Oedipus rex is an "Opera-oratorio after Sophocles" by Igor Stravinsky, scored for orchestra, speaker, soloists, and male chorus. The libretto, based on Sophocles's tragedy, was written by Jean Cocteau in French and then translated by Abbé Jean Daniélou into Latin; the narration, however, is performed in the language of . May 7, Oedipus Rex, subtitled an “Opera-Oratorio after Sophocles,” has been recognized as one of the high points of Stravinsky's work, yet is rarely performed today. Sophocles' drama tells of an entire family's attempts to avoid their fate, while at the same time they cannot avoid it. We start in the middle of the story. Aug 29, To talk over Oedipus Rex and do it as thoroughly as possible, the author of this essay will explain Stravinsky's life periods based on the place of residence, inspirations, style and achievements. According to his career and stylistic development there might be emerged many of the major trends in the history.
: Stravinsky - Oedipus Rex: Philip Langridge, Jessye Norman, Min Tanaka, Bryn Terfel, Hisako Horikawa, Julie Taymor, Seiji Ozawa: Movies & TV. I. Stravinsky, Colin Davis, Royal Philharmonic Orchestra, Ralph Richardson, Ronald Dowd, Raimund Herincx, Patricia Johnson, Harold Blackburn, Alberto Remedios, Sadler's Wells Opera Chorus - Stravinsky: Oedipus Rex - Amazon. com Music. Stravinsky called Oedipus Rex an “opera-oratorio” and instructed that it be staged with minimal movement; the principal singers are to wear masks. Crucial to the work's aesthetic was the decision to set a Latin text—a choice, Stravinsky wrote, with “the great advantage of giving me a medium not dead but turned to stone and.
Stravinsky, Igor. Oedipus Rex (, rev). Duration: 53 minutes. Opera- oratorio after Sophocles. Arrow English Arrow Deutsch. Libretto by Cocteau based on Sophocles (L-F,L-E,L-G). Scoring. M,2T,Bar,3(or 2)B,narrator; male chorus 3(III=picc)corA.3(III=Ebcl)dbntimp-perc(2):tamb/. Jan 20, ''Oedipus Rex,'' Stravinsky's ''opera-oratorio after Sophocles,'' was written in while the Russian composer lived as an exile in France. In a gesture characteristic of his rootless artistry throughout a long career as a displaced person, he decided that a work by a Russian drawn from a Greek tragedy would. Only three works by Stravinsky are in any sense over-represented in the current catalogue, and Oedipus Rex seems unlikely to join them despite the recent spate of new recordings. Indeed, it can be argued that none of them quite hits the mark. The distancing device of the narration has proved as difficult to realize on disc.