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''The Beggar's Opera''〔http://www.bibliomania.com/0/6/2/1088/frameset.html〕 is a ballad opera in three acts written in 1728 by John Gay with music arranged by Johann Christoph Pepusch. It is one of the watershed plays in Augustan drama and is the only example of the once thriving genre of satirical ballad opera to remain popular today. Ballad operas were satiric musical plays that used some of the conventions of opera, but without recitative. The lyrics of the airs in the piece are set to popular broadsheet ballads, opera arias, church hymns and folk tunes of the time. ''The Beggar's Opera'' premiered at the Lincoln's Inn Fields Theatre on 29 January 1728 and ran for 62 consecutive performances, the longest run in theatre history up to that time (after 146 performances of Rober Cambert's "Pomone" in 1671). The work became Gay's greatest success and has been played ever since; it has been called "the most popular play of the eighteenth century." In 1920, ''The Beggar's Opera'' began an astonishing revival run of 1,463 performances at the Lyric Theatre in Hammersmith, London, which was one of the longest runs in history for any piece of musical theatre at that time.〔(【引用サイトリンク】title=Long runs )〕 The piece satirised Italian opera, which had become popular in London. According to ''The New York Times'': "Gay wrote the work more as an anti-opera than an opera, one of its attractions to its 18th-century London public being its lampooning of the Italian opera style and the English public's fascination with it."〔〔Kozinn, Allan. ("''The Beggar's Opera'', An 18th-Century Satire", ) ''The New York Times'', 10 May 1990, accessed 6 November 2009〕 Instead of the grand music and themes of opera, the work uses familiar tunes and characters that were ordinary people. Some of the songs were by opera composers like Handel, but only the most popular of these were used. The audience could hum along with the music and identify with the characters. The story satirised politics, poverty and injustice, focusing on the theme of corruption at all levels of society. Lavinia Fenton, the first Polly Peachum, became an overnight success. Her pictures were in great demand, verses were written to her and books published about her. After appearing in several comedies, and then in numerous repetitions of ''The Beggars Opera'', she ran away with her married lover, Charles Powlett, 3rd Duke of Bolton. Elisabeth Hauptmann (with Bertolt Brecht) and Kurt Weill adapted the opera into ''Die Dreigroschenoper'' (''The Threepenny Opera'') in 1928, sticking closely to the original plot and characters but with a new libretto and mostly new music. ==Origin and analysis== The original idea of the opera came from Jonathan Swift, who wrote to Alexander Pope on 30 August 1716 asking "...what think you, of a Newgate pastoral among the thieves and whores there?" Their friend, Gay, decided that it would be a satire rather than a pastoral opera. For his original production in 1728, Gay intended all the songs to be sung without any accompaniment, adding to the shocking and gritty atmosphere of his conception.〔Traubner, Richard. (''Operetta: A Theatrical History'' ), p. 11〕 However, a week or so before the opening night, John Rich, the theatre director, insisted on having Johann Christoph Pepusch, a composer associated with his theatre, write a formal French overture (based on two of the songs in the opera, including a fugue based on Lucy's 3rd act song "I'm Like A Skiff on the Ocean Toss'd") and also to arrange the 69 songs. Although there is no external evidence of who the arranger was, inspection of the original 1729 score, formally published by Dover Books, demonstrates that Pepusch was the arranger.〔("Baroque Composers", ) ''Baroque Arts''〕 The work took satiric aim at the passionate interest of the upper classes in Italian opera, and simultaneously set out to lampoon the notable Whig statesman Robert Walpole, and politicians in general, as well as the notorious criminals Jonathan Wild and Jack Sheppard. It also deals with social inequity on a broad scale, primarily through the comparison of low-class thieves and whores with their aristocratic and bourgeois "betters." Gay used Scottish folk melodies mostly taken from the poet Allan Ramsay's hugely popular collection ''The Gentle Shepherd'' (1725) plus two French tunes (including the carol 'Bergers, Ecoutez La Musique!' for his song 'Fill Every Glass'), to serve his hilariously pointed and irreverent texts. Pepusch composed an overture and arranged all the tunes shortly before the opening night at Lincoln's Inn Fields on 28 January 1728. However, all that remains of Pepusch's score are the overture (with complete instrumentation) and the melodies of the songs with unfigured basses. Various reconstructions have been attempted, and a 1990 reconstruction of the score by American composer Jonathan Dobin has been used in a number of modern productions.〔Dobin, Jonathan. (Jonathan Dobin's ''The Beggar's Opera'' website ), accessed 6 November 2009〕 Gay uses the operatic norm of three acts (as opposed to the standard in spoken drama of the time of five acts), and tightly controls the dialogue and plot so that there are surprises in each of the forty-five fast-paced scenes and 69 short songs. The success of the opera was accompanied by a public desire for keepsakes and mementos, ranging from images of Polly on fans and clothing, playing cards and fire-screens, broadsides featuring all the characters, and the rapidly published musical score of the opera. The play is sometimes seen to be a reactionary call for libertarian values in response to the growing power of the conservative Whig party. It may also have been influenced by the then-popular ideology of Locke that men should be allowed their natural liberties; these democratic strains of thought influenced the populist movements of the time, of which ''The Beggar's Opera'' was a part.〔Richardson, John. "John Gay, The Beggar's Opera, and forms of resistance." ''Eighteenth-Century Life''. 24.3 (2000): 19–30.〕 The character of Macheath has been considered by critics as both a hero and an anti-hero. Harold Gene Moss, arguing that Macheath is a noble character, has written, "() whose drives are toward love and the vital passions, Macheath becomes an almost Christ-like victim of the decadence surrounding him." Contrarily, John Richardson in the peer-reviewed journal ''Eighteenth-Century Life'' has argued that Macheath is powerful as a literary figure precisely because he stands against any interpretation, "against expectation and illusion."〔 He is thought to be modelled on the notorious thief and gaol-breaker Jack Sheppard. ''The Beggar's Opera'' has had an influence on all later British stage comedies, especially on nineteenth century British comic opera and the modern musical. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「The Beggar's Opera」の詳細全文を読む スポンサード リンク
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