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Polly is a ballad opera with text by John Gay and music by Johann Christoph Pepusch. It is a sequel to Gay's The Beggar's Opera. Due to censorship, the opera was not performed in Gay's lifetime. It had its world premiere on 19 June 1777 at the Haymarket Theatre in London.
The Beggar's Opera [1] is a ballad opera in three acts written in 1728 by John Gay with music arranged by Johann Christoph Pepusch.It is one of the watershed plays in Augustan drama and is the only example of the once thriving genre of satirical ballad opera to remain popular today.
Lavinia Fenton as Polly Peachum in John Gay's Beggar's Opera (Charles Jervas). Lavinia Powlett, Duchess of Bolton (1708 – 24 January 1760), known by her stagename as Lavinia Fenton, was an English actress who was the mistress and later the wife of the 3rd Duke of Bolton.
Part of the success of The Beggar's Opera may have been due to the acting of Lavinia Fenton, afterwards Duchess of Bolton, in the part of Polly Peachum. The airs of the Beggar's Opera in part allude to well-known popular ballads, and Gay's lyrics sometimes play with their wording in order to amuse and entertain the audience. [17]
Captain Macheath is a fictional character who appears both in John Gay's The Beggar's Opera (1728), its sequel Polly (1777), and 150 years later in Bertolt Brecht's The Threepenny Opera (1928). [1] Thomas Walker who created the role of Macheath in The Beggar's Opera, in character in a 1728 engraving
In The Beggar's Opera the song is a duet between the antihero Macheath and his lover Polly. It is a romantic dream of escape, with no military references. [4] MACHEATH: Were I laid on Greenland's Coast, And in my Arms embrac'd my Lass; Warm amidst eternal Frost, Too soon the Half Year's Night would pass. POLLY: Were I sold on Indian Soil,
A Miss Stephens, possibly an elder sister, made, as Polly in the 'Beggar's Opera,' a successful first appearance on the stage on 29 November 1799, and played in 1800 and 1801 Sophia in 'Of Age To-morrow,' Violetta in the 'Egyptian Festival,' Blanche in Mrs. Plowden's 'Virginia,' Rosetta in 'Love in a Village,' and other parts.
His published output (apart from The Beggar's Opera, Polly and Perviligium Veneris) consists mainly of song settings for solo voice or chorus, while most of his major orchestral and other works remain in manuscript (see the 'MS' column). Most of Austin's works can be accurately dated, though some (mostly lacking an extant MS) are undated: see ...