By Peter Brown, Suzana Ograjensek
Opera was once invented on the finish of the 16th century in imitation of the intended kind of supply of old Greek tragedy, and, in view that then, operas in response to Greek drama were one of the most vital within the repertoire. This choice of essays via top experts within the fields of Classics, Musicology, Dance reviews, English Literature, sleek Languages, and Theatre experiences offers an extremely wide-ranging and precise evaluation of the connection among the 2 genres. because tragedies have performed a far better half than comedies during this department of operatic background, the amount commonly concentrates at the tragic repertoire, yet a bankruptcy on musical models of Aristophanes' Lysistrata is incorporated, in addition to discussions of incidental song, an important 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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Additional resources for Ancient Drama in Music for the Modern Stage
G. for Fribourg before 1635, see Ehret (1921), 45 for the year 1619, 125 for 1625 and 1629, and 75 for 1634. 20 See Anon. (1983) for Italian text and editorial introduction; see Savage and Sansone (1989) for partial Eng. tr. and commentary. 21 Savage and Sansone (1989), 499–500. 12 Roger Savage inconclusive disputation on the relative merits and defects of ancient and modern theatrical architecture and decor; he contrasts ancient scales, harmonies, and tunings with modern ones, and adduces page after page of Julius Pollux’s Onomasticon as evidence in considerations of stage-dancing and the pros and cons of wearing theatrical masks.
As we have seen, Wagner is often happy to link his ideas about progressive music-drama with instances of ancient Greek achievement, and one of his ways of doing so is to compare the orchestra’s reﬂective role during the dialogue scenes of his later operas with the chorus’s role—and more particularly that of the coryphaeus—in antiquity. 45 From this it might seem to follow that Wagner’s orchestra would never need to express itself in the equivalent of a formal ‘ode’. Yet at the tragic climax of The Twilight of the Gods there is such an ode: an orchestral movement explicitly marked Zwischenspiel in the full score and best known today as ‘Siegfried’s Funeral March’.
A second question renders the matter more complex: why, in contrast, is the story of twentieth-century music drama so rich in musical adaptations of tragedies, or groups of tragedies, written by the great Greek tragedians of the ﬁfth century (not only Sophocles and Euripides, but also Aeschylus)? What circumstances, in the twentieth century, produced a situation ﬁnally capable of allowing the celebration of a union which in the three preceding centuries had borne only sporadic and isolated fruits?
Ancient Drama in Music for the Modern Stage by Peter Brown, Suzana Ograjensek