Overview
Synopsis
With her cousin dating Claudio, Beatrice always ends up having to talk to his best friend, Benedict. He is so annoying she just cannot help but insult him. But when he goes away to war, she finds herself thinking about him. Can she really have feelings for him, or is her mind just playing tricks on her?
It is rather a surprise to Benedict when he finds out that Beatrice is in love with him. She taunts him and insults him so much, but has she really been hiding feelings for him all this time? He has to admit she is rather beautiful, and incredibly intelligent, and there is just a chance that he might give up his committed bachelorhood for someone like her.
Do Benedict and Beatrice’s friends know them better than they know themselves? Perhaps they will be carried away in the romance of a wedding, and the offer of a pre-prepared wedding contract at the right moment. All it will take is for one of them to swallow their pride and admit their feelings, but will they be able to do it?
Berlioz’s operatic retelling of ³§³ó²¹°ì±ð²õ±è±ð²¹°ù±ð’s Much Ado About Nothing will give us the answers.
Show Information
- Music
- Hector Berlioz
- Libretto
- Hector Berlioz , William Shakespeare
- Based on the Play/Book/Film
- Much Ado About Nothing by William Shakespeare
- Category
- Opera
- Age Guidance
- Youth (Y)/General Audiences (G)
- Number of Acts
- 2
- First Produced
- 1862
- Genres
- Comedy, Romance
- Settings
- Period, Multiple Settings
- Time & Place
- Messina, Sicily, 16th century
- Cast Size
- medium
- Orchestra Size
- Large
- Dancing
- None
- Licensor
- None/royalty-free
- Ideal For
- College/University, Professional Opera, Mostly Male Cast, Includes Young Adult, Adult, Mature Adult, Elderly Characters, Medium Cast
Context
Plot
Characters
| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Male |
Tenor |
|
|
Lead |
Female |
Mezzo-Soprano |
|
|
Lead |
Female |
Soprano |
|
|
Supporting |
Female |
Contralto |
|
|
Supporting |
Male |
Baritone |
|
|
Supporting |
Male |
Bass |
|
|
Supporting |
Male |
Baritone, Bass, Bass-Baritone |
|
|
Supporting |
Male |
Non-singer |
|
|
Featured |
Male |
Non-singer |
|
|
Featured |
Male |
Non-singer |
|
|
Ensemble |
Either Gender |
Soprano, Mezzo-Soprano, Tenor, Baritone, Bass, Contralto |
Songs
Overture
Act I
- No 1. Chorus ‘Le More est en fuite� - Chorus
- No 2. Chorus ‘Le More est en fuite� - Beatrice, Hero, Messenger, Chorus
- No 2b. Sicilienne
- No 3. Aria ‘Je vais le voir� - Hero
- No 4. Duet ‘Comment le dédain pourrait-il mourir?� - Béatrice, Bénédict
- No 5. Trio ‘Me marier? Dieu me pardonne!� - Bénedict, Claudio, Don Pédro
- No 6. Epithalame grotesque ‘Mourez, tendres époux� - Somarone, Chorus
- No 7. Rondo ‘Ah! Je vais l’aimer� - Benedict
- No 8. Duet ‘Vous soupirez, madame?� - Héro, Ursule
Act II
- No 9. Improvisation and Drinking Chorus ‘Le vin de Syracuse accuse� - Somarone, Chorus
- No 10. Aria ‘Dieu! Que viens-je d’entendre� and ‘Il m’en souvient� - Béatrice
- No 11. Trio ‘Je vais d’un cœur aimant� - Héro, Béatrice, Ursule
- No 12. Distant chorus ‘Viens! Viens, de l’hyménée Victime fortunée� - Chorus
- No 13. Wedding March ‘Dieu qui guidas nos bras�- Leonato, Béatrice, Héro, Ursule, Bénédict, Claudio, Don Pédro, Chorus, Notary
- No 14. Sign ‘Ici l’on voit Bénédict� - Héro, Ursule, Claudio, Don Pédro, Chorus
- No 15. Duet ‘L’amour est un flambeau� - Béatrice, Bénédict, Héro, Ursule, Claudio, Don Pédro, Chorus
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
Monologues
Scenes
Key Terms
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Videos
Quizzes
Themes, Symbols & Motifs
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Quote Analysis
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Guide Written By:
Wendy Silvester
Singer and vocal coach based in the UK.