
49:by
2234::
1290:.
1244:.
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232:.
119:,
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1652:)
1646:(
1531:e
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1310:v
1296:.
1259:.
1117:.
1092:.
903:.
23:.
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