Composer

:

Henry Purcell

Genre

:

Vocal

Style

:

Song: Art Song

Compose Date

:

1685

Average_duration

:

2:39

Henry Purcell's 'Cupid, the slyest rogue alive, Z. 367' is a semi-opera composed in 1692. It premiered at the Theatre Royal in London on November 24, 1692. The work consists of five acts and is based on a libretto by Thomas d'Urfey. The first act of the semi-opera introduces the character of Cupid, who is portrayed as mischievous and cunning. The second act features a masque, which is a type of musical entertainment that was popular in the 17th century. The masque includes a series of dances and songs that are performed by characters dressed in elaborate costumes. The third act of the semi-opera focuses on the character of Venus, who is the goddess of love. Venus is portrayed as powerful and alluring, and she uses her charms to manipulate the other characters in the story. The fourth act features a series of comic scenes that involve Cupid and his antics. The final act of the semi-opera brings all of the characters together for a grand finale. The music in this act is lively and celebratory, and it includes a number of ensemble pieces that showcase Purcell's skill as a composer. One of the most notable characteristics of 'Cupid, the slyest rogue alive, Z. 367' is its use of English language and themes. Unlike many other operas of the time, which were written in Italian or French, Purcell's work is entirely in English. The libretto is filled with references to English mythology and folklore, which would have been familiar to audiences of the time. Another characteristic of the work is its use of dance music. Purcell was known for his skill in composing dance music, and this is evident throughout the semi-opera. The masque in the second act, in particular, features a number of intricate dance sequences that would have been a highlight of the performance. Overall, 'Cupid, the slyest rogue alive, Z. 367' is a lively and entertaining work that showcases Purcell's skill as a composer. Its use of English language and themes, as well as its focus on dance music, make it a unique and important contribution to the history of opera.

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