Here, too, Don
John hatches his plot against Hero's honour, and Don Pedro unfolds his
scheme for tricking Beatrice and Benedick into mutual love. The second
act takes place in Leonato's garden. Claudio serenades his mistress, who
comes down from her balcony and joins him in a duet. Then follows the
cozening of Benedick, and the act ends effectively by Don John showing
to Claudio the supposed Hero admitting Borachio to her chamber. The
third scene is in the church, following Shakespeare very closely, and
the last takes place in an open square in Messina with Hero's tomb on
one side, where, after a scene with Dogberry, Borachio confesses his
crime, and Hero is restored to her lover. Stanford's music is a masterly
combination of delicate fancy and brilliant humour, and when serious
matters are in hand he is not found wanting. A distinctive feature of
the work is the absence of Wagnerian influence. Stanford uses guiding
themes, it is true, and often in a most suggestive manner, but they do
not form the basis of his score. If foreign influence there be in 'Much
Ado about Nothing,' it is that of Verdi in his 'Falstaff' manner. Like
Verdi Stanford strikes a true balance between voices and instruments.
His orchestra prattles merrily along, underlining each situation in turn
with happy emphasis, but it never attempts to dethrone the human voice
from its pride of place.
Pages:
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360
361
362
363
364
365
366