Roderick Williams



Born: 1965  
Roderick Williams is a bass who rapidly began establishing an operatic career in Britain in the mid-'90s.

After university, Williams was a school music teacher for three years while training for a full-time career as a professional singer. He studied the opera course at the Guildhall School of Music. While there he made his operatic debut as Tarquinius in Britten's Rape of Lucretia, a part he maintains in his active repertory as a
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He began entering competitions and in 1992 won the top prize among basses in the Great Grimsby International Singing Competition. In 1994 he was second prize overall in the Kathleen Ferrier competition. He has also won awards from the South East Arts Music Scheme, and the National Federation of Music Societies, and was granted the Lili Boulanger Memorial Award.

He began establishing himself in the North of Britain, singing the Count in Mozart's The Marriage of Figaro at Opera North, and Schaunard in La Bohème at the Scottish Opera. For the same companies he has also sung Marcello in La Bohème, Belcore in L'Elisir d'Amore, Figaro in Rossini's The Barber of Seville, and Masetto in Don Giovanni.

His international debut was in 1998, when he sang Albert in Massenet's Werther for the New Israeli Opera, and in the 1999 Spoleto Festival he took the part of Prince Andrei Bolkonsky in Prokofiev's War and Peace, repeating the role for Chandos' recording of the opera.

He sings solo recitals and concert appearances frequently throughout Britain and abroad, including Wigmore Hall, BBC Radio 3 and Classic FM performances. He is a composer, with works that have been played at the Barbican, Wigmore, the Purcell Room, and on British radio.

He has become something of a specialist in concert performances of operas. In this format he sang Watchful in Vaughan Williams' The Pilgrim's Progress at the Royal Opera, Harlequin in Strauss' Ariadne auf Naxos at the Barbican Centre with the City of London Sinfonia, Richard Hickox conducting, the Novice's Friend in Britten's Billy Budd with the London Symphony, the roles of Sid in Britten's Albert Herring and Top Moss in Copland's The Tender Land with the City of London Sinfonia, and as Henry Cuffe in Britten's Gloriana with the Philharmonia Orchestra.

His recordings, besides the Prokofiev opera, include the role of Ned Keen in Chandos' prize-winning recording of Britten's Peter Grimes, the parts already mentioned from Billy Budd and The Pilgrim's Progress, and the King's Herald in Verdi's Don Carlos on Philips with Bernard Haitink conducting, and the solo part in Frank Martin's In Terra Pax. He was scheduled to record a part in Vaughan Williams' opera Sir John in Love for Chandos.

Other roles he sings are Demetrius in Britten's A Midsummer Night's Dream, Malatesta in Donizetti's Don Pasquale; the Mozartean roles of the Count in Marriage of Figaro, Masetto in Don Giovanni, and Guglielmo in Così fan tutte; The Marquis in Poulencs Dialogues des Carmelites, and the title role of Tchaikovsky's Eugene Onegin. Read less
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Born: 1965  
Roderick Williams is a bass who rapidly began establishing an operatic career in Britain in the mid-'90s.

After university, Williams was a school music teacher for three years while training for a full-time career as a professional singer. He studied the opera course at the Guildhall School of Music. While there he made his operatic debut as Tarquinius in Britten's Rape of Lucretia, a part he maintains in his active repertory as a
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Zerreisset, zerspringet, zertrummert die Gruft (Chorus)
Recitative: Ja, ja! Die Stunden sind nunmehro nah (Aeolus)
Aria: Wie will ich lustig lachen (Aeolus)
Recitative: Gefurcht'ter Aolus (Zephyrus)
Aria: Frische Schatten, meine Freude (Zephyrus)
Recitative: Beinahe wirst du mich bewegen (Aeolus)
Aria: Konnen nicht die roten Wangen (Pomona)
Recitative: So willst du, grimmger Aolus (Pomona, Pallas)
Aria: Angenehmer Zephyrus (Pallas)
Recitative: Mein Aeolus, Ach! (Pallas, Aeolus)
Aria: Zurucke, zurucke, geflugelten Winde (Aeolus)
Recitative: Was Lust! Was Freude! Welch Vergnugen! (Pallas, Pomona, Zephyrus)
Aria: Zweig und Aste (Pomona, Zephyrus)
Recitative: Ja, ja! Ich lad euch selbst zu dieser Feier ein (Pallas)
Vivat August, August vivat! (Chorus)
Vereinigte Zwietracht der wechselnden Saiten (Chorus)
Recitative: Wen treibt ein edler Trieb (Tenor)
Aria: Zieht euren Fuss nur nicht zurucke (Tenor)
Recitative: Dem nur allein soll meine Wohnung offen sein (Soprano, Bass)
Duet: Den soll mein Lorbeer schutzend decken (Soprano, Bass)
Recitative: Es ist kein leeres Wort (Alto)
Aria: Atzet dieses Angedenken (Alto)
Recitative: Ihr Schlafrigen, herbei! (Tenor, Bass, Soprano, Alto)
Anhang: Marche
Kortte lebe, Kortte bluhe! (Chorus)
No. 1. Prologue: Where are the seeds of the Universal Fire
Reading: The earth of my heart was broken and gaped low - Fanfare
No. 2. Song: We are the darkness in the heat of the day
Reading: In such a heat of the earth
Canticle III, Op. 55, "Still Falls the Rain - the Raids, 1940, Night and Dawn"
Reading: I see Christ's wounds weep in the Rose on the wall
No. 3. Epilogue: So, out of the dark
Recitative: Durchlauchtster Leopold (Soprano)
Aria: Guldner Sonnen frohe Stunden (Soprano)
Leopolds Vortrefflichkeiten (Bass)
Aria: Unter seinem Purpursaum (Soprano, Bass)
Recitative: Durchlauchtigster, den Anhalt Vater nennt (Soprano, Bass)
Aria: So schau dies holden Tages Licht (Soprano)
Aria: Dein Name gleich der Sonnen geh (Bass)
Chorus: Nimm auch, grosser Furst, uns auf (Soprano, Bass)
Aria: Weichet nur, betrubte Schatten
Recitative: Die Welt wird wieder neu
Aria: Phoebus eilt mit schnellen Pferden
Recitative: Drum sucht auch Amor sein Vergnugen
Aria: Wenn die Fruhlingslufte streichen
Recitative: Und dieses ist das Glucke
Aria: Sich uben im Lieben
Recitative: So sei das Band der keuschen Liebe
Aria (Gavotte): Sehet in Zufriedenheit
Schwingt freudig euch empor (Chorus)
Recitative: Ein Herz, in zartlichem Empfinden (Tenor)
Aria: Die Liebe fuhrt mit sanften Schritten (Tenor)
Recitative: Du bist es ja, o hochverdienter Mann (Bass)
Aria: Der Tag, der dich vordem gebar (Bass)
Recitative: Nur dieses Einzge sorgen wir (Soprano)
Aria: Auch mit gedampften, schwachen Stimmen (Soprano)
Recitative: Bei solchen freudenvollen Stunden (Tenor)
Chorus and Recitative: Wie die Jahre sich verneuen (Tenor, Bass, Soprano)
Recitative: Was mir behagt, ist nur die muntre Jagd! (Soprano 1)
Aria: Jagen ist die Lust der Gotter (Soprano 1)
Recitative: Wie? Schonste Gottin! Wie? (Tenor)
Aria: Willst du dich nicht mehr ergotzen (Tenor)
Recitative: Ich liebe dich zwar noch! (Soprano 1, Tenor)
Recitative: Ich, der ich sonst ein Gott in diesen Feldern bin (Bass)
Aria: Ein Furst ist seines Landes Pan! (Bass)
Recitative: Soll denn der Pales Opfer hier das letzte sein? (Soprano 2)
Aria: Schafe konnen sicher weiden (Soprano 2)
Recitative: So stimmt mit ein (Soprano 1)
Lebe, Sonne dieser Erden (Chorus)
Duet: Entzucket uns beide (Soprano 1, Tenor)
Aria: Weil die wollenreichen Herden (Soprano 2)
Aria: Ihr Felder und Auen, lasst grunend euch schauen (Bass)
Ihr lieblichste Blicke! Ihr freudige Stunden! (Chorus)
I. Proverb I: The pride of the peacock
II. London
III. Proverb II: Prisons are built
IV. The Chimney-Sweeper
V. Proverb III: The bird a nest
VI. A Poison Tree
VII. Proverb IV: Think in the morning
VIII. The Tyger
IX. Proverb V: The tygers of wrath
X. The Fly
XI. Proverb VI: The hours of folly
XII. Ah! Sun-flower!
XIII. Proverb VII: To see a World
XIV. Every Night and Every Morn
No. 3. Hans und Grethe
Lieder und Gesange aus der Jugendzeit, Book 2: No. 2. Ich ging mit Lust durch einen grunen Wald (arr. L. Berio for voice and orchestra)
No. 1. Fruhlingsmorgen
No. 5. Phantasie aus Don Juan
Lieder und Gesange aus der Jugendzeit, Book 3: No. 3. Scheiden und Meiden (arr. L. Berio for voice and orchestra)
No. 2. Erinnerung
Dies irae -
Tuba mirum
Rex tremendae
Libera me
No. 1. Loveliest of trees
No. 2. When I was one-and-twenty
No. 3. Look not in my eyes
No. 4. Think no more, lad
No. 5. The lads in their hundreds
No. 6. Is my team ploughing?
No. 7. A brisk young sailor courted me
No. 8. Seventeen come Sunday
No. 9. Roving in the dew
No. 10. The true lover's farewell
No. 11. Tarry trousers
No. 1. Bredon Hill
No. 2. O Fair enough are sky and plain
No. 3. When the lad for the longing sighs
No. 4. On the idle hill of summer
No. 5. With rue my heart is laden
No. 1. Yonder stands a lovely creature
No. 2. A blacksmith courted me
No. 3. Sowing the seeds of love
No. 4. A lawyer he went out one day
No. 5. Come my own one
No. 6. The cuckoo
No. 1. The Lowestoft Boat
No. 2. Fate's Discourtesy
No. 3. Submarines
No. 4. The Sweepers
No. 5. Inside the Bar
No. 5. Inside the Bar
No. 1. Summer Schemes
No. 2. Her Song
No. 3. Weathers
I. Youth's Spring-Tribute
II. Penumbra
III. Spleen
II. In Boyhood
III. Spring will not wait
No. 1. Summer Schemes
No. 2. When I Set Out for Lyonesse
No. 3. Waiting Both
No. 4. The Phantom
No. 5. So I Have Fared
No. 6. Rollicum-Rorum
No. 7. To Lizbie Browne
No. 8. The Clock of the Years
No. 9. In a Churchyard
No. 10. Proud Songsters
No. 1. To a Poet a Thousand Years Hence
No. 2. On Parent Knees
No. 3. Intrada
No. 4. The Birthnight
No. 5. June on Castle Hill
No. 6. Ode on the Rejection of St Cecilia
No. 1. Paying Calls
No. 2. Where the Picnic Was
No. 3. The Oxen
No. 4. The Master and the Leaves
No. 5. Voices from Things Growing in a Churchyard
No. 6. Exeunt Omnes
The Vagabond
Let Beauty awake
The Roadside Fire
Youth and Love
In Dreams
The Infinite Shining Heavens
Whither must I wander?
Bright is the ring of words
I have trod the upward and the downward slope
Silent Noon
Love's Minstrels
Heart's Haven
Death in Love
Love's Last Gift
Motion and Stillness
Four Nights
The New Ghost
The Water Mill
Scene 1: A mountainous place near Bethlehem
Scene 1: Once more I see your green and golden hills, O Judah! (Naomi, Ruth, Orpah)
Scene 1: Turn back, my daughters (Naomi, Ruth, Orpah)
Scene 1: Almighty Father, let my cry come unto thee! (Naomi, Orpah, Ruth)
Scene 1: Ah, must I leave thee? Must we part? (Orpah, Naomi, Ruth)
Scene 1: Whither thou goest, I will go (Ruth, Naomi)
Scene 1: See! Is this Naomi!? (Women, Naomi)
Scene 1: Ah, call me not Naomi, let Mara be my name (Naomi)
Scene 1: Where, ah, where is Naomi? (Women, Naomi, Ruth)
Scene 2: A harvest field belonging to Boaz - Gold grows the barley on hillside and valley (Men)
Scene 2: Greetings, men of Judah! (Women, Head Reaper)
Scene 2: The scatter'd ear of corn (Women, Men)
Scene 2: Come, let us go forth together (Head Reaper, Women, Men, Ruth)
Scene 2: Stay, men of Judah! (Boaz, Men, Women, Head Reaper, Ruth)
Scene 2: I had no wish to anger them (Ruth, Boaz, Head Reaper)
Scene 2: Ah, let not anger fill your eyes! (Ruth, Boaz)
Scene 2: Whence cometh this to me, that thou should'st deign to notice me? (Ruth, Boaz)
Scene 2: The scatter'd ear of corn (Women, Men, Boaz)
Scene 3: A threshing-floor, at night - This is the place! Come, daughter (Naomi, Ruth)
Scene 3: Fear not, beloved Ruth! (Naomi, Ruth)
Scene 3: Golden ripe the barley grows (Women, Men, Naomi, Ruth, Head Reaper, Boaz)
Scene 3: Lord of the Harvest, what are thy commands? (Men, Head Reaper, Women, Boaz)
Scene 3: Winter time is time to plough, aie, the wind does bite! (Men, Women)
Scene 3: Across the field the long slow line of reapers goes a-reaping (Women)
Scene 3: Dance, come dance, dance within the ring (Women, Men, Head Reaper)
Scene 3: O clap your hands, all ye people! (Boaz, Women, Men)
Scene 3: Go now, my daughter (Naomi, Ruth)
Scene 3: Master! (Ruth, Boaz)
Scene 3: Thou comest in the stillness of the night (Boaz, Ruth)
Scene 3: Lo, my beloved, my soul's delight, to thee I give my hand (Boaz, Ruth)
Scene 3: Ho there, my people! (Boaz, Ruth, Naomi, Women, Men)
Scene 3: Behold this maid (Boaz, Ruth, Naomi, Head Reaper, Women, Men)
Scene 3: Rejoice, O Israel, rejoice (Head Reaper, Women, Men, Ruth, Naomi, Boaz)
I need not go
At Middle-Field Gate in February
Two Lips
In five-score Summers (Meditation)
For Life I had never cared greatly
I said to Love
Come away, come away, death
Who is Silvia?
Fear no more the heat o' the sun
O Mistress Mine
It was a lover and his lass
Childhood among the Ferns
Before and after Summer
The Self-unseeing
Overlooking the River
Channel Firing
In the mind's eye
The Too Short Time
He abjures Love
Scene 1: Salt, pepper, olive oil (Lord Dunmow, Lady Dunmow, Boy)
Scene 1: I'm sorry, Milady, I came through the front door (Mrs. Kneebone, Lady Dunmow, Lord Dunmow)
Scene 1: In the summer of my time (Lord Dunmow, Lady Dunmow, Mrs. Kneebone)
Scene 1: At Missis Ellibank's in Wimbledon (Mrs. Kneebone, Lady Dunmow, Lord Dunmow)
Scene 1: Mother, please can I help? (Susan, Lady Dunmow, Mrs. Kneebone, Lord Dunmow)
Scene 1: He was a quiet little boy (Lady Dunmow, Susan, Mrs. Kneebone, Lord Dunmow)
Scene 1: Prenez 6 belles tomates (Lady Dunmow, Lord Dunmow, Mrs. Kneebone, Susan)
Scene 1: Is this the residence of the Earl and Countess of Dunmow? (Prince Philippe, Mrs. Kneebone)
Scene 2: So this, dear Lady Dunmow, is your drawing room (Duchess, Lady Dunmow, Prince Philippe, Lord Dunmow)
Scene 2: I never moved a muscle (Lord Dunmow, Lady Dunmow, Duchess, Prince Philippe)
Scene 2: Forgive my curiosity, but is your servant that young girl ...? (Prince Philippe, Lord Dunmow, Lady Dunmow, Duchess)
Scene 2: Come and see our little garden (Lady Dunmow, Lord Dunmow, Prince Philippe, Duchess)
Scene 2: This way, Ma'am, through the back door (Lord Dunmow, Duchess, Prince Philippe, Susan)
Scene 2: Oh, shall I kneel in shame ... ? (Susan, Prince Philippe)
Scene 2: I like to imagine how these must have looked (Susan, Prince Philippe)
Scene 2: Mon aimee attend la lune (Prince Philippe)
Scene 2: Kiss her at once! (Duchess, Prince Philippe, Susan, Lord Dunmow, Lady Dunmow, Boy)
Scene 2: Let her beauty be her dowry (Duchess, Susan, Prince Philippe, Lord Dunmow, Lady Dunmow, Boy, Mrs. Kneebone)
Scene 2: My Lords, Ladies, Duchess and gentlemen! (Mrs. Kneebone, Prince Philippe, Susan)
I. Our birth is but a sleep (Chorus)
II. Rise, O my soul (Contralto, Semi-chorus)
III. O whither shall my troubled muse incline (Bass, Chorus)
IV. Night hath no wings (Tenor, Semi-chorus)
V. O timely happy, timely wise (Quartet, Chorus, Semi-chorus)
Act I: Orchestral introduction - What hoa, what hoa! (Shallow, Sir Hugh Evans)
Act I: Ahem (Anne Page)
Act I: This is my father's choice (Anne Page)
Act I: How now, what does Master Fenton here? (Page)
Act I: Vere is dat knave Rugby? (Dr. Caius)
Act I: Episode
Act I: How now, mine Host of the Garter (Bardolph, Nym, Pistol)
Act I: I spy entertainment in her ... (Sir John Falstaff)
Act I: Wilt thou revenge ... ? (Pistol)
Act I: Love my wife? I will be patient (Ford)
Act II Scene 1: Orchestral introduction
Act II Scene 1: Thine own true knight (Mrs. Page) - Sigh no more, ladies, sigh no more (Mrs. Quickly)
Act II Scene 2: Bardolph! Bardolph, I say! (Sir John Falstaff)
Act II Scene 2: Go thy ways, go thy ways, old Jack! (Sir John Falstaff)
Act II Scene 2: Sir, my name is Brook (Ford)
Act II Scene 2: Ha, is this a vision? (Ford)
Act IV Scene 2: But till 'tis 1 o'clock (Mrs. Qucikly)
Act IV Scene 2: Dance of the Fairies
Act IV Scene 2: But stay! I smell a man of middle earth (Sir Hugh Evans)
Act IV Scene 2: Nay, do not fly (Page)
Act IV Scene 2: My heart misgives me (Mrs. Page)
Act IV Scene 2: Stand not amazed (Sir John Falstaff)
Scene 1: The radiance of the sky in spring ... (Prince Andrey)
Scene 1: I won't, I can't sleep (Natasha)
Scene 1: O God, my God! What a shame to sleep! (Natasha)
Scene 2
Scene 2: Chorus! Let the chorus begin! (Host)
Scene 2: Look, the colonel's dancing the mazurka (Peronskaya, Akhrosimova, Helene, Anatoly, Count Rostov)
Scene 2: Will no one choose me as a partner? (Natasha)
Scene 2: When I was at Otradnoye in May (Prince Andrey)
Scene 3: The young Prince's fiancee (Old Footman)
Scene 3: Ah, Madam, young lady ... (Prince Nikolay Bolkonsky)
Scene 4: The charming, delightful Natasha (Helene)
Scene 4: She's wonderful and so beautiful (Natasha)
Scene 5: At 10 o'clock in the evening, she'll be waiting (Anatoly)
Scene 5: Balaga! (Dolokhov)
Scene 6: Oh, my dear Miss Natasha, all is lost, it seems (Dunyasha)
Scene 6: A fine young lady you are! (Akhrosimova)
Scene 6: I've sought to avoid her (Pierre)
Scene 7: Picture the scene, Countess (Metivier)
Epigraph: The forces of 2 and 10 European nations (Chorus)
Scene 8: Come on lads! That's the way! (Volunteers, Tikhon)
Scene 8: Denisov, her first fiancee (Prince Andrey)
Scene 8: It's the master, look at him! (Fyodor)
Scene 8: Hurrah! Hurrah! (Chorus of Soldiers)
Scene 8: There is no people greater than ours (Kutuzov)
Scene 9: The wine is uncorked; we must drink it (Napoleon)
Scene 10: And so, gentlemen, the question is ... (Benigsen)
Scene 10: The enemy bears down on us with fire and steel (Soldier)
Scene 10: When, oh when was this dreadful business decided? (Kutuzov)
Scene 11: Moscow's deserted! (Ramballe)
Scene 11: I must do the deed, or die (Pierre)
Scene 11: Where did you get such a good going-over, lads? (Jacqueau)
Scene 11: Davout, the cruel Davout, the emperor Napoleon's hatchet man! (Pierre)
Scene 11: Nothing matters now, nothing (Pierre)
Scene 11: What a dreadful scene! (Napoleon)
Scene 12: It's stretching higher and further (Prince Andrey)
Scene 12: Has fate really brought us together so strangely today ... (Prince Andrey)
Scene 13: We've burnt our bridges ... (Ramballe)
Scene 13: Hey! Hey! Hey! (Voice Off-Stage)
Scene 13: Dolokhov said that Helene had passed away (Pierre)
Scene 13: The Commander-in-chief is coming! (Adjutant)
Scene 13: The enemy has been put to rout (Kutuzov)
Prologue: I am an old man ... (Vere)
Act I Scene 1: Pull, me bantams! (First Mate, Second Mate, Sailing Master, Sailor, Bosun, Midshipmen, Donald, Maintop, Deck, Novice, Men, Squeak, Chorus)
Act I Scene 1: Boat ahoy! (Maintop, Voice, Midshipmen, Sailing Master, First Lieutenant, Bosun, Ratcliffe)
Act I Scene 1: First man forward! (Claggart, Red Whiskers, First Lieutenant, Sailing Master, Jones)
Act I Scene 1: Your name? (Claggart, Billy, First Lieutenant, Sailing Master)
Act I Scene 1: Billy Budd, king of the birds! (Billy, Sailing Master, First Lieutenant, Ratcliffe)
Act I Scene 2: Gentlemen, the King! (Vere, First Lieutenant, Sailing Master)
Act I Scene 2: Ay, at Spithead ... (Vere, Sailing Master, First Lieutenant)
Act I Scene 2: We are, sir. Claggart is an able one. (First Lieutenant, Vere, Sailing Master, Ratcliffe)
Act I Scene 3: Blow her away. (Red Whiskers, Chorus, Billy, Donald, Dansker)
Act I Scene 3: We're off to Samoa ... (Donald, Chorus, Red Whiskers, Billy, Dansker)
Act I Scene 3: Hi! You ... a ... a ... ! (Billy, Dansker, Red Whiskers, Donald, Squeak, Billy, Claggart, Boy, Chorus)
Act I Scene 3: Over the water ... (Claggart, Chorus)
Act I Scene 3: Come here. (Claggart, Novice)
Act I Scene 3: Billy! ... Hist! Billy Budd! (Novice, Billy)
Act I Scene 3: Dansker, old friend ... (Billy, Dansker)
Prologue: Bunyan in Prison
Act I Scene 1: The Pilgrim meets Evangelist (Pilgrim, Evangelist, 4 Neighbours, Pliable, Timorous, Obstinate, Mistrust)
Act I Scene 2: The House Beautiful (Pilgrim, 3 Shining Ones, Interpreter, Chorus)
Act I Scene 2: Nocturne (Intermezzo)
Act II Scene 1: The Arming of the Pilgrim (Herald, Pilgrim, Chorus)
Act II Scene 2: The Pilgrim meets Apollyon (Apollyon, Doleful Creatures, Pilgrim, Branch Bearer, Cup Bearer, Evangelist)
Act IV Scene 2: The Lord is my Shepherd (Voice of a Bird, Pilgrim, The 3 Shepherds, Messenger)
Act IV Scene 3: The Pilgrim reaches the End of his Journey (Voices from Heaven)
Epilogue (Bunyan)
Prologue: Peter Grimes (Hobson, Swallow, Peter)
Prologue: You sailed your boat round the coast (Swallow, Peter, Mrs. Sedley, Hobson, Ellen, Chorus)
Prologue: Peter Grimes, I here advise you (Swallow, Hobson, Peter, Chorus)
Prologue: The truth - the pity - and the truth (Peter, Ellen)
Prologue: Interlude I
Act I Scene 1: Oh, hang at open doors (Auntie, Boles, Balstrode, Chorus)
Act I Scene 1: Good morning, good morning! (Rector, Nieces, Mrs. Sedley, Ned, Swallow, Auntie, Boles, Balstrode, Chorus)
Act I Scene 1: Hi! Give us a hand (Peter, Boles, Balstrode, Ned, Auntie, Hobson)
Act I Scene 1: I'll have to go from pub to pub (Hobson, Ellen, Ned, Chorus)
Act I Scene 1: Let her among you without fault (Ellen, Hobson, Mrs. Sedley, Ned)
Act I Scene 1: Look! The storm cone! (Balstrode, Ned, Boles, Chorus)
Act I Scene 1: And do you prefer the storm (Balstrode, Peter)
Act I Scene 1: They listen to money (Peter, Balstrode)
Act I Scene 1: What harbour shelters peace (Peter)
Act I Scene 1: Interlude II
Act I Scene 2: Past time to close (Auntie, Mrs. Sedley, Balstrode, Boles, Nieces)
Act I Scene 2: Loud man (Auntie, Nieces, Mrs. Sedley)
Act I Scene 2: There's been a landslide up the coast (Fisherman, Boles, Balstrode, Auntie)
Act I Scene 2: No, I mean love (Boles, Balstrode, Chorus)
Act I Scene 2: Pub conversation should depend (Balstrode, Chorus)
Act I Scene 2: Have you heard the cliff is down (Ned, Auntie, Mrs. Sedley, Chorus)
Act I Scene 2: Now the Great Bear and Pleiades (Peter, Nieces, Boles, Balstrode, Auntie, Chorus)
Act I Scene 2: For peace sake (Balstrode, Peter)
Act I Scene 2: The bridge is down (Hobson, Ned, Ellen, Boles, Auntie, Nieces, Peter)
Act II: Interlude III
Act II Scene 1: Glitter of waves (Ellen)
Act II Scene 1: Now that the daylight fills the sky (Ellen, Rector, Chorus)
Act II Scene 1: Child you're not too young (Ellen, Rector, Peter, Chorus)
Act II Scene 1: This unrelenting work (Ellen, Peter, Chorus)
Act II Scene 1: Fool to let it come to this (Auntie, Ned, Boles, Mrs. Sedley, Balstrode, Swallow, Nieces, Rector, Chorus)
Act II Scene 1: People . . . No! I will speak! (Boles, Balstrode, Rector, Auntie, Ellen, Chorus)