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 historic Greek tragedy, and, due to the fact then, operas in response to Greek drama were one of the most vital within the repertoire. This number of essays via prime specialists within the fields of Classics, Musicology, Dance experiences, English Literature, glossy Languages, and Theatre experiences presents an incredibly wide-ranging and particular evaluation of the connection among the 2 genres. for the reason that tragedies have performed a miles greater half than comedies during this department of operatic background, the quantity typically concentrates at the tragic repertoire, yet a bankruptcy on musical types of Aristophanes' Lysistrata is incorporated, in addition to discussions of incidental tune, a vital a part of the musical reception of old 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
Carter and Szweykowski (1994), 173. 40 Ewans (2007), 44–6. 24 Roger Savage have encountered already: quite short, often mythological or allegorical pieces which at sixteenth-century courts on festive occasions could be things of great splendour—and could give ideas to the pioneers of opera. But the less grandiose purely instrumental or vocal interlude kept its end up too. 41) The use of this simple type of interlude spread in the seventeenth century to northern Europe, where, after something of a detour, it would have its own impact on opera.
Weiss (1982), 393. Cf. Carter and Szweykowski (1994), 173. 40 Ewans (2007), 44–6. 24 Roger Savage have encountered already: quite short, often mythological or allegorical pieces which at sixteenth-century courts on festive occasions could be things of great splendour—and could give ideas to the pioneers of opera. But the less grandiose purely instrumental or vocal interlude kept its end up too. 41) The use of this simple type of interlude spread in the seventeenth century to northern Europe, where, after something of a detour, it would have its own impact on opera.
44 And its inﬂuence can surely be felt in his pioneering of the orchestral interlude in opera, moving the audience’s imagination seamlessly, with no musical break, from one episode to the next during a general stage-blackout or lowering of the curtain: from the big quintet in Hans Sachs’s workshop to the arrival of the guilds at the St John’s Day meadow in the last act of The Mastersingers, from the Rhine to Valhalla and Valhalla to Nibelheim in Rhinegold. Here, as Lessing might have put it, the orchestra ﬁlls the place of the ancient choruses in a measure; and there are parts of the Ring where it attempts to ﬁll it completely.