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21 Institutional Receptions: Camões, Saramago, and the Contemporary Politics of The Lusíads on Stage
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MĒnis MĒnis
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Opera Opera
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Making Emotion and Angry Opera Making Emotion and Angry Opera
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Achilles in Early Opera Achilles in Early Opera
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Enlightened Anger Enlightened Anger
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The Shade of Achilles The Shade of Achilles
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Anger and Supplication Anger and Supplication
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35 ‘Of the rage, sing Goddess’: Epic Opera
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Published:November 2018
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Abstract
The ‘anger of Achilles’ begins the Iliad and the whole of the Western literary canon. Opera often portrays anger, whether in the stile concitato of Monteverdi or the revenge duets of Verdi. But many of the early operas that feature Achilles are based on Statius’ Latin Achilleid, dealing with the days before Troy, when Thetis hid her son in female disguise on Scyros. La finta pazza (Venice 1641) tells a version of this story as does John Gay’s burlesque Achilles and Handel’s Deidamia. From Berlioz’s Les Troyens to Offenbach’s La Belle Hélène and Michael Tippett’s searing King Priam, Achilles continues to figure as a major operatic subject. This chapter looks at the musical impact of these depictions of the hero to show how the ‘anger of Achilles’ is as influential in operatic performance as it is in literature.
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