Thomas Adès: The Tempest

Thomas Adès: The Tempest

Thomas Adès: The Tempest
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Composer: Thomas Ades
Orchestra: Royal Opera House Orchestra & Chorus
Performer: Kate Royal
Performer: Ian Bostridge
Performer: Simon Keenlyside
Performer: Toby Spence
Performer: Philip Langride
Edition: Music CD
Audio: English (Unknown); English (Original Language)
CD Release Date: 2009-06-30
Music Label: EMI Classics
Soundtracks:
Music CD 1
  1. Scene I Hell is empty- The Tempest, Act 1
  2. Oh father- The Tempest, Act 1, Scene II
  3. Miranda - you are my care- The Tempest, Act 1, Scene II
  4. What you hvae told me- The Tempest, Act 1, Scene II
  5. Scene III Fear. Fear to the sinner- The Tempest, Act 1
  6. Scene IV Sorcerer die- The Tempest, Act 1
  7. Sir? Have you recovered them?- The Tempest, Act 1, Scene V
  8. Five Fathoms deep- The Tempest, Act 1, Scene V
  9. Scene VI As I sat weeping- The Tempest, Act 1
  10. Alive, awake- The Tempest, Act 2, Scene I
  11. I had the notion I flew- The Tempest, Act 2, Scene I
  12. A monster!- The Tempest, Act 2, Scene II
  13. Friends don't fear...- The Tempest, Act 2, Scene II
  14. We'll find the prince- The Tempest, Act 2, Scene II
  15. Scene III They won't find him- The Tempest, Act 2
  16. Scene IV What was before- The Tempest, Act 2
Music CD 2
  1. (Orchestral)- The Tempest, Act 3, Scene I
  2. This way- The Tempest, Act 3, Scene I
  3. Spirit must I right- The Tempest, Act 3, Scene II
  4. Fool. You've tired us out- The Tempest, Act 3, Scene II
  5. Murder!- The Tempest, Act 3, Scene II
  6. Help us!- The Tempest, Act 3, Scene II
  7. Father- The Tempest, Act 3, Scene III
  8. Murder this man- The Tempest, Act 3, Scene III
  9. Quietness- The Tempest, Act 3, Scene IV
  10. How good they are- The Tempest, Act 3, Scene IV
  11. How these things- The Tempest, Act 3, Scene IV
  12. Scene V Who was here- The Tempest, Act 3

Free Music Notes for Thomas Adès: The Tempest

Free Music Review: Too happy an ending for a perfect tale of vengeance
Hit: 5 Stars

At once the situation is described as Hell and the characters as devils. This diabolization of the situation is original to this opera. Prospero and Miranda brings up the vengeance based on the rivalry and even strife between two brothers, Prospero and Anthony. The music is both dramatic and violent though Prospero gets to a calm and soothing tone at the end to pacify Miranda, but when Ariel brings some erratic and very sharp, unstable, chaotic and shrill vocal effects. Caliban next is another story. Caliban tries to save Prospero and his voice is fuller and deeper than Ariel's, his vocal effects more balanced, nearly pacifying in the fear or awe they express and Prospero has to be forbidding and condescending to send Caliban away, as if he were shaming him in his desire to save him and Prospero calls Ariel again. Prospero wants to have Ferdinand brought to Him by Ariel who resists this idea and then nearly mourns about what he is going to do in a newly acquired vocal depth, in slower, longer notes, less shrill too. Ferdinand appears then, a survivor from the shipwreck and he sounds rather disoriented. And he discovers and meets Miranda who herself discovers what a man looks like and she is moved in her sexual emotions, just as much as Ferdinand is about Miranda. Prospero then comes in and expresses his desire to get avenged but Ferdinand expresses his desire for Miranda who is trying to pacify her father. The strife is expressed by the singing one on top and over the others in this section. Prospero calls for Ariel who is confused and divided between Prospero and Miranda, as well as Ferdinand he had saved after all. The second act takes us to the survived court on the island after the shipwreck. They believe Ferdinand is dead and they show their divided beliefs and loyalties. A real eruption of hatred and fear and greed. That's when Caliban comes in and he tries to plead with them into some kind of peace but they mock him and try to make him like a foolish monster. When Ariel arrives the court literally explodes into some kind of totally disorganized behaviour. And then Caliban pacifies them with a sound and calm long aria with a prediction of a wealthy and comfortable future. Caliban tries to get some kind of alliance with the surviving court against Prospero who stole his land and his kingdom. He describes Prospero has some kind of dangerous magician, if not a sorcerer. But Sebastian rejects him as a liar and a drunk monster and Gonzalo and the Court promise to go and find Ferdinand though the King of Naples does not believe Ferdinand is still alive. Ariel is leading the King of Naples and Gonzalo in their looking for Ferdinand. Caliban stays behind with those who do not believe Ferdinand is still alive. Prospero in an aside curses them into getting insane. But Caliban suggests Stefano gets Prospero's daughter, marries her and helps him Caliban recapture his kingdom. They don't believe him. We then shift to Ferdinand enslaved and tied down by Prospero. Miranda wants to help but she wants to know if Ferdinand loves her. Ferdinand declares his love. She tells him her name and the loving bondage is tied up. The duet there is magic in many ways with a light nearly bucolic music that evokes peace and satisfaction, happiness and stability. And Prospero concludes that second act with his defeat because he cannot fight against his own daughter, when moved by love and love is stronger than his own force moved by hatred and vengeance. The third act starts with the drunk Caliban, Stefano and Trinculo. Stefano is already celebrating his taking Miranda, nearly by force, and becoming the next king by killing Miranda's father. During that time Ariel is reporting the state of the rest of the court, weak and lost, wasted by Ariel who made them err around. Sebastian and Antonio are plotting together to seize the crown from Gonzalo appointed by the old king. That's when Prospero and Ariel provide them with some banquet. Gonzalo describes the world he wants to build, peaceful and satiated in all its needs and yet no trade and no engines. The plotters make fun of this idealistic vision. Ariel comes to haunt and accuse them with their primal crime: banning Prospero and causing what they think was his death. Their old guilt immediately comes back to the surface. It is Prospero's triumph. Prospero has had his vengeance and he is going to get his kingdom again, says Ariel who disappears, with the promise to destroy the whole world. That's when Caliban arrives and demands Prospero's daughter. Prospero refuses and Miranda too. Prospero appears to the court and reveals himself. The King of Naples begs for forgiveness now his son is dead. But Ferdinand appears and tells his father he is married to Prospero's daughter Miranda. The duet then is absolutely celestial and heavenly. A perfect union in which the King, Prospero and Gonzalo join. Prospero provides a new ship with a little of magic. It all ends with some Italian unity between Milan and Naples. Prospero has to forgive and accept to go back to Milan. He breaks his magic stave and Ariel leaves him. And Caliban recuperates his kingdom while Ariel stays here too, in the wings. Thomas Adès has slightly simplified Shakespeare's play and has more or less made it in a way a distant relation to Faustus, some kind of alternative ending to Marlowe's version and Goethe's Second Faust with a moment of grace when everything goes back to normal in real life and not in some fantasized world. The music is there to accompany the tale, quite often a background accompaniment that stands in contrast with the voices.

Dr Jacques COULARDEAU, University Paris 1 Pantheon Sorbonne, University Paris 8 Saint Denis, University Paris 12 Créteil, CEGID
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