In The Faerie Queene , Spenser's fairy queen is named Gloriana, and is also referred to as Tanaquill, which "appears to be an epithet for Gloriana, Queen of Faeries" derived from the name of the wife of Tarquinius Priscus.

Diana was regularly portrayed as the ruler of the fairy kingdom in demonological literature, such as King James VI of Scotland 's Daemonologie , which says that she belongs to "the fourth kind of spirits, which by the Gentiles [non-Jews] was called Diana and her wandering court, and amongst us is called Fairy as I told you or our good neighbours".

Barrie also identifies Queen Mab as the name of the fairy queen, although the character is entirely benign and helpful. In Disney's series of films based on Tinker Bell , a fairy character originating in Barrie's novels, the fairies are shown to be ruled by a Queen Clarion.

As she is a fairy , The Fairy Queen has a magic wand which she can use to cast powerful spells, able to fabricate items at will, move things around remotely and even transform humans into animals.

After her transformation into a frog, The Fairy Queen became livid with Twinkle , to the extent where she banished her from The Enchanted Island for eternity.

Even though Twinkle has saved The Enchanted Island countless times and even managed to temporarily revert her back to her original form, the queen's large ego prevents her from forgiving Twinkle , claiming that nothing can make up the years of humiliation she suffered as a frog.

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Changing tastes were not the only reason for this; the voices employed had also become difficult to find. The list of singers below shows the frequent employment of the male alto, or countertenor , in the semi-opera, a voice which, after Purcell, essentially vanished from the stage, probably due to the rise of Italian opera and the attendant castrati.

After that Romantic opera emerged, with the attendant predominance of the tenor. Until the early music revival, the male alto survived mainly in the ecclesiastical tradition of all-male church choirs and twentieth-century American vocal quartets.

However, Purcell's music and with it The Fairy-Queen was resuscitated by two related movements: a growing interest in Baroque music and the rise of the countertenor, led by pioneers such as Alfred Deller and Russell Oberlin.

The former movement led to performances of long-neglected composers such as Purcell, John Dowland , John Blow and even George Frideric Handel , while the latter complemented it by providing a way of making such performances as authentic as possible as regards the original music and the composer's intentions less true for Handel, where countertenors appear as castrati replacements.

The format of the work presents problems to modern directors, who must decide whether or not to present Purcell's music as part of the original play, which uncut is rather lengthy.

Savage calculated a length of four hours. A bold approach was taken at the Brazilian Opera Company's staging by Luiz Päetow , with the libretto becoming unstuck in time.

In July , two months before the th anniversary of Purcell's birth, The Fairy-Queen was performed in a new edition, prepared for The Purcell Society by Bruce Wood and Andrew Pinnock, which restored the entire theatrical entertainment as well as the original pitch used by Purcell.

The role of Mopsa was originally performed by a soprano; however, a later revision by Purcell stated that it was to be performed by "Mr.

Pate in woman's habit", presumably to have a grotesque effect and highlight the refrain "No, no, no, no, no; no kissing at all" in the dialogue between Corydon and Mopsa.

The record is ambivalent as to whether Purcell himself a countertenor used a tenor with a particularly high range though lighter at the top and tessitura known sometimes as an haute-contre , the descendants of the contratenors alti of medieval polyphony or a falsettist.

It seems that throughout his career he used both.