Pepusch, Johann Christoph, John Christopher
* 1666/67 in Berlin
† 20. Juli 1752 in London
Komponist, Instrumentalist und Lehrer

Bühnenwerk

  • 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.
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