Recent from talks
Noye's Fludde
Knowledge base stats:
Talk channels stats:
Members stats:
Noye's Fludde
Noye's Fludde (Middle English for Noah's Flood) is a one-act opera by the British composer Benjamin Britten, intended primarily for amateur performers, particularly children. First performed on 18 June 1958 at that year's Aldeburgh Festival, it is based on the 15th-century Chester "mystery" or "miracle" play which recounts the Old Testament story of Noah's Ark. Britten specified that the opera should be staged in churches or large halls, not in a theatre.
By the mid-1950s Britten had established himself as a major composer, both of operas and of works for mixed professional and amateur forces – his mini-opera The Little Sweep (1949) was written for young audiences, and used child performers. He had previously adapted text from the Chester play cycle in his 1952 Canticle II, which retells the story of Abraham and Isaac. Noye's Fludde was composed as a project for television; to the Chester text Britten added three congregational hymns, the Greek prayer Kyrie eleison as a children's chant, and an Alleluia chorus. A large children's chorus represents the pairs of animals who march into and out of the ark, and proceedings are directed by the spoken Voice of God. Of the solo sung roles, only the parts of Noye (Noah) and his wife were written to be sung by professionals; the remaining roles are for child and adolescent performers. A small professional ensemble underpins the mainly amateur orchestra which contains numerous unconventional instruments to provide particular musical effects; bugle fanfares for the animals, handbell chimes for the rainbow, and various improvisations to replicate musically the sounds of a storm.
At its premiere Noye's Fludde was acclaimed by critics and public alike, both for the inspiration of the music and the brilliance of the design and production. The opera's American premiere took place in New York in March 1959, and its first German performance occurred at Ettal in May of that year. Since then it has been staged worldwide; the performance in Beijing in October 2012 organised by the KT Wong Foundation was the first in China of any Britten opera. The occasion of Britten's centenary in 2013 led to numerous productions at music festivals, both in the UK and abroad.
English mystery or "miracle" plays were dramatised Bible stories, by ancient tradition performed on Church feast days in town squares and market places by members of the town's craft guilds. They covered the full range of the narrative and metaphor in the Christian Bible, from the fall of Lucifer to the Last Judgement. From the many play cycles that originated in the late Middle Ages, the Chester cycle is one of four that have survived into the 21st century. The texts, by an unidentified writer, were revised during the late 15th century into a format similar to that of contemporary French passion plays, and were published in 1890, in Alfred W. Pollard's English Miracle Plays, Moralities, and Interludes.
The story of Noah and the flood, the third play in the Chester cycle, was originally performed by the city's Guild of the Drawers of Dee, otherwise known as the water-carriers. A feature of this play, observed by the historian Rosemary Woolf, is the depiction of Noah's wife, and by implication women generally, as disobedient, obdurate and finally abusive, in contrast to the "grave and obedient" Noah and his patient sons.
By the latter part of the 16th-century Reformation, the Church had grown less tolerant of mystery plays. A performance in Chester in 1575 is the last recorded from the city until the 20th century, when the Chester cycle was revived under the supervision of Christopher Ede, as part of the city's Festival of Britain celebrations in June 1951. This production was received enthusiastically, and was repeated the following year; thereafter it became a regular feature and tourist attraction.
By the late 1940s Benjamin Britten had established himself as a leading composer of English opera, with several major works to his credit. In 1947 he suggested to his librettist Eric Crozier that they should create a children's opera, based on a bible story. Crozier gave Britten a copy of Pollard's book, as a possible source of material. Nothing came of this project immediately; instead, Britten and Crozier wrote the cantata Saint Nicolas (1948), the first of several works in which Britten combined skilled performers with amateurs. The cantata involves at least two children's choirs, and incorporates two congregational hymns sung by the audience. Britten also used this fusion of professional with amateur forces in The Little Sweep (1949), which forms the second part of his entertainment for children, Let's Make an Opera, that he devised with Crozier. Again, child singers (also doubling as actors) were used, and the audience sings choruses at appropriate points. In 1952, although Britten's collaboration with Crozier had ended, he used the Chester plays book as the source text for his Canticle II, based on the story of Abraham and Isaac.
In April 1957 Boris Ford, Head of Schools Broadcasting at Associated Rediffusion (A-R), wrote to Britten, proposing a series of half-hour programmes. These would show Britten composing and rehearsing a work through to its performance, and would provide children with "an intimate piece of musical education, by ... watching a piece of music take shape and in some degree growing with it". Britten was initially cautious. He found the idea interesting, but he warned Ford that he was currently occupied with travel and had limited time for writing. He was also anxious not to cover the same ground as he had with Let's Make an Opera. However, he agreed to meet Ford to discuss the project further. On 11 July they met in London, together with Britten's musical assistant Imogen Holst. Britten told Ford that he had "for some months or a year vaguely been thinking of doing something with the [Chester] miracle plays", and agreed to write an opera for A-R's 1958 summer term of school programmes. The subject would be Noah and the flood, based on the Chester text. Later, Ford and his script editor, Martin Worth, travelled to Aldeburgh, and with Britten looked at possible churches for the performance. St Bartholomew's Church, Orford, was chosen as, unlike most other churches in East Suffolk, its pews were not fixed, thus offering a more flexible performing space.
Hub AI
Noye's Fludde AI simulator
(@Noye's Fludde_simulator)
Noye's Fludde
Noye's Fludde (Middle English for Noah's Flood) is a one-act opera by the British composer Benjamin Britten, intended primarily for amateur performers, particularly children. First performed on 18 June 1958 at that year's Aldeburgh Festival, it is based on the 15th-century Chester "mystery" or "miracle" play which recounts the Old Testament story of Noah's Ark. Britten specified that the opera should be staged in churches or large halls, not in a theatre.
By the mid-1950s Britten had established himself as a major composer, both of operas and of works for mixed professional and amateur forces – his mini-opera The Little Sweep (1949) was written for young audiences, and used child performers. He had previously adapted text from the Chester play cycle in his 1952 Canticle II, which retells the story of Abraham and Isaac. Noye's Fludde was composed as a project for television; to the Chester text Britten added three congregational hymns, the Greek prayer Kyrie eleison as a children's chant, and an Alleluia chorus. A large children's chorus represents the pairs of animals who march into and out of the ark, and proceedings are directed by the spoken Voice of God. Of the solo sung roles, only the parts of Noye (Noah) and his wife were written to be sung by professionals; the remaining roles are for child and adolescent performers. A small professional ensemble underpins the mainly amateur orchestra which contains numerous unconventional instruments to provide particular musical effects; bugle fanfares for the animals, handbell chimes for the rainbow, and various improvisations to replicate musically the sounds of a storm.
At its premiere Noye's Fludde was acclaimed by critics and public alike, both for the inspiration of the music and the brilliance of the design and production. The opera's American premiere took place in New York in March 1959, and its first German performance occurred at Ettal in May of that year. Since then it has been staged worldwide; the performance in Beijing in October 2012 organised by the KT Wong Foundation was the first in China of any Britten opera. The occasion of Britten's centenary in 2013 led to numerous productions at music festivals, both in the UK and abroad.
English mystery or "miracle" plays were dramatised Bible stories, by ancient tradition performed on Church feast days in town squares and market places by members of the town's craft guilds. They covered the full range of the narrative and metaphor in the Christian Bible, from the fall of Lucifer to the Last Judgement. From the many play cycles that originated in the late Middle Ages, the Chester cycle is one of four that have survived into the 21st century. The texts, by an unidentified writer, were revised during the late 15th century into a format similar to that of contemporary French passion plays, and were published in 1890, in Alfred W. Pollard's English Miracle Plays, Moralities, and Interludes.
The story of Noah and the flood, the third play in the Chester cycle, was originally performed by the city's Guild of the Drawers of Dee, otherwise known as the water-carriers. A feature of this play, observed by the historian Rosemary Woolf, is the depiction of Noah's wife, and by implication women generally, as disobedient, obdurate and finally abusive, in contrast to the "grave and obedient" Noah and his patient sons.
By the latter part of the 16th-century Reformation, the Church had grown less tolerant of mystery plays. A performance in Chester in 1575 is the last recorded from the city until the 20th century, when the Chester cycle was revived under the supervision of Christopher Ede, as part of the city's Festival of Britain celebrations in June 1951. This production was received enthusiastically, and was repeated the following year; thereafter it became a regular feature and tourist attraction.
By the late 1940s Benjamin Britten had established himself as a leading composer of English opera, with several major works to his credit. In 1947 he suggested to his librettist Eric Crozier that they should create a children's opera, based on a bible story. Crozier gave Britten a copy of Pollard's book, as a possible source of material. Nothing came of this project immediately; instead, Britten and Crozier wrote the cantata Saint Nicolas (1948), the first of several works in which Britten combined skilled performers with amateurs. The cantata involves at least two children's choirs, and incorporates two congregational hymns sung by the audience. Britten also used this fusion of professional with amateur forces in The Little Sweep (1949), which forms the second part of his entertainment for children, Let's Make an Opera, that he devised with Crozier. Again, child singers (also doubling as actors) were used, and the audience sings choruses at appropriate points. In 1952, although Britten's collaboration with Crozier had ended, he used the Chester plays book as the source text for his Canticle II, based on the story of Abraham and Isaac.
In April 1957 Boris Ford, Head of Schools Broadcasting at Associated Rediffusion (A-R), wrote to Britten, proposing a series of half-hour programmes. These would show Britten composing and rehearsing a work through to its performance, and would provide children with "an intimate piece of musical education, by ... watching a piece of music take shape and in some degree growing with it". Britten was initially cautious. He found the idea interesting, but he warned Ford that he was currently occupied with travel and had limited time for writing. He was also anxious not to cover the same ground as he had with Let's Make an Opera. However, he agreed to meet Ford to discuss the project further. On 11 July they met in London, together with Britten's musical assistant Imogen Holst. Britten told Ford that he had "for some months or a year vaguely been thinking of doing something with the [Chester] miracle plays", and agreed to write an opera for A-R's 1958 summer term of school programmes. The subject would be Noah and the flood, based on the Chester text. Later, Ford and his script editor, Martin Worth, travelled to Aldeburgh, and with Britten looked at possible churches for the performance. St Bartholomew's Church, Orford, was chosen as, unlike most other churches in East Suffolk, its pews were not fixed, thus offering a more flexible performing space.
Recent media