The songs in The Duenna were among the fundamental reasons for its success. While it does owe its heritage to the Ballad opera of the 1720s (John Gay's The Beggar's Opera being the most famous example) the songs in The Duenna were more technically complex and required trained singers in the lead roles.Troost, Linda V. 'The Characterizing Power of Song in Sheridan's The Duenna,' in Eighteenth Century Studies Vol. 20 The musical score was a combination of successful works by other composers, traditional ballads and new compositions.
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The Duenna has two modern reworkings that use the storyline of the opera but not the original music. The first is The Duenna by the Spanish Catalan exile Roberto Gerhard in 1947–49. The second is by Sergei Prokofiev in 1940 (first performed in 1946 owing to the Second World War) – Prokofiev changes the name of the play to Betrothal in a Monastery.
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They caused a great impression about the princess and the power of her family. Her Spanish retinue was supervised by her duenna, Elvira Manuel.
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England traces its light opera tradition to the ballad opera, typically a comic play that incorporated songs set to popular tunes. John Gay's The Beggar's Opera was the earliest and most popular of these. Richard Brinsley Sheridan's The Duenna (1775), with a score by Thomas Linley, was expressly described as "a comic opera"."The Duenna", Mary S. Van Deusen, accessed 4 January 2009Gillan, Don.
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As Don Carlos in The Duenna, circa 1775 Leoni's twin-tracking in the synagogue and the theatre continued for some while. Between 1770 and 1782 he appeared quite frequently on the stage in London, where he scored great successes in Thomas Arne's Artaxerxes (1775) and, in the same year, as Carlos in Richard Brinsley Sheridan's The Duenna at the Covent Garden Theatre. The Morning Chronicle commented in its notice of The Duenna that 'it can never be performed on a Friday, on account of Leoni's engagement with the Synagogue',Morning Chronicle, 25 November 1775 an indication of how crucial Leoni was to the piece's success.
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Four days later, Minuet ended her season with a win as she successfully conceded eight pounds to Lord Foley's filly Duenna in a 200 guinea match over the Ditch Mile.
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Don Jerome locks up Louisa in her room to force her to marry Mendoza. Louisa's nurse (the Duenna) provokes the fury of Don Jerome by pretending to be a messenger between Antonio and Louisa. Jerome dismisses her - but the Duenna exchanges clothes with Louisa who makes her escape in this disguise. By the quayside - where fisherwomen are praising the quality of the fish caught in Mendoza's boats - Louisa encounters her friend Clara, who has also run away from home and intends to seek sanctuary at the nunnery.
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Fiske, Roger. 'The Duenna,' in The Musical Times Vol. 117. (Musical Times Publications: March 1976) Using the musical experience of Elizabeth's father, Thomas Linley the elder, Sheridan asked him to provide music for The Duenna; whilst refraining from telling him about the true nature of the opera or giving him all of the lyrics to it. The remaining lyrics in the opera were written to fit melodies from the Italian operas of that time, as well as some Scottish tunes, such as Michael Arne's The Highland Laddie, made popular in ballad operas.
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The Duenna is an English-language opera in three acts by Roberto Gerhard to libretto by the composer, after the 1775 comedy The Duenna by Richard Brinsley Sheridan. Composed 1945–47, the opera was premiered on BBC radio in 1949, and received well. It was revised in 1951 for performance at the ISCM Festival in Wiesbaden, but there the use of popular melodies did not go down well with critics.William Lacey, ‘The vocal music of Roberto Gerhard 1917-1947’, unpub. M.Mus. Diss. King’s College, Cambridge, 25 1996. p. 25.
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After much flirtation from Roxane, de Guiche believes he should stay close by, concealed in a local monastery. When Roxane implies that she would feel more for de Guiche if he went to war, he agrees to march on steadfastly, leaving Cyrano and his cadets behind. He leaves, and Roxane makes the duenna promise she will not tell Cyrano that Roxane has robbed him of a chance to go to war. Roxane expects Christian to come visit her, and she tells the duenna to make him wait if he does.
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Mrs. Harlowe in the role of The Duenna in Richard Brinsley Sheridan's opera of that name, a drawing by George Cruikshank published in 1823. Sarah Harlowe (1765–1852) was a popular actress of the London stage around the turn of the 19th century.
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The Duenna is a three-act comic opera, mostly composed by Thomas Linley the elder and his son, Thomas Linley the younger, to an English-language libretto by Richard Brinsley Sheridan. At the time, it was considered one of the most successful operas ever staged in England,Fiske, Roger. English Theatre Music of the Eighteenth Century (London, 1973) p.414 and its admirers included Samuel Johnson, William Hazlitt and Lord George Byron (Byron called it "the best opera ever written"). First performed in the Covent Garden Theatre on 21 November 1775, The Duenna was performed seventy-five times in its first season, and was frequently revived in Britain until the 1840s.
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The General's filly had been officially named Landscape when she made her three-year-old debut in the Oaks Stakes over one and a half miles at Epsom on 1 June. The race attracted eleven runners from an original entry of forty-eight, and despite her lack of previous experience, General Gower's filly was made 2/1 favourite. The next horses in the betting were Duenna, Guendolen and Rhoda, the fillies who had finished second, third and first respectively in the 1000 Guineas at Newmarket a month earlier. Ridden by Sam Chifney, Jr., Landscape won the 1425 Guinea prize from Duenna, with Mr Walker's unnamed filly taking third place.
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The innkeeper bursts in on the wedding guests and pretends he needs ten thousand to rescue the kidnapped mayor's son, planning to use some of it to pay off his back mortgage and the rest to support his wife. His wife catches him in this lie and insists he change his ways. The countess' duenna and the mayor fancy each other. The duenna approaches the nobleman with the idea that everyone might end up with the love of their life if only there was a way to convince the mayor that the countess has no way of actually getting her hands on her millions.
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Roxane appears with her duenna and is immediately surrounded by suitors. De Guiche escorts to her box. The play begins. Montfleury, an actor whom Cyrano had banished from the stage for a month because of his lack of acting skills and attentions to Roxanne begins his performance.
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'Kelly, ed. Thal 1972, 162–163. Then the pair led at York in these works, for Tate Wilkinson, also giving Arnold's Maid of the Mill and Sheridan's The Duenna at Leeds, and Love in a Village there and at Wakefield. This summer tour set the pattern for future years.
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Sheridan's The Duenna. Myer Lyon (b. circa 1750, Germany; d. 1797, Kingston, Jamaica), better known by his stage name Michael Leoni, was a hazzan at the Great Synagogue of London who achieved fame as a tenor opera singer in London and Dublin, and as the mentor of the singer John Braham.
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Arne also showed an early talent as a composer, and his first collection of vocal art songs entitled The Floweret was published in 1750. The collection included the Scottish-style song "The Highland Laddie", which became popular and as late as 1775 was adapted by Thomas Linley the elder in The Duenna.
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Outside Roxane's house Ragueneau is conversing with Roxane's duenna. When Cyrano arrives, Roxane comes down and they talk about Christian: Roxane says that Christian's letters have been breathtaking—he is more intellectual than even Cyrano, she declares. She also says that she loves Christian. When de Guiche arrives, Cyrano hides inside Roxane's house.
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Many of these works were introduced as after-pieces to performances of Italian operas. Later in the century broader comedies such as Richard Brinsley Sheridan's The Duenna and the innumerable works of Charles Dibdin moved the balance back towards the original style, but there was little remaining of the impetus of the satirical ballad opera.
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Cyrano enters and commands him to stop. De Guiche protests the interruption of the play and insults Cyrano by referring to his large nose. Cyrano and Le Guiche engage in sword fight. De Guiche is wounded and leaves followed by the rest of the audience, including Roxane who greets Cyrano as she departs with her duenna.
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Among Linley's students were his eight children (Elizabeth Ann, Thomas, Mary, Samuel, Maria, Ozias, William, and Jane), as well as tenor Charles Dignum, singer and actress Anna Maria Crouch, and novelist Frances Sheridan. Linley collaborated with his son Thomas in penning the comic opera The Duenna, with libretto by his son-in- law Richard Brinsley Sheridan.
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On 31 May Rhoda was moved up in distance for the Oaks Stakes over one and a half miles at Epsom. She started the 10/1 fourth choice in the betting in a field of eleven. The race was won by Landscape from Duenna, with Rhoda among the unplaced runners. The Duke's filly did not race again in 1816.
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John Quick in The Duenna Jane Hippisley, subsequently Mrs. Green (died 1791), was an English actress. She was the daughter of John Hippisley and the sister of Elizabeth Hippisley (-1766) who was a minor actress. Jane made her first appearance at her father John Hippisley's benefit at Covent Garden Theatre on 18 March 1735 as Cherry in The Stratagem.
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The next day at Ragueneau's pastry shop, a gathering place for poets, Cyrano awaits his appointment with Roxane and writes her a letter, telling of his love for her. When he sees her duenna approaching, he sends the rest of the people out of the shop and orders food for the duenna, telling her to eat it outside while he speaks with Roxane. Roxane thanks him for punishing De Guiche the night before and asks him if he is still the same friendly, "elder brother" to her that he used to be when they played together as children. She then tells him that she loves a man named Christian who has not yet declared his love for her, that he too is a Gascony cadet, and asks Cyrano he keep him safe.
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Roxane's duenna then arrives, and asks where Roxane may meet Cyrano privately. Lignière is then brought to Cyrano, having learned that one hundred hired thugs are waiting to ambush him on his way home. Cyrano, now emboldened, vows to take on the entire mob single-handed, and he leads a procession of officers, actors and musicians to the Porte de Nesle.
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In the square outside Roxane's house music is heard and soon she and her duenna come from the house opposite. Roxane lingers alone at the fountain. De Guiche comes to say farewell before going to war, and tells her that the Gascony cadets, including her cousin Cyrano, are in his command. She speaks kindly to him fearing for Christian, and he tries to embrace her.
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A Traitor's Kiss: The Life and Works of Richard Brinsley Sheridan (London: Granta Books, 1998) p.105 John Quick, who had proved himself as a great actor of Sheridan's comic characters as Bob Acres in The Rivals and Doctor Rosy in St. Patrick's Day, was given the part of the equally ridiculous Isaac Mendoza; Mrs. Green, the original Mrs Malaprop, was given the role of the duenna.
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Trying to cause a scandal to wreck the marriage he makes a pass at Micaëla's formidable duenna, expecting her to make a tremendous fuss, and he is horrified when she responds eagerly. He evades her. Joséfa's wedding night seems to be as unpromising as Gaëtan's. Her new husband, Moralès, is in charge of the palace guard, and cannot leave the premises to join his bride.
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Sheridan wrote many of the roles in The Duenna to match a specific performer's ability, tailoring the text to the capacities of the singer. For example, Michael Leoni was cast for the role of Don Carlos, but his heavy German-Jewish accent meant that he could not deliver long lines of dialogue. To counter this problem Don Carlos's speeches were cut and his dialogues turned into duets and trios.O'Toole, Fintan.
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In his Reminiscences, Michael Kelly tells the story that in 1807 he was appearing in The Duenna at Drury Lane, as Ferdinand. One morning he went out for a ride, and returned home to find Sheridan with pen and ink correcting his printed copy of the dialogue. 'Do you act the part of Ferdinand from this printed copy?' asked Sheridan. Kelly replied that he had done so for 20 years.
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At a comparatively early age she had earned enough to retired from the stage. She lost part of her savings to a dishonest stockbroker who absconded to America with between eight and nine thousand pounds of her savings. This compelled her to return again to acting. On 13 March 1821 she played at Drury Lane the Duenna in Sheridan's comic opera, as "her first appearance in a character of that description".
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The first one, the opera The Duenna, released abroad, was rejected for "abusing popular melodies", which may not have happened if the premiere had been in Barcelona. There, the public could have been more involved in the plot and its references to politics and society. The second piece, Sonata for viola and piano, is said to have been "lacking originality". This led Gerhard to a period of crisis.
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Mendoza is attracted by this idea as a means to rid himself of his rival Antonio by marrying him off to 'Clara'. Don Carlos escorts 'Clara' to Mendoza's house. Mendoza visits the house of Don Jerome to meet 'Louisa' (the Duenna in disguise); whilst 'Louisa' is not as young and beautiful as Mendoza had been led to believe, her dowry is sufficient attraction. they agree to elope that evening.
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Angela persuades her duenna, Mina, to go outside to the Carnival, where they admire the antics of a pantomime horse. The horse approaches Angela, and she asks its name. “Giovanni” it replies, in the voice of the handsome lieutenant, and the horse—or rather the front half—follows Angela through the crowd while Mina is swept away by the revelers. Giovanni seats Angela in a quiet restaurant where they have tea and talk for hours.
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Other compositions included a Miniature Ballet Suite, the overture Endure to Conquer, first played at an Armistice Thanksgiving in Westminster Abbey. His oeuvre also included a number of parlour songs, such as "First Love" and the "Garden of My Love", numerous piano solos and some church music. However, it was as an arranger that Baynes made his mark, including Fifty Years of Song, The Gay Nineties, Tipperaryland and the dances from Sheridan's The Duenna.
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On 15 September 1815, Cooke performed for the first time at the Drury Lane Theatre (as Don Carlos in Thomas Linley's The Duenna) and remained its leading tenor for the next 20 years. He had a particular talent for seafaring characters, which gave rise to the phrase "in the style à la Tom Cooke".Beausang (2013), as above. He was also involved in productions at Lyceum and Haymarket theatres and at Covent Garden.
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In 1775, Richard Brinsley Sheridan brought out his comedy The Duenna and Collett drew pictures based on scenes in this play. One of them, representing the drinking scene in the convent (act iii. scene 5), was figured in Thomas Wright's History of Caricature and Grotesque in Art. He inherited a fortune from a relation, and resided in Chelsea, London, where he died, in Cheyne Row, on 6 August 1780, and was buried there on 11 August.
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Cyrano presses Roxane to disclose that instead of questioning Christian on any particular subject, she plans to make Christian improvise about love. Although he tells Christian the details of her plot, when Roxane and her duenna leave, he calls for Christian who has been waiting nearby. Cyrano tries to prepare Christian for his meeting with Roxane, urging him to remember lines Cyrano has written. Christian however refuses saying he wants to speak to Roxane in his own words.
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Sir Samuel Tuke, 1st Baronet (c.1615, in Essex – 26 January 1674, in Somerset House, London) was an English officer in the Royalist army during the English Civil War and a notable playwright. He is best known for his 1663 play The Adventure of Five Hours, possibly co-authored by George Digby – the play (an adaptation of a Spanish work by Antonio Coello) was produced by the Duke's Company and later proved an influence on Richard Brinsley Sheridan's opera The Duenna.
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A long-time Theatresports veteran, Zemiro played at the Belvoir St Theatre, Sydney, for many years before her move to Melbourne. She performed with Impro Melbourne, starring in their annual season of Celebrity Theatresports and regularly appeared in their Melbourne International Comedy Festival hit, "Late Nite Impro". She was a core cast member of the improvised stage show Spontaneous Broadway. In 2014, Zemiro played Roxane's duenna in Edmond Rostand's 1897 play Cyrano de Bergerac opposite Richard Roxburgh's Cyrano with the Sydney Theatre Company.
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Richard Brinsley Butler Sheridan (30 October 17517 July 1816) was an Irish satirist, a playwright, poet, and long-term owner of the London Theatre Royal, Drury Lane. He is known for his plays such as The Rivals, The School for Scandal, The Duenna and A Trip to Scarborough. He was also a Whig MP for 32 years in the British House of Commons for Stafford (1780–1806), Westminster (1806–1807), and Ilchester (1807–1812). He is buried at Poets' Corner in Westminster Abbey.
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Sheridan cast a more capable actor in the lead for its second performance, and it was a huge success which immediately established the young playwright's reputation and the favour of fashionable London. It has gone on to become a standard of English literature. Shortly after the success of The Rivals, Sheridan and his father-in-law Thomas Linley the Elder, a successful composer, produced the opera, The Duenna. This piece was accorded such a warm reception that it played for seventy-five performances.
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The nobleman bursts in on the countess pretending to be a masked bandit, and fantasy role plays that she should convince the mayor that her millions were stolen by Gasparone. The search for Gasparone intensifies. The mayor's son is convinced by the innkeeper that he could worm his way out his comic pickle by walking around with a gun borrowed from one of the smugglers and fib that he shot Gasparone single handedly. The mayor and the duenna will marry.
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Reynolds worked on the revival of 18th century ballad operas. In 1923 he became Musical Director of the Lyric Theatre, Hammersmith, where he performed revivals of Sheridan's The Duenna (1924), Lionel And Clarissa (1925), with music mainly by Charles Dibdin, and Love in a Village (1928), with music by Thomas Arne. He wrote incidental music for several plays, including those by Molière, Farquhar, Shakespeare and Goldsmith, and review music for Nigel Playfair. The Lyric staged Reynolds's comic operas The Fountain of Youth and Derby Day.
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Born in London, England, in 1930, he moved with his family in 1940 to Painswick, Gloucestershire, where he spent his formative years, becoming a young member of the village dramatic society. He was educated at Eton College and Trinity College, Cambridge, where he was the first Footlights Vice President. After leaving Cambridge he went on to the drama school at the Bristol Old Vic. During his time at the Old Vic, Slade wrote incidental music for several productions including Two Gentlemen of Verona and The Duenna.
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Samuel Cautherley is thought to be her child as the result of a liaison with Garrick. Samuel probably was born in 1747.Mark Batty, ‘Hippisley, John (1696–1748)’, Oxford Dictionary of National Biography, Oxford University Press, 2004 accessed 21 Jan 2015 Among her characters were Miss Prue, Anne Page, Perdita, Ophelia, Miss Hoyden, Nerissa, Æmilia, Doll Tearsheet, Duenna, and Mrs. Hardcastle. She played in Dublin in 1751–1752, and probably in 1753–1754, and acted the Irish Widow at Bristol as late as 4 July 1781.
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Duval’s father worked as a plumber. She started acting as a child, at the Théâtre Comte, later at the Théâtre du Panthéon. Starting in 1842, she would spend the next 20 years at the Théâtre du Palais-Royal, before moving the Théâtre des Variétés in 1864, holding the job of duenna. In 1880, she was described as playing "the old women at the Variétés". She is described in an 1858 Parisian stage biography as “an eccentric actress, but so daring to the art of pleasing”.
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The exhibition of old masters at Burlington House in 1885 contained a small portrait by Reynolds, said to be of Mrs. Billington in her youth, a statement which is probably inaccurate. Two miniatures of her were painted, one by Daniel, and there are engravings of her by T. Burke after De Koster, as Mandane by Heath after Stothard, by Bartolozzi after Cosway, by Dunkarton after Downman, and by Assen. A portrait of Clara in the 'Duenna,' painted and engraved by J. R. Smith in 1797, probably represents Mrs. Billington.
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After the death of Stanislavsky in August 1938, the studio was headed by his student Mikhail Kedrov. In 1940 Kedrov prepared the studio's first full-fledged production, a rendition of Chekhov's The Three Sisters. During World War II the studio was evacuated to Kokand and Fergana, Uzbekistan, where it continued to work. Popular productions during the war years included The Mistress of the Inn, staged by Lidia Novitskaya and based on Carlo Goldoni's comedy The Lady Innkeeper, and The Day of Wonderful Deceptions, staged by Yury Malkovsky after Richard Sheridan's The Duenna.
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The basics of the plot of The Duenna originate in the tradition of Spanish honour dramas and the play includes many features of the genre. Its nearest predecessors are John Fletcher's The Chances and Sir Samuel Tuke's The Adventure of Five Hours. However, for the benefit of the polite 18th-century audience, Sheridan left out the risqué situations of the previous honour dramas, so that when Louisa escapes from her father's house, the street is not the dangerous place her father has threatened her with. It is, in fact, very safe.
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In 1994 at the English National Opera, he sang the title role in Massenet's Don Quichotte for the first time. Also at ENO, he sang the Man Without a Conscience in Nigel Osborne's Goya opera Terrible Mouth, and King Hildebrand in Ken Russell's much criticised production of Gilbert and Sullivan's Princess Ida. He performed in Madrid as Don Jerome in the first staged performances of Robert Gerhard's The Duenna, and in Florence as Swallow in Peter Grimes. At Glyndebourne, he played the comic speaking role of Frosch in Die Fledermaus in the autumn of 2006.
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Landscape's two remaining races came at Ascot Racecourse less than two weeks later. On 11 June she was entered in a 600 guinea sweepstakes over the New Mile Course in which she started odds on favourite and won from Ginger Sal, the only horse who appeared to oppose her. Two days later she contested another sweepstakes over the same course and distance in which, as the winner of the Oaks, she was required to carry a seven pound weight penalty. She started favourite but finished second of the four runners behind Duenna.
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He won the Hambletonian four times and was inducted into the United States Harness Racing Hall of Fame in 1969. After surgery to treat an intestinal ailment his beloved horse Dancer's Crown died three weeks before the 1983 Hambletonian, a horse that would have been favored to win the race. He reluctantly entered the little-known Duenna at the insistence of His family and friends, and won the race, the first filly to win the race in 17 years. Arnold Palmer called the victory "one of the most dramatic moments in sports".
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In Chicago in 1940, Darnay was a member of Winnie Hoveler's Dancing Darlings, performing in the floor show at Harry's New Yorker. Darnay acted in stock theater companies at Oconomowac Walk, Wisconsin, and Bridgehampton, Long Island, among other places. She toured with a company of Arsenic and Old Lace, as the ingenue lead, and acted in Black Narcissus, The Duenna, and Name Your Own Poison. On Broadway, Darnay danced in Sadie Thompson (1944), was an understudy in The Women (1973), and was both a performer and an understudy in Molly (1973), The Heiress (1976), and Vieux Carre (1977).
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Realising that monk does not know the contents of the letter, Roxane tells him that it is a command from De Guiche for her to be married to Christian immediately. Roxane, Christian, and the monk enter her house while Cyrano stays outside to delay De Guiche. As De Guiche approaches, Cyrano falls in front of him as from a great height, and starts giving him a lengthy and fantastic explanation of how he fell. Roxane and Christian, followed by the monk and the duenna, appear at the door of the house, and Cyrano tells De Guiche that they are man and wife.
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Her husband, Richard Wilson (fl. 1774–1792), born in Durham, played over many years comic characters at Covent Garden and the Haymarket. He was a good actor in comedy, taking parts such as Hardcastle, Justice Woodcock, Sir Anthony Absolute, Tony Lumpkin, Malvolio, Touchstone, Falstaff, Ben in 'Love for Love,' Scapin, Shylock, Fluellen, Polonius, Sir Pertinax Macsycophant, and Sir Hugh Evans. His original parts included Don Jerome in the 'Duenna,' Lord Lumbercourt in the 'Man of the World,' Father Luke in the 'Poor Soldier,' Mayor in 'Peeping Tom,' John Dory in 'Wild Oats,' and Sulky in the 'The Road to Ruin.
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In the autumn of 1772, Mossop having retired ruined, Ryder stepped into the management of Smock Alley Theatre, and opened in September with She Would and She Would Not, in which he played for the first time Trappanti. He was then declared to be the most general actor living for tragedy, comedy, opera, and farce. Ryder remained in management in Dublin, helped by a lottery prize in the early days, with varying but diminishing success, until 1782. When the Fishamble Street Theatre started to take his business, he had the words of The Duenna taken down in shorthand, producing it as The Governess.
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"You only see her in long shot, though it's enough to get an idea of what she was like on stage." Welitsch was still able to sing roles such as Magda in Puccini's La rondine in Vienna in 1955, and to record the character part of Marianne, the duenna, in Herbert von Karajan's 1956 set of Der Rosenkavalier. She successfully turned to the non-operatic stage, in parts such as June in a German translation of The Killing of Sister George in Berlin in 1970. Long after her retirement Welitsch continued to be regarded by professionals with admiration and affection.
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Born in Dublin, he studied music at Trinity College Dublin and the Guildhall School of Music and Drama, London. He completed his studies at the National Opera Studio in London. He performed principally with English Touring Opera and the D'Oyly Carte Opera Company. Amongst the opera roles he has performed on stage are Nemorino in L'elisir d'amore, Davey in Jonathan Dove's Siren Song, Ralph Rackstraw in H.M.S. Pinafore, Don Ottavio in Don Giovanni, Lysander in A Midsummer Night's Dream, Fenton in The Merry Wives of Windsor, Paris in La Belle Hélène, and Antonio in The Duenna.
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Shore sang with Opera For All from 1977 to 1979."Shore, Andrew", World Who's Who. Retrieved 21 October 2014 In 1979 he joined Kent Opera, for whom over the next six years he played buffo roles such as Antonio the gardener in The Marriage of Figaro and Dr Bartolo in The Barber of Seville. For Opera North he has sung a wide range of roles, from comic (Don Pasquale, Don Jerome in the first British production of Roberto Gerhard's The Duenna, Falstaff and Gianni Schicchi) to serious (Mr Flint in Billy Budd, and the title roles in King Priam and Wozzeck).
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English-speaking cultures supposed, perhaps correctly, that the institution was particularly strict in southern Europe, especially in Spain, to which they attributed the word duenna, a misspelling of the Spanish word "dueña".The Spanish word dueña was supposed to denote a particularly eagle-eyed supervisor of unmarried females. In fact, in Spain, the word dueña (from the Latin domina) has no particular connotations of chaperonage and merely denotes a female proprietor, supervisor of servants, or married woman. In Spain a chaperon is called a carabina; the word chaperona is not usually found except in Central America.
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The Covent Garden production of Don Quixote and the BBC broadcasts of The Duenna popularized Gerhard's reputation in the UK though not in Spain. During the 1950s, the legacy of Schoenbergian serialism, a background presence in these overtly national works, engendered an increasingly radical approach to composition which, by the 1960s, placed Gerhard firmly in the ranks of the avant-garde. From the early 1950s Gerhard suffered from a heart condition which eventually ended his life. He died in Cambridge in 1970 and is buried at the Parish of the Ascension Burial Ground in Cambridge, with his wife Leopoldina 'Poldi' Feichtegger Gerhard (1903–1994).
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Sheringham designed scenery and costumes for ballets, opera and straight theatre including The Clandestine Marriage, The Skin Game, The Lady of the Camellias, Othello, Love in a Village, Derby Day, The Duenna, and the Stratford Memorial Theatre's opening production of Twelfth Night, and Hamlet.Martin Harvey's production of Hamlet In the theatre he worked closely with the actor-manager Nigel Playfair. For D’Oyly Carte, he designed new productions of H.M.S. Pinafore (1929); The Pirates of Penzance (1929); Patience (1929, with other designs contributed by Hugo Rumbold);Illustrations of the Sheringham designs for Pinafore, Pirates and Patience Trial by Jury (costumes only) and Iolanthe (costumes only, 1932).Rollins, Cyril and R. John Witts.
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This was followed by a production of Sheridan's comedy The Duenna, set to music by Julian Slade and directed by British director Lionel Harris, who had been brought to Australia to direct a local production that featured visiting British actors Lewis Casson, Sybil Thorndyke, Ralph Richardson and (his wife) Meriel Forbes. Harris asked Chater to play the role of Mendoza and also cast the young Ruth Cracknell. The production was well-received but it was terminated in the middle of its run by the hall's owners, the Workers' Educational Association (WEA), who took legal action against the theatre company to regain use of the hall.Johnson & Smiedt, 1999, p.
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The Royal Society of Musicians elected him as a member in 1780. According to musicologist, writer and singer, Mollie Sands, Linley was one of the "most famous of English-born [music] teachers". As a composer, Linley wrote and arranged some songs and ensembles for The Duenna in 1775; written at the request of Sheridan and in collaboration with Linley junior, the opera was an exceptional success, being performed seventy-five times at Drury Lane - Lord Byron endorsed it as "the best opera ever written". An earlier composition, Thomas Hull's The Royal Merchant, performed at Covent Garden in 1767, was noted as a failure as well as a success.
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'Theatre in the age of Sheridan and Garrick' in James Morwood and David Crane (eds) Sheridan Studies (Cambridge: Cambridge University Press, 1995) The Duenna was considered a pastiche opera, though not by choice but as a result of the "extraordinary circumstances in which it was cobbled together." In 1772–73, Sheridan and Elizabeth Linley had a courtship, eventually eloping due to the opposition of their parents towards the relationship. This incident was to later become a major theme in the opera, in the form of Louisa's elopement so she could marry Antonio. After his marriage to Elizabeth Linley in April 1773, their parents eventually relented their opposition to the couple.
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The Prince of Spain's Visit to Catalina (1827) was purchased by the Duke of Bedford and engraved in The Literary Souvenir for 1831. Two pictures by Newton, Yorick and the Grisette (1830) and The Window or the Dutch Girl (1829), were purchased by Mr. Vernon and passed with his collection to the National Gallery; a third, Portia and Bassanio (1831), forms part of the Sheepshanks collection in the South Kensington Museum. Newton painted numerous other pictures, which found immediate purchasers, and were nearly all engraved. Among them were: Lear, Cordelia, and the Physician (Lord Ashburton), Abbot Boniface (Earl of Essex), The Duenna (royal collection), and The Importunate Author.
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Rhoda's racing career began at the Newmarket Craven meeting on 19 April 1816 when she was entered in a match race against a colt (later named Parrot) owned by Sir John Shelley. The colt was strongly favoured in the betting but Rhoda won the race over the Rowley Mile course to win a 300 guinea prize. At the First Spring meeting two weeks later Rhoda was one of six runners for the third running of the 1000 Guineas over the Ditch Mile course. Ridden by Sam Barnard, she won the classic at odds of 3/1, beating Lord Foley's filly Duenna with the favourite Guendolen in third.
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Rhoda won the first heat and collected the prize of £50 when her opponent was withdrawn second. At Chelmsford in Essex in July Rhoda was beaten by Duenna in a King's Plate and then finished fourth when carrying top weight of 130 pounds in a handicap two days later. Rhoda's third and final success of the season came on 17 September at Leicester where she won the local Gold Cup over three and a quarter miles. Rhoda's remaining races of 1817 took place at Newmarket in autumn beginning at the First October meeting where she finished last of the four runners behind Bobadil in a subscription race.
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A church and female monastery was begun in 1237 and completed by 1252 at a rural site known as Voto dei Santi under the guidance of Angelo Tancredi, one of the twelve followers of St Francis.Office of the Government of the province of Rieti, Fondo Edifici di Culto (FEC), entry on church. It is claimed that in 1253, Tancredi then relayed this foundation to St Clare, who sent her sister and former duenna, Beatrice and Pacifica respectively, to the monastery.Creating Clare of Assisi: Female Franciscan Identities in Later Medieval Italy, The Medieval Franciscans, volume 5, by Lezlie S. Knox, Brill publisher (2008); page 105.
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The von Faninals' palace The next day, Herr von Faninal exultantly and Sophie nervously await the arrival of the Rosenkavalier ("Ein ernster Tag, ein grosser Tag!"). Following tradition, Faninal departs before the Knight appears, saying that he will return with the bridegroom. Sophie prays to keep her sense of humility through all the rapid changes happening in her life, but she is repeatedly interrupted by her duenna, Marianne, who reports from the window on the Rosenkavalier's elaborate entourage ("In dieser feierlichen Stunde der Prüfung"). Octavian arrives with great pomp, dressed all in silver, and presents the silver rose to Sophie ("Mir ist die Ehre widerfahren...").
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On 23 September 1813, she appeared at Covent Garden as Mandane in Artaxerxes, obtaining a conspicuous success, especially in the airs 'Checked by duty, racked by love,’ and 'The soldier tired of war's alarms,’ and being compared to Angelica Catalani and Elizabeth Billington. On 22 October, she sang as Polly in the Beggar's Opera, and on 12 November, as Clara in The Duenna; also Rosetta in Love in a Village. Lanza and Welsh both claimed the honour of instructing her. At the concert of ancient music in March 1814 she was assigned the principal soprano songs, and she sang later in the year in the festivals in Norwich and Birmingham.
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Henry VII renewed his efforts to seal a marital alliance between England and Spain, by offering his second son in marriage to Arthur's widow Catherine. Both Isabella and Henry VII were keen on the idea, which had arisen very shortly after Arthur's death. On 23 June 1503, a treaty was signed for their marriage, and they were betrothed two days later. A papal dispensation was only needed for the "impediment of public honesty" if the marriage had not been consummated as Catherine and her duenna claimed, but Henry VII and the Spanish ambassador set out instead to obtain a dispensation for "affinity", which took account of the possibility of consummation.
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She returned to London for the season of 1786–7, and continued to sing there, at Covent Garden, the Concerts of Ancient Music, the so-called Oratorios, and the Handel Commemorations, until the end of 1793. William Shield wrote his operas of 'Marian' and 'The Prophet' for her, and in 1789 she appeared as Yarico in Dr. Arnold's long-popular compilation, 'Inkle and Yarico.' Others of her favourite parts were Mandane (in 'Artaxerxes'), and the heroines in 'Polly,' the 'Duenna,' the 'Castle of Andalusia,' 'Corali,' 'Clara,' the 'Flitch of Bacon'. Mrs. Billington was not happy in her marriage, and even before she had appeared on the London stage rumour had been busy with her fair fame.
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Ticlo, jointly with Diego González, Gonzalo Salvadórez, doña Elvira and children (Goto, Tota, Moma, Duenna, Garsea, and Gudesteus) donated to the Monastery of Valvanera on 25 July 1074 the third part of their threshing land in Herreruela. Goto, Toda, Munia, Dueña, García, and Gustio. His second wife, Sancha Sánchez, daughter of Sancho Macerátiz, bore him two: count Gómez González, Gonzalo's eventual heir and the premier noble and one-time suitor of queen Urraca of León, and Fernando. Goto married Fernando Díaz and was dead by July 1087, when, as the executor of her will, he made a donation to San Salvador de Oña of some land in Hermosilla that she had inherited from her father and uncle Álvaro Salvadórez.
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After 1779, Kennedy performed as Young Meadows in Love in a Village and Don Carlos in Richard Brinsley Sheridan's The Duenna. She completed her career at Covent Garden. While there, she performed in many roles, including Don Alfonso in Thomas Arnold's The Castle of Andalusia, Patrick in John O'Keeffe's The Poor Soldier and Mrs Casey in his Fontainebleau, Margaret and then Allen-a-Dale in William Shield's Robin Hood, as well as parts in Shield's Rosina and Omai, and also in Henry Fielding's Tom Thumb, William Kenrick's Lady of the Manor, and Dibdin's The Islanders. Kennedy also sang at concerts in Vauxhall Gardens from 1781 to 1785, in the Drury Lane oratorios (1778–84), and in the Handel commemorations of 1784, 1786, and 1791.
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He played scores of characters in pieces by Thomas John Dibdin, Pocock, Kenney, and other writers. Francis in King Henry IV, Sim in Wild Oats (John O'Keeffe), Hawbuck in Town and Country (Thomas Morton), Quiz in Love in a Camp, Tom in The Intrigue, Gripe in The Two Misers (Kane O'Hara), Stephen Harrowby in The Poor Gentleman (Colman the younger), Solomon Lob in Love laughs at Locksmiths, David in The Rivals, Appletree in The Recruiting Officer, Silky in The Road to Ruin (Holcroft), Tester in the The Suspicious Husband , Peter in Romeo and Juliet, Isaac in The Duenna, Nym in King Henry V, and Crabtree, are representative. Among his original parts were Tom in The Intrigue and Farmer Enfield in The Falls of Clyde.
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In 1797 he appeared in the role created for his mentor Leoni, as Carlos in Sheridan's The Duenna at Covent Garden. The long triumphant phase of Braham's career was launched, which in its early years saw him and Nancy singing in every major continental house as well as in Britain, to audiences which contained, in Paris (1797), Napoleon, in Livorno (1799), Nelson, and similar notables wherever else they appeared. Braham became the first English male singer to command a European reputation. In 1809 he sang in Dublin at the unheard of fee of 2000 guineas for fifteen concerts, an indisputable sign both of his fame and popularity, and of the growth of music and entertainment as industries in this period.
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Identified with the Republican cause throughout the Spanish Civil War (as musical adviser to the Minister of Fine Arts in the Catalan Government and a member of the Republican Government's Social Music Council), Gerhard was forced to flee to France in 1939 and later that year settled in Cambridge, England. Until the death of Francisco Franco, his music was virtually proscribed in Spain, to which he never returned except for holidays. Apart from copious work for the BBC and in the theatre, Gerhard's compositions of the 1940s were explicitly related to aspects of Spanish and Catalan culture, beginning in 1940 with a Symphony in memory of Pedrell and the first version of the ballet Don Quixote. They culminated in a masterpiece as The Duenna (a Spanish opera on an English play by Richard Brinsley Sheridan, which is set in Spain).
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For twenty years – first in Barcelona and then in exile in England – Gerhard cultivated, and enormously enriched, a modern tonal idiom with a pronounced Spanish-folkloric orientation that descended on the one hand from Pedrell and Falla, and on the other from such contemporary masters as Bartók and Stravinsky. This was the idiom whose major achievements included the ballets Soirées de Barcelone and Don Quixote, the Violin Concerto and the opera The Duenna. Gerhard often said that he stood by the sound of his music: 'in music the sense is in the sound'.Composer's Note to the published score of Libra, Oxford University Press 1970; other programme notes have the same statement in varying words and word-orders Yet dazzling as their scoring is, his last works are in no sense a mere succession of sonic events.
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Other opera credits include David McVicar's Carmen for Glyndebourne, Keith Warner's Lohengrin for the Bayreuth Festival, Lulu at the New National Theatre, Tokyo, Disney's The Hunchback of Notre-Dame (Berlin): The Love for Three Oranges (Opera North/ENO); The Three Musketeers (Young Vic); Capriccio (Staatsoper, Berlin); Guys and Dolls (RNT); Into the Woods (Old Vic / West End); Porgy and Bess (Glyndebourne) and La Fanciula del West, with Plácido Domingo (La Scala, Milan). Sue's many production design credits include The Relapse, voted Best Design by What's On readers, (RNT), The Nutcracker and Alice in Wonderland for the English National Ballet; Midsummer Night's Dream (Royal Dramaten Theatre, Stockholm and RSC; Cabaret (Donmar Warehouse); Sylvia (Birmingham Royal Ballet); King John, The Learned Ladies, and Antony and Cleopatra all for the Royal Shakespeare Company; Barber of Seville (Scottish Opera); The Duenna and Thieving Magpie (Opera North); Christmas Eve (ENO) and Lee Miller (Minerva Chichester). Her designs also feature in a new ballet for English National Ballet based on Oscar Wilde's novella of The Canterville Ghost conceived and choreographed by Will Tuckett.
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This was his second stage appearance in the city. He had previously starred in a new Bernard Slade musical “The Gay Chaperone” (The Duenna) at Toronto’s Crest Theatre in January 1961. In 1968 Jeffrey joined a roster of Canadian musical comedy stars (including Jack Creley and Rita Howell) in the annual touring revue “Spring Thaw,” established him as a stage presence across the country for the next three years (1968, 69, 70). These tours led to a return to Winnipeg’s Rainbow Stage for two seasons, in “Finian's Rainbow” (1964) with Burt Wheeler and “Mame” (1972), in the role of Patrick Dennis, with Libby Morris. In the summer of 1968 Jeffrey landed a role in the Toronto production of “Your Own Thing” at the Bayview Playhouse. In November he was back on that stage as one of the quartet of performers for the Canadian premiere of “Jacques Brel is Alive and Well and Living in Paris” (with Stan Porter, Arlene Meadows and Loro Farrell). The successful run of this production led to an invitation to open in the show in Boston with Arlene Meadows, Robert Guillaume and Judy Lander, at the Charles Playhouse.
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On 9 May 1799, for the benefit of Miss Leak, he appeared for the first time at Drury Lane, and played Hardy in the Belle's Stratagem, and Lovegold in the Miser. On 27 July 1784 at Theatre-Royal, Manchester he was Sir Harry Sycamore in The Maid of the Mill In January 1800 he was engaged by Kemble for twelve nights at the latter's Theatre-Royal, Edinburgh making this his first appearance in Scotland. In February he was Mr Hardy in The Belle's Strategem and Justice Credulous in St.Patrick's Day on the 12th, Crepe in The Busybody and Cadwalladea in The Author on the 13th. On 12 June 1800, for O'Keeffe's benefit, he played at Covent Garden Alibi in the Lie of the Day, and Drugget in Three Weeks after Marriage; and for another benefit appeared next day as Isaac in The Duenna. On 3 August at Weymouth he performed in front of the king as Scrub in Beaux Strategem. On September 22 he was in Reading as Solomon in The Quaker. He was engaged at the Theatre-Royal, Hull for four nights, on Tuesday 4 November in The Miser and Who's the Dupe? as Lovegold and Old Doiley.
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At Covent Garden, with one summer visit to the Haymarket, he remained until his death.He was seen as Iago, Duretête in The Inconstant (George Farquhar), Heartwell in The Old Bachelor (William Congreve), Bailiff in The Good-natured Man (Oliver Goldsmith), Shylock, Beau Clincher, Peachum, Don Jerome in The Duenna, Lopez in Lovers' Quarrels (adaptation to one act of The Mistake by Vanburgh, by Thomas King), Old Hardcastle, Major Benbow in The Flitch of Bacon (Henry Bate), Leon, Sir Tunbelly Clumsy in The Man of Quality (adaptation by John Lee from The Relapse by Vanburgh), Darby in The Poor Soldier (William Shield), with other characters; and at the Haymarket, where he made as Shylock his first appearance on 22 June 1790, as Sidney, an original character in a farce called Try Again, Don Lopez, an original part in John Scawen's two-act opera, New Spain, or Love in Mexico, and the Marquis de Champlain (also original) in O'Keeffe's Basket Maker. The main original parts he played at Covent Garden were: Carty in O'Keeffe's Tantarara Rogues All on 1 March 1768; Duke Murcia in Elizabeth Inchbald's Child of Nature on 28 November; and Hector in O'Keeffe's Pharo Table, on 4 April 1789.
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His parts were mainly confined to Shakespearean clowns and other characters principally belonging to low comedy. Some few might perhaps be put in another category. The Shakespearean parts assigned him included Clown in 'Measure for Measure,' Polonius, Peter in 'Romeo and Juliet,' Dogberry, Trinculo, Sir Andrew Aguecheek, and Shallow in the 'Merry Wives of Windsor.' Other roles of interest were Don Pedro in the 'Wonder,' Don Jerome in the 'Duenna,' Crabtree, Antonio in 'Follies of a Day,' Silky in the 'The Road to Ruin,' Don Manuel in She Would and She Would Not and Sir Robert Bramble in the 'Poor Gentleman.' Out of many original parts taken between 1794 and 1805 the following deserve record: Robin Gray in Arnold's ‘Auld Robin Gray,’ Haymarket, 29 July 1794; Weazel in Cumberland's ‘Wheel of Fortune,’ Drury Lane, 28 February 1795; Fustian in the younger Colman's ‘New Hay at the Old Market,’ Haymarket, 9 June 1795. In the famous production at Drury Lane of Colman's ‘Iron Chest,’ 12 March 1796, Suett was Samson. In the ‘Will’ by Reynolds, 19 April 1797, he was Realize. His great original part of Daniel Dowlas, alias Lord Duberly, in The Heir at Law, was played at the Haymarket on 15 July 1797.
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