This composition of Berlioz is rarely performed despite being what contemporary composer Diana Bickley calls “one of the most lively and evocative Shakespearean works” in the repertory. Why is such an important work so woefully underperformed? According to musicologist Peter Bloom, Berlioz’s decision to incorporate the Tempest Overture into his unsuccessful opera “Lelio” has effectively removed the overture from the standard concert repertory, despite the overture’s own merits.
The story told in the stand-alone overture is familiar enough to fans of Shakespeare’s “The Tempest.” The airy spirits predict the coming of Miranda’s future lover. Then, her father Prospero conjures a storm, shipwrecking the King of Naples and his son onto the enchanted island. Miranda and the king’s son Ferdinand fall in love upon the island, and we hear the sound of battle between the savage Caliban and Prospero. Finally, Miranda, Ferdinand, and Prospero depart from the island to joyous fanfare.
But what makes the overture worth listening to? There are two primary reasons. First, the Tempest Overture is remarkable in that it is the first overture to make use of the piano. Second, and more importantly, it is the first to employ voices. The blending of these unusual and “unheard of” sonorities makes for what one early reviewer of the overture called a “truly remarkable” musical experience. The vocal passages in the overture (Part 1 – 0:10; 4:40; Part 2 – 3:33) constitute some of the most heart-breaking music for voice I have ever heard. The closing galloping fanfare is also notably stirring.
Citation: The Cambridge Companion to Berlioz (2000) ed. Peter Bloom. pg 70; 75-76 – The Concert Overtures
Full Text below:
THE INTRODUCTION
Miranda, here comes your destined husband.
You will know love.
A new life the dawn is breaking for you.
Goodbye.
THE TEMPEST
Miranda, he is the one.
It’s your husband.
Be happy!
THE ACTION
Miranda!
Caliban! Horrible monster!
Fear the contempt of Ariel!
Oh Caliban!
Oh Miranda, oh Miranda.
He leads you, you depart.
We’ll see you no more.
From the shores of our lofty office,
we approach in vain the splendid and sweet flower
that on the earth we watched.
We’ll see you no more.
Goodbye, Miranda.
Images used, in order of appearance:
William Shakespeare – Title Page of The Tempest, 1623
John William Waterhouse – “Miranda,” 1916, oil on canvas
George Romney – “Act 1, Scene 1 of The Tempest,” 1797, engraving
George Romney – “Emma Hamilton as Miranda,” c. 1780, oil sketch
William Hogarth – “The Tempest,” c. 1735, oil on canvas
Angelica Kaufmann – “Scene with Miranda and Ferdinand, Oval,” 1782, oil on canvas
C.W. Sharpe – “Caliban. Miranda. Prospero. The Tempest,” 1875, engraving on heavy paper
William Hamilton – “Prospero and Ariel (from Shakespeare’s ‘The Tempest’,” 1797
John William Waterhouse – “Miranda,” 1875, oil on canvas
William Maw Egley – “Prospero and Miranda,” c. 1850
Roger Budney – “The Tempest,” contemporary, oil on canvas