Michael Ewans explores how classical Greek tragedy and epic poetry have been appropriated in opera, through eight selected case studies. He examines the issues through a comparative analysis of significant divergences of plot, character and dramatic strategy between source text, libretto and opera.

Michael Ewans explores how classical Greek tragedy and epic poetry have been appropriated in opera, through eight selected case studies. These range from Monteverdi's Il ritorno d'Ulisse in patria, drawn from Homer's Odyssey, to Mark-Antony Turnage's Greek, based on Sophocles's Oedipus the King. Choices have been based on an understanding that the relationship between each of the operas and their Greek source texts raise significant issues, involving an examination of the process by which the librettist creates a new text for the opera, and the crucial insights into the nature of the drama that are bestowed by the composer's musical setting. Ewans examines the issues through a comparative analysis of significant divergences of plot, character and dramatic strategy between source text, libretto and opera.

"Michael Ewans explores how classical Greek tragedy and epic poetry have been appropriated in opera, through eight selected case studies. These range from Monteverdi's Il ritorno d'Ulisse in patria, drawn from Homer's Odyssey, to Mark-Antony Turnage's Greek, based on Sophocles's Oedipus the King. Choices have been based on an understanding that the relationship between each of the operas and their Greek source texts raise significant issues, involving an examination of the process by which the librettist creates a new text for the opera, and the crucial insights into the nature of the drama that are bestowed by the composer's musical setting. Ewans examines the issues through a comparative analysis of significant divergences of plot, character and dramatic strategy between source text, libretto and opera."--Provided by publisher.

Retelling of the myth of the Cretan Minotaur, this book considers the inner world of the Minotaur himself, and suggests a dark and compelling reason for Ariadne's intense relationship with Theseus.

'Opera After the Zero Hour' argues that newly composed opera in West Germany after World War II was a site for the renegotiation of musical traditions during an era in which tradition had become politically fraught.

Explores how Alexander the Great has influenced literature, art and culture in Europe and the Middle East over two millennia.

(Amadeus). In this award-winning biography, Petsalis-Diomidis closely examines Maria Callas's life in Athens from 1937 to 1945. These years have been largely absent from previous works about Callas, but were crucial to her professional and personal growth. The author examines her professional development, her studies, her concertizing, and her work with the Greek National Opera. He also recounts Callas's daily life, her friendships, her rivalries at the conservatory, and her personal life. Though it is a detailed historical biography, the writing and pace are novelistic. HARDCOVER.

"We are not Gods. No matter what Zeus thinks." Herathina Log Entry ATD 1,784,652.51 Terra The study of evolution had come to a standstill when we discovered Terra. It was the perfect incubator for a Millennial Project. But from the beginning, everything has gone wrong. Our mandate said limited contact, not domination but Poseidon is too blinded by his lust for that human to listen. Sydney present day I don't know what I am. My dreams are filled with an island of blue and a woman's indiscernible pleas. On the back of the dreams come abilities. Abilities I'm desperate to hide. But it's the voice, in my mind that terrifies me most. Is it real or have I cracked? Can you live a normal life if you aren't? I can't run from the truth or from myself, because the dreams are driving me to find answers. Where is the island, who is the voice in my mind, what does the woman want, and how do I hide the truth and still appear normal on the outside? Truth always comes with trauma. Sydney and Herathina, two women whose seemingly unrelated lives come together over a millennium to change the fate of the universe. Nothing has prepared you for the culminating clash between Gods and Titans that has raged from the dawn of time, just out of human sight. If you love The Rowen and Percy Jackson you will love Alethea.

This series of essays by prominent academics and practitioners investigates in detail the history of performance in the classical Greek and Roman world. Beginning with the earliest examples of 'dramatic' presentation in the epic cycles and reaching through to the latter days of the Roman Empire and beyond, this 2007 Companion covers many aspects of these broad presentational societies. Dramatic performances that are text-based form only one part of cultures where presentation is a major element of all social and political life. Individual chapters range across a two thousand year timescale, and include specific chapters on acting traditions, masks, properties, playing places, festivals, religion and drama, comedy and society, and commodity, concluding with the dramatic legacy of myth and the modern media. The book addresses the needs of students of drama and classics, as well as anyone with an interest in the theatre's history and practice.