human
but not by whom. Also, unfortunately, as was the manner at the time, the name of the singer is printed, but not that of the character; however, it is usually possible to get a fairly shrewd idea, from the gist of the words, who is singing. This music is strictly Handelian, though the score as a whole shows greater pains and industry than is generally displayed by his great master. The overture has an introduction, fugue, tuneful minuet, and a fine march in D major after the manner of Handel's _Scipio_ march. The first song is for tenor, with trumpet _obbligato_, and, I think, must be intended for Theseus. The words run,
gpt
Pierce the air with sounds of joy, Come Hymen with the winged boy, Bring song and dance and revelry. From this I take it that Theseus was preparing for his wedding. It is a very stirring, florid air, and, given a robust tenor and a first-rate trumpeter, makes a good opening for the opera. Helena sings next a song with a very pathetic middle part, saying how she scorns to hide her love. Lysander (baritone) has a brisk song about the joys of country life, followed by Helena, singing, sadly,
human
O Hermia fair; O happy, happy fair ; and Mr Smith sets four lines of Shakespeare's text. Hermia's next air is not very interesting, so we will pass on to a graceful setting of the words,
gpt
Love looks not with the eyes, but with the mind, sung by Helena or Hermia, I can't settle which; {91} the words are correct text, and very respectfully set. Puck, taken by a boy, now sings,
human
Where the bee sucks --quite a new setting to me, and a charming one, too. Here follows an orchestral interlude, called
gpt
Sinfonia, for strings, with two independent oboe parts. I don't know if it is meant to be played with the curtain up for business, but rather think it is intended for scene-change music. Titania sings a very
human
song, words not by Shakespeare, to her fairies, telling them to follow her; and Oberon, a boy singer, does the same office, in a florid air, for his fairies. Helena, who seems to have too much to do, now has another pathetic song; Titania sings herself to sleep with
gpt
You spotted snakes, with slight verbal alterations to make sense. The human lovers become rather tedious here, as they do sometimes in the play; they have several sentimental love-songs and duets, so we welcome Oberon and his fairies. His number,
human
Now until the break of day, is really beautiful and most fairylike, and brings the second act to a charming close. Oberon sings
gpt
Flower of this purple dye to a solemn _largo_ melody, and the mortals take up the tale again. Oberon sings a setting of
human
Sigh no more, ladies very interestingly, and sticks closely to the text; it certainly might have been written by Handel, but is none the worse for that. Puck sings
gpt
Up and down to thoroughly suitable music while he chases the foolish lovers about the forest; after which Titania obliges with
human
Orpheus with his lute, with oboe _obbligato_, quite one of the best numbers in the piece and one of the best settings of these much ill-used lines--the close of the second verse is exquisitely done. A hunting
gpt
Sinfonia heralds the last scene, with a couple of fine solo horn parts. This introduces a bold march for the entrance of Theseus, who has a lusty hunting-song with an elaborate orchestral accompaniment. Hermia now has an unnecessary song,
human
Love's a tempest, and the opera closes joyfully with a solo and chorus to the words
gpt
Hail to love and welcome joy.