By Peter Brown, Suzana Ograjensek
Opera was once invented on the finish of the 16th century in imitation of the intended variety of supply of old Greek tragedy, and, seeing that then, operas in accordance with Greek drama were one of the most vital within the repertoire. This number of essays by means of prime professionals within the fields of Classics, Musicology, Dance reviews, English Literature, sleek Languages, and Theatre experiences offers a very wide-ranging and exact review of the connection among the 2 genres. given that tragedies have performed a miles better half than comedies during this department of operatic historical past, the amount usually concentrates at the tragic repertoire, yet a bankruptcy on musical types of Aristophanes' Lysistrata is integrated, in addition to discussions of incidental tune, a vital a part of the musical reception of historical 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
Eliot in the case of his own ‘Aristophanic melodrama’ Sweeney Agonistes, acknowledged the inﬂuence of the Cambridge Ritualists on the making of his libretto, though only in private correspondence and one or two oblique public remarks,48 while Vaughan Williams and Birtwistle seem to have stayed silent on the subject. In contrast, our earlier advocates of operatic development, living at times in which connections with antiquity were at a premium, are upfront and forthcoming about their having precursors in the classical world.
Birtwistle: Adlington (2000), 6–12, 16–17, etc. 28 Roger Savage Tippett, like his mentor T. S. Eliot in the case of his own ‘Aristophanic melodrama’ Sweeney Agonistes, acknowledged the inﬂuence of the Cambridge Ritualists on the making of his libretto, though only in private correspondence and one or two oblique public remarks,48 while Vaughan Williams and Birtwistle seem to have stayed silent on the subject. In contrast, our earlier advocates of operatic development, living at times in which connections with antiquity were at a premium, are upfront and forthcoming about their having precursors in the classical world.
43 It is a view which seems to colour some at least of the composition of such things in the Viennese ‘classical’ period, most momentously in the case of Beethoven’s 1810 score—overture and songs but especially the four 41 Gallo (1973), lii. , see Savage (2002b), 144–59. 43 Lessing (1962), 70; cf. e. Nos. 26–7 of HD). For partial antecedents to such ideas in the sixteenth century, see Sadie (2001), 12. 479–80. Precursors, Precedents, Pretexts 25 entr’actes carefully cued into the play-script—for Goethe’s historical tragedy Egmont.