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Extra resources for Shakespeare and Popular Music
The show began with a rendition of Filippo Azzaiolo’s ‘Chi passa per sta strada’ (‘He who passes this way’) from the 1500s, and was interspersed with songs that combined early modern lyrics (translated from Renaissance Italian, and by English Renaissance poets) with ‘new tunes’. This kind of project is untroubled by issues of ahistoricism – it imagines we can hear ‘through the ears’ of those long dead without too many problems. Indeed, Hess’s description of his composition process ends with a fantasy whose informal address, use of mixed tenses, and final ellipses, offer the possibility of connection with the Bard and seek to prove how ‘timeless’ both he and popular music can be: Will Shakespeare loved music .
The 2002 album When Love Speaks made this point in several ways. In addition to recitals of specific sonnets by notable British actors, the album features various artists’ musical versions of Shakespearean verse. The album’s title suggests that the musical and the spoken sonnets all speak the same, on the same theme, and emanate from the same source, diverse as their modern forms may seem. In other words, expressive emotion becomes synonymous with Shakespeare himself: when love speaks, so does he, and his words are endlessly updatable, endlessly translatable, in infinite genres and styles.
Redoubtable vocal talents notwithstanding, as a prominent gay performer he possesses the authority to make his rendition of this sonnet credible. Likewise, Wainwright expressed his musical fluency, and his perception of the fluidity of gendered, sexual and Shakespearean roles, by casting Jeff Buckley as an Ophelia figure in his song ‘Memphis Skyline’. Unsurprisingly, Wainwright’s suitability as a combiner of Shakespeare and popular music found other outlets that allowed him to challenge perceptions of gender, sexuality and popular song.