John Christopher Pepusch

Leben und Werke

• Thomyris, Queen of Scythia (Peter A. Motteux), pasticcio opera (1. April 1707 London)
• Venus and Adonis (Colley Cibber), masque (12. März 1715 London)
• Myrtillo and Laura (Colley Cibber), masque (5. Nov. 1715 London)
• Apollo and Daphne (John Hughes), masques (12. Jan. 1716 London)
• The Death of Dido (Barton Booth), masque (17. April 1716 London)
• The Union of the Three Sister Arts, musical entertainment (22. Nov. 1723 London)
• The Prophetess or The History of Dioclesian (Thomas Betterton/John Dryden), semi-opera (28. Nov. 1724 London)
• The Beggar's Opera (Die Bettleroper; John Gay), ballad opera 3 Akte (28. Jan. 1728 London, Royal Theatre in Lincoln's Inn Fields) DETAILS Erst-/Wiederaufführungen
  Erstaufführungen Dublin sowie wenigstens zehn britische Städte noch 1728; New York 1750 und bis 1800 häufig in Nordamerika; 1777 erstmals London, Covent Garden (abgeänderte Fassung)
  Wiederaufnahmen London 1920 (Fassung von F. Austin) mit 1463 Aufführungen; in den folgenden Jahren mehrfach WA; deutsche Fassung (Übersetzung E. E. Buschmann) als Die Straßenräuber veröffentlicht 1770; neue deutsche Fassung von K. Heiffert Köln 1930, Aachen 1931. Neufassung (Bearbeitung und Instrumentation) von Britten Cambridge 1948, die auch auf dem Festland seither häufig gegeben wird, hiervon eine Text-Adaption (nach Gay) von M. Vogler und H. Seeger, Berlin, Komische Oper 1964; modernisierende Bearbeitung von H. M. Enzensberger Stuttgart 1971) (siehe B. Brecht/Weill Die Dreigroschenoper)
  
  Im ersten erhaltenen Druck der Partitur von 1728, der der Uraufführung wahrscheinlich nicht zugrunde gelegen hat, sind den Personen keine bestimmten Stimmlagen zugewiesen
  Personen
  Der Bettler - Sprechrolle
  Mr. Peachum, Chef einer Gaunerbande - Bass
  Mrs. Paechum - Mezzosopran
  Polly, ihre Tochter - Sopran
  Captain Macheath, ein Gauner - Tenor
  Filch, Taschendieb, in Peachums Diensten - Tenor
  Lockit, ein Gefängniswärter - Bariton
  Lucy, seine Tochter - Sopran
  Mrs. Diana Trapes, Bordellbesitzerin - Mezzosopran
  Mrs. Vixen, Suky Tawdry, Mrs. Coaxer, Dolly Trull, Mrs. Slammekin, Molly Brazen, Jenny Diver, Betty Doxy, Dirnen - Sopran, Mezzosopran, Alt
  Harry Paddington, Ben Budge, Wat Dreary, Mat of the Mint, Jemmy Twitcher, Nimmling Ned - Tenor, Bariton, Bass
  Verbrecher; Dirnen, Polizisten; Volk
  Ort und Zeit
  London, 1728
  Orchester
  Flöte, Oboe, Klarinette, Fagott, Streicher, Basso continuo
  Gliederung
  Nummernoper mit 69 Musiknummern, mit gesprochenen Dialogen
  Dauer
  ca. 1 1/2 Stunden;
  Verlag
  Boosey & Hawkes, Neuilly-sur-Seine
  Bild-/Tondokumente
  ???? Richard Austin; Argo Chamber Ensemble
  Captain Macheath: Dennis Noble
  Filch: William McAlpine
  Lucy: Martha Lipton
  Mrs. Peachum: Marjorie Westbury
  Polly Peachum: Carmen Prietto
  Argo DPA 591-2 (2 LP) (96'54)
  
  1920 Frederic Austin; Orchester & Orchester des Lyric Theatre Hammersmith London
  Captain Macheath: Frederick Ranalow
  Diana: Nellie Walker
  Jenny: Nonny Lock
  Lockit: Arthur Wynn
  Lucy: Violet Marquesita
  Mat-of-the-Mints: Alfred Heather
  Mrs. Peachum: Nellie Walker
  Polly Peachum: Sylvia Nelis
  Argo DPA 591-2 (2 LP) / Pearl GEMM 9917 (1 CD)
  
  1940 Michael Mudie; Glyndebourne Festival Orchestra
  Captain Macheath: Michael Redgrave
  Lockit: Joseph Farrington
  Mrs. Peachum: Constance Willis
  Polly Peachum: Audrey Mildmay
  Pearl CD: GEMM CD 9917
  
  1955 Malcolm Sargent; Pro Arte Chorus & Orchestra
  Beggar: Laurence Hardy
  Captain Macheath: John Cameron
  Drawer: Morris Aubrey
  Filch: Alexander Young
  Heighwayman: Ronald Fraser
  Jenny: Anna Pollak
  Lockit: Ian Wallace
  Lucy: Monica Sinclair
  Mat-of-the-Mints: Robert Hardy
  Mrs. Peachum: Constance Shacklock
  Polly Peachum: Elsie Morison
  Schaupieler: Morris Aubrey
  Solo: Eleanore Bryan, Lorette Davett, Anne Robson
  Zapfer: Laurence Hardy
  Seraphim SIB-6023 (2 LP); HMV CLP 1052-3 (2 LP) / EMI CFPSD 4778 (2 CD) (87'10)
  
  1962 Max Goberman; Instrumentalensemble
  Lucy: Doreen Murray
  Maceath: William McAlpine
  Mr. Peachum: Ronald Lewis
  Mrs. Peachum: Jean Allister
  Polly: Mary Thomas
  Everest SDBR 3127 (Originalfassung)
  
  1968 Neil Rhoden; London Cast
  Captain Macheath: Peter Gilmore
  Filch: Peter Kenton
  Lockit: John Carter
  Lucy: Frances Cuka
  Mrs. Peachum: Hy Hazell
  Polly Peachum: Jan Waters
  Sony SMK66171 (1 CD)
  
  1978 Denis Stevens; Chor & Orchester der Accademia Monteverdiana
  Captain Macheath: Nigel Rogers
  Filch: Vernon Midgley
  Jenny: Patricia Clark
  Lockit: John Noble
  Lucy: Shirley Minty
  Mat-of-the-Mints: Peter Hall
  Mrs. Peachum: Margaret Cable
  Mrs. Trapes: Elizabeth Lane
  Polly Peachum: Angela Jenkins
  Sprecher: Hans Dieter Hüsch
  Schwann VMS 4520 (LP) / Schwann 314 056 K2 (2CD) (144'37)
  
  1981 Richard Bonynge; National Philharmonic Orchestra, London Opera Chorus
  Beggar: Warren Mitchell
  Captain Macheath: James Morris
  Dolly: Anne Wilkens
  Filch: Anthony Rolfe-Johnson
  Jenny: Ann Murray
  Lockit: Stafford Dean
  Lucy: Joan Sutherland
  Mat-of-the-Mints: Graham Clarke
  Mr. Peachum: Alfred Marks
  Mrs. Peachum: Angela Lansbury
  Mrs. Trapes: Regina Resnik
  Polly Peachum: Kiri Te Kanawa
  Schaupieler: Michael Hordern
  Twitcher: John Gibbs
  Wärter: Alfred Marks
  Zapfer: Warren Mitchell
  DECCA D252D 2 (LP) / DECCA 430 066 2 (2 CD) (125'14)
  
  1983 John Eliot Gardiner; English Baroque Soloists
  Inszenierung: Jonathan Miller
  Choreographie: Sally Gilpin
  Beggar: Bob Hoskins
  Ben Budge: Gawn Grainger
  Betty: Iris Saunders
  Captain Macheath: Roger Daltrey
  Crook Fingered: Don Estella
  Dolly: Elayne Sharling
  Drawer: Derek Deadman
  Filch: Gary Tibbs
  Harry: Peter Spraggon
  Jailer: John Benfield
  Jemmy Twitcher: Ken Stott
  Jenny: Isla Blair
  Lockit: Peter Bayliss
  Lucy: Rosemary Ashe
  Mat-of-the-Mints: Anthony Pedley
  Molly: Jacqueline Davis
  Mrs. Coaxer: Jeannie Crowthe
  Mrs. Peachum: Patricia Routledge
  Mrs. Slammekin: Lucie Skeaping
  Mrs. Trapes: Gaye Brown
  Mrs. Vixen: Kay Stonham
  Nimming Ned: Leslie Sarony
  Player: Graham Crowden
  Polly Peachum: Carol Hall
  Robin: Tim Brown
  Suky Tawdry: Paddy Navin
  Walt Dreary: Richard Stuart
  Arthaus 102 001 (1 DVD) (136'18)
  
  1988 Winfried Radeke; Instrumentalensemble
  Regina Anhamm, Margrit Dürr, Maren Enwer, Jule Greiner-Angermann, Uschi Hesse, Martin Kimmich, Marion Lienhardt, Günter Rüdiger, Rolf-Dietrich Schulz
  Funky Records 33107-8 (2 LP)
  
  1991 Jeremy Barlow; The Broadside Band
  Beggar: Bob Hoskins
  Ben Budge: Karl Morgan
  Captain Macheath: Adrian Thompson
  Diana: Sarah Walker
  Diener: Ian Honeyman
  Dolly: Lucy Hayward
  Harry: Roy Rashbrook
  Jack: Timothy Taylor
  Jailer: Timothy Taylor
  Jemmy Twitcher: Alastair Baker
  Jenny: Catherine Wyn-Rogers
  Lockit: Richard Jackson
  Lucy: Anne Dawson
  Mat-of-the-Mints: Roger Bryson
  Molly: Polly Kirwan
  Mrs. Coaxer: Caroline Harrison
  Mrs. Peachum: Sarah Walker
  Mrs. Slammekin: Helen Lothian
  Mrs. Vixen: Claire Rutter
  Nimming Ned: Christopher Leemings
  Player: Ian Caddy
  Polly Peachum: Bronwen Mills
  Robin: Robert Torday
  Suky Tawdry: Jenevora Williams
  Walt Dreary: René Linnenbank
  Hyperion CDA 99591-2 (2 CD)
  
  1992 Stuart Bedford; Instrumentalensemble
  Beggar: Declan Mulholland
  Captain Macheath: Philip Langridge
  Filch: Christopher Gillett
  Lockit: John Rawnsley
  Lucy: Yvonne Kenny
  Mrs. Peachum: Anne Collins
  Mrs. Trapes: Nuala Wilis
  Polly Peachum: Ann Murray
  Argo 436 850 2 (2 CD) (108'20)
• The Wedding (Essex Hawker), ballad opera (6. Mai 1729 London)
• Polly (John Gay), ballad opera (19. Juni 1777 London, Covent Garden Theatre), siehe Samuel Arnold DETAILS Personen
  Ducat
  Morano
  Vanderbluff
  Capstern
  Hacker
  Culverin
  Laguerre
  Cutlace
  Pohetohee
  Cawwawkee
  Servants. Indians. Pyrates. Guards, etc.
  Polly
  Mrs. Ducat
  Trapes
  Jenny Diver
  Flimzy
  Damaris
  Ort und Zeit
  In the West-Indies
  Preface
  After Mr. Rich and I were agreed upon terms and conditions for bringing this Piece on the stage, and that every thing was ready for a Rehearsal; The Lord Chamberlain sent an order from the country to prohibit Mr. Rich to suffer any Play to be rehears'd upon his stage till it had been first of all supervis'd by his Grace. As soon as Mr. Rich came from his Grace's secretary (who had sent for him to receive the before- mentioned order) he came to my lodgings and acquainted me with the orders he had received.
  Upon the Lord Chamberlain's coming to town, I was confined by sickness, but in four or five days I went abroad on purpose to wait upon his Grace with a faithful and genuine copy of this Piece, excepting the erratas of the transcriber.
  It was transcribed in great haste by Mr. Stede the Prompter of the Playhouse, that it might be ready against his Grace's return from the country: As my illness at that time would not allow me to read it over, I since find in it many small faults, and here and there a line or two omitted. But lest it should be said I had made any one alteration from the copy I deliver'd to the Lord Chamberlain: I have caused every error in the said copy to be printed (litteral faults excepted) and have taken notice of every omission. I have also pointed out every amendment I have made upon the revisal of my own copy for the Press, that the reader may at one view see what alterations and amendments have been made.
  Errors as they stood in the copy delivered to the Lord Chamberlain (occasion'd by the haste of the transcriber) corrected in this edition; by which will appear the most minute difference between that and my own copy.
  P for page. l for line. sc. for scene. what was added mark'd thus *. What was left out, thus ?.
  The names of all the tunes ?. The scenes not divided and number'd. The marginal directions for the Actors were often omitted.
  Act 1. p. 2. l. 16. ever ?. l. 18. after more, too *. p. 4. l. 1. before part not *. 1. 11. take ?. sc. 2. l. 12. to ?. Air. 5. l. 10. thus instead of they. p. 9. l. 20. wherewith for wherewithal. l. 19. my ?. l. 26. will ?. p. 10. l. 1. you for it. p. 11. l. 20. no ?. Air 10. l. 5. with a twinkum twankum ?. p. 14. l. 18. complaisance for compliance. sc. 9. l. 1. part from. p. 18. l. 9. surely for sure. l. 13. And ?. sc. 14. l. 20. insult me thus. p. 24. l. 18. her ?. l. 21. young and handsome. Act 2. Air 25. l. 8. charms for arms. p. 29. the speech between Air 25 and Air 26. ?. Air 27. l. 2. why for who. Air 29. with a mirleton, etc. ?. sc. 7. l. 2. a bawdyhouse bully, p. 42. l. 26 is ?. Air 42. l. 6. is for are. p. 44. l. 7. none for no more. Act 3. p. 52. l. 18. are all at stake. p. 53. l. 9. ever ?. p. 54. l. 9. found ?. Air 51. Thus to battle we will go ?. Air 52. with a fa, la, la, ?. sc. 8. l. 4. prey for pay. p. 63 l. 26. no notions. p. 65. l. 28. or redress 'em ?. Air 71. the repetition of the Chorus ?.
  Emendations of my own copy on revising it for the Press.
  * Is the mark for any thing added.
  ? The mark for what is left out.
  ? The mark of what stood in the original Copy.
  Act 1. p. 2. l. 36. pictures *. sc. 4. l. 2. thousand * p. 18. l. 28. But unhappy love, the more virtuous that is ?. Air 21. l. 13. my steps direct, my truth protect a faithful, etc. ?. Act 2. Air 23. l. 3. sick imagination ?. l. 4. then alone I forget to weep ?. l. 7. for whole years ?. l. 11. 'Tis a dream ?. l. 12. 'Tis our utmost ?. Air 27. l. 9. you ne'er were drawn to cringe and fawn among the spawn who etc. ?. Air 28. l. 2. for *. l. 4. alike for both. p. 40. l. 12. all women expect ?. Air 39. l. 3. thus colts let loose, by want of use grow ?. Air 40. unextinguish'd ray ?. Recitative. Away for Hence. ?. p. 46. l. 1. pardons for persons ?. Air 45. l. 1. when as ambition's ?. l. 2. mighty *. l. 4. fraud and *. Air. 48. l. 2. Thus *. l. 3. what expence and what care ?. l. 7. sage politicians ?. Act. 3. sc. 1, 2, 3, 4, 5, 6. are transpos'd with no alteration of the words, but instead of On then; hope and conquer, is put p. 55. l. 2. let us then to our posts. p. 57. l. 12. after enterprize, let us now to cur posts ?. Air 58. l. 4. cheers my breast. ?. Air 62. l. 7. by turns we take ?. Air 63. l. 7. Tis jealous rage ?. Air 64. l. 3. is of the noxious ?. folded arms hide its charms, all the night free from blight, etc. ?. Polly's speech before Air 64 was plac'd after it, but without any alteration ?. Air 69. l. 7. sure to virtue ?.
  
  Excepting these errors and emendations, this Edition is a true and faithful Copy as I my-self in my own hand writing delivered it to Mr. Rich, and afterwards to the Lord Chamberlain, for the truth of which I appeal to his Grace.
  As I have heard several suggestions and false insinuations concerning the copy: I take this occasion in the most solemn manner to affirm, that the very copy I delivered to Mr. Rich was written in my own hand some months before at the Bath from my own first foul blotted papers; from this, that for the Playhouse was transcribed, from whence the above-mention'd Mr. Stede copied that which I delivered to the Lord Chamberlain, and excepting my own foul blotted papers; I do protest I know of no other copy whatsoever, than those I have mention'd.
  The Copy I gave into the hands of Mr. Rich had been seen before by several Persons of the greatest distinction and veracity, who will be ready to do me the honour and justice to attest it; so that not only by them, but by Mr. Rich and Mr. Stede, I can (against all insinuation or positive affirmation) prove in the most clear and undeniable manner, if occasion required, what I have here upon my own honour and credit asserted. The Introduction indeed was not shown to the Lord Chamberlain, which, as I had not then quite settled, was never transcribed in the Playhouse copy.
  'Twas on Saturday morning December 7th, 1728. that I waited upon the Lord Chamberlain; I desir'd to have the honour of reading the Opera to his Grace, but he order'd me to leave it with him, which I did upon expectation of having it return'd on the Monday following, but I had it not 'till Thursday December 12, when I receiv'd it from his Grace with this answer; that it was not allow'd to be acted, but commanded to be supprest. This was told me in general without any reasons assign'd, or any charge against me of my having given any particular offence.
  Since this prohibition I have been told that I am accused, in general terms, of having written many disaffected libels and seditious pamphlets. As it hath ever been my utmost ambition (if that word may be us'd upon this occasion) to lead a quiet and inoffensive life, I thought my innocence in this particular would never have requir'd a justification; and as this kind of writing is, what I have ever detested and never practic'd, I am persuaded so groundless a calumny can never be believ'd but by those who do not know me. But when general aspersions of this sort have been cast upon me, I think my-self call'd upon to declare my principles; and I do with the strictest truth affirm, that I am as loyal a subject and as firmly attach'd to the present happy establishment as any of those who have the greatest places or pensions. I have been inform'd too, that in the following Play, I have been charg'd with writing immoralities; that it is fill'd with slander and calumny against particular great persons, and that Majesty it-self is endeavour'd to be brought into ridicule and contempt.
  As I knew that every one of these charges was in every point absolutely false and without the least grounds, at first I was not at all affected by them; but when I found they were still insisted upon, and that particular passages which were not in the Play were quoted and propagated to support what had been suggested, I could no longer bear to lye under these false accusations; so by printing it, I have submitted end given up all present views of profit which might accrue from the stage, which undoubtedly will be some satisfaction to the worthy gentlemen who have treated me with so much candour and humanity, and represented me in such favourable colours.
  But as I am conscious to my-self that my only intention was to lash in general the reigning and fashionable vices, and to recommend and set virtue in as amiable a light as I could; to justify and vindicate my own character, I thought my-self obliged to print the Opera without delay in the manner I have done.
  As the Play was principally design'd for representation, I hope when it is read it will be considered in that light: And when all that hath been said against it shall appear to be intirely misunderstood or misrepresented; if, some time hence, it should be permitted to appear on the stage, I think it necessary to acquaint the publick, that as far as a contract of this kind can be binding; I am engag'd to Mr. Rich to have it represented upon his Theatre.
  March 25. 1729.

Libretti

• Polly: An Opera (englisch)
• The Beggar's Opera (englisch)