- Title Pages
- Note to the Reader
- 1 Precursors, Precedents, Pretexts
- 2 Greek Tragedy and Opera
- 3 Incidental Music and the Revival of Greek Tragedy from the Italian Renaissance to German Romanticism
- 4 Phaedra’s Handmaiden
- 5 Dance in Lully’s <i>Alceste</i>
- 6 The Ghost of Alcestis
- 7 The Rise and Fall of <i>Andromache</i> on the operatic Stage, 1660s–1820s<sup>*</sup>
- 8 Opera Librettos and Greek Tragedy in Eighteenth-Century Venice
- 9 Ancient Tragedy in Opera, and the Operatic Debut of <i>Oedipus the King</i> (Munich, 1729)
- 10 Establishing a Text, Securing a Reputation
- 11 The Gods out of the Machine…and their Comeback<sup>*</sup>
- 12 Who Killed Gluck?
- 13 The Metamorphosis of a Greek Comedy and its Protagonist
- 14 Taneyev’s <i>Oresteia</i>
- 15 Crossings of Experimental Music and Greek Tragedy
- 16 The Action Drama and the Still Life
- 17 Sing Evohe! Three Twentieth-Century Operatic Versions of Euripides’ <i>Bacchae</i>
- 18 Re-staging the <i>Welttheater:</i>
- 19 ‘Batter the Doom Drum’
- (p.258) 14 Taneyev’s Oresteia
- Ancient Drama in Music for the Modern Stage
- Oxford University Press
This chapter focuses on Sergey Taneyev's musical trilogy Oresteia (composed 1887–94, first performance 1895). The opera stands out from the rest of his large output, as well as from other late nineteenth-century Russian music, because of its choice of subject — Greek tragedy. Taneyev was the only composer of the period who was not only interested in ancient culture but actually completed a work based on such a source.
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