If you spot any broken links or other problems with this page, please report them. The following bibliography is only a starting point for further research. Sources with additional notes were particularly useful or inspiring during the creation of this book. Ancient sources, aeschylus, The, oresteia (Penguin books, 1977). Translation of the tragic trilogy in free verse. Aristophanes, The complete Plays of Aristophanes (Bantam books, 1981). A superb collection by the master of Athenian social satire. Arrian, The campaigns of Alexander (Penguin books, 1971).
Oedipus, rex, summary
The second act brings the extraordinary entrance of Jocasta. I mean it as no disrespect to the rest of the cast when I say that Hilary summers truly stole the show with her unmistakeable contralto, somehow wonderfully archaic in a mediterranean sense. Stylistically, she sounded just right, operatic in Stravinskys utterly personal way (all the more so, the more impersonal he might try to be). Oramos urgent yet spacious assignment pacing seemed well-nigh ideal here, whilst choral imprecations of Fate hammered home their ritualistic point. Jocasta being joined by oedipus, we heard what registered wonderfully as both parody and instantiation of the operatic duet. Indeed, it was a strength of the performance as a whole that issues of genre seemed, in unforced fashion, to come so strongly to the fore. Duncan Rocks arrival as Messenger had one wishing he might have sung Creon too: his was a thoughtful, expressive performance, as was that of Samuel Boden as Shepherd, whose sappy tenor dealt so well with the vocal awkwardness of Stravinskys writing as almost to vanquish. (It should not be entirely vanquished, of course, since it is a crucial part of the work and its expressive to use a loaded word in any Stravinskian context power.) The weird jauntiness of the chorus, mulier in vestibulo led inexorably, as in performance. Oramo and his forces had much to be proud of in this concert. You can find an index of all the. Gurps bibliographies we have online here.
Stravinskys opening chorus was splendidly attacked by chorus and orchestra alike, truly plunging us into the drama. Motor rhythms and ostinato made one all the more aware than summary usual of poulencs blatant plagiarism. Dialogues des Carmélites (not that Stravinsky, given his record, need have disapproved). The aggression of neo-classicism was as apparent in Oedipuss ensuing claim of deliverance as in, say, the Octet; there is nothing placid about this æsthetic. I especially liked the clearly questioning choral quid faciendum, oedipus, ut liberemur? There soon followed what for me was the only real blot on the performance, the dry, wooden solo from Juha uusitalos Creon, not helped by a pronounced vocal wobble. An intriguing, quasi-liturgical sense of versicle and response between ensuing chorus and Oedipus (Solve, solve, solve! Brindley sherratts Tiresias sounded old in character but without detriment to his fine musical delivery, precise and clear of tone, declamatory yet most definitely sung. The oddness of Stravinskys tenor writing constantly forced itself upon ones attention, at least as much here as in, say, the Flood, but Allan Clayton coped indeed, more than coped very well.
So too, in another mood, did the following Perpetuum mobile, which put me in mind almost of electric Prokofiev (the finale to the second violin Concerto). Its lengthy cadenza seemed perhaps to outstay its welcome, but there could be no gainsaying, here or elsewhere, dorazios command of technique, idiom, and expression. Likewise, the bbc so sounded reinvigorated under its new Principal Conductor. The final Berceuse traces an unhurried path from a dark, almost growling opening to quiet ecstasy or so it sounded here in what seemed to me an excellent performance. There followed an equally excellent performance. Oedipus Rex, in which the singularity of this opera-oratorio announced itself as only it can, whether through form, language, or that oppressive atmosphere engendered by the pervasive minor third and its implications. The orchestra and Oramo continued to be on fine form, now joined by soloists, mens voices from both the bbc singers and the bbc symphony Chorus, and Rory kinnear, a splendid narrator throughout, declamatory without a hint of the excessive ac-tor-li-ness which often great comes into.
Brett deans, electric Preludes, for electric violin and orchestral strings, received its first Proms performance, francesco dorazio joining the orchestra. In six character pieces, some of them continuous, deans work explores, in his words, the intersection between high instrumental virtuosity of a classical nature on the one hand and sound-worlds that are only possible with electronics on the other, all commented upon by an essentially. As a summary, that seemed to me to tally very well with what I heard. The first movement, Abandoned Playground is scurrying, at times almost filmic in quality and atmosphere, though perhaps a little repetitive. Despite its inspiration by indigenous painting from around Papunya, in Australias Northern Territory, the second movement sounded at least, impressionistically, to me more abstract, though perhaps matters would be different if one knew the art. . The short Peripetea that followed, fast and highly rhythmical, had a sense, both as work and performance, of providing what it says, a dramatic turning-point. A slow movement, The beyond of Mirrors, seemed more fully to emphasise electronic sounds, and yet at the same time to engage in traditional violin and string fantasy.
Brief summary of, oedipus, rex?
Stravinsky, oedipus Rex, cast: Oedipus Allan Clayton, jocasta hilary summers. Creon juha uusitalo, tiresias Brindley sherratt, messenger duncan Rock. Shepherd samuel Boden, speaker rory kinnear, i admit that I came to this concert mostly with the second half in mind. It was a more than pleasant surprise, then, also to find a good deal more to enjoy before the interval than I had expected. It is malay not, of course, that I do not think the world of the. Egmont, overture, but increasingly i have become weary of the state of present-day orchestral beethoven performance. (Oddly, the problems bedevilling symphonic beethoven seem less apparent or at least far less widespread in solo and chamber music.) sakari Oramos account with the bbc symphony Orchestra, then, came as a breath of fresh air.
The introduction was full of suspense and foreboding, unfolding at a tempo that simply sounded right which is not, of course, to say that another could not. Already there was a proper sense of the mystery of beethovenian development. The disadvantages transition to the main. Allegro was well handled, and throughout there was a good sense of formal dynamism. Characterful woodwind and forthright brass admittedly, not always ideally precise added a great deal. The victory symphony at the end i know that it is not actually entitled as such here was perhaps a touch harried, but if a shortcoming, it was one that was readily forgiven. This was a real beethoven performance.
When the servant appears, the messenger recognizes him as the herdsman from whom he received the child years earlier. The old servant confesses that King laius ordered him to destroy the boy but that out of pity he gave the infant to the corinthian to raise as his foster son. Oedipus, now all but mad from the realization of what he did, enters the palace and discovers that Jocasta hanged herself by her hair. He removes her golden brooches and with them puts out his eyes so that he will not be able to see the results of the horrible prophecy. Then, blind and bloody and miserable, he displays himself to the Thebans and announces himself as the murderer of their king and the defiler of his own mothers bed.
He curses the herdsman who saved him from death years before. Creon, returning, orders the attendants to lead Oedipus back into the palace. Oedipus asks Creon to have him conducted out of Thebes where no man will ever see him again. He also asks Creon to give jocasta a proper burial and to see that the sons and daughters of the unnatural marriage should be cared for and not be allowed to live poor and unmarried because of the shame attached to their parentage. Creon leads the wretched Oedipus away to his exile of blindness and torment. Prom 28:Beethoven, Brett dean, Stavinsky: Francesco dorazio (electric violin soloists, bbc singers, bbc symphony Chorus (chorus master: Stephen Jackson bbc symphony Orchestra, sakari Oramo (conductor). Royal Albert Hall, london,.8.2014 (MB). Beethoven, egmont,.84: overture, brett dean, electric Preludes.
Oedipus, rex - wikipedia
Polybus died of the natural causes, so oedipus and Jocasta are relieved for the time being. Oedipus tells the messenger he will not go to corinth for fear of siring children by his mother, merope. The messenger goes on to reveal that Oedipus is not the son of Polybus and Merope but a foundling whom the messenger, at that time a shepherd, took to polybus. The messenger relates how he received the baby from another shepherd, who was a servant of the house of King laius. At that point Jocasta realizes the dreadful truth. She does not wish to see the old servant who was summoned, but Oedipus desires clarity regardless of the cost. He again calls for the servant.
by a man in a chariot. He killed the man and all of his servants but one. From there he went on to Thebes, where he became the new king by answering the riddle of the Sphinx. The riddle asked what went on all fours before noon, on two legs at noon, and on three legs after noon. Oedipus answered, correctly, that human beings walk on all fours as an infant, on two legs in their prime, and with the aid of a stick in their old age. With the kingship, he also won the hand of Jocasta, king laiuss queen. Oedipus summons the servant who reported King laiuss death, but he awaits his arrival fearfully. Jocasta assures her husband that the entire matter is of no great consequence, that surely the prophecies of the oracles will not come true. A messenger from Corinth announces that King Polybus is dead and that Oedipus is his successor.
Oedipus defies the seer, saying he will welcome the truth as long as it frees his kingdom from the plague. Oedipus threatens Creon with death, but Jocasta and the people advise him against doing violence on the strength of rumor or momentary passion. Oedipus yields, but he banishes Creon. Jocasta, grieved by the enmity between her brother and Oedipus, tells her husband that an oracle informed King laius that he would be killed by his own child, the offspring of laius and Jocasta. Jocasta assures Oedipus that this could not happen because the child was abandoned on a deserted mountainside soon after birth. When Oedipus hears further that laius was killed by robbers at the meeting place of three roads and that the three roads met in Phocis, he is deeply disturbed and begins to suspect that he is, after all, the murderer. He hesitates to reveal his suspicion, but he becomes more and more convinced of his own guilt. Oedipus tells Jocasta that he believed himself to be the son of Polybus of Corinth and Merope until a drunken man on one occasion front announced that the young Oedipus was not really polybuss son.
Oedipus, rex - sophocles, summary and Themes study guides
When Thebes is struck by a plague, the people ask king Oedipus to deliver them from its horrors. Creon, the brother of Jocasta, oedipuss queen, returns from the oracle of Apollo and discloses that the plague is punishment for the murder of King laius, oedipuss immediate predecessor, to whom Jocasta was married. Creon further discloses that the citizens of Thebes need to discover and punish the murderer before the plague can be lifted. The people mourn their dead, and Oedipus advises them, in their own interest, to search out and apprehend the murderer of laius. Asked to help find the murderer, teiresias, the ancient, blind seer of Thebes, tells Oedipus that it would be better for all if he mother does not tell what he knows. He says that coming events will reveal themselves. Oedipus rages at the seers reluctance to tell the secret until he goads the old man to reveal that Oedipus is the one responsible for Thebess afflictions because he is the murderer, and that he is living in intimacy with his nearest kin. Oedipus accuses the old man of being in league with Creon, whom he suspects of plotting against his throne, but teiresias answers that Oedipus will be ashamed and horrified when he learns the truth about his true parentage.