The Beggar's Opera|John Gay|Free download|PDF EPUB|Freedorial

Contents:

• BROWSE: GAY - THE BEGGAR'S OPERA
• GAY: THE BEGGAR'S OPERA
• THE BEGGAR'S OPERA BY JOHN GAY
• GAY-BRTEN: THE BEGGAR'S OPERA
• GAY: THE BEGGAR'S OPERA

BROWSE: GAY - THE BEGGAR'S OPERA

The Beggar’s Opera, a ballad opera three acts by John Gay, performed at Lln’s Inn Fields Theatre, London, 1728 and published the same year. In , Gay portrays the liv of a group of thiev and prostut 18th-century London. Gay ritur the ernment, fashnable society, marriage, and Italian operatic style.

Bertolt Brecht and Kurt Weill based their ballad opera Die Dreigroschenoper (1928; The Threepenny Opera) on Gay’s work. None of s ial proponents, least of all s thor John Gay, anticipated this legacy.

When and why did Gay wre The Beggar’s Opera? Gay wrote the The Beggar’s Opera to needle placent high-end nsumers. Opera seria is the foil to Gay’s work, which like s target featur warrg divas, sie arias, an overture, three acts, a prison scene and a happy endg.

GAY: THE BEGGAR'S OPERA

But Gay thst the actn of The Beggar’s Opera ep to London’s unrworld. Most importantly, song exists The Beggar’s Opera not to climax affectively but to school listeners social did Gay's characters The Beggar’s Opera e om? Gay drew his characters om real-life crimals.

THE BEGGAR'S OPERA BY JOHN GAY

Gay took the name of Jenny Diver, who betrays Macheath, om London’s most famo pickpocket.

To this Gay add ad homem attacks: Macheath and Peachum were alternately stand-s for First Mister Robert Walpole, whose nickname ‘Great Man’ is also Macheath’s.

Wantg dienc to grasp the ironic lson of each song stantly, Gay fted new words to so-lled ‘mon’ tun – that is, melodi already known to dienc, maly through prt. And Gay based his plot on events taken om the popular is the storyle of The Beggar’s Opera?

GAY-BRTEN: THE BEGGAR'S OPERA

The work’s narrator, a Beggar, here terven wh the ex macha of havg the rabble ‘cry reprieve’, by which means Macheath walks spired Gay to wre The Beggar’s Opera? The Beggar’s Opera was thought by s earlit dienc to be wholly origal, but Gay fact borrowed his central ia of ic versn om the édie en vville, the Parisian street theatre which melodi om tragédie en mique were paired wh ribald actn.

While mock stage tragedy had been embraced by London dienc sce the Rtoratn, Gay followed the Parisian mol by parodyg song rather than speech to rail agast the lg class. The difference was that French vville was a speci of media ll’arte which Harlequ, Columbe and other media figur sang durg their antics, while Gay’s personae and actn rived om the grimmt rners of the news. But Gay had a powerful backer: the headstrong 26-year-old Kty Douglas, Duchs of Queensberry, whose salon regularly hosted cultural lumari such as the poet Alexanr Pope, the archect William Kent, the pater Charl Jervas – and John Gay.

Some of the melodi Gay chose are challengg, rivg om airs by Purcell, Hanl and John Eccl. The ia that Gay mostly ployed ‘folk’ tun is a nard almost as old as The Beggar’s Opera self. Rather, as The Daily Journal noted three days after the premiere, Gay had fed his sre om ‘about 60 of the most celebrated’ – that is, most published – ‘old English and Stch Tun’.

GAY: THE BEGGAR'S OPERA

Would Gay’s satire take, or would be hissed off the stage? Gay had already isolated key elements of the later formula – real-life story, socially cril standpot, everyday mic and words – but was Fenton’s h, untraed voice, which smote the ear and the heart together, that clched this revolutn taste.

Gay soon admted that her fame ‘surpassed his own’. Already by the fifth performance was beg said by ‘waggs’ about town that The Beggar’s Opera ‘has ma Rich very Gay, and probably will make Gay very Rich’.

After the 15th performance, Gay wrote to Pope that he expected ‘six or seven hundred pounds’ om , but by March 23 Pope was wrg to Jonathan Swift that Gay now anticipated ‘about … two thoand’ pounds, worth perhaps £400, 000 today, which was about ten tim the salary of a menial urt post Gay had turned down the year before. Fenton’s absence of bel nto technique, tend by Gay as satire, stead bewched dienc, g both sex ‘to be Wonr lost’. Rears faiar wh the Brecht/Weill Threepenny Opera, or wh Benjam Brten’s sre for Gay’s work, may not know of the hundreds of productns of the origal work, which by the end of the 18th century had been mounted not jt throughout Bra, but om Philalphia to the Wt Indi.