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By Peter Brown, Suzana Ograjensek

Opera was once invented on the finish of the 16th century in imitation of the intended form of supply of old Greek tragedy, and, seeing that then, operas in line with Greek drama were one of the most vital within the repertoire. This selection of essays by way of major gurus within the fields of Classics, Musicology, Dance reports, English Literature, smooth Languages, and Theatre stories presents an incredibly wide-ranging and precise evaluate of the connection among the 2 genres. on the grounds that tragedies have performed a far better half than comedies during this department of operatic historical past, the amount normally concentrates at the tragic repertoire, yet a bankruptcy on musical models of Aristophanes' Lysistrata is integrated, in addition to discussions of incidental track, an important a part of the musical reception of historical drama, from Andrea Gabrieli in 1585 to Harrison Birtwistle and Judith Weir within the overdue 20th and early twenty-first centuries.

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1892–99), 1. 158–9. 52 Recueil (1717–48), 210–11. 2 Greek Tragedy and Opera: Notes on a Marriage Manque´* Michele Napolitano If the relationship between opera and classical mythology boasts an extensive bibliography, the same cannot be said of the relationship between opera and fifth-century Attic tragedy. This is not a coincidence, since on the whole the latter has been much less fruitful than the former, despite the fact that the very origins of opera as a genre can be traced back to a set of theoretical formulations that, however misguidedly, established themselves as an attempt to recover the specific qualities of ancient Greek tragedy and music.

1892–99), I. 4–5 and VII. 348–9; Wagner, R. (1911), 1. 36–7 and 2. 580; Walton (2007), 178. 45 Wagner, R. (1892–99), 1. 32–3, 2. 335–6, 3. 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.

2006), ch. 3, esp. 62–3. Diderot and d’Alembert (1969), 1. 574 (¼ 3 (1753). v. ‘Chorege’. Algarotti (1963), 151. Planelli (1981), 125–9, esp. 128. 25 Semper (1989), 52; and see Mallgrave (1996), 60. 14 Roger Savage Still, actual choragi have occasionally appeared on the physical stage in the last 150 years. The leader and spokesman of the chorus-group that performed the prologues to the many acts of the Bavarian Passion Play at Oberammergau in the nineteenth century was known as its Choragus. Pietro Mascagni and Giovanni Illica include the speaking part of Giocardo, ‘Impresario e Corago’, in their commedia dell’arte opera The Masks (Le maschere, 1901), opening it with a scene in which Giocardo in his corago-role calls a cast meeting to discuss the plot and characters of the show to come: a homage to Perrucci perhaps, who recommends such meetings in Rule 14 of the commedia section of his Dell’arte rappresentativa.

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