DOCSLIB.ORG

Prometheus Bound?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Prometheus Bound? Do the maths here: Roughly 110 years Great Dionysia Lenaia Rural Dionysia A rough total of 2320 Aeschylus’ Lycourgeia tetralogy (before 456BC), one of the many that treated the theme of resistance to the Dionysiac cult Edonians, Bassarids, Youths & satyr drama Lycurgus The Oresteia tetralogy was around 5000 lines (including its satyr play) From the Lycourgeia we have around 45 lines and some testimonia The Edonians told the story of Lycurgus’ (king of the Edonians, a people of Thrace) attempt to suppress the worship of Dionysus in his kingdom, along more or less the same lines as [Apollodorus,] Library 3.5.1. At the start of the play Dionysus had just arrived in Thrace with his male and female followers. Lycurgus had both him and the women bacchants arrested, but they miraculously escaped, and Dionysus then drove Lycurgus mad, so that he killed his own son Dryas with an axe, believing that he was cutting a vine-branch. Lycurgus may well in the end, as in [Apollodorus] and as in Sophocles, Antigone 955–965, have been imprisoned perpetually in a rocky chamber on Mount Pangaeum. It has been attractively conjectured that Orpheus, who was the central figure of the following play (Bassarids), also figured in this one, before his apostasy, as a devotee (maybe a priest) of Dionysus, imprisoned with his master by Lycurgus (cf. fr. 60); Edonians was extensively imitated by Euripides when he wrote about the fate of another enemy of Dionysus in The Bacchae, and the Roman poet Naevius in his Lucurgos seems to have followed it closely. It is known from the Cataterisms of pseudo-Eratosthenes that the play dealt with the death of Orpheus at the hands of Thracian women, who in this version, unusually, are devotees of Dionysus, called Bassarids. “Orpheus,” we are told by ps-Eratosthenes, “after going down to Hades in quest of his wife and seeing what things were like there, ceased to honour Dionysus, by whom he had been glorified, and regarded the Sun (whom he also called Apollo) as the greatest of the gods; he would rise before daybreak and await the sunrise on the [Thracian] mountain called Pangaeum, so as to be the first to see the Sun. Dionysus was angry at this and sent against him the Bassarids (as the tragic poet Aeschylus says), who tore him in pieces and scattered his limbs far and wide; but the Muses collected them together and buried him at the place called Leibethra [in Macedonia].” Cambridge Greek play 2013, dir H. Eastman Prom. 82-113, p. 457 Prom 984-96; p. 553 vv. 1014-35; p. 557 Prom. 1080- 93; p. 563 Cratinus’ Plutoi, fr. 171 Cratinus’ Plutoi, fr. 171 (PSI 1212 and Pap. Brux. E 6842) Cratinus’ Plutoi (Wealth-gods) – 429 BC Cratinus’ Seriphioi – 424 BC Aristophanes’ Birds and the myth of the fire - 414 BC The chorus as prosecutors of the ‘unjustly wealthy’ How ‘Aeschylean’ is Prometheus Bound? When did scholars first start suspecting the play’s authenticity? When did it become ‘mainstream’ that Prometheus is not by Aeschylus? Aeschylean inspiration and perhaps homage, but not Aeschylean workmanship. Stylistically, it is closer to Sophocles and Euripides Probably produced around 430 BC The fascinating theory of M. West about Euphorion, Aeschylus’ son. Not everyone is convinced. There are still many different approaches (and a North-South divide!) Is there any ‘hard’ evidence for any of these things? The portrayal of Zeus; gods and mortals Hesiodic and other mythical influences Practicalities of staging (the position of the chained hero; the arrival of the chorus; the final cataclysm) The ‘inaccurate’ geography of the play Space and meaning; crag, world, cosmos Technology and progress; fire and its symbolism The reception of Prometheus The Thyestes or Atreus probably dealt with the story of the golden lamb (see fr. 738) and the Thyestean feast. It may have dealt with the story that after his brother Atreus had given him his own children’s flesh to eat, Thyestes was told by an oracle that the crime could be avenged only by a son begotten by him on his own daughter. He accordingly made his way to Sicyon, where his daughter Pelopia had been sent for the sake of safety, and with his head covered raped her. The same authority who tells us this, the mythographer Hyginus, also tells us that Atreus, not knowing that Pelopia was the daughter of Thyestes, married her, and brought up her son Aegisthus as his own. Later, Thyestes fell into the hands of his brother, who handed him over to Aegisthus to be killed. But the two somehow discovered the secret of Aegisthus’ real parentage. On learning this, Pelopia killed herself. But Aegisthus took the bloody sword with which she had done so to Atreus, telling him that the blood was that of Thyestes, and later, when Atreus was sacrificing by the sea, murdered him and restored his father to power. Some believe that this narrative furnished the material for two plays of Sophocles. But there is room for doubt. Euripides too wrote a Thyestes, as did at least six other tragedians. ARISTOPHANES’ BIRDS 69ff. The Hoopoe from Aristophanes Birds by Quentin Blake Tereus, king of Thrace, received Procne in marriage from the Athenian king Pandion. They had a son, Itys. Procne missed her sister, Philomela, and asked Tereus to bring her on a visit from Athens. During the return journey to Thrace, Tereus raped Philomela and cut her tongue out to prevent her from revealing the truth. But Philomela made the truth known through a piece of weaving. When Procne learnt the truth, she exacted a gruesome revenge. Itys was killed, cooked and fed to an unsuspecting Tereus. When he learnt the truth, his attempt to take revenge was frustrated because the gods intervened and turned the sisters and Tereus into birds. The tragedy probably covered the story from the return to Thrace up to the metamorphoses. The play was produced before 414 B.C., for it was made fun of in Aristophanes’ Birds, in which Tereus, in his hoopoe form, plays a not unimportant part. See fr. 890. For attempts to reconstruct the plot, see D. Fitzpatrick, CQ 51 (2001), 90–101. p. 294-5 p. 294 .
Load more

Recommended publications
  • English Translation of the German by Tom Hammond
    Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p.
    [Show full text]
  • Antigone by Sophocles Scene 4, Ode 4, Scene 5, Paean and Exodos
    Antigone by Sophocles Scene 4, Ode 4, Scene 5, Paean and Exodos By: Anmol Singh, Kesia Santos, and Yuri Seo Biographical, Cultural, and Historical Background The Greek Theater - Sophocles was one of the prominent figures in Greek theater. - Plays were performed in outdoor areas. - There were a limited number of actors and a chorus.6 - Antigone was mostly likely performed in the same fashion. AS Family Tree YS What do Scene 4, Ode 4, Scene 5, Paean and Exodos of Antigone focus on? - Family Conflict (internal and external) - Death (tragedy) - Poor judgment - Feeling and thinking - Fate - Loyalty - Love YS Genres & Subgenres Tragedy - Not completely like modern tragedies (ex. sad & gloomy). - Tragedies heavily used pathos (Greek for suffering). - Used masks and other props. - Were a form of worship to Dionysus.7 AS Tragic Hero - Antigone and Creon are both like tragic heros. - Each have their own hamartia which leads to their downfalls.8,9 AS Family Conflict & Tragedy in Antigone - Antigone hangs herself - Haimon stabs himself - Eurydice curses Creon and blames him for everything - Eurydice kills herself YS Dominant Themes Family: The story of Niobe - Antigone relates her story to the story of Niobe. - Antigone says “How often have I hear the story of Niobe, Tantalus’s wretched daughter…” (18) - Chorus tells Antigone that Niobe “was born of heaven,” but Antigone is a woman. YS Womanhood - Antigone defies the place a woman is supposed to have during this time period - Antigone and Ismene contrast each other - Creon is the prime example of the beliefs that males hold during this period KS Power and Corruption: Dryas and Lycurgus - A character the chorus compares to Antigone is Lycurgus.
    [Show full text]
  • First Name Initial Last Name
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository Sarah E. Fass. An Analysis of the Holdings of W.H. Auden Monographs at the University of North Carolina at Chapel Hill’s Rare Book Collection. A Master’s Paper for the M.S. in L.S. degree. April, 2006. 56 pages. Advisor: Charles B. McNamara This paper is an analysis of the monographic works by noted twentieth-century poet W.H. Auden held by the Rare Book Collection (RBC) at the University of North Carolina at Chapel Hill. It includes a biographical sketch as well as information about a substantial gift of Auden materials made to the RBC by Robert P. Rushmore in 1998. The bulk of the paper is a bibliographical list that has been annotated with in-depth condition reports for all Auden monographs held by the RBC. The paper concludes with a detailed desiderata list and recommendations for the future development of the RBC’s Auden collection. Headings: Auden, W. H. (Wystan Hugh), 1907-1973 – Bibliography Special collections – Collection development University of North Carolina at Chapel Hill. Rare Book Collection. AN ANALYSIS OF THE HOLDINGS OF W.H. AUDEN MONOGRAPHS AT THE UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL’S RARE BOOK COLLECTION by Sarah E. Fass A Master’s paper submitted to the faculty of the School of Information and Library Science of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Science in Library Science.
    [Show full text]
  • Nikos Skoulikidis.Pdf
    The Handbook of Environmental Chemistry 59 Series Editors: Damià Barceló · Andrey G. Kostianoy Nikos Skoulikidis Elias Dimitriou Ioannis Karaouzas Editors The Rivers of Greece Evolution, Current Status and Perspectives The Handbook of Environmental Chemistry Founded by Otto Hutzinger Editors-in-Chief: Damia Barcelo´ • Andrey G. Kostianoy Volume 59 Advisory Board: Jacob de Boer, Philippe Garrigues, Ji-Dong Gu, Kevin C. Jones, Thomas P. Knepper, Alice Newton, Donald L. Sparks More information about this series at http://www.springer.com/series/698 The Rivers of Greece Evolution, Current Status and Perspectives Volume Editors: Nikos Skoulikidis Á Elias Dimitriou Á Ioannis Karaouzas With contributions by F. Botsou Á N. Chrysoula Á E. Dimitriou Á A.N. Economou Á D. Hela Á N. Kamidis Á I. Karaouzas Á A. Koltsakidou Á I. Konstantinou Á P. Koundouri Á D. Lambropoulou Á L. Maria Á I.D. Mariolakos Á A. Mentzafou Á A. Papadopoulos Á D. Reppas Á M. Scoullos Á V. Skianis Á N. Skoulikidis Á M. Styllas Á G. Sylaios Á C. Theodoropoulos Á L. Vardakas Á S. Zogaris Editors Nikos Skoulikidis Elias Dimitriou Institute of Marine Biological Institute of Marine Biological Resources and Inland Waters Resources and Inland Waters Hellenic Centre for Marine Research Hellenic Centre for Marine Research Anavissos, Greece Anavissos, Greece Ioannis Karaouzas Institute of Marine Biological Resources and Inland Waters Hellenic Centre for Marine Research Anavissos, Greece ISSN 1867-979X ISSN 1616-864X (electronic) The Handbook of Environmental Chemistry ISBN 978-3-662-55367-1 ISBN 978-3-662-55369-5 (eBook) https://doi.org/10.1007/978-3-662-55369-5 Library of Congress Control Number: 2017954950 © Springer-Verlag GmbH Germany 2018 This work is subject to copyright.
    [Show full text]
  • Music Theatre
    11 Music Theatre In the 1950s, when attention generally was fi xed on musical funda- mentals, few young composers wanted to work in the theatre. Indeed, to express that want was almost enough, as in the case of Henze, to separate oneself from the avant-garde. Boulez, while earning his living as a theatre musician, kept his creative work almost entirely separate until near the end of his time with Jean-Louis Barrault, when he wrote a score for a production of the Oresteia (1955), and even that work he never published or otherwise accepted into his offi cial oeuvre. Things began to change on both sides of the Atlantic around 1960, the year when Cage produced his Theatre Piece and Nono began Intolleranza, the fi rst opera from inside the Darmstadt circle. However, opportunities to present new operas remained rare: even in Germany, where there were dozens of theatres producing opera, and where the new operas of the 1920s had found support, the Hamburg State Opera, under the direction of Rolf Liebermann from 1959 to 1973, was unusual in com- missioning works from Penderecki, Kagel, and others. Also, most com- posers who had lived through the analytical 1950s were suspicious of standard genres, and when they turned to dramatic composition it was in the interests of new musical-theatrical forms that sprang from new material rather than from what appeared a long-moribund tradition. (It was already a truism that no opera since Turandot had joined the regular international repertory. What was not realized until the late 1970s was that there could be a living operatic culture based on rapid obsolescence.) Meanwhile, Cage’s work—especially the piano pieces he 190 Music Theatre 191 had written for Tudor in the 1950s—had shown that no new kind of music theatre was necessary, that all music is by nature theatre, that all performance is drama.
    [Show full text]
  • Aristophanes in Performance 421 BC–AD 2007
    an offprint from Aristophanes in Performance 421 BC–AD 2007 Peace, Birds and Frogs ❖ EDITED BY EDITH HALL AND AMANDA WRIGLEY Modern Humanities Research Association and Maney Publishing Legenda: Oxford, 2007 C H A P T E R 16 ❖ A Poet without ‘Gravity’: Aristophanes on the Italian Stage Francesca Schironi Since the beginning of the twentieth century, Aristophanes has enjoyed a certain public profile: I have counted at least seventy-four official productions that have taken place in Italy since 1911. The most popular play by far seems to be Birds, which has taken the stage in sixteen different productions. Clouds is also reasonably popular, having been staged in twelve different productions. There have also been some interesting rewritings and pastiches of more than one play. But particularly striking is the relative infrequency with which Frogs — in my view one of Aristophanes’ most engaging comedies — has been produced: it has only seen public performance twice, in 1976 and in 2002.1 Indeed, it is one of those two productions of Frogs that attracted my attention: the most recent one, directed by Luca Ronconi at Syracuse in May 2002. As most people know by now, this performance excited many discussions, in Italy,2 as well as abroad,3 because of widespread suspicion that it had incurred censorship at the hands of Berlusconi’s government. I would like to reconsider this episode, not only because it is both striking and ambiguous, but above all because on closer inspection it seems to me a particularly good illustration of how theatre, and in particular ancient Greek and Roman theatre, ‘works’ in Italy.
    [Show full text]
  • Newsletter 2016
    NEWSLETTER 2016 From the Chair of the Hannah Willey was another new starter on the teaching staff in Michaelmas 2015, Faculty but to a permanent, not a temporary Dr James Clackson job. She is a historian, with a particular interest in Ancient Greek religion, and its intersections with law and society in the One of the most important, and also See Inside... archaic and classical periods. Her source one of the most interesting, aspects of materials encompass not just inscriptions Greek Plays Present and Past serving as Chair of the Faculty Board is 2 serving on the Faculty Appointments and ancient historians, but also a wide committee. Appointments of new lec- range of literary works, from philos- turers to permanent positions are made ophy to drama. Hannah is a Fellow and by a University Committee chaired by Director of Studies in Classics at Murray a representative of the Vice-Chancellor, Edwards College, and her appointment but I chair the Appointments Committee is proleptic in advance of the retirement for the increasing number of temporary of Paul Millett—which is fortunately still academic staff, filling in for University some way off. Teaching Officers when they win pres- In 2016 we will, however, see the retire- Digging up Surprises tigious prizes and grants which allow for ment of another long-serving member of 6 extended periods of research leave. For the Faculty, Geoff Horrocks, Professor of each of these appointments we can be guaranteed an exceptionally strong field, Comparative Philology and Fellow of St with applicants from around the world. Johns. Geoff was an undergraduate and Our success in securing the best can- graduate student at Downing, writing his didates is shown by the frequency with PhD on Mycenaean and Homeric Greek which these temporary lecturers go on under the supervision of John Chadwick.
    [Show full text]
  • Interpolation at Euripides Electra 367-400
    GOLDHILL, SIMON, Rhetoric and Relevance: Interpolation at Euripides "Electra" 367-400 , Greek, Roman and Byzantine Studies, 27:2 (1986:Summer) p.157 Rhetoric and Relevance: Interpolation at Euripides Electra 367-400 Simon Goldhill R JOHNSON said of Tristram Shandy, "Nothing odd will do D long." He was wrong about Sterne's masterpiece, which has not only continued to gain readers and influence, especially in the twentieth century, but has acquired a role of particular impor­ tance in modern literary criticism as "the most typical novel."l Euri­ pides' late plays have in a similar way often been misunderstood and disliked for their 'oddness', their pronounced tonal variety, their rapid shifts of narrative and characterisation. But in the last twenty­ five years, with the extraordinary growth of interest in literary theory and in the methodology of criticism, these final works have become the object of increasing and increasingly sophisticated attention. Com­ monplace notions that the irrelevance of Euripides' choral odes to the surrounding action anticipates the development of the embolima of New Comedy, or that his discontinuous plots and characterisation produce broken-backed dramas that represent 'the end of Tragedy', have come under considerable scrutiny and indeed have been shown to be notably inadequate as critical judgments. "This disarray of modern critical opinion," Knox observed in 1972, "is partly due to the literary sophistication and artistic self-consciousness which distin­ guishes Euripides' work."2 Recent advances in critical awareness-of the self-conscious, self-reflexive qualities of literature, as well as of Euripides' particular quality of sophistication-have provided impor­ tant insights into the nature of both the critical disarray and the dramas themselves.3 1 For Shlovky's famous and paradoxical judgment see L.
    [Show full text]
  • Hans Werner Henze 1
    21ST CENTURY MUSIC DECEMBER 2012 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $96.00 per year; subscribers elsewhere should add $48.00 for postage. Single copies of the current volume and back issues are $12.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2012 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Copy should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors are encouraged to submit via e-mail. Prospective contributors should consult The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003), in addition to back issues of this journal.
    [Show full text]
  • The 1903 Iphigeneia in Tauris in Philadelphia Lee Pearcy Bryn Mawr College, [email protected]
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 2008 In the Shadow of Aristophanes: The 1903 Iphigeneia in Tauris in Philadelphia Lee Pearcy Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation L. T. Pearcy, “In the Shadow of Aristophanes: The 1903 Iphigeneia in Tauris in Philadelphia,” In Pursuit of Wissenschaft: eF stschrift für William M. Calder III zum 75. Geburtstag, edd. Stephan Heilen, R. Kirstein, R. S. Smith, S. Trzaskoma, R. van der Wal, and M. Vorwerk. Zurich and New York: Olms, 2008, 327-340. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/classics_pubs/105 For more information, please contact [email protected]. IN THE SHADOW OF ARISTOPHANES: THE 1903 IPHIGENEIA IN TAURIS IN PHILADELPHIA Forty years ago in a memorable course on Roman drama at Columbia University I learned that Plautus, Amphitruo, and Seneca, Thyestes, were not only texts for philological study, but also scripts for performance. The in- structor advised us never to neglect any opportunity to attend a staging of an ancient drama; even the most inept production, he said, showed things that reading and study could not reveal.1 With gratitude for that insight and many others given during those undergraduate years and since, I offer this account of a neglected early twentieth-century revival of a Greek tragedy to Professor William M.
    [Show full text]
  • Greek Mythology / Apollodorus; Translated by Robin Hard
    Great Clarendon Street, Oxford 0X2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Robin Hard 1997 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published as a World’s Classics paperback 1997 Reissued as an Oxford World’s Classics paperback 1998 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Apollodorus. [Bibliotheca. English] The library of Greek mythology / Apollodorus; translated by Robin Hard.
    [Show full text]
  • Nixon in China
    2014–2015 SEASON NIXON IN CHINA Welcome to Nixon in China, the third main stage opera in our 50th Anniversary season! We have had an amazing kickoff to our season with unparalleled attendance for La bohème and Don Giovanni. We’ve gotten wonderful reviews, increased interest of new audiences, welcomed many of our old friends back into the fold and we have you, our wonderful audience, to thank. We are on a roll and couldn’t do it without you! Now, we present John Adams’ Nixon in China, an opera that pays musical MISSION witness to the historic goodwill meeting between President Richard Nixon STATEMENT and China’s Mao Tse-Tung. Whether you remember firsthand “the week The mission of San that changed the world” or this is your first experience with this piece of Diego Opera is to history, President Nixon’s trip was a critical turning point in the history of deliver exceptional the Cold War. At that time, it was compared with a landing on the moon, vocal performances something no one thought possible, and this epic visit truly changed and exciting, international relations and the world would never be the same. We hope accessible programs you enjoy this presentation. to diverse audiences, focusing on community th engagement and the Coming up next in April is our 50 Anniversary Celebration Concert with transformative power international stars singing the ‘biggest hits’ of opera and the new Mariachi of live performance. opera El Pasada Nunca Se Termina (The Past is Never Finished). VISION San Diego Opera is definitely the place to be so be sure to get your STATEMENT tickets soon so we can continue celebrating together! San Diego Opera will be recognized Thank you again for your wonderful support and we’ll see you soon! internationally as a leading example of adaptability, innovation and sustainability Carol Lazier in the operatic arts, President, San Diego Opera promoting diversified programming and unique performance venues with world-class and emerging talent.
    [Show full text]