Ancient Drama in Music for the Modern Stage

Erscheinungsjahr 2013
ISBN: 978-0-19-967930-0
Verlag: Oxford University Press

Buch, Englisch, 480 Seiten, Format (B × H): 155 mm x 233 mm, Gewicht: 708 g

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.

Autoren/Hrsg.

Brown, Peter

Ograjensek, Suzana

Fachgebiete

• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Theaterwissenschaft
• Geisteswissenschaften Geschichtswissenschaft Alte Geschichte & Archäologie Geschichte der klassischen Antike
• Geisteswissenschaften Musikwissenschaft Musikgattungen Opernmusik

Inhaltsverzeichnis

- 1: Roger Savage: Precursors, Precedents, Pretexts: the Institutions of Greco-Roman Theatre and the Development of European Opera

- 2: Michele Napolitano: Greek Tragedy and Opera: Notes on a Marriage Manqué

- 3: Jason Geary: Incidental Music and the Revival of Greek Tragedy from the Italian Renaissance to German Romanticism

- 4: Wendy Heller: Phaedra's Handmaiden: Tragedy as Comedy and Spectacle in Seventeenth-Century Opera

- 5: Jennifer Thorp: Dance in Lully's Alceste

- 6: Amy Wygant: The Ghost of Alcestis

- 7: Suzana Ograjensek: The Rise and Fall of Andromache on the Operatic Stage, 1660s-1820s

- 8: Robert C. Ketterer: Opera Librettos and Greek Tragedy in Eighteenth-Century Venice: The Case of Agostino Piovene

- 9: Reinhard Strohm: Ancient Tragedy in Opera, and the Operatic Début of Oedipus the King (Munich, 1729)

- 10: Michael Burden: Establishing a text, securing a reputation: Metastasio's Use of Aristotle

- 11: Bruno Forment: The Gods out of the Machine. and their Comeback

- 12: Simon Goldhill: Who Killed Gluck?

- 13: Simone Beta: The Metamorphosis of a Greek Comedy and its Protagonist: Some Musical Versions of Aristophanes' Lysistrata

- 14: Michael Ewans and Anastasia Belina: Taneyev's Oresteia

- 15: Christian Wolff: Crossings of Experimental Music and Greek Tragedy

- 16: Stephen Walsh: The Action Drama and the Still Life: Enescu, Stravinsky, and Oedipus

- 17: Robert Cowan: Sing Evohe! Three Twentieth-Century Operatic Versions of Euripides' Bacchae

- 18: Nicholas Attfield: Re-staging the Welttheater: A Critical View of Carl Orff's Antigonae and Oedipus der Tyrann

- 19: 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

Über Autor(innen)

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 Classics series in January, 2008.

Suzana Ograjensekis a Research Fellow at Clare Hall, Unversity of Cambridge, and a former Research Assistant at the Archive of Performances of Greek and Roman Drama in Oxford. She is a specialist in baroque opera and has worked extensively in Handel studies.