Title: The Tempest (opera)
Content:  The Tempest is an opera by English composer Thomas Adès with a libretto in English by Meredith Oakes based on the play The Tempest by William Shakespeare.
Title: The Tempest (Sibelius)
Content:  The Tempest (Stormen), Op. 109, is incidental music to Shakespeare's The Tempest, by Jean Sibelius. He composed it in 1925–26, at about the same time as he wrote his tone poem Tapiola. Sibelius derived two suites from the score. The music is said to display an astounding richness of imagination and inventive capacity, and is considered by some as one of Sibelius's greatest achievements. He represented individual characters through instrumentation choices: particularly admired was his use of harps and percussion to represent Prospero, said to capture the "resonant ambiguity of the character".
Title: The Tempest (Sullivan)
Content:  The Tempest incidental music, Op. 1, is a set of movements for Shakespeare's play composed by Arthur Sullivan in 1861 and expanded in 1862. This was Sullivan's first major composition, and its success quickly brought him to the attention of the musical establishment in England.
Title: The Tempest (Smith)
Content:  The Tempest or The Enchanted Isle is an opera in three acts by composer John Christopher Smith. The work's English language libretto by David Garrick is based on the 1611 play of the same name by William Shakespeare. The opera premiered on 11 February 1756 in London at the Theatre Royal, Drury Lane.
Title: The Tempest
Content:  choices: particularly admired was his use of harps and percussion to represent Prospero, said to capture the "resonant ambiguity of the character". ; Malcolm Arnold, Lennox Berkeley, Hector Berlioz, Arthur Bliss, Engelbert Humperdinck, Willem Pijper, Henry Purcell, and Michael Tippett. The Tempest has more music than any other Shakespeare play, and has proved more popular as a subject for composers than most of Shakespeare's plays. Scholar Julie Sanders ascribes this to the "perceived 'musicality' or lyricism" of the play. Two settings of songs from The Tempest which may have been used in performances during Shakespeare's lifetime have survived. These are "Full Fathom Five" and "Where The Bee Sucks 
Title: The Tempest (Hoiby)
Content:  The Tempest is an opera in three acts by the American composer Lee Hoiby to a libretto by Mark Shulgasser adapted from Shakespeare's The Tempest. It was first performed in 1986 by the Des Moines Metro Opera.
Title: The Tempest (Tchaikovsky)
Content:  The Tempest (Russian: Буря Burya), Symphonic Fantasia after Shakespeare, Op. 18, is a symphonic poem in F minor by Pyotr Ilyich Tchaikovsky composed in 1873. It was premiered in December 1873, conducted by Nikolai Rubinstein. It is based on the play The Tempest by William Shakespeare. Similar in structure to Tchaikovsky's better-known Romeo and Juliet fantasy-overture, it contains themes depicting the stillness of the ship at sea, the grotesque nature of Caliban, and the love between Ferdinand and Miranda. The love music is particularly strong, being reminiscent of the love music from Romeo and Juliet. Tchaikovsky was much influenced by Shakespeare: in addition to Romeo and Juliet and The Tempest, he also wrote a Hamlet overture-fantasy (1888) and incidental music to Hamlet (1891). Excerpts from the score were used in the 2005 ballet Anna Karenina, choreographed by Boris Eifman.
Title: The Tempest
Content:  The Tempest is a play by English playwright William Shakespeare, probably written in 1610–1611, and thought to be one of the last plays that Shakespeare wrote alone. After the first scene, which takes place on a ship at sea during a tempest, the rest of the story is set on a remote island, where the sorcerer Prospero, a complex and contradictory character, lives with his daughter Miranda, and his two servants—Caliban, a savage monster figure, and Ariel, an airy spirit. The play contains music and songs that evoke the spirit of enchantment on the island. It explores many themes, including magic, betrayal, revenge, and 
Title: The Tempest (opera)
Content:  Much has appeared in print about the striking music composed for this opera. Ranging from the almost dissonant (parts of act 1) to the sublimely lyrical (the Miranda–Ferdinand love duet, rare in modern operas, and a quintet passacaglia in act 3), with surges and outpourings of emotion contrasting with harmonic clashes of tone and color, The Tempest is regarded as the composer's towering achievement to date. This is reflected in the following writers' statements: "The evening deservedly belongs to Adès, who himself conducts a score as orchestrally lush and evocative as vocally varied and articulate. The cumulative effect is by turns ethereal, witty, incandescent, often ravishing." "... For one composer at least, contemporary lyric opera is still a viable medium. It looks like an opera and it behaves like an 
Title: The Tempest
Content:  those who wrote incidental music to The Tempest are: At least forty-six operas or semi-operas based on The Tempest exist. In addition to the Dryden/Davenant and Garrick versions mentioned in the "Restoration and 18th century" section above, Frederic Reynolds produced an operatic version in 1821, with music by Sir Henry Bishop. Other pre-20th-century operas based on The Tempest include Fromental Halévy's La Tempesta (1850) and Zdeněk Fibich's Bouře (1894). In the 20th century, Kurt Atterberg's Stormen premiered in 1948 and Frank Martin's Der Sturm in 1955. Michael Tippett's 1971 opera The Knot Garden contains various allusions to The Tempest. In Act 3, a psychoanalyst, Mangus, pretends to be 

Question: Who was the composer of Tales of the Tempest?
Answer: Motoi Sakuraba.
桜庭統.