Shakespeare’s Macbeth as you’ve never seen it before!
In 1664, William Davenant adapted Shakespeare’s Macbeth for the age, infusing it with music that was performed by some of the finest singers of the day. Come experience scenes and music from the Scottish play as it was performed to enormous success on the Restoration and 18th Century stage. The three witches loom larger in this production as the Wayward Sisters weave their spells in song. Join the Henry Purcell Society of Boston for a rare performance of a Restoration classic!
Our creative team is comprised of stage director Kirsten Z. Cairns, dramaturg Laurence Senelick and choreographer Sonam Tshedzom Tingkhye who will debut her original choreography for the witches and their familiars who will be played by our young artists Aviva Dias and Zoe Carey. We are excited to offer audiences this grand Restoration Era “Entertainment!”
Featuring:
Emily Marvosh, alto; Emily Siar, soprano and David Thomas Mather, baritone as The Witches
Special guests soprano Teresa Wakim, members of Seven Times Salt, and the Henry Purcell Society of Boston Ensemble.
Macbeth - Benjamin Evett; Lady Macbeth, Natalya Baldyga;
Macduff - Nicholas Morgan; Lady Macduff - Amanda Gann;
Banquo - Luke Scott; and Hecate - Jacob Cooper
Ian Watson, harpsichord; Shirley Hunt, viola da gamba and harpsichord;
Jesse Irons and Amy Rawstron, violins; Joy Grimes, viola and Scottish fiddle,
Roy Sansom and Daniel Meyers, recorders, percussion and sound effects
FALL VIRTUAL EVENT
SUNDAY, OCT 10, 2021 3:00PM ONLINE
The Hunt-Berry Duo in Recital:
Works C.F. Abel, J.C. Bach, and Beethoven
Shirley Hunt, historical violoncello
Sylvia Berry, fortepiano
WINTER VIRTUAL EVENT
TUESDAY FEBRUARY 8, 2022 at 8pm ON ZOOM
We are thrilled that historian Diana Solomon accepted our invitation to discuss the role of women on the Restoration Era stage, with special attention to the “Mad Song,” soprano Anne Bracegirdle and composer John Eccles. With the help of her composer friends (Eccles, Purcell and others), Anne Bracegirdle was able to restore her image as a “virtuous actress” amid a vicious public scandal that nearly destroyed her career. Diana Solomon has written numerous articles from the feminist perspective on the roles women had to play in Restoration Comedies, and also how “mad songs” played a role in creating public sympathy for Anne Bracegirdle. Want to know what it was like to be a female actor on the 17th century stage? Join us for the discussion!
Pre-recorded mad songs performed by Amanda Forsythe and Sarah Yanovitch- Vitale will be premiered at this free event. The panelists include actor and theater historian Natalya Baldyga, stage director Kirsten Z. Cairns and HPSOB Artistic Director, Jessica Cooper.
