The tune was requisitioned for a number of ballad operas
and other songs during the decades following its publication.
Indeed, while many writers of ballad operas
gradually moved away from incorporating a social message, Fielding maintained that focus so strongly that two of his efforts may have been suppressed by political pressure from above, (2) much as was Gay's sequel to The Beggar's Opera, Polly.
Thanks in large part to such extraordinary talents, ballad operas
had a ten-year vogue, spawning 160 works and three thousand new tunes before fading in 1737.
Instead of the satirical ballad opera
being set in the grimy underbelly of early 18th century London, the action in the re-named Convict's Opera has been transposed to the belly of a ship transporting its hapless human cargo to Australia.
Particularly in the eighteenth century, as an alternative to opera as such, there are a number of indigenous traditions of musical theatre: the zarzuela in Spain, the opera comique in France, the ballad opera
in England, the Singspiel in Germany.
He lost the mechanicals, cut Act Five and added quite as many songs as are contained in any ballad opera
By the 19th century, there were two clear types of musical theatre recognized in Great Britain: the ballad operas
such as John Gay's, TheBeggars Opera (1728) and the comic operas like Michael Balfe's The Bohemian Girl (1825).
These included processions, burlettas (comic operas popular in England in the second half of the 18th century) or burlesques, and ballad operas
, which gained popularity after the success of John Gay's Beggar's Opera in 1728.
Evidence is adduced that the 'Black Joke' became extremely popular from the early eighteenth century, entering many areas of cultural life, including the theatre, as both a lewd song and a dance, and ballad operas
and songbooks of the day.
She then discusses the musical and textual details of several ballad operas
, comic operas, and burlettas of the period, based on contemporary accounts of their popularity with the London public.
He studied music and began to work for the theater, often providing both words and music for a number of farces, burlesques, ballad operas
, and interludes; of his theater work, the best is perhaps The Honest Yorkshire-Man (1735).
And where was the discussion of Tom D'Urfey and his contemporaries, the analysis of the role of the eighteenth-century pleasure gardens, or the examination of the relationship of ballad operas
to folk songs and 'national' songs?