Ancient Drama in Music for the Modern Stage

1. Auflage 2011
ISBN: 978-0-19-955855-1
Verlag: Oxford University Press(UK)

Buch, Englisch, 480 Seiten, Format (B × H): 161 mm x 240 mm, Gewicht: 881 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

Suzana Ograjen^D%Sek, Suzana

Fachgebiete

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

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 & 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)

Edited by Peter Brown, Lecturer in Classics, Oxford University and Fellow of Trinity College, and Suzana Ograjenšek, Research Fellow, Clare Hall, Cambridge University

Contributors:
Nicholas Attfield, Oxford University
David Beard, Cardiff University
Anastasia Belina, University of Leeds
Simone Beta, University of Siena
Peter Brown, Oxford University
Michael Burden, Oxford University
Robert Cowan, Oxford University
Michael Ewans, University of Newcastle, Australia
Bruno Forment, Ghent University
Jason Geary, University of Michigan
Simon Goldhill, Cambridge University
Wendy Heller, Princeton University
Robert C. Ketterer, University of Iowa
Michele Napolitano, University of Cassino
Suzana Ograjensek, Cambridge University
Roger Savage, Edinburgh University
Reinhard Strohm, Oxford University
Jennifer Thorp, Oxford University
Stephen Walsh, Cardiff University
Christian Wolff, Dartmouth College
Amy Wygant, Glasgow University