Ancient Drama in Music for the Modern Stage

Ancient Drama in Music for the Modern Stage

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Opera was invented at the end of the sixteenth century in imitation of the supposed style of delivery of ancient Greek tragedy, and, since then, operas based on Greek drama have been among the most important in the repertoire. This collection of essays by leading authorities in the fields of Classics, Musicology, Dance Studies, English Literature, Modern Languages, and Theatre Studies provides an exceptionally wide-ranging and detailed overview of the relationship between the two genres. Since tragedies have played a much larger part than comedies in this branch of operatic history, the volume mostly concentrates on the tragic repertoire, but a chapter on musical versions of Aristophanes' Lysistrata is included, as well as discussions of incidental music, a very important part of the musical reception of ancient drama, from Andrea Gabrieli in 1585 to Harrison Birtwistle and Judith Weir in the late twentieth and early twenty-first centuries.

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Product details

  • Hardback | 480 pages
  • 160 x 236 x 34mm | 938.93g
  • Oxford University Press
  • Oxford, United Kingdom
  • English
  • 20 in-text illustrations
  • 0199558558
  • 9780199558551

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Author Information

Peter Brown is a Lecturer in Classics at Oxford University, a Fellow of Trinity College, and a member of the Advisory Board of the Archive of Performances of Greek and Roman Drama. He has published extensively on Greek and Roman drama (mainly comedy), and his translation of the Comedies of Terence appeared in the Oxford World's Classics series in January, 2008. Suzana Ograjensekis a Research Fellow at Clare Hall, Unversity of Cambridge, and a former Research Assistant at the Archive of Performances of Greek and Roman Drama in Oxford. She is a specialist in baroque opera and has worked extensively in Handel studies.

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Review quote

Peter Brown and Suzana OgrajenSsek have put together a fine collection of essays on opera and Greek drama; some will appeal to a specialized readership; others have a very broad cultural interest. Emily Wilson, Times Literary Supplement

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