By Peter Brown, Suzana Ograjensek
Opera used to be invented on the finish of the 16th century in imitation of the meant sort of supply of historical Greek tragedy, and, because then, operas in response to Greek drama were one of the most vital within the repertoire. This selection of essays by means of top professionals within the fields of Classics, Musicology, Dance stories, English Literature, sleek Languages, and Theatre stories presents an incredibly wide-ranging and designated assessment of the connection among the 2 genres. in view that tragedies have performed a miles greater half than comedies during this department of operatic background, the amount regularly concentrates at the tragic repertoire, yet a bankruptcy on musical models of Aristophanes' Lysistrata is incorporated, in addition to discussions of incidental tune, a crucial a part of the musical reception of historic drama, from Andrea Gabrieli in 1585 to Harrison Birtwistle and Judith Weir within the past due 20th and early twenty-first centuries.
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Extra resources for Ancient Drama in Music for the Modern Stage
Because the religious cult of Bacchus and his praises sung by the chorus formed the principal object of the festivals. [ . . But] our modern authors, lacking the excuse of superstition and habit, would no longer be pardonable if, to parade their masterly (as they might 37 See Jason Geary, Ch. 3 in this volume. 38 For the ﬁrst and second, see Grout (1963) passim; for choral variety, see Perrucci (1961), 153–5. 39 Operatic choruses acting rather more consistently like Greek ones do return, however, in works that, according to their lights, are fairly close adaptations of Greek originals, notably the Gluck/Guillard Iphige´nie en Tauride after Euripides’ Iphigenia among the Taurians of 1779, with its much-in-evidence sisterhood of priestesses,40 and the Stravinsky/Cocteau ‘opera-oratorio’ Oedipus Rex after Sophocles of 1927, where the assembled men of Thebes see all the stage action and comment on much of it.
2 Reconstruction by G. F. Barlow of Vanbrugh’s Queen’s Theatre, London as at 1705: Barlow (1989), 519. Reproduced by permission of the Editor of Early Music and the Estate of G. F. Barlow. good sightlines and ﬁne operatic acoustics, and although they allow that there are some seemingly irreversible modern developments—instrumentalists at the front of the pit, boxes around the walls, a wide proscenium arch downstage—that are likely to put a brake on headlong neoclassicism, they urge that the great classical precursors should become precedents and their principles be adopted in the building of new theatres, so as to make these—Saunders again—‘the most analogous to the antique that it is possible for our arrangements to permit’.
338–9, 5. ; see Borchmeyer (1991), 160–77 (and cf. 73–80). 46 Wagner, C. (1978–80), 1. 417–18. 26 Roger Savage ‘As if the chorus is saying . . ’ It’s a ﬁne blend of Wagner’s nineteenth-century Hellenism with his extension of the Dennis–Eccles–Scheibe–Lessing–Beethoven tradition, a tradition which had a Hellenic origin too. After the Funeral March, and arguably as a result of it, the big symphonic interlude in opera comes to ﬂourish, for example in Debussy’s score for Maeterlinck’s Pelle´as and Me´lisande and Berg’s for Bu¨chner’s Wozzeck.