The work's greatest delight is its music ...reconstructed
in a convincing period style by Jonathan Dobin"
-The New York Times
After sending shockwaves of outrage and laughter throughout all strata of London society nearly 286 years ago, John Gay's The Beggar's Opera still manages to turn our views of politics, criminal life and love topsy turvy. Gay's masterpiece lampooned every important political figure, underworld personality and opera convention of the time – all the while illuminating the true nature of human need and desire.
Gay used the melodies of 69 well-known fiddle tunes, ballad airs and opera melodies to serve his hilariously pointed and irreverent texts. The renowned composer, John Christopher Pepusch, composed an Overture and arranged all the tunes shortly before the opening night at Lincoln's Inn Fields on January 29, 1728. However, all that remains of Pepusch's score are the Overture (with complete instrumentation) and the melodies of the songs with unfigured basses. Clearly, an edition that fleshed out the skeletal score and recaptured the colorful, revolutionary spirit of the play (which previous editions have failed to do) was essential.
Jonathan Dobin's new performing edition of The Beggar's Opera was premiered by the TenTen Players in New York in May of 1990. His orchestration is faithful to the original - Pepusch's, as suggested by the Ouverture, utilizing oboes, violins I and II, viola, cello and double bass. Additionally, he has judiciously and idiomatically added flute/piccolo, bassoon, harpsichord, guitar and harp. He has created ritornellos suited to the affect of each piece -- as well as sprightly dances and rousing choruses as required by dramatic circumstance. He has also unified the tessituras of the principle characters to allow for more effective casting. His score can be realized with modern or period instruments and is accessible to professional opera and theater ensembles, university theater departments and amateur groups as well, being of moderate difficulty. Thanks to Jonathan Dobin's new performing edition, your production of The Beggar's Opera will resound with a sense of ebullient theatricality.
"Your arrangement of The Beggar's Opera helped put our theater company on the map." - Thomas Pederson, Musical Director of TenTen Players
(First production of Jonathan Dobin's The Beggar's Opera.)
"Yours is the best available score I've seen."
- Richard Conrad, Artistic Director Boston Academy of Music
"Your score deserves to be heard, and often. It possesses many stylistic nuances and theatrical insights that the other editions do not - and is superior to the older (Gobermann) edition in almost every detail."
- Thomas Petite, Artistic Director, Comic Opera Guild, Ann Arbor
"Our production was a grand success, due in large part to the
excellence of your score."
- Bliss Carnochan - Professor of Humanities Emeritus, Stanford University, CA
"Your work has helped us so much in building up this production, I’m very happy and grateful for that!" - Anni Elonen - Music Director, Concert Master
- Helsinki Finland, 2023
"The pre-performance excerpts from The Beggar's Opera put our audiences in the perfect spirit to enjoy the ensuing play."
- Harrow School - London, England
(2004 production of Jonathan Dobin's incidental music to "The Rivals")
Gay used the melodies of 69 well-known fiddle tunes, ballad airs and opera melodies to serve his hilariously pointed and irreverent texts. The renowned composer, John Christopher Pepusch, composed an Overture and arranged all the tunes shortly before the opening night at Lincoln's Inn Fields on January 29, 1728. However, all that remains of Pepusch's score are the Overture (with complete instrumentation) and the melodies of the songs with unfigured basses. Clearly, an edition that fleshed out the skeletal score and recaptured the colorful, revolutionary spirit of the play (which previous editions have failed to do) was essential.
Jonathan Dobin's new performing edition of The Beggar's Opera was premiered by the TenTen Players in New York in May of 1990. His orchestration is faithful to the original - Pepusch's, as suggested by the Ouverture, utilizing oboes, violins I and II, viola, cello and double bass. Additionally, he has judiciously and idiomatically added flute/piccolo, bassoon, harpsichord, guitar and harp. He has created ritornellos suited to the affect of each piece -- as well as sprightly dances and rousing choruses as required by dramatic circumstance. He has also unified the tessituras of the principle characters to allow for more effective casting. His score can be realized with modern or period instruments and is accessible to professional opera and theater ensembles, university theater departments and amateur groups as well, being of moderate difficulty. Thanks to Jonathan Dobin's new performing edition, your production of The Beggar's Opera will resound with a sense of ebullient theatricality.
"Your arrangement of The Beggar's Opera helped put our theater company on the map." - Thomas Pederson, Musical Director of TenTen Players
(First production of Jonathan Dobin's The Beggar's Opera.)
"Yours is the best available score I've seen."
- Richard Conrad, Artistic Director Boston Academy of Music
"Your score deserves to be heard, and often. It possesses many stylistic nuances and theatrical insights that the other editions do not - and is superior to the older (Gobermann) edition in almost every detail."
- Thomas Petite, Artistic Director, Comic Opera Guild, Ann Arbor
"Our production was a grand success, due in large part to the
excellence of your score."
- Bliss Carnochan - Professor of Humanities Emeritus, Stanford University, CA
"Your work has helped us so much in building up this production, I’m very happy and grateful for that!" - Anni Elonen - Music Director, Concert Master
- Helsinki Finland, 2023
"The pre-performance excerpts from The Beggar's Opera put our audiences in the perfect spirit to enjoy the ensuing play."
- Harrow School - London, England
(2004 production of Jonathan Dobin's incidental music to "The Rivals")