Ancient Drama in Music for the Modern Stage
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Product details:
- Publisher OUP Oxford
- Date of Publication 28 February 2013
- ISBN 9780199679300
- Binding Paperback
- No. of pages480 pages
- Size 233x155x26 mm
- Weight 708 g
- Language English
- Illustrations 20 in-text illustrations 0
Categories
Short description:
Operas based on Greek drama - primarily tragedy - have been, and are, among the most important in the repertoire, and this collection of essays by leading authorities in a variety of disciplines provides an exceptionally wide-ranging and detailed overview of the relationship between the two genres.
MoreLong description:
Opera was invented at the end of the sixteenth century in imitation of the supposed style of delivery of ancient Greek tragedy, and, since then, operas based on Greek drama have been among the most important in the repertoire. This collection of essays by leading authorities in the fields of Classics, Musicology, Dance Studies, English Literature, Modern Languages, and Theatre Studies provides an exceptionally wide-ranging and detailed overview of the relationship between the two genres. Since tragedies have played a much larger part than comedies in this branch of operatic history, the volume mostly concentrates on the tragic repertoire, but a chapter on musical versions of Aristophanes' Lysistrata is included, as well as discussions of incidental music, a very important part of the musical reception of ancient drama, from Andrea Gabrieli in 1585 to Harrison Birtwistle and Judith Weir in the late twentieth and early twenty-first centuries.
Review from previous edition Peter Brown and Suzana Ograjensek have put together a fine collection of essays on opera and Greek drama; some will appeal to a specialized readership; others have a very broad cultural interest.
Table of Contents:
Precursors, Precedents, Pretexts: the Institutions of Greco-Roman Theatre and the Development of European Opera
Greek Tragedy and Opera: Notes on a Marriage Manqué
Incidental Music and the Revival of Greek Tragedy from the Italian Renaissance to German Romanticism
Phaedra's Handmaiden: Tragedy as Comedy and Spectacle in Seventeenth-Century Opera
Dance in Lully's Alceste
The Ghost of Alcestis
The Rise and Fall of Andromache on the Operatic Stage, 1660s-1820s
Opera Librettos and Greek Tragedy in Eighteenth-Century Venice: The Case of Agostino Piovene
Ancient Tragedy in Opera, and the Operatic Début of Oedipus the King (Munich, 1729)
Establishing a text, securing a reputation: Metastasio's Use of Aristotle
The Gods out of the Machine . . . and their Comeback
Who Killed Gluck?
The Metamorphosis of a Greek Comedy and its Protagonist: Some Musical Versions of Aristophanes' Lysistrata
Taneyev's Oresteia
Crossings of Experimental Music and Greek Tragedy
The Action Drama and the Still Life: Enescu, Stravinsky, and Oedipus
Sing Evohe! Three Twentieth-Century Operatic Versions of Euripides' Bacchae
Re-staging the Welttheater: A Critical View of Carl Orff's Antigonae and Oedipus der Tyrann
'Batter the Doom Drum': The Music for Peter Hall's Oresteia and other Productions of Greek Tragedy by Harrison Birtwistle and Judith Weir
