human
Mater dulce carmen lenis, the bells going right through the hymn with excellent effect. Then comes Claudio's denunciation of Hero and his refusal to marry her; she swoons, and everyone leaves the church except Hero, Beatrice, Benedick, Leonato, and the friar. The friar, in a fine bass number (beautifully sung at Covent Garden by Pol Plançon), explains his plan of pretending that Hero has died of shame at the false accusation. Benedick promises to challenge Claudio, and during this scene a funeral bell is heard, and a procession of the Misericordia Fraternity crosses the stage carrying a bier and singing
gpt
Miserere mei Deus as it passes out of sight. Benedick sings very solemnly
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And so farewell
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The watch come straight to the point. They have caught Borachio telling of his doings, and the movement follows {103} very closely Shakespeare's development of the episode. Benedick comes on, tries to make a song in Beatrice's honour, fails (just as he did in Shakespeare), but finally sings quite a good song about
human
Morning, spring-a (sic) ring-a (sic) and chantecleer. Don Pedro and Claudio enter; Benedick delivers his challenge and they prepare to fight, when Don Pedro comes between them. Dogberry, Verges, Watchmen with Borachio, bound, enter, and all the villainy of Don John is explained. The Friar enters; Claudio begs forgiveness, and the Friar produces the living Hero without any of Shakespeare's pretence that she was another daughter. Claudio at once sings a song to Hero, calling her angel of pity, and sentimentalising over her for quite a long time. Hero joins in the general soppiness, and, after a great high-note effect on the part of both, Beatrice and Benedick break in with their comedy scene, in which they agree to get married, to shouts of
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How dost thou, Benedick, the married man! The principals and chorus all join in singing
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Sigh no more, ladies,