The Duchess of Malfi (opera)

The Duchess of Malfi is an opera in three acts by the British composer Stephen Oliver, based on the eponymous play by John Webster. Oliver originally wrote this opera, his ninth in 1971, at age 21, for a production at the Oxford Playhouse on commission from the Oxford University Opera Club.[1] The premiere was on November 23, 1971, with the following cast members:[2]

  • Jillian Crowe (The Duchess)
  • Keith Jones (Antonio)
  • Marion Milford (Julia)
  • Peter Reynolds (The Cardinal)
  • Stephen Oliver (Bosola)
  • Anthony Sargent (Ferdinand)
  • Alison Stamp (Cariola)

The conductor was Peter Robinson, and the director Julian Hope.

Oliver then rewrote the work, and the revised version received its US premiere at Santa Fe Opera on August 5, 1978.[3]

Roles
  • The Duchess of Malfi [4]
  • The Cardinal
  • Daniel de Bosola
  • Ferdinand, Duke of Calabria
  • Antonio Bologna
  • Delio
  • Castruccio
  • Silvio
  • Jester
  • Cariola
  • First Officer
  • Second Officer
  • A mad priest
  • A mad astrologer
  • A mad lawyer
  • A mad doctor
  • A doctor - Thomas Hammons

Synopsis

The play is set in the court of Malfi (Amalfi), Italy. The young Duchess has recently been widowed, but her brothers, Ferdinand and the Cardinal, do not wish her to share their inheritance with a new spouse. They thus forbid her from remarrying. The brothers place Daniel de Bosola in her household as a spy. Nonetheless, the Countess falls in love with Antonio, her steward, and they secretly marry. Eventually, the brothers discover the marriage and imprison their sister. In the climatic duel, Bosola and Ferdinand wind up killing each other.

gollark: I'm pretty sure we *have* done the ingroup/outgroup thing for... forever. And... probably the solutions are something like transhumanist mind editing, or some bizarre exotic social thing I can't figure out yet.
gollark: I mean that humans are bad in that we randomly divide ourselves into groups then fiercely define ourselves by them, exhibit a crazy amount of exciting different types of flawed reasoning for no good reason, get caught up in complex social signalling games, come up with conclusions then rationalize our way to a vaguely sensible-looking justification, sometimes seemingly refuse to be capable of abstract thought when it's politically convenient, that sort of thing.
gollark: No, I think there are significant improvements possible. But different ones.
gollark: I'm not talking about humans being bad in that sense, myself.
gollark: Ah, yes, right the second time.

References
  1. Glover, Jane, "Stephen Oliver" (December 1974). The Musical Times, 115 (1582): pp. 1042-1044.
  2. Caminer, Lesley, "Reports: Oxford" (January 1972). The Musical Times, 113 (1547): pp. 70-74.
  3. Annalyn Swan (4 September 1978). "A Duo of Duchesses". Time. Retrieved 2007-09-14.
  4. The roles in this list are per the revised 1978 version
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