Over maybe more pieces of music have been inspired by Shakespeare, and making the selection was very difficult, but we have included only the music we felt we could not possibly leave out, and which shows some of the extraordinary breadth of the Shakespearean genius. His Otello is a great piece of dramatic theatre, much coloured by its times and by its librettist, Arrigo Boito.
Boito had previously written his own opera — Mephistopheles — and he gives Iago the demoniac quality of a Mephistophelean figure. There could be no better way to close our celebration. Facebook Twitter Pinterest.
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The Hand on the Shakespearean Stage
Lorenzo summarizes the importance of music and song in The Merchant of Venice : The man that hath no music in himself, Nor is not moved with concord of sweet sounds, Is fit for treasons, stratagems and spoils; The motions of his spirit are dull as night And his affections dark as Erebus: Let no such man be trusted. Mark the music. Come, thou monarch of the vine, Plumpy Bacchuswith pink eyne! In thy fats our cares be drown'd, With thy grapes our hairs be crown'd: Cup us, till the world go round, Cup us, till the world go round! Antony and Cleopatra , 2. Here shall he see No enemy But winter and rough weather.
As You Like It , 2.
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This life is most jolly. Freeze, freeze, thou bitter sky, Thou dost not bite so nigh As benefits forgot: Though thou the waters warp, Thy sting is not so sharp As friend remember'd not.
Cymbeline , 2. Cymbeline , 4.
By his cockle hat and staff, And his sandal shoon. Hamlet , 4. Then up he rose, and donn'd his clothes, And dupp'd the chamber-door; Let in the maid, that out a maid Never departed more. Young men will do't, if they come to't; By cock, they are to blame. They bore him barefac'd on the bier: Hey non nonny, nonny, hey nonny: And in his grave rain'd many a tear.
O, how the wheel becomes it!
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It is the false steward, that stole his master's daughter. Hamlet, 4.
And will he not come again? No, no, he is dead: Go to thy death-bed: He never will come again. His beard was as white as snow, All flaxen was his poll: He is gone, he is gone, And we cast away moan: God ha' mercy on his soul! In King Lear Edgar feigns madness by singing snatches of folk song. Other types of vocal music that appeared in the plays include serenades, part-songs, rounds, and catches, all used very much in imitation of real life in Renaissance England. Music in Shakespeare's Plays.
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Shakespeare in performance
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