Darina Ablogina, Adele Mariniuk, Holly Scarborough, Tommaso Simonetta Sandri – Transverse flutes

Maria Morozova-Meléndez – Spinett

Free entry

Basel·ReRenaissance celebrates the sun in its absence with “Fair Oriana” – English Madrigals for the Queen, a performance of The Triumphs of Oriana, printed in 1601 by Thomas Morley and directed by Elizabeth Rumsey.  

Ivo Haun -  Singing to the Treble Lute

Marc Lewon - The Cithern, & singing to a Meane Lute

Catherine Motuz - A soft Trombone, & singing in the Quire

Grace Newcombe - Singing to the Virginalls

Elizabeth Rumsey - Treble & Base vyalls, Mistress of Musick

Holly Scarborough - Flutes, & a well-tuned Drum

Tabea Schwartz - Sweet Flutes & the Bass Violl

Shakespeare’s illustrious prose is inextricably linked with the music that was performed in his plays. The Bard frequently directed his characters to burst into song, cannily catering to the vast audiences who flocked to the Globe Theatre, expecting to enjoy the popular melodies of the day that were interwoven throughout the narrative. English novelist and biographer Peter Ackroyd remarked, “It can be argued that Shakespeare was the first dramatist to make song an integral part of the drama and can thus be seen as the begetter of the musical theatre.” 

Play, Music! features music from such memorable plays as All’s Well that Ends Well, As You Like It, Hamlet, Midsummer Night’s Dream, Taming of the Shrew, Twelfth Night, and more, penned by prominent 16th-century tunesmiths including John Dowland, King Henry VIII, Richard Tarleton, and Shakespeare himself. Theatro founder Brian Kay is the guest director for this performance.

Ashlee Foreman, vocals
Brian Kay, vocals & plucked strings
David McCormick, baroque violin
​Anna O’Connell, vocals & historical harp
Holly Scarborough, historical winds & percussion

Shakespeare’s illustrious prose is inextricably linked with the music that was performed in his plays. The Bard frequently directed his characters to burst into song, cannily catering to the vast audiences who flocked to the Globe Theatre, expecting to enjoy the popular melodies of the day that were interwoven throughout the narrative. English novelist and biographer Peter Ackroyd remarked, “It can be argued that Shakespeare was the first dramatist to make song an integral part of the drama and can thus be seen as the begetter of the musical theatre.” 

Play, Music! features music from such memorable plays as All’s Well that Ends Well, As You Like It, Hamlet, Midsummer Night’s Dream, Taming of the Shrew, Twelfth Night, and more, penned by prominent 16th-century tunesmiths including John Dowland, King Henry VIII, Richard Tarleton, and Shakespeare himself. Theatro founder Brian Kay is the guest director for this performance.

Ashlee Foreman, vocals
Brian Kay, vocals & plucked strings
David McCormick, baroque violin
​Anna O’Connell, vocals & historical harp
Holly Scarborough, historical winds & percussion

Wilhelm Tell, der tapfere Held der Freiheit! Flöte, Trommel, Laute und Gesang erzählt die Sage, inklusiv die berühmte Szene, in der Tell mit der Armbrust auf einen Apfel über dem Kopf seines Sohnes zielt. Zudem werden Strophen aus einer der frühesten überlieferten Fassungen der Tell-Sage, dem Lied von der Entstehung der Eidgenossenschaft (1477), in eine gesungene Fassung übertragen. Zweigulden präsentiert die Sage von Wilhelm Tell – Held und Schurke, Vater und Sohn, Unterdrückung und Freiheit – in einer Weise, die Schillers Drama von 1804 und Rossinis Oper von 1829 vorausgeht, und gibt mit historischer Flöte, Laute und Trommel neue Einblicke in die Renaissance-Geschichte.