Henry Purcell (1659-1695)

Dioclesian

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Dioclesian (or The Prophetess, or The History of Dioclesian) is a tragicomic semi-opera in five acts by Henry Purcell to a libretto by Thomas Betterton based on the play, The Prophetess, by John Fletcher and Philip Massinger, which in turn was based very loosely on the life of the Emperor Diocletian. It was premiered in late May of 1690 at Queen's Theatre, Dorset Garden. The play was first produced in 1622. Choreogaphy for the various dances was provided by Josias Priest. who worked with Purcell on several other semi-operas.

Synopsis
The story is about the struggle for power in Ancient Rome. Delphia, a prophetess, foretells that Diocles, a footsoldier, will become emperor after he kills a "mighty boar". Diocles does not take the prophesy seriously, and jokes that if this occurs he will marry Delphia's ill-favored niece Drusilla. It turns out that a soldier, Volutius Aper, nicknamed "the boar" has murdered the old emperor, and Diocles kills Aper in revenge. In reward for this action he is made co-emperor and renames himself Dioclesian. He ignores his promise to marry Drusilla, and courts the princess Aurelia instead. This angers Delphia, who brings a stop to the wedding ceremony by conjuring a storm and giant monster. She then causes the princess to fall in love with Diocles' rival Maximillian, and the Persians to defeat the Roman army. Diocles realises the error of his ways, routes the invaders, cedes his half of the throne to Maximillian, and moves to Lombardy with Drusilla. Betterton added scenes in order to make space for Purcell's music. Some of these additions were not appreciated at the time because they broke of the flow of drama of the play. The most famous scene from Dioclesian is the final masque, a self-contained pastoral which remained popular into the eighteenth century about Cupid taming Jupiter.

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Comus [kO´mus] Pronunciation Key, in late Roman legend, god of mirth and revelry. A follower of Dionysus, he was represented as a drunken youth bearing a torch. In Milton's poetic masque, Comus, he is the mischievous son of Bacchus and Circe.

Flora, in Roman religion, goddess of flowers and fertility. Her festival, the Floralia, Apr. 28–May 1, was celebrated with great gaiety and licentiousness.

Momus [mO´mus] Pronunciation Key, figure in Greek mythology. He was the personification of censure and mockery.

Silenus [sIlE´nus] Pronunciation Key, in Greek mythology, part bestial and part human creature of the forests and mountains. Part of Dionysus' entourage, the sileni are usually represented as aged satyrs : drunken, jolly, bald, fat, bearded, and possessing horse ears. According to some myths they were prophets; but according to others they were so perpetually stupefied with drink that they were unable to distinguish truth from falsehood. In some legends only one such creature appears, Silenus, described as the oldest of the satyrs, the son of Hermes or Pan. He was the companion, adviser, or tutor of Dionysus.

Silvanus, in Roman religion, ancient pastoral deity, protector of uncultivated lands. It was also said that he was the guardian of field boundaries, flocks, and herds. Like the Greek Pan, with whom he was often identified, he could be dangerous as well as beneficent.

Ceres [sIr´Ez] Pronunciation Key, in Roman religion and mythology, goddess of grain; daughter of Saturn and Ops. She was identified by the Romans with the Greek Demeter. Her worship was connected with that of the earth goddess and involved not only fertility rites but also rites for the dead. Her chief festival was the Cerealia, celebrated on Apr. 19, and her most famous cult was that of the temple on the Aventine Hill. There is much argument about the origins and nature of her cults.

Tellus [tel´us] Pronunciation Key, in Roman religion, earth goddess; also called Terra Mater. As a goddess of fertility, she was worshiped at festivals held in January (in conjunction with Ceres) and in April. Tellus was identified with the Greek Gaea.

Bacchus [bak´us] Pronunciation Key, in Roman religion and mythology, god of wine; in Greek mythology, Dionysus. Dionysus was also the god of tillage and law giving. He was worshiped at Delphi and at the spring festival, the Great Dionysia. In Rome, the mysteries of his cult were closely guarded, and he was identified with an ancient god of wine, Liber Pater. Many legends connected with Dionysus were also used in the cult of Bacchus

Z 627, (Zimmerman catalogue) Semi-Opera, Prophetess or The History of Dioclesian or Dioclesian (1690)
- Movt. 1, 1st Music
- Movt. 2, 2nd Music
- Movt. 3, Overture
- Movt. 4, 1st Act Tune (Hornpipe)
- Act 2
  - Movt. 5, Prelude, Aria and Chorus, "Great Diocles the boar has killed"
  - Movt. 6, Prelude and Aria, "Charon, the peaceful shade invites"
  - Movt. 7, Symphony
  - Movt. 8, Duet and Chorus, "Let all mankind the pleasures share"
  - Movt. 9, Prelude, Aria and Chorus, "Let the soldier's rejoice"
  - Movt. 10, Ritornello
  - Movt. 11, Trio and Chorus, "To Mars let 'em raise"
  - Movt. 12, Ritornello
  - Movt. 13a, Prelude - A Symphony of flutes in the air
  - Movt. 13b - c, Aria and Chorus, "Since the toils and hazards of war"
  - Movt. 13d, Aria and Ritornello, "With dances and songs"
  - Movt. 13e, Quartet and Chorus, "Let the priests with processions"
  - Movt. 14, Dance of the Furies
  - Movt. 15, 2nd Act Tune
- Act 3
  - Movt. 16, Chaconne (Two in one upon a Ground)
  - Movt. 16 (App 1), Aria, "When first I saw"
  - Movt. 17, Dance - The Chair Dance
  - Movt. 18, Prelude and Aria, "What shall I do"
  - Movt. 19, 3rd Act Tune
- Act 4
  - Movt. 20, Dance - Butterfly Dance
  - Movt. 21, Trumpet Tune
  - Movt. 22 - 23, Aria and Chorus, "Sound Fame"
  - Movt. 24, 4th Act Tune
- Act 5
  - Movt. 25, Dance - Country Dance
  - Movt. 26, Prelude and Masque, "Call the Nymphs and the fauns"
  - Movt. 27, Duet, "Come, come away"
- First Entry
  - Movt. 28, Prelude and Chorus, "Behold, O mightiest of gods"
  - Movt. 29, Paspe
  - Movt. 30, Duet, "O, the sweet delights of love"
  - Movt. 31, Aria and Chorus, "Let monarchs fight"
  - Movt. 31 (App 2), Aria, "Since from my dear Astrea's sight"
- Second Entry
  - Movt. 32a, Prelude
  - Movt. 32b, Duet, "Make room for the great god of wine"
  - Movt. 32c, Chorus, "I'm here with my jolly crew"
  - Movt. 32d, Dance - Dance of the Baccanals
  - Movt. 33, Aria and Ritornello, "Still I'm wishing"
- Third Entry
  - Movt. 34, "Canaries"
  - Movt. 35, Duet (dialogue), "Tell me why my charming fair"
- Fourth Entry
  - Movt. 36, Dance
  - Movt. 37, Aria and Chorus, "All our days"
  - Movt. 37 (App 3), Aria, "Let us dance"
  - Movt. 38, Trio, "Triumph, victorious love"
  - Movt. 39, Chorus