Ancient Drama in Music for the Modern Stage

Paperback | March 28, 2013

EditorPeter Brown, Suzana Ograjensek

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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 ofClassics, 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, thevolume 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 JudithWeir in the late twentieth and early twenty-first centuries.

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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 ofClassics, Musicology, Dance Studies, English ...

Peter Brown is a Lecturer in Classics at Oxford University, a Fellow of Trinity College, and a member of the Advisory Board of the Archive of Performances of Greek and Roman Drama. He has published extensively on Greek and Roman drama (mainly comedy), and his translation of the Comedies of Terence appeared in the Oxford World's Classi...

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Format:PaperbackDimensions:480 pages, 9.21 × 6.14 × 0.07 inPublished:March 28, 2013Publisher:Oxford University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0199679304

ISBN - 13:9780199679300

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Table of Contents

1. Roger Savage: Precursors, Precedents, Pretexts: the Institutions of Greco-Roman Theatre and the Development of European Opera2. Michele Napolitano: Greek Tragedy and Opera: Notes on a Marriage Manque3. Jason Geary: Incidental Music and the Revival of Greek Tragedy from the Italian Renaissance to German Romanticism4. Wendy Heller: Phaedra's Handmaiden: Tragedy as Comedy and Spectacle in Seventeenth-Century Opera5. Jennifer Thorp: Dance in Lully's Alceste6. Amy Wygant: The Ghost of Alcestis7. Suzana Ograjensek: The Rise and Fall of Andromache on the Operatic Stage, 1660s-1820s8. Robert C. Ketterer: Opera Librettos and Greek Tragedy in Eighteenth-Century Venice: The Case of Agostino Piovene9. Reinhard Strohm: Ancient Tragedy in Opera, and the Operatic Debut of Oedipus the King (Munich, 1729)10. Michael Burden: Establishing a text, securing a reputation: Metastasio's Use of Aristotle11. Bruno Forment: The Gods out of the Machine . . . and their Comeback12. Simon Goldhill: Who Killed Gluck?13. Simone Beta: The Metamorphosis of a Greek Comedy and its Protagonist: Some Musical Versions of Aristophanes' Lysistrata14. Michael Ewans and Anastasia Belina: Taneyev's Oresteia15. Christian Wolff: Crossings of Experimental Music and Greek Tragedy16. Stephen Walsh: The Action Drama and the Still Life: Enescu, Stravinsky, and Oedipus17. Robert Cowan: Sing Evohe! Three Twentieth-Century Operatic Versions of Euripides' Bacchae18. Nicholas Attfield: Re-staging the Welttheater: A Critical View of Carl Orff's Antigonae and Oedipus der Tyrann19. David Beard: 'Batter the Doom Drum': The Music for Peter Hall's Oresteia and other Productions of Greek Tragedy by Harrison Birtwistle and Judith Weir

Editorial Reviews

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." --Emily Wilson, Times Literary Supplement