The Tempest is Shakespeare’s most musical play, and the one to receive the most musical attention during the eighteenth century. Yet, little has been written on its musical and theatrical history during this period. In contrast, much has been published on the Restoration adaptations of The Tempest, and the music associated with them; some of this information will be summarized below. The aim of this article is to chart the production history of The Tempest during the eighteenth century, focusing specifically on the musical requirements and amendments. Because of its fusion of human and magical worlds, and the inextricable link between music and magic, music is necessarily an integral part of the fabric of the play: ‘The isle is full of noises, / Sounds, and sweet airs, that give delight and hurt not’ (3.2.138–9). The underlying presence of music is more marked than in A Midsummer Night’s Dream, whose poetry is generally perceived as more musical, and with which The Tempest has many parallels. Both plays were much adapted. The adaptations of A Midsummer Night’s Dream were principally musical, and generally much abridged from the original – normally focusing on the fairy world. In contrast, although there were a few operatic versions of The Tempest, on the whole it was kept intact as a five-act play, but with much incidental music.