A Midsummer Night’s Dream opera a cappella

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Cast and Production A Midsummer Night’s Dream — opera a cappella Original Cast Recording Music by Michael Ching | Libretto by William Shakespeare Conducted by Curtis Tucker | Stephen Carey assistant conductor Additional vocal percussion lines composed by Paul Koziel A Midsummer Night’s Dream Original Production, January 2011 | Playhouse on the Square, Memphis, Tennessee Track Listing Jackie Nichols Executive Producer | Gary John La Rosa Director Amie Eoff Costume Designer | John Horan Lighting Designer | Nick Mozak Scenic Designer Disc 1 Act 1, Scene 3 Act 1, Scene 1 Corresponds to Shakespeare’s Act 2, Scene 2 Corresponds to Shakespeare’s Act 1, Scene 1 13 Come, Now a Roundel (Titania) [1:01] Original Cast (in order of appearance) 1 Prologue (Theseus, Hippolyta, Egeus) [1:46] 14 Fairies’ Song (Fairy/Fairies) [1:53] Jeremiah Johnson Theseus/Oberon Charles Ponder Bottom/Pyramus 2 Full of Vexation (Egeus) [1:45] 15 What Thou Seest When Thou Dost Wake Jennifer Goode Cooper Hippolyta/Titania Thomas “TeKay” King Flute/Thisbe 3 What Say You, Hermia? (Theseus, Lysander) [2:31] (Oberon) [0:56] Kent Fleshman Egeus Abby Walsh Snout/Wall 4 I Have a Widow Aunt (Lysander, Hermia) [3:44] 16 O, Take the Sense, Sweet, of My Innocence John Dooley Lysander James Riddick Snug/Lion 5 Call You Me Fair? (Hermia, Helena, Lysander) [3:46] (Lysander, Hermia) [4:48] Laura Stracko Franks Hermia Tom Watkins Starveling/Moonshine 17 Through the Forest Have I Gone (Puck) [1:12] Emily Bodkin Helena Nicole Hale Mote Act 1, Scene 2 18 Happy is Hermia (Helena, Demetrius) [2:19] Kristin Vienneau A Fairy/Peaseblossom Kip Long Cobweb Corresponds to Shakespeare’s Act 2, Scene 1 19 Do Not Say So (Lysander, Helena) [0:45] Kyle Huey Robin Goodfellow/Puck Ebone Amos Mustardseed 6 Over Hill, Over Dale (Peasblossom) [1:16] 20 Helena I Love (Lysander, Helena, Hermia) [3:33] Robert Legge Demetrius Heather Jenkins A Fairy 7 The King Doth Keep His Revels Here Tonight Toney Walsh III Quince Jay Mednikow Philostrate (Puck, Peaseblossom) [1:35] Act 1, Scene 4 8 Robin Goodfellow (Peaseblossom, Puck) [1:13] Corresponds to Shakespeare’s Act 3, Scene 1 The Voicestra 9 Ill Met by Moonlight (Oberon, Titania) [2:38] 21 A Marvels Convenient Place DeltaCappella 10 Fetch Me That Flower (Oberon, Puck) [1:48] (Quince, Bottom, Snout, Puck) [2;20] 11 I Love Thee Not / You Draw Me 22 The Flowers of Odious Savors Sweet Dan Beard bass Jay Mednikow tenor James Riddick baritone (Oberon, Demetrius, Helena) [3:51] (Bottom, Quince, Flute, Puck) [1:01] Thomas “TeKay” King tenor Sri Naidu tenor Toney Walsh III baritone 12 There Sleeps Titania (Oberon, Puck) [2:10] 23 Most Radiant Pyramus Paul Koziel vocal percussion Chris Nuthak baritone Tom Watkins bass (Flute, Quince, Bottom, Puck) [2:02] Kip Long tenor Charles Ponder tenor Tony Huerta additional vocals 24 The Ouzel Cock (Bottom, Titania) [2:37] Riva 25 Out of this Wood (Titania) [1:13] 26 Be Kind and Courteous (Peaseblossom, Candice Goff alto Amanda McGee alto Katie Walsh soprano Cobweb, Mote, Mustardseed, Titania) [1:25] Heather Jenkins soprano Teneice Stegall alto Tiffany Williams soprano Nura Myers Joplin soprano Abby Walsh alto Total Time CD 1 = 55:08 L TO R: ROBERT LEGGE (DEMETRIUS), EMILY BODKIN (HELENA), JOHN DOOLEY (LYSANDER) Disc 2 Act 2, Scene 3 Act 2, Scene 1 Corresponds to Shakespeare’s Act 5, Scene 1 Corresponds to Shakespeare’s Act 3, Scene 2 20 Lovers and Madmen (Hippolyta, Theseus) [3:10] 1 Fetch Me That Flower (reprise) (Oberon) [0:52] 21 The Prologue is Addressed 2 My Mistress With a Monster is in Love (Theseus, Lysander, Philostrate) [1:09] (Oberon, Puck) [1:53] 22 The Actors are at Hand 3 Out, Dog! Out, Cur! (Quince (as Prologue), Theseus) [1;00] (Oberon, Puck, Hermia, Demetrius) [1:57] 23 The Wall (Snout (as The Wall), 4 Thou Hast Mistaken Quite (Oberon, Puck) [1:16] Theseus, Demetrius) [0:59] 5 Lord, What Fools These Mortals Be 24 O Grim-looked Night (Bottom (as Pyramus), (Puck, Oberon, Lysander, Helena) [2:06] Theseus, Flute (as Thisbe)) [1:32] 6 Goddess, Nymph, Perfect, Divine (Demetrius) [1:03] 25 Kiss Me, Thisbe (Bottom (as Pyramus), 7 O Spite! O Hell! (Helena, Lysander, Demetrius) [2:28] Flute (as Thisbe)) [1:29] 8 Injurious Hermia (Hermia, Lysander, Helena) [2:13] 26 The Wall (reprise) (Snout (as The Wall), 9 Thief of Love (Hermia, Lysander, Helena) [2:24] Theseus, Demetrius, Hippolyta) [0:55] 10 And Though She Be But Little, She is Fierce (Helena, 27 The Lion (Snug (as The Lion), Theseus) [1:22] Hermia, Lysander, Demetrius, Oberon, Puck) [2:56] 28 The Moonshine (Starveling (as Moonshine), 11 Goblin, Lead Them Up and Down Demetrius, Flute (as Thisbe), Lysander) [0:51] (Puck, Lysander, Demetrius) [3:06] 29 Sweet Moon, I Thank Thee 12 O Weary Night (Helena, Puck, Hermia) [2:43] (Bottom (as Pyramus)) [1:22] Is it possible to write an opera without an orchestra? 30 The Death of Pyramus Composer Michael Ching’s “A Midsummer Night’s Dream”…has a “voicestra,” an Act 2, Scene 2 (Bottom (as Pyramus), Hippolyta, Theseus) [1:37] Corresponds to Shakespeare’s Act 4, Scene 1 31 Come, Blade (The Death of Thisbe) ensemble of a cappella singers, instead of instruments in the pit. 13 Come, Sit Thee Down (Titania, Bottom, (Lysander, Flute (as Thisbe)) [2:27] Peaseblossom, Cobweb, Mustardseed, Oberon) [4:47] 32 The Iron Tongue of Midnight (Theseus) [1:09] Mr. Ching’s remarkably inventive opera is a celebration of what voices can do 14 Fairies’ Song (reprise) (Titania, Puck) [0:30] 33 Now the Hungry Lion Roars (Puck) [1:11] and still, with the exception of a few startling vocal percussion effects, sound like 15 Sound, Music! (Wedding Dance) 34 We Will Sing and Bless this Place (Oberon, Titania, Puck) [2:27] (Oberon, Titania) [2:11] voices. The voicestra…supports the singers on the stage, its overlapping lines and 16 Up to the Mountain’s Top (Theseus, Hippolyta) [1:25] 35 If We Shadows Have Offended (Puck) [0:51] 17 This is My Daughter Here 36 Finale (Puck, Company) [1:33] syllables weaving around them, amplifying their characters and conflicts, sometimes (Theseus, Egeus, Lysander, Demetrius) [2:21] echoing their words (or even their thoughts), or supplying atmosphere. 18 My Lord, Fair Helen Told Me of Their Stealth Total Time CD 2 = 64:31 (Demetrius, Theseus) [1:55] The voicestra gives the opera an added human dimension… 19 By the Way Let Us Recount Our Dreams (Demetrius, Hermia, Helena, Lysander, Bottom) [1:23] —Heidi Waleson, The Wall Street Journal, January 25, 2011 Beginnings Of A Dream Considering Britten’s and Mendelssohn’s powerful compositions, adapting Midsummer might be considered a little daunting. Ching’s response: “Respectfully, I chose to ignore their efforts, and Situated on the bluffs overlooking the muddy Mississippi River, Memphis was destined to become instead forged ahead using Gershwin’s Porgy and Bess as my model, with its blend of classical and a fertile musical delta. With a diverse population, traditions like the blues, jazz, and country music popular styles.” flowed together like tributaries, merging to form rock and roll in the 50s and Memphis soul in the 60s To produce the stylistic blend of Ching’s new Midsummer, Opera Memphis joined forces with and 70s. Like the ever-changing course of the mighty river, new styles and sounds evolve there natu- Playhouse on the Square and DeltaCappella. Because DeltaCappella was an all-male vocal band, rally, etching new grooves into a rich sonic landscape. It was in this fertile basin that A Midsummer female singers were auditioned over a year in advance of the stage production in order to form Riva, Night’s Dream — opera a cappella came to fruition. The passion and finesse of classical opera, the an all women’s a cappella group. The long gestation of vocal melding allowed the women to create vernacular phrasing of musical theater, and the organic voicing of contemporary a cappella conjoin the blend that is so critical to contemporary a cappella. Most of the singers who portrayed characters and produce a unique and powerful fusion of traditions. onstage had opera or musical theater backgrounds. In contrast, the “Voicestra” (a term coined by Jean Michael Ching had been writing and producing opera for fifteen years in Memphis when Jay Mednikow Mathews, DeltaCappella’s executive director) and the mechanicals were composed of contemporary a approached him about becoming a coach for DeltaCappella, the contemporary a cappella group he cappella singers more accustomed to a repertoire of popular music. founded in 2007. “Their devotion to detail and their joy of singing was palpable and infectious. There Conductor Curt Tucker admitted “My initial reaction to Michael’s ambitious and frankly, unheard was something jaw-droppingly giddy about the whole enterprise. With no reeds, no mouthpieces, no of mix of voicing for the opera was, ‘Can we really bring all of this together?’” It was a triple-sized chal- strings, no sticks, the variety of sounds they were capable of making was virtually unlimited. By the lenge to take three different vocal orientations and meld them into one unified performance.” Eighteen end of my first rehearsal with them I was hooked and eager to apply this new sonic palette to opera.” performances of A Midsummer Night’s Dream over a four-weekend span in the 300-seat Playhouse on Shortly before working with DeltaCappella, Mr. Ching conducted Marcus Hummon’s Surrender the Square Theatre in Memphis quelled conductor Curt Tucker’s preproduction jittery concerns. Road at Nashville Opera. The production combined a variety of famous Shakespeare texts. Ching “The entire process was fascinating and I loved it from the first moment to the end. I was thrilled decided to try his own adaptation of The Bard, noting “with its potential for three sonic worlds inhab- to be part of a piece that was so clearly groundbreaking. There was a remarkable energy of discovery ited by the Athenians, the fairies, the rude mechanicals, A Midsummer Night’s Dream seemed a perfect and excitement that came directly from the singers as they played off of each other’s voices.” vehicle for exploring a colorful prism of a cappella styles.” The multi-organizational and multi-musical collaboration of Ching’s Midsummer personifies the Memphis ethos. The long, winding river that rolls through Memphis is wide and deep enough to lift and carry the blues, country, gospel, rap, and rock and roll. And now, an a cappella opera. The Composer The Libretto THESEUS Thanks, good Egeus: what’s the news with thee? A Midsummer Night’s Dream Michael Ching is a composer, songwriter, conductor, and former arts administrator. From 1992 through [2] Full Of Vexation opera a cappella 2010, Mr. Ching served as Artistic Director of Opera Memphis, and frequently as General Director, too. EGEUS Music by Michael Ching He has served as guest conductor with a variety of companies including the Hawaii Opera Theater, Full of vexation come I, with complaint Text by William Shakespeare, adapted by the composer Nashville Opera, and Amarillo Opera and is currently the Music Director of Nickel City Opera in greater Against my child, my daughter Hermia— (Musical quotations from other sources are indicated Stand forth, Demetrius. Buffalo, New York. Michael is also the current chair of the Douglas Moore Fund. in the libretto as they appear.) Mr. Ching’s long career as an arts administrator and conductor, combined with his interest in song- This man hath my consent to marry her.— Stand forth, Lysander.—And, my gracious duke, writing, has led him to compose a variety of operas. His total operatic output to date includes eight one-act Act 1, Scene 1 This man hath bewitched the bosom of my child.— (Corresponds to Shakespeare’s Act 1, Scene 1) and three full-length operas. In addition to A Midsummer Night’s Dream — opera a cappella, some of Mr. Ching’s Thou, thou, Lysander, thou hast given her rhymes Athens. The palace of THESEUS better known compositions include Buoso’s Ghost (1996), a sequel to Puccini’s Gianni Schicchi; Corps of And interchanged love-tokens with my child. Enter THESEUS, HIPPOLYTA, and Attendants Discovery (2003), commissioned by the University of Missouri-Columbia to commemorate the bicentennial With cunning hast thou filch’d my daughter’s heart, of the Lewis and Clark Expedition; and Slaying the Dragon (2012). His most recent work is Speed Dating Turned her obedience (which is due to me) [1] Prologue To stubborn harshness.— And, my gracious duke, Tonight! (2013), a one-act comedy commissioned by the Janiec Opera Company of the Brevard Music Center. THESEUS Be it so she will not here before your Grace Mr. Ching attended Duke University where he studied with two opera composers, Iain Hamilton and Now, fair Hippolyta, our nuptial hour Consent to marry with Demetrius, Robert Ward, followed by further work with Carlisle Floyd as a member of the Houston Opera Studio. Draws on apace. Four happy days bring in I beg the ancient privilege of Athens: Another moon. As she is mine, I may dispose of her, HIPPOLYTA The Conductor Which shall be either to this gentleman Four days will quickly steep themselves in night; Or to her death. Curtis Tucker is a frequent conductor of American opera and musical theater. He has led productions Four nights will quickly dream away the time; for Cincinnati Opera, Opera Saratoga, Wichita Grand Opera, Syracuse Opera, Mobile Opera, Sorg Opera, And then the moon, like to a silver bow [3] What Say You, Hermia? the Gilbert and Sullivan Society of San Jose, and Opera Memphis, where he conducted the world pre- New-bent in heaven, shall behold the night THESEUS Of our solemnities. miere of A Midsummer Night’s Dream — opera a cappella. What say you, Hermia? Be advised fair maid. THESEUS During his nine-year tenure as General Director of Opera Saratoga in upstate New York, he produced To you, your father should be as a god, Hippolyta, I woo’d thee with my sword, a series of works by living American composers, including the professional premiere of Ned Rorem’s Our Town One that composed your beauties, yea, and one And won thy love, doing thee injuries, To whom you are but as a form in wax (2006). A composer himself, the Kansas City native has written two operas, The Stranger’s Tale and The Trial But I will wed thee in another key, By him imprinted, and within his power of B.B. Wolf, and his compositions have been performed throughout the United States, receiving grant support With pomp, with triumph and with reveling. To leave the figure or disfigure it. from the National Endowment for the Arts and state arts councils in Massachusetts, California, and Ohio. Enter EGEUS, HERMIA, LYSANDER, and DEMETRIUS Demetrius is a worthy gentleman. Mr. Tucker earned a Bachelor of Music Education degree, magna cum laude with Honors in EGEUS Music, from Central Methodist College, the Master of Music in Conducting degree from the University Happy be Theseus, our renowned duke! of Northern Colorado, and a Juris Doctor degree from Northeastern University School of Law. He earned certificates in Voice from the Chautauqua School of Music and Arts Administration from the Professional Arts Management Institute in New York City. LYSANDER LYSANDER HERMIA HERMIA I am, my lord, as well derived as he, Ay me! For aught that I could ever read, There will I stay, Take comfort: he no more shall see my face. As well possessed. My love is more than his; Could ever hear by tale or history, LYSANDER Lysander and myself will fly this place. My fortunes every way as fairly ranked The course of true love never did run smooth. There will I stay, LYSANDER (If not with vantage) as Demetrius’; Hear me, Hermia: LYSANDER and HERMIA Tomorrow night, when Phoebe doth behold And (which is more than all these boasts can be) I have a widow aunt, a dowager I stay for thee. Her silver visage in the wat’ry glass, I am beloved of beauteous Hermia. Of great revenue, and she hath no child. Enter HELENA Decking with liquid pearl the bladed grass Why should not I then prosecute my right? From Athens is her house remote seven leagues, (A time that lovers’ flights doth still conceal), Demetrius, I’ll avouch it to his head, And she respects me as her only son. [5] Call You Me Fair? Through Athens’ gates have we devised to steal. Made love to Nedar’s daughter, Helena, There, gentle Hermia, may I marry thee; HERMIA HERMIA/LYSANDER And won her soul; and she, sweet lady, dotes, And to that place the sharp Athenian law God speed fair Helena! Whither away? Ah... Devoutly dotes, dotes in idolatry, Cannot pursue us. If thou lovest me, then HELENA HERMIA Upon this spotted and inconstant man. Steal forth thy father’s house tomorrow night, Call you me “fair”? That “fair” again unsay. Farewell, sweet playfellow. THESEUS And in the wood, a league without the town, Demetrius loves your fair. O happy fair! HERMIA/LYSANDER I must confess that I have heard so much, There will I stay for thee. Your eyes are lodestars and your tongue’s sweet air Ah... And with Demetrius thought to have spoke thereof; HERMIA More tunable than lark to shepherd’s ear, HERMIA But, being over-full of self-affairs, My good Lysander! When wheat is green, when hawthorn buds appear. And good luck grant thee thy Demetrius! My mind did lose it.—But, Demetrius, come, I swear to thee, by Cupid’s strongest bow, Sickness is catching: O, were favor so! Exit HERMIA and LYSANDER And come, Egeus; you shall go with me. By his best arrow with the golden head, Yours would I catch, fair Hermia, ere I go. HELENA I have some private schooling for you both.— By the simplicity of Venus’ doves, My ear should catch your voice, my eye your eye; How happy some o’er other some can be! For you, fair Hermia, look you arm yourself By that which knitteth souls and prospers loves, My tongue should catch your tongue’s sweet melody. Through Athens I am thought as fair as she. To fit your fancies to your father’s will, And by that fire which burned the Carthage queen Were the world mine, Demetrius being bated, But what of that? Demetrius thinks not so; Or else the law of Athens yields you up When the false Trojan under sail was seen, The rest I’d give to be to you translated. I will go tell him of fair Hermia’s flight. (Which by no means we may extenuate) By all the vows that ever men have broke, O, teach me how you look and with what art Then to the wood will he tomorrow night To death, or to a vow of single life. (In number more than ever women spoke), You sway the motion of Demetrius’ heart! Pursue her. And for this intelligence Exit all but LYSANDER and HERMIA In that same place thou hast appointed me, HERMIA If I have thanks, it is a dear expense. Tomorrow truly will I meet with thee. I frown upon him, yet he loves me still. But herein mean I to enrich my pain, [4] I Have a Widow Aunt LYSANDER and HERMIA HELENA To have his sight thither and back again. LYSANDER So/I’ll steal forth thy/my father’s house tomorrow night. O, that your frowns would teach my smiles such skill! Exit How now, my love! Why is your cheek so pale? And in the wood, a league without the town, HERMIA How chance the roses there do fade so fast? HERMIA I give him curses, yet he gives me love. HERMIA There will I stay, HELENA Belike for want of rain, which I could well LYSANDER O, that my prayers could such affection move! Beteem them from the tempest of my eyes. There will I stay, Act 1, Scene 2 A lovely boy stolen from an Indian king; A FAIRY TITANIA (Corresponds to Shakespeare’s Act 2, Scene 1) She never had so sweet a changeling. And here my mistress. Would that he were gone! Not for thy fairy kingdom. Fairies, away. A wood near Athens And jealous Oberon would have the child Enter, from one side, OBERON, with his train; from the We shall chide downright if I longer stay. Enter, from opposite sides, a Fairy, and PUCK Knight of his train, to trace the forests wild. other, TITANIA, with hers Exit TITANIA with her train But she perforce withholds the loved boy, OBERON [6] Over Hill, Over Dale Crowns him with flowers, and makes him all her joy. [9] Ill Met by Moonlight Well, go thy way. Thou shalt not from this grove A FAIRY And now they never meet in grove or green, OBERON Till I torment thee for this injury.— Dum dah dah, dum dah dah, dut dah, dut dah By fountain clear, or spangled starlight sheen, Ill met by moonlight, proud Titania. Dum dah dah, dum dah dah, dut dah, dut dah But they do square, that all their elves for fear TITANIA [10] Fetch Me That Flower PUCK Creep into acorn cups and hide them there. What, jealous Oberon? Fairies, skip hence. My gentle Puck, come hither. How now, spirit! Whither wander you? I have forsworn his bed and company. Fetch me that flower; the herb I showed thee once. A FAIRY [8] Robin Goodfellow OBERON The juice of it on sleeping eye-lids laid Over hill, over dale, A FAIRY Tarry, rash wanton. Am not I thy lord? Will make or man or woman madly dote Thorough bush, thorough brier, Either I mistake your shape and making quite, Why should Titania cross her Oberon? Upon the next live creature that it sees. Over park, over pale, Or else you are that shrewd and knavish sprite I do but beg a little changeling boy Fetch me this herb, and be thou here again Thorough flood, thorough fire, Called Robin Goodfellow. To be my henchman. Ere the leviathan can swim a league. I do wander everywhere, PUCK TITANIA PUCK Swifter than the moon’s sphere. Thou speakest aright; Set your heart at rest: I’ll put a girdle round about the earth And I serve the Fairy Queen, I am that merry wanderer of the night. The Fairyland buys not the child of me. In forty minutes. To dew her orbs upon the green. I jest to Oberon and make him smile His mother was a vot’ress of my order, Exit The cowslips tall her pensioners be; When I a fat and bean-fed horse beguile, And in the spiced Indian air, by night OBERON In their gold coats spots you see; Neighing in likeness of a filly foal. Full often hath she gossiped by my side Having once this juice, Those be rubies, fairy favors, And sometime lurk I in a gossip’s bowl And sat with me on Neptune’s yellow sands, I’ll watch Titania when she is asleep, In those freckles live their savors. In very likeness of a roasted crab, But she, being mortal, of that boy did die; And drop the liquor of it in her eyes. I must go seek some dewdrops here And when she drinks, against her lips I bob And for her sake I will not part with him. The next thing then she, waking, looks upon, And hang a pearl in every cowslip’s ear. And on her withered dewlap pour the ale. OBERON [Beautiful Dreamer, Foster] Farewell, thou lob of spirits. I’ll be gone. The wisest aunt, telling the saddest tale, How long within this wood intend you stay? (Be it on lion, bear, or wolf, or bull, Our queen and all our elves come here anon. Sometime for three-foot stool mistaketh me; TITANIA On meddling monkey, or on busy ape,) Then slip I from her bum, down topples she, Perchance till after Theseus’ wedding day. [William Tell Overture, Rossini] [7] The King Doth Keep His Revels Here Tonight And ‘Tailor!’ cries, and falls into a cough, If you will patiently dance in our round She shall pursue it with the soul of love. PUCK And then the whole choir hold their hips and loffe, And see our moonlight revels, go with us. And ere I take this charm from off her sight, The King doth keep his revels here tonight. And waxen in their mirth and neeze and swear If not, shun me, and I will spare your haunts. (As I can take it with another herb,) Take heed the Queen come not within his sight, A merrier hour was never wasted there. OBERON I’ll make her render up her page to me. For Oberon is passing fell and wrath, But, room, fairy. Here comes Oberon. Give me that boy, and I will go with thee. Because that she, as her attendant, hath [11] I Love Thee Not / You Draw Me DEMETRIUS OBERON [14] Fairies’ Song But who comes here? I am invisible, I’ll run from thee and hide me in the brakes, I pray thee, give it me. A FAIRY/FAIRIES And I will overhear their conference. And leave thee to the mercy of wild beasts. I know a bank where the wild thyme blows, You spotted snakes with double tongue, Enter DEMETRIUS, HELENA, following him HELENA Where oxlips and the nodding violet grows, Thorny hedgehogs, be not seen. DEMETRIUS The wildest hath not such a heart as you. Quite overcanopied with luscious woodbine, Newts and blindworms, do no wrong, I love thee not, therefore pursue me not. Run when you will. The story shall be changed: With sweet musk-roses and with eglantine. Come not near our Fairy Queen. Where is Lysander and fair Hermia? Apollo flies and Daphne holds the chase; There sleeps Titania sometime of the night, Philomel, with melody The one I’ll slay, the other slayeth me. The dove pursues the griffin; the mild hind Lulled in these flowers with dances and delight; Sing in our sweet lullaby. Thou told’st me they were stol’n unto this wood; Makes speed to catch the tiger. Bootless speed, And there the snake throws her enameled skin, Lulla, lulla, lullaby, lulla, lulla, lullaby, And here am I, and wode within this wood, When cowardice pursues and valour flies! Weed wide enough to wrap a fairy in. Never harm Because I cannot meet my Hermia. DEMETRIUS And with the juice I’ll streak her eyes, Nor spell nor charm Hence, get thee gone, and follow me no more. I will not stay thy questions. Let me go, And make her full of hateful fantasies. Come my lovely lady nigh. HELENA Or if thou follow me, do not believe Take thou some of it, and seek through this grove: So, good night, with lullaby. You draw me, you hard-hearted adamant! But I shall do thee mischief in the wood. A sweet Athenian lady is in love Weaving spiders, come not here. But yet you draw not iron, for my heart HELENA With a disdainful youth. Anoint his eyes, Hence, you long-legged spinners, hence. Is true as steel. Leave you your power to draw, Ay, in the temple, in the town, the field, But do it when the next thing he espies Beetles black, approach not near. And I shall have no power to follow you. You do me mischief. Fie, Demetrius! May be the lady. Thou shalt know the man Worm nor snail, do no offence. DEMETRIUS Your wrongs do set a scandal on my sex. By the Athenian garments he hath on. Philomel, with melody Do I entice you? Do I speak you fair? We cannot fight for love as men may do. Effect it with some care, that he may prove Sing in our sweet lullaby. Or rather do I not in plainest truth We should be wood and were not made to woo. More fond on her than she upon her love. Lulla, lulla, lullaby, lulls, lulls, lullaby, Tell you, I do not, nor I cannot love you? Exit DEMETRIUS And look thou meet me ere the first cock crow. Never harm HELENA I’ll follow thee and make a heaven of hell, PUCK Nor spell nor charm You draw me, you hard-hearted adamant; To die upon the hand I love so well. Fear not, my lord, your servant shall do so. Come my lovely lady nigh. But yet you draw not iron, for my heart Exit Exit. So, good night, with lullaby. Is true as steel. Leave you your power to draw, OBERON Exit Fairies. TITANIA sleeps And I shall have no power to follow you. Fare thee well, nymph. Ere he do leave this grove, Act 1, Scene 3 DEMETRIUS Thou shalt fly him and he shall seek thy love. (Corresponds to Shakespeare’s Act 2, Scene 2) [15] What Thou Seest When Thou Dost Wake I love thee not, therefore pursue me not. Another part of the wood Enter OBERON and squeezes the flower on TITANIA’s eyelids Where is Lysander and fair Hermia? [12] There Sleeps Titania OBERON The one I’ll slay, the other slayeth me. Re-enter PUCK [13] Come, Now A Roundel What thou seest when thou dost wake, Thou told’st me they were stol’n unto this wood; Hast thou the flower there? Welcome, wanderer. Enter TITANIA, with her train Do it for thy true-love take, And here am I, and wode within this wood, PUCK TITANIA Love and languish for his sake. Because I cannot meet my Hermia. Ay, there it is. Come, now a roundel and a fairy song; Be it ounce, or cat, or bear, Hence, get thee gone, and follow me no more. Sing me now asleep. Pard, or boar with bristled hair, Then to your offices and let me rest. In thy eye that shall appear When thou wak’st, it is thy dear. For lying so, Hermia, I do not lie. LYSANDER [18] Happy is Hermia Wake when some vile thing is near I do not lie! I do not lie! “Amen, amen” to that fair prayer, say I, HELENA Exit I do not lie! I do not lie! And then end life when I end loyalty! Stay, though thou kill me, sweet Demetrius. HERMIA Here is my bed: sleep give thee all his rest! DEMETRIUS [16] O, Take The Sense, Sweet, of My Innocence Lysander riddles very prettily. HERMIA I charge thee, hence, and do not haunt me thus. Enter LYSANDER and HERMIA Now much beshrew my manners and my pride With half that wish the wisher’s eyes be pressed! HELENA LYSANDER If Hermia meant to say Lysander lied. They sleep O, wilt thou darkling leave me? Do not so. Fair love, you faint with wand’ring in the wood. But, gentle friend, for love and courtesy, DEMETRIUS And, to speak troth, I have forgot our way. Lie further off in human modesty. [17] Through Forest Have I Gone Stay, on thy peril: I alone will go. We’ll rest us, Hermia, if you think it good, Such separation, as may well be said, Enter PUCK Exit And tarry for the comfort of the day. Becomes a virtuous bachelor and a maid. PUCK HELENA HERMIA So far be distant; and, good night, sweet friend. Through the forest have I gone. O, I am out of breath in this fond chase. Be it so, Lysander. Find you out a bed, Thy love ne’er alter till thy sweet life end! But Athenian found I none, The more my prayer, the lesser is my grace. For I upon this bank will rest my head. HERMIA On whose eyes I might approve Happy is Hermia, wheresoe’er she lies, LYSANDER Lysander riddles very prettily. This flower’s force in stirring love. For she hath blessèd and attractive eyes. One turf shall serve as pillow for us both; Now much beshrew my manners and my pride Night and silence! Who is here? How came her eyes so bright? Not with salt tears. One heart, one bed, two bosoms, and one troth. If Hermia meant to say Lysander lied. He sees Lysander If so, my eyes are oftener washed than hers. HERMIA But, gentle friend, for love and courtesy, Weeds of Athens he doth wear. No, no, I am as ugly as a bear, Nay, good Lysander. For my sake, my dear, Lie further off in human modesty. This is he, my master said Therefore no marvel though Demetrius Lie further off yet. Do not lie so near. Such separation, as may well be said, Despised the Athenian maid. Do as a monster fly my presence thus. Do not lie so near. Becomes a virtuous bachelor and a maid. And here the maiden, sleeping sound What wicked and dissembling glass of mine LYSANDER So far be distant; and, good night, sweet friend. On the dank and dirty ground. Made me compare with Hermia’s sphery eyne? O, take the sense, sweet, of my innocence! Thy love ne’er alter till thy sweet life end! Pretty soul! she durst not lie But who is here? Lysander, on the ground! HERMIA LYSANDER Near this lack-love, this kill-courtesy.— Dead or asleep? I see no blood, no wound— So near. O, take the sense, sweet, of my innocence! Churl, upon thy eyes I throw Lysander, if you live, good sir, awake. LYSANDER Love takes the meaning in love’s conference. All the power this charm doth owe. Love takes the meaning in love’s conference. I mean, that my heart unto yours is knit He anoints Lysander’s eyelids [19] Do Not Say So HERMIA Now much beshrew my manners and my pride, When thou wak’st, let love forbid LYSANDER waking up So near. So that but one heart we can make of it; Sleep his seat on thy eyelid. And run through fire I will for thy sweet sake. LYSANDER Two bosoms interchainèd with an oath— So, awake when I am gone, Transparent Helena! Nature shows art, I mean that my heart unto yours is knit, So then two bosoms and a single troth. For I must now to Oberon. That through thy bosom makes me see thy heart. So that but one heart we can make of it; Then by your side no bed-room me deny, Exit Where is Demetrius? O, how fit a word Two bosoms interchainèd with an oath­— For lying so, Hermia, I do not lie. Enter DEMETRIUS and HELENA, running Is that vile name to perish on my sword! So then two bosoms and a single troth. I do not lie, I do not lie, I do not lie. Then by your side no bed-room me deny, HELENA Or as the heresies that men do leave QUINCE [22] The Flowers of Odious Savors Sweet Do not say so, Lysander, say not so. Are hated most of those they did deceive, What sayest thou, bully Bottom? QUINCE What though he love your Hermia? Lord, what though? So thou, my surfeit and my heresy, BOTTOM Speak, Pyramus—Thisbe, stand forth. Yet Hermia still loves you. Then be content. Of all be hated, but the most of me! There are things in this comedy of Pyramus and BOTTOM as Pyramus And, all my powers, address your love and might Thisbe that will never please. First, Pyramus must Thisbe, the flowers of odious savours sweet,— [20] Helena I Love To honor Helen and to be her knight! draw a sword to kill himself; which the ladies [allusion to Unfinished Symphony, Schubert] LYSANDER Exit. cannot abide. QUINCE Content with Hermia? No, I do repent Hermia awakens with a cry and a start. SNOUT Odors, odors! The tedious minutes I with her have spent. HERMIA By’r lakin, a parlous fear. BOTTOM Not Hermia, but Helena I love. Lysander! Lysander! BOTTOM —odors savours sweet. Who will not change a raven for a dove? She sees that Lysander is gone and goes to look for him. I have a device to make all well. So hath thy breath, my dearest Thisbe dear.-- The will of man is by his reason swayed; Write me a prologue, and let the prologue seem to But hark, a voice! Stay thou but here awhile, And reason says you are the worthier maid. Act 1, Scene 4 [Prologue from I PAGLICACCI, Leoncavallo] And by and by I will to thee appear. Things growing are not ripe until their season; (Corresponds to Shakespeare’s Act 3, Scene 1) say, we will do no harm with our swords, and that So I, being young, till now ripe not to reason. The wood. TITANIA lying asleep Pyramus is not killed indeed. And, for the more Exit And touching now the point of human skill, better assurance, tell them that I, Pyramus, am not PUCK Reason becomes the marshal to my will [21] A Marvels Convenient Place Pyramus, but Bottom the weaver: A stranger Pyramus than e’er played here. And leads me to your eyes, where I o’erlook Enter QUINCE, SNUG, BOTTOM, FLUTE, SNOUT, and SNOUT, SNUG, STARVELING Exit Love’s stories written in love’s richest book. STARVELING Bottom the weaver! FLUTE BOTTOM BOTTOM Must I speak now? HELENA Are we all met? This will put them out of fear. QUINCE Wherefore was I to this keen mockery born? QUINCE QUINCE Ay, marry, must you; for you must understand he goes When at your hands did I deserve this scorn? Pat, pat. And here’s a marvels convenient place If that may be, then all is well. Come, sit down, but to see a noise that he heard, and is to come again. Is ’t not enough, is ’t not enough, young man, for our rehearsal. every mother’s son, and rehearse your parts. That I did never, no, nor never can, SNUG, FLUTE, SNOUT, STARVELING Pyramus, you begin. When you have spoken your [23] Most Radiant Pyramus Deserve a sweet look from Demetrius’ eye, A marvel’s convenient place. speech, enter into that brake, and so everyone FLUTE as Thisbe But you must flout my insufficiency? QUINCE according to his cue. Most radiant Pyramus, most lily-white of hue, O, that a lady, of one man refused. This green plot shall be our stage, PUCK [Minuet from L’Arlesienne, Suite #2, Bizet] Should of another therefore be abused! this hawthorn brake our tiring-house, and we What hempen homespuns have we here, Of color like the red rose on triumphant brier, Exit will do it in action as we will do it before the Duke. So near the cradle of the Fairy Queen? Most brisky juvenal and eke most lovely Jew, LYSANDER SNUG, FLUTE, SNOUT, STARVELING What, a play toward? I’ll be an auditor— As true as truest horse that yet would never tire, She sees not Hermia. —Hermia, sleep thou there: The Duke! An actor too perhaps, if I see cause. I’ll meet thee, Pyramus, at Ninny’s tomb. And never mayst thou come Lysander near. BOTTOM Enter PUCK behind For as a surfeit of the sweetest things Peter Quince? The deepest loathing to the stomach brings, QUINCE He sings. The ouzel cock so black of hue, BOTTOM Feed him with apricocks and dewberries, ‘Ninus’ tomb,’ man. Why, you must not speak that With orange-tawny bill, Not so, neither: but if I had wit enough to get out With purple grapes, green figs, and mulberries; Yet. You speak all your part at once, cues and all. The throstle with his note so true, of this wood, I have enough to serve mine own turn. The honey-bags steal from the humble-bees, —Pyramus enter: your cue is past; it is, ‘never tire.’ TITANIA And for night-tapers crop their waxen thighs FLUTE [Awaking] What angel wakes me from my flow’ry bed? [25] Out Of This Wood And light them at the fiery glowworm’s eyes, O,—As true as truest horse, that yet would never tire. BOTTOM TITANIA To have my love to bed and to arise; Re-enter PUCK, and BOTTOM with an ass’s head The wren with little quill,— Out of this wood do not desire to go: And pluck the wings from Painted butterflies BOTTOM The finch, the sparrow and the lark, Thou shalt remain here, whether thou wilt or no. To fan the moonbeams from his sleeping eyes. If I were fair, Thisbe, I were only thine. The plain-song cuckoo gray, I am a spirit of no common rate. Nod to him, elves, and do him courtesies. QUINCE Whose note full many a man doth mark, The summer still doth tend upon my state, PEASEBLOSSOM O monstrous! O strange! We are haunted. Pray, BOTTOM And I do love thee. Therefore go with me. Hail, mortal! masters! fly, masters! Help! Hee Haw! I’ll give thee fairies to attend on thee, COBWEB Exeunt QUINCE, SNUG, FLUTE, SNOUT, and STARVELING TITANIA And they shall fetch thee jewels from the deep Hail! PUCK And dares not answer “Nay”— And sing while thou on pressèd flowers dost sleep. MOTE I’ll follow you, I’ll lead you about a round, for, indeed, who would set his wit to so foolish And I will purge thy mortal grossness so Hail! Through bog, through bush, through brake, through brier. a bird? Who would give a bird the lie, though he cry That thou shalt like an airy spirit go.— MUSTARDSEED Sometime a horse I’ll be, sometime a hound, ‘cuckoo’ never so? Peaseblossom! Cobweb! Mote! and Mustardseed! Hail! A hog, a headless bear, sometime a fire, TITANIA ALL FAIRIES: And neigh, and bark, and grunt, and roar, and burn, I pray thee, gentle mortal, sing again. [26] Be Kind and Courteous Hail! Like horse, hound, hog, bear, fire, at every turn. BOTTOM Enter PEASEBLOSSOM, COBWEB, MOTE, and Exit Exit Hee Haw! MUSTARDSEED End CD 1 QUINCE TITANIA PEASEBLOSSOM Bless thee, Bottom! bless thee! Thou art Mine ear is much enamoured of thy note, Ready. Act 2, Scene 1 translated. So is mine eye enthrallèd to thy shape, COBWEB (Corresponds to Shakespeare’s Act 3, Scene 2) Exit And thy fair virtue’s force perforce doth move me And I. Another part of the wood On the first view to say, to swear, I love thee. MOTE [24] The Ouzel Cock BOTTOM And I. [1] Fetch Me That Flower (reprise) BOTTOM Methinks, mistress, you should have little reason MUSTARDSEED Enter OBERON I see their knavery. This is to make an ass of me, for that. And yet, to say the truth, reason and And I. OBERON to fright me, if they could. But I will not stir love keep little company together nowadays. ALL I wonder if Titania be awaked; from this place, do what they can. I will walk up The more the pity that some honest neighbors will not Where shall we go? Then what it was that next came in her eye, and down here, and I will sing, that they shall hear make them friends. Nay, I can gleek upon occasion. TITANIA Which she must dote on in extremity. I am not afraid. TITANIA Be kind and courteous to this gentleman; Thou art as wise as thou art beautiful. Hop in his walks and gambol in his eyes; [2] My Mistress With a Monster is in Love PUCK [4] Thou Hast Mistaken Quite LYSANDER Enter PUCK This is the woman, but not this the man. OBERON Why should you think that I should woo in scorn? Here comes my messenger. HERMIA What hast thou done? Thou hast mistaken quite Scorn and derision never come in tears. How now, mad spirit? If thou hast slain Lysander in his sleep, And laid the love-juice on some true-love’s sight. Look when I vow, I weep; and vows so born, PUCK Being o’er shoes in blood, plunge in the deep, About the wood go swifter than the wind, In their nativity all truth appears. My mistress with a monster is in love. And kill me too. And Helena of Athens look thou find. How can these things in me seem scorn to you, Near to her close and consecrated bower, The sun was not so true unto the day PUCK Bearing the badge of faith to prove them true? While she was in her dull and sleeping hour, As he to me. Would he have stolen away I go, I go, look how I go, HELENA A crew of patches, rude mechanicals, From sleeping Hermia? Swifter than arrow from the Tartar’s bow. You do advance your cunning more and more. That work for bread upon Athenian stalls, Where is he? Exit When truth kills truth, O devilish-holy fray! Were met together to rehearse a play Ah, good Demetrius, wilt thou give him me? OBERON applying nectar to Demetrius These vows are Hermia’s. Will you give her o’er? Intended for great Theseus’ nuptial day. DEMETRIUS Flower of this purple dye, Weigh oath with oath, and you will nothing weigh. The shallowest thick-skin of that barren sort, I had rather give his carcass to my hounds. Hit with Cupid’s archery, Your vows to her and me, put in two scales, Who Pyramus presented in their sport, HERMIA Sink in apple of his eye. Will even weigh, and both as light as tales. An ass’s noll I fixèd on his head. Out, dog! Out, cur! Thou driv’st me past the bounds When his love he doth espy, LYSANDER And forth my mimic comes. When they him spy, Of maiden’s patience. Hast thou slain him, then? Let her shine as gloriously Why should you think that I should woo in scorn? So, at his sight, away his fellows fly, DEMETRIUS As the Venus of the sky. Scorn and derision never come in tears. I led them on in this distracted fear You spend your passion on a misprised mood. When thou wakest, if she be by, Look when I vow, I weep; and vows so born, And left sweet Pyramus translated there. I am not guilty of Lysander’s blood, Beg of her for remedy. In their nativity all truth appears. When in that moment, so it came to pass, Nor is he dead, for aught that I can tell. How can these things in me seem scorn to you, Titania waked and straightway loved an ass. HERMIA [5] Lord, What Fools These Mortals Be Bearing the badge of faith to prove them true? OBERON I pray thee, tell me then that he is well. Re-enter PUCK HELENA This falls out better than I could devise. DEMETRIUS PUCK You do advance your cunning more and more. But hast thou yet latched the Athenian’s eyes And if I could, what should I get therefore? Captain of our fairy band, When truth kills truth, O devilish holy fray! With the love juice, as I did bid thee do? HERMIA Helena is here at hand, These vows are Hermia’s. Will you give her o’er? PUCK A privilege never to see me more. And the youth, mistook by me, Weigh oath with oath, and you will nothing weigh. I took him sleeping,—that is finished, too— Exit Pleading for a lover’s fee. Your vows to her and me, put in two scales, And the Athenian woman by his side, DEMETRIUS Shall we their fond pageant see? Will even weigh, and both as light as tales. That, when he waked, of force she must be eyed. There is no following her in this fierce vein. Lord, what fools these mortals be! LYSANDER Here therefore for a while I will remain. OBERON Demetrius loves her, and he loves not you. [3] Out, Dog! Out, Cur! So sorrow’s heaviness doth heavier grow Stand aside. The noise they make Enter HERMIA and DEMETRIUS For debt that bankrupt sleep doth sorrow owe, Will cause Demetrius to awake. OBERON Which now in some slight measure it will pay, Enter LYSANDER and HELENA Stand close. This is the same Athenian. If for his tender here I make some stay. Lies down and sleeps [6] Goddess, Nymph, Perfect, Divine HELENA HELENA HERMIA DEMETRIUS Never did mockers waste more idle breath. Lo, she is one of this confederacy! Hate me? Wherefore? O me, what news, my love! [Awaking] Helen! Helen! Helen! DEMETRIUS Injurious Hermia! Most ungrateful maid! LYSANDER O Helen... O Helen, goddess, nymph, perfect, divine! Lysander, keep thy Hermia; I will none. Have you conspired, have you with these contrived Ay, by my life, To what, my love, shall I compare thine eyne? If e’er I loved her, all that love is gone. To bait me with this foul derision? Be certain, nothing truer; ’tis no jest Crystal is muddy. O, how ripe in show My heart to her but as guest-wise sojourned, Is all the counsel that we two have shared, That I do hate thee and love Helena. Thy lips, those kissing cherries, tempting grow! And now to Helen is it home returned, The sisters’ vows, the hours that we have spent HERMIA O Helen... O Helen, goddess, nymph, perfect, divine! There to remain. O, is it all forgot? Is all forgot? O me! You juggler! You cankerblossom! That pure congealèd white, high Taurus’ snow, LYSANDER HERMIA You thief of love! What, have you come by night Fanned with the eastern wind, turns to a crow Helen, it is not so. I am amazed at your words. And stol’n my love’s heart from him? When thou hold’st up thy hand. O, let me kiss DEMETRIUS I scorn you not: it seems that you scorn me. HELENA This princess of pure white, this seal of bliss! Disparage not the faith thou dost not know, HELENA Have you no modesty, no maiden shame, Lest to thy peril thou aby it dear. Have you not set Lysander, as in scorn, No touch of bashfulness? What, will you tear [7] O Spite! O Hell! Look where thy love comes. Yonder is thy dear. To follow me and praise my eyes and face, Impatient answers from my gentle tongue? HELENA And made your other love, Demetrius, Fie, fie! You counterfeit, you puppet, you! O spite! O hell! I see you all are bent [8] Injurious Hermia To call me goddess, nymph, divine and rare, HERMIA To set against me for your merriment. Re-enter HERMIA Precious, celestial? Wherefore speaks he this Puppet? Why so? Ay, that way goes the game. If you we re civil and knew courtesy, HERMIA To her he hates? Now I perceive that she hath made compare You would not do me thus much injury. Thou art not by mine eye, Lysander, found; Between our statures; she hath urged her height; Can you not hate me, as I know you do, Mine ear, I thank it, brought me to thy sound [9] Thief of Love And with her personage, her tall personage, But you must join in souls to mock me too? But why unkindly didst thou leave me so? HERMIA she hath prevailed with him. If you were men, as men you are in show, LYSANDER I understand not what you mean by this. How low am I, thou painted maypole? Speak! You would not use a gentle lady so, Why should he stay, whom love doth press to go? Lysander, whereto tends all this? How low am I? I am not yet so low To vow, and swear and superpraise my parts, HERMIA LYSANDER But that my nails can reach unto thine eyes. When I am sure you hate me with your hearts. What love could press Lysander from my side? Away, you Ethiope! You both are rivals and love Hermia, LYSANDER Hang off, thou cat, thou burr! Vile thing, let loose, [10] And Though She Be But Little, She is Fierce And now both rivals, to mock Helena. Lysander’s love, that would not let him bide, Or I will shake thee from me like a serpent! HELENA LYSANDER Fair Helena, who more engilds the night O, when she’s angry, she is keen and shrewd! You are unkind, Demetrius. Be not so, Than all yon fiery oes and eyes of light. HERMIA She was a vixen when she went to school; For you love Hermia; this you know I know. Why seek’st thou me? Could not this make thee know Why are you grown so rude? What change is this, And though she be but little, And here, with all goodwill, with all my heart, The hate I bear thee made me leave thee so? Sweet love? And though she be but little, she is fierce. In Hermia’s love I yield you up my part. HERMIA She is fierce, she is fierce. And yours of Helena to me bequeath, You speak not as you think. It cannot be. LYSANDER And though she be but little: Whom I do love and will do till my death. Thy love? Out, tawny Tartar, out! Out, loathèd med’cine! O hated potion, hence! HERMIA LYSANDER [11] Goblin, Lead Them Up And Down PUCK ‘Little’ again! Nothing but ‘low’ and ‘little’, Get you gone, you dwarf; PUCK Follow my voice. We’ll try no manhood here. They exit. ‘Low’ and ‘little’! You minimus of hind’ring knotgrass made, Up and down, up and down, Up and down, up and down, Why will you suffer her to flout me thus? You bead, you acorn. I will lead them up and down: I will lead them up and down: Let me come to her. DEMETRIUS I am feared in field and town. I am feared in field and town: Let me come to her. You are too officious Goblin, lead them up and down. Goblin, lead them up and down. Let me come to her. In her behalf that scorns your services. Here comes one. Re-enter LYSANDER Come to her. Let her alone. Speak not of Helena. Re-enter LYSANDER LYSANDER LYSANDER Take not her part; for, if thou dost intend LYSANDER He goes before me and still dares me on. Get you gone, you dwarf, Never so little show of love to her, Where art thou, proud Demetrius? Speak thou now. When I come where he calls, then he is gone. You minimus, of hindering knotgrass made, Thou shalt aby it. PUCK The villain is much lighter-heel’d than I. You bead, you acorn— OBERON Here, villain, drawn and ready. Where art thou? I followed fast, but faster he did fly, DEMETRIUS This is thy negligence: still thou mistak’st, LYSANDER That fallen am I in dark uneven way, You are too officious Or else committ’st thy knaveries wilfully. I will be with thee straight. And here will rest me. In her behalf that scorns your services. PUCK PUCK Lies down. Sleeps Let her alone. Speak not of Helena. Believe me, king of shadows, I mistook. Follow me, then, Re-enter PUCK and DEMETRIUS Take not her part. For if thou dost intend Did not you tell me I should know the man To plainer ground. PUCK Never so little show of love to her, By the Athenian garment be had on? Exit LYSANDER, as following the voice Ho, ho, ho! Coward, why com’st thou not? Thou shalt aby it. And so far blameless proves my enterprise, Re-enter DEMETRIUS DEMETRIUS HELENA That I have ’nointed an Athenian’s eyes; DEMETRIUS Where art thou now? O, when she’s angry, she is keen and shrewd. Exit the lovers Lysander! speak again. PUCK She was a vixen when she went to school, OBERON [Winged Monkeys Theme] Come hither. I am here. And though she be but little Thou see’st these lovers seek a place to fight, Thou runaway, thou coward, art thou fled? DEMETRIUS And though she be but little, she is fierce. Hie, therefore, Robin, overcast the night; PUCK Nay, then, thou mock’st me. Thou shalt buy this dear HERMIA The starry welkin cover thou anon Thou coward, art thou bragging to the stars, If ever I thy face by daylight see. ‘Little’ again! Nothing but ‘low’ and ‘little’! With drooping fog as black as Acheron, [Rock-a-bye Baby] Now go thy way. Faintness constraineth me Why will you suffer her to flout me thus? And lead these testy rivals so astray Telling the bushes that thou look’st for wars, To measure out my length on this cold bed. Let me come to her. As one come not within another’s way. And wilt not come? Come, recreant! Come, thou child! By day’s approach look to be visited. Let me come to her. Till o’er their brows death-counterfeiting sleep I’ll whip thee with a rod. He is defiled Lies down and sleeps Let me come to her. With leaden legs and batty wings doth creep. That draws a sword on thee Then crush this herb into Lysander’s eye. DEMETRIUS Exit Yea, art thou there? [12] O Weary Night Naught shall go ill; MUSTARDSEED OBERON Re-enter HELENA The man shall have his mare again, and all shall be well. What’s your will? There lies your love. HELENA Exit BOTTOM TITANIA O weary night, O long and tedious night, Nothing, good monsieur, but to help Cavalery Cobweb How came these things to pass? Abate thy hours! Shine comforts from the east, Act 2, Scene 2 to scratch. I must to the barber’s, monsieur; for O, how mine eyes do loathe his visage now! That I may back to Athens by daylight, (Corresponds to Shakespeare’s Act 4, Scene 1) methinks I am marvels hairy about the face. And I OBERON From these that my poor company detest. The same. am such a tender ass, if my hair do but tickle me, Silence awhile. Robin, take off this head. And sleep, that sometimes shuts up sorrow’s eye, Lysander, Demetrius, Helena, and Hermia lying asleep. I must scratch. Titania, music call; and strike more dead Steal me awhile from mine own company. Enter TITANIA and BOTTOM; PEASEBLOSSOM, COBWEB, TITANIA Than common sleep of all these five the sense. Lies down and sleeps MOTH, MUSTARDSEED, and other Fairies attending; Sleep thou, and I will wind thee in my arms.— PUCK OBERON behind unseen Fairies, begone, and be all ways away. [14] Fairies’ song (reprise) Yet but three? Come one more; Exeunt fairies TITANIA Two of both kinds make up four. [13] Come, Sit Thee Down So doth the woodbine the sweet honeysuckle Music, ho! music, such as charmeth sleep! Here she comes, curst and sad. A FAIRY Gently entwist; the female ivy so Gentle music plays. Puck removes the ass-head from Cupid is a knavish lad, Ah... Enrings the barky fingers of the elm. Bottom Thus to make poor females mad. TITANIA O, how I love thee! How I dote on thee! PUCK Re-enter HERMIA Come, sit thee down upon this flow’ry bed, A FAIRY Now, when thou wak’st, with thine HERMIA While I thy amiable cheeks do coy, Ah... own fool’s eyes peep. Never so weary, never so in woe, And stick muskroses in thy sleek smooth head, They sleep Bedabbled with the dew and torn with briers, And kiss thy fair large ears, my gentle joy. Enter PUCK [15] Sound, Music! (Wedding Dance) I can no further crawl, no further go; BOTTOM OBERON OBERON My legs can keep no pace with my desires. Where’s Peaseblossom? Welcome, good Robin. Sound, music! Come, my queen, take hands with me, Here will I rest me till the break of day. PEASEBLOSSOM See’st thou this sweet sight? And rock the ground whereon these sleepers be. Heavens shield Lysander, if they mean a fray! Ready. Her dotage I do begin to pity: They dance. Lies down and sleeps BOTTOM I will undo OBERON PUCK Scratch my head Peaseblossom. Where’s Monsieur This hateful imperfection of her eyes: Now thou and I are new in amity, On the ground Cobweb? Be as thou wast wont to be; And will tomorrow midnight solemnly Sleep sound: COBWEB See as thou wast wont to see. Dance in Duke Theseus’ house triumphantly, I’ll apply Ready. Dian’s bud o’er Cupid’s flower And bless it to all fair prosperity: To your eye, BOTTOM Hath such force and blessèd power. There shall the pairs of faithful lovers be Gentle lover, remedy. Get you your weapons in your hand, and kill me a red-hipped TITANIA Wedded, with Theseus, all in jollity. Squeezing the juice on LYSANDER’s eyes humble-bee on the top of a thistle, and, good My Oberon! what visions have I seen! PUCK In your waking shall be shown, monsieur, bring me the honey-bag. Methought I was enamour’d of an ass. Fairy king, attend, and mark: Jack shall have Jill; Where’s Monsieur Mustardseed? I do hear the morning lark. OBERON EGEUS [18] My Lord, Fair Helen Told Me Of Their Stealth HERMIA Then, my queen, in silence sad, My lord, this is my daughter here asleep, DEMETRIUS Yea, and my father. Trip we after the night’s shade: And this Lysander; this Demetrius is, My lord, fair Helen told me of their stealth, HELENA We the globe can compass soon, This Helena. Of this their purpose hither to this wood, And Hippolyta. Swifter than the wandering moon. I wonder of their being here together. And I in fury hither followed them, LYSANDER TITANIA THESEUS Fair Helena in fancy following me. And he did bid us follow to the temple. Come, my lord, and in our flight Go, bid the huntsmen wake them with their horns. But, my good lord, I wot not by what power,— DEMETRIUS Tell me how it came this night Horns and shout within. LYSANDER, DEMETRIUS, (But by some power it is) my love to Hermia, Why, then, we are awake. Let’s follow him, That I sleeping here was found HELENA, and HERMIA wake and start up Melted as the snow And by the way let us recount our dreams. With these mortals on the ground. Good morrow, friends. And all the faith, the virtue of my heart, ALL Exit LYSANDER The object and the pleasure of mine eye, By the way let us recount our dreams. Pardon, my lord. Is only Helena. To her, my lord, DEMETRIUS [16] Up To The Mountain’s Top THESEUS Was I betrothed ere I saw Hermia: By the way let us recount our dreams. Horns winded within I pray you all, stand up. But like in sickness, did I loathe this food. ALL Enter THESEUS, HIPPOLYTA, EGEUS, and train I know you two are rival enemies: But, as in health, come to my natural taste, By the way let us recount our dreams. THESEUS How comes this gentle concord in the world, Now I do wish it, love it, long for it, Exit We will, fair queen, up to the mountain’s top, That hatred is so far from jealousy, And will for evermore be true to it. BOTTOM And mark the musical confusion To sleep by hate, and fear no enmity? THESEUS Awaking Of hounds and echo in conjunction. LYSANDER Fair lovers, you are fortunately met. [MIDSUMMER NIGHT’S DREAM, Mendelssohn] HIPPOLYTA My lord, I shall reply amazèdly, Of this discourse we more will hear anon. Peter Quince! Flute, the bellows-mender! Snout, I was with Hercules and Cadmus once, Half sleep, half waking: but as yet, I swear, Egeus, I will overbear your will; the tinker! Starveling! God’s my life, stolen When in a wood of Crete they bayed the bear I cannot truly say how I came here. For in the temple by and by with us, hence and left me asleep! With hounds of Sparta. Never did I hear But, as I think, These couples shall eternally be knit. Exit. Such gallant chiding, for, besides the groves, I came with Hermia hither. Our intent Away with us to Athens. Three and three, The skies, the fountains, every region near Was to be gone from Athens, where we might, We’ll hold a feast in great solemnity. Act 2, Scene 3 Seemed all one mutual cry. I never heard Without the peril of the Athenian law— Come, Hippolyta. (Corresponds to Shakespeare’s Act 5, Scene 1) So musical a discord, such sweet thunder. EGEUS Exit THESEUS, HIPPOLYTA, EGEUS, and train Athens. The palace of THESEUS Enough, enough! My lord, you have enough: Enter THESEUS, HIPPOLYTA, Lords and Attendants [17] This is My Daughter Here I beg the law, the law, upon his head. [19] By the Way Let Us Recount our Dreams THESEUS They would have stolen away. —They would, Demetrius, DEMETRIUS [20] Lovers And Madmen What nymphs are these? Thereby to have defeated you and me: Are you sure HIPPOLYTA You of your wife and me of my consent. That we are awake? It seems to me ’Tis strange my Theseus, that these That yet we sleep, we dream. Do not you think lovers speak of. The duke was here, and bid us follow him? THESEUS THESEUS THESEUS Thou wall, O wall, O sweet and lovely wall, More strange than true. I never may believe Come now, what masques, what dances shall we have His speech, was like a tangled chain; nothing Show me thy chink, to blink through with mine eyne! These antique fables, nor these fairy toys. To wear away this long age of three hours impaired, but all disordered. Who is next? Wall holds up his fingers Lovers and madmen have such seething brains, Between our after-supper and bedtime? Enter Bottom and Flute as Pyramus and Thisbe, Wall, Thanks, courteous wall. Jove shield thee well for this! Such shaping fantasies, that apprehend Looking at a paper handed to him Moonshine, and Lion But what see I? No Thisbe do I see. More than cool reason ever comprehends. Reads: O wicked wall, through whom I see no bliss! The lunatic, the lover and the poet ‘A tedious brief scene of young Pyramus [23] The Wall Cursed be thy stones for thus deceiving me! Are of imagination all compact. And his love Thisbe; very tragical mirth.’ SNOUT (as Wall) THESEUS One sees more devils than vast hell can hold: “Merry” and “tragical!” “tedious” and “brief!” In this same interlude it doth befall The wall, methinks, being sensible, should curse again. That is, the madman. The lover, all as frantic, That is hot ice and wondrous strange snow! That I, one Snout by name, present a wall; BOTTOM (as Pyramus) Sees Helen’s beauty in a brow of Egypt. I will hear that play, And such a wall, as I would have you think, No, in truth, sir, he should not. ‘Deceiving me’ The poet’s eye, in fine frenzy rolling, For never anything can be amiss That had in it a crannied hole or chink, is Thisbe’s cue. Doth glance from heaven to earth, from earth to heaven, When simpleness and duty tender it. Through which the lovers, Pyramus and Thisbe, Yonder she comes. And as imagination bodies forth Go, bring them in and take your places, ladies. Did whisper often very secretly. Enter Thisbe The forms of things unknown, the poet’s pen PHILOSTRATE This loam, this roughcast and this stone doth show FLUTE (as Thisbe) Turns them to shapes and gives to airy nothing The prologue is addressed. That I am that same wall. The truth is so: O wall, full often hast thou heard my moans A local habitation and a name. THESEUS And this the cranny is, right and sinister, For parting my fair Pyramus and me. Let him approach. Through which the lovers are to whisper. My cherry lips have often kiss’d thy stones. The lunatic…. THESEUS Ah... Ah... Ah... Ah... Ah... [22] The Actors are at Hand Would you desire lime and hair to speak better? [25] Kiss Me, Thisbe Flourish of trumpets DEMETRIUS BOTTOM (as Pyramus) Such tricks hath strong imagination, Enter QUINCE for the Prologue It is the wittiest partition that ever I heard I see a voice. Now will I to the chink, That if it would but apprehend some joy, QUINCE (as Prologue) discourse, my lord. [Love Theme from Romeo and Juliet, Tchaikovsky] It comprehends some bringer of that joy. If we offend, it is with our good will. THESEUS To spy an I can hear my Thisbe’s face. Thisbe! That you should think, we come not to offend, Pyramus draws near the wall. Silence! FLUTE (as Thisbe) [21] The Prologue is Addressed But with good will. To show our simple skill, My love! Thou art, my love I think. Here come the lovers, full of joy and mirth. That is the true beginning of our end. [24] O Grim-Look’d Night BOTTOM (as Pyramus) Enter LYSANDER, DEMETRIUS, HERMIA, and HELENA Consider then we come but in despite. BOTTOM (as Pyramus) Think what thou wilt, I am thy lover’s grace; Joy and fresh days of love We do not come as minding to content you, O grim-look’d night! O night with hue so black! And, like Limander, am I trusty still. Accompany your hearts! Our true intent is. All for your delight O night, which ever art when day is not! FLUTE (as Thisbe) LYSANDER We are not here. That you should here repent you, O night, O night! alack, alack, alack, And I like Helen, till the Fates me kill. More than to us The actors are at hand and by their show I fear my Thisbe’s promise is forgot! BOTTOM (as Pyramus) Wait in your royal walks, your board, your bed! You shall know all that you are like to know. Exits And thou, O wall, O sweet, O lovely wall, Not Shafalus to Procrus was so true That stand’st between her father’s ground and mine! FLUTE (as Thisbe) [27] The Lion DEMETRIUS Since lion vile hath here deflower’d my dear, As Shafalus to Procrus, I to you. SNUG (as Lion) And then came Pyramus. Which is—no, no—which was the fairest dame BOTTOM (as Pyramus) Accompaniment sung by actors LYSANDER That lived, that loved, that liked, that look’d O kiss me through the hole of this vile wall! Meee – ow! And so the lion vanished. with cheer. FLUTE (as Thisbe) Enter Pyramus Come, tears, confound! I kiss the wall’s hole, not your lips at all. You, ladies, you, whose gentle hearts do fear Out, sword, and wound BOTTOM (as Pyramus) [Bei männern from THE MAGIC FLUTE, Mozart] [29] Sweet Moon, I Thank Thee The pap, the pap of Pyramus; Wilt thou at Ninny’s tomb meet me straightway? The smallest monstrous mouse that creeps on floor, BOTTOM (as Pyramus) Ay, that left pap, FLUTE (as Thisbe) May now perchance both quake and tremble here, Sweet Moon, I thank thee for thy sunny beams. Where heart doth hop: Stabs himself ’Tide life, ’tide death, I come without delay. When lion rough in wildest rage doth roar. [Be My Love, Cahn, Brodszky] Thus die I, thus, thus, thus Exeunt Pyramus and Thisbe Then know that I, as Snug the joiner, am I thank thee, Moon, for shining now so bright, Now am I dead; A lion fell, nor else no lion’s dam; For by thy gracious, golden, glittering gleams, Now am I fled; [26] The Wall (reprise) A lion fell, nor else no lion’s dam; I trust to take of truest Thisbe sight. A burst of applause. He continues when he has quieted SNOUT (as Wall) For, if I should as lion come in strife But stay! O spite! it down. Thus have I, Wall, my part dischargèd so, Into this place, ’twere pity on my life. [Ah se m’e forza perderti, from IL TROVATORE, Verdi] My soul is in the sky. And, being done, thus Wall away doth go. For, if I should as lion come in strife What dreadful dole is here! [Love Death from TRISTAN AND ISOLDE, Wagner] Exiting Hm, hm, hm.... Hm, hm, hm... Into this place, ’twere pity on my life. But mark, poor knight, Tongue, lose thy light! THESEUS THESEUS Eyes, do you see? Moon take thy flight! Now is the wall down between the two neighbours. A very gentle beast, and of a good conscience. How can it be? Exit Moonshine DEMETRIUS O dainty duck! O dear! Now die, die, die, die, die. No remedy, my lord, when walls are so willful to hear [28] The Moonshine Thy mantle good, Dies without warning. STARVELING (as Moonshine) What, stained with blood! HIPPOLYTA HIPPOLYTA This lanthorn doth the hornèd moon present. Approach, ye Furies fell! How chance Moonshine is gone before Thisbe comes This is the silliest stuff that ever I heard. [Piano Concerto #2, Rachmaninoff] O Fates, back and finds her lover? THESEUS Myself the man i’ h’ moon do seem to be. Cut thread and thrum; THESEUS The best in this kind are but shadow, and the worst [Reverie, Debussy] Quail, crush, conclude, and quell! She will find him by starlight. are no worse, if imagination amend them. DEMETRIUS HIPPOLYTA Here come two noble beasts I, a man and a lion. Here comes Thisbe. Beshrew my heart, but I pity the man. [31] Come, Blade (The Death Of Thisbe) Enter Lion and Moonshine Enter Thisbe Re-enter Thisbe FLUTE (as Thisbe) [30] The Death Of Pyramus LYSANDER This is old Ninny’s tomb. Where is my love? BOTTOM (as Pyramus) She hath spied him already with those sweet eyes. [The Lion Sleeps Tonight, Solomon Linda] O wherefore, Nature, didst thou lions frame? SNUG (as Lion) [E lucevan le stele from TOSCA, Puccini] [Roaring] Oh— Thisbe runs off dropping her mantle FLUTE (as Thisbe) As much as we this night have overwatched. Hop as light as bird from brier, [35] If We Shadows Have Offended Asleep, my love? This palpable-gross play hath well beguiled And this ditty, after me, PUCK What, dead, my dove? The heavy gait of night. Sweet friends, to bed. Sing, and dance it trippingly. If we shadows have offended, O Pyramus, arise! A fortnight hold we this solemnity, Be you wow... Be you wow... Think but this, and all is mended, Speak, speak. Quite dumb? In nightly revels and new jollity. Be you wow... Be you wow... That you have but slumbered here Dead, dead? A tomb Exit TITANIA While these visions did appear. Must cover thy sweet eyes. Enter PUCK First, rehearse your song by rote, And this weak and idle theme, These lily lips, To each word a warbling note. No more yielding but a dream, This cherry nose, [33] Now The Hungry Lion Roars Hand in hand, with fairy grace, Gentles, do not reprehend. These yellow cowslip cheeks, PUCK Will we sing, and bless this place. If you pardon, we will mend: Are gone, are gone! Now the hungry lion roars, OBERON Lovers, make moan; And the wolf behowls the moon, Hand in hand, with fairy grace, [36] Finale His eyes, his eyes Whilst the heavy ploughman snores, Will we sing, and bless this place. And, as I am an honest Puck, His eyes were green as leeks. All with weary task fordone. La, la, la, la, la, la, la. If we have unearnèd luck O Sisters Three Now the wasted brands do glow, Now, until the break of day, Now to ’scape the serpent’s tongue, Come, come to me, Whilst the screech-owl, screeching loud, Through this house each fairy stray. We will make amends ere long. With hands as pale as milk; Puts the wretch that lies in woe To the best bride-bed will we, Else the Puck a liar call. Lay them in gore, In remembrance of a shroud. Which by us shall blessèd be, So, good night unto you all. Since you have shore Now it is the time of night And the issue there create Give me your hands, if we be friends, With shears his thread of silk. That the graves all gaping wide, Ever shall be fortunate. And Robin shall restore amends. Tongue, not a word! Every one lets forth his sprite, So shall all the couples three Bah duh dut dut dut dut duh (repeated) Come, trusty sword, In the church-way paths to glide. Ever true in loving be, [Wedding March from Come, blade, my breast imbrue! And we fairies So shall all the couples three MIDSUMMER NIGHT’S DREAM, Mendelssohn] Stabs herself Now are frolic. Not a mouse Ever true in loving be. End of CD 2 And, farewell, friends. Shall disturb this hallow’d house: Every fairy take his gait, Thus Thisbe ends. I am sent with broom before, And each several chamber bless, – END OF THE OPERA – Adieu, adieu, adieu. To sweep the dust behind the door. Through this palace, with sweet peace. Dies Enter OBERON and TITANIA with their train And the owner of it blest Midsummer Night’s Dream — opera a cappella Ever shall in safety rest. is dedicated to Jay Mednikow. [32] The Iron Tongue Of Midnight [34] We Will Sing and Bless this Place Trip away. make no stay, THESEUS OBERON Meet me all by break of day. The iron tongue of midnight hath told twelve. Through the house give glimmering light, Exit OBERON, TITANIA, and train Lovers, to bed! ’Tis almost fairy time. By the dead and drowsy fire. I fear we shall out-sleep the coming morn. Every elf and fairy sprite, The Performers The Principals Opera Memphis, currently under the leadership of Ned Canty, was established Follow the careers of the opera’s principals through their individual websites: Jeremiah Johnson (Theseus/Oberon): jeremiahjohnsonbaritone.com in 1956 as the premiere opera company in the Mid-South region. For nearly 60 Jennifer Goode Cooper (Hippolyta/Titania): jennifergoodecooper.com | Kent Fleshman (Egeus): kentfleshman.com years, Opera Memphis has staged over 200 productions of more than 75 operas, John Dooley (Lysander): johndooleybaritone.com | Laura Stracko Franks (Hermia): laurastrackofranks.com including numerous regional premieres and several world premieres like Michael Ching’s A Emily Bodkin (Helena): emilybodkin.com | Kyle Huey (Robin Goodfellow/Puck): kylewhuey.com Midsummer Night’s Dream — opera a cappella. It continues to produce operas that entertain, educate, Robert Legge (Demetrius): robertjlegge.com | Kristin Vienneau (A Fairy/Peaseblossom): www.kristinvienneau.com and inspire the people of the Mid-South, delivering four to six mainstage shows per season, with world- class singers accompanied by the Memphis Symphony Orchestra. These productions attract thousands Acknowledgments of local patrons, along with opera-lovers from around the country. Frequent performance venues Executive producer: Jay A. Mednikow include the Germantown Performing Arts Center, the Orpheum, and Playhouse on the Square. Producer: Tony Huerta (www.operamemphis.org) Recorded at Ardent Studios, Memphis, Tennessee, February through April, 2011. Recorded, mixed, and mastered by Tony Huerta, Sonic Audio, Denver, Colorado. Described by a network television executive as “difficult to summarize Additional editing by Ryan Driver. A Midsummer Night’s Dream — opera a cappella is available from the composer ([email protected]) or visually,” DeltaCappella embodies the cultural diversity and rich musical Donna Wolverton of Wolverton Artists ([email protected]). heritage of Memphis. Founded in 2007 by fifth generation jeweler Jay Photos courtesy of Sean Davis. Mednikow, the 12-man contemporary a cappella group left the rails of traditional harmonic soundscapes www.operaacappella.com in 2009 to explore the intriguing and challenging vistas of the Voicestra in this work. DeltaCappella’s Front Cover Photo: Jeremiah Johnson (Oberon) and Kyle Huey (Puck) exuberant, eclectic approach to music is reflected in its most recent award-winning album Ain’t No Doubt, Back Cover Photo: Laura Stracko Franks (Hermia) a disc featuring unique a cappella covers of songs as random as Isaac Hayes’ Theme from Shaft, Originally sponsored by The Adams Foundation, Mednikow, First Tennessee Foundation, Bruno Mars’ Not Over You, and Leonard Cohen’s Hallelujah. (www.deltacappella.com) the National Endowment for the Arts, and Heart and Soul Catering. Michael Ching “a remarkably inventive opera…” —The Wall Street Journal A Midsummer Night’s Dream TROY1507/08 opera a cappella A Midsummer Night ’

Original Cast Recording Original Cast (in order of appearance) The Voicestra Jeremiah Johnson Theseus/Oberon Music by Michael Ching Jennifer Goode Cooper Hippolyta/Titania DeltaCappella Libretto by William Shakespeare

Kent Fleshman Egeus Dan Beard Bass | Thomas “TeKay” King Tenor Conducted by Curtis Tucker John Dooley Lysander Paul Koziel Vocal Percussion | Kip Long Tenor Stephen Carey Assistant Conductor Laura Stracko Franks Hermia Jay Mednikow Tenor | Sri Naidu Tenor Original Production, January 2011 Emily Bodkin Helena Chris Nuthak Baritone | Charles Ponder Tenor s Dream — opera a cappella Playhouse on the Square, Memphis, Tennessee Kristin Vienneau A Fairy/Peaseblossom James Riddick Baritone | Toney Walsh III Baritone Jackie Nichols Executive Producer Kyle Huey Robin Goodfellow/Puck Tom Watkins Bass | Tony Huerta Additional Vocals Gary John La Rosa Director Robert Legge Demetrius Toney Walsh III Quince Riva Charles Ponder Bottom/Pyramus Candice Goff Alto | Heather Jenkins Soprano Thomas “TeKay” King Flute/Thisbe Nura Myers Joplin Soprano | Amanda McGee Alto Abby Walsh Snout/Wall Teneice Stegall Alto | Abby Walsh Alto James Riddick Snug/Lion Katie Walsh Soprano | Tiffany Williams Soprano Tom Watkins Starveling/Moonshine s Dream — opera a cappella Nicole Hale Mote Kip Long Cobweb Ebone Amos Mustardseed

Heather Jenkins A Fairy Jay Mednikow Philostrate

A Midsummer Night ’ WWW.ALBANYRECORDS.COM

TROY1507/08 ALBANY RECORDS U.S. TROY1507/08 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2014 DELTACAPPELLA MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. Michael Ching A Midsummer Night’s Dream opera a cappella