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.
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.
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.
Inhaltsangabe
* 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
* 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
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