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The Tenbury Manuscript
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A comparison of the earliest surviving score and libretto with the playtext from the production of 1700 that incorporated Dido and Aeneas into Shakespeare’s Measure for Measure reveals significant discrepancies among the three sources. An evaluation of these provides information on line designations (who sings what) and vocal ranges (what type of singer plays each role). This process reveals that instances of the role of the Second Woman being eliminated occurred early on. Although the Tenbury manuscript lacks a setting of the Prologue, a comparison of the characters in the Prologue text and main text suggests the vocal ranges of the soloists, and the singers listed in a production of Eccles’s The Loves of Mars and Venus, a work coupled with Dido and Aeneas in 1704, provides still more evidence on vocal ranges. The choruses and dances of Dido and Aeneas are discussed in terms of their relationship and placement.
Title: The Tenbury Manuscript
Description:
A comparison of the earliest surviving score and libretto with the playtext from the production of 1700 that incorporated Dido and Aeneas into Shakespeare’s Measure for Measure reveals significant discrepancies among the three sources.
An evaluation of these provides information on line designations (who sings what) and vocal ranges (what type of singer plays each role).
This process reveals that instances of the role of the Second Woman being eliminated occurred early on.
Although the Tenbury manuscript lacks a setting of the Prologue, a comparison of the characters in the Prologue text and main text suggests the vocal ranges of the soloists, and the singers listed in a production of Eccles’s The Loves of Mars and Venus, a work coupled with Dido and Aeneas in 1704, provides still more evidence on vocal ranges.
The choruses and dances of Dido and Aeneas are discussed in terms of their relationship and placement.
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