"1994 to freelance as an arts management consultant, and his successor was the current General Director, Richard Mantle, who had previously worked for English National Opera, Scottish Opera and Edmonton Opera. Notable among new productions during Paul Daniel's final three seasons as Music Director were Richard Jones's ""Pelléas et Mélisande"" (with Daniel's wife, Joan Rodgers, as Mélisande), Jonathan Miller's ""Il matrimonio segreto"" from Glimmerglass Opera, the British premiere of Chabrier's ""Le roi malgré lui"", Verdi's first opera, ""Oberto"" (with John Tomlinson directing as well as playing the title-character), William Walton's ""Troilus and Cressida"", Cherubini's ""Médée"" in the composer's adaptation for"
"Troilus and Cressida Troilus and Cressida () is a tragedy by William Shakespeare, believed to have been written in 1602. It was described by Frederick S. Boas as one of Shakespeare's problem plays. The play ends on a very bleak note with the death of the noble Trojan Hector and destruction of the love between Troilus and Cressida. The work has in recent years ""stimulated exceptionally lively critical debate"". Throughout the play, the tone lurches wildly between bawdy comedy and tragic gloom, and readers and theatre-goers have frequently found it difficult to understand how one is meant to respond to"
"superimposes contradictory characterizations in order to make his dramatic characters interesting and currently accessible to the contemporary audience Troilus and Cressida Troilus and Cressida () is a tragedy by William Shakespeare, believed to have been written in 1602. It was described by Frederick S. Boas as one of Shakespeare's problem plays. The play ends on a very bleak note with the death of the noble Trojan Hector and destruction of the love between Troilus and Cressida. The work has in recent years ""stimulated exceptionally lively critical debate"". Throughout the play, the tone lurches wildly between bawdy comedy and tragic gloom,"
"no author listed. Most of these plays were recorded when the Admiral's Men and the Lord Chamberlain's Men briefly joined forces when the playhouses were closed owing to the plague (June 1594). In 1599, Henslowe paid Dekker and Henry Chettle for a play called ""Troilus and Cressida"", which is probably the play currently known as British Museum MS. Add 10449 (the actors' names that appear in the plot connect it to the Admiral's Men and date it between March 1598 and July 1600). There is no mention of William Shakespeare (or for that matter Richard Burbage) in Henslowe's diary (despite"
"for dramatists in the early 17th century and Shakespeare may have been inspired by contemporary plays. Thomas Heywood's two-part play ""The Iron Age"" also depicts the Trojan war and the story of Troilus and Cressida, but it is not certain whether his or Shakespeare's play was written first. In addition, Thomas Dekker and Henry Chettle wrote a play called ""Troilus and Cressida"" at around the same time as Shakespeare, but this play survives only as a fragmentary plot outline. The play is believed to have been written around 1602, shortly after the completion of ""Hamlet"". It was published in quarto"
"Even without Homer, the Trojan War story had remained central to Western European medieval literary culture and its sense of identity. Most nations and several royal houses traced their origins to heroes at the Trojan War. Britain was supposedly settled by the Trojan Brutus, for instance. William Shakespeare used the plot of the ""Iliad"" as source material for his play ""Troilus and Cressida"", but focused on a medieval legend, the love story of Troilus, son of King Priam of Troy, and Cressida, daughter of the Trojan soothsayer Calchas. The play, often considered to be a comedy, reverses traditional views on"
"poet Robert Henryson in his ""The Testament of Cresseid"", which 'completes' Cressida's story (left unfinished by Chaucer), and William Shakespeare in his play of the Trojan War, ""Troilus and Cressida"". Cressida has most often been depicted by writers as ""false Cressida"", a paragon of female inconstancy. As soon as she has betrayed Troilus, she has fulfilled her purpose and the men who have written about her do not mention her again. Such is the case in Benoît, Guido, Boccaccio, Chaucer and Shakespeare. Chaucer's poem, however, at least portrays a more sympathetic Criseyde showing a self-conscious awareness of her literary status:"
"For her, Troilus is unable to achieve the equilibrium of a tragic hero despite his learning experiences, because he remains a human-being who belongs to a banal world where love is compared to food and cooking and sublimity cannot be achieved. ""Troilus and Cressida""'s sources include Chaucer, Lydgate, Caxton and Homer, but there are creations of Shakespeare's own too and his tone is very different. Shakespeare wrote at a time when the traditions of courtly love were dead and when England was undergoing political and social change. Shakespeare's treatment of the theme of Troilus' love is much more cynical than"
"major work ""The Shepheardes Calender"" was not published until 1579; and in Chapter 16, Queen Elizabeth even quotes from ""Troilus and Cressida"", which was written around 1602. The character of Sir Nicolas Blount seems to be broadly based on Sir Christopher Blount, who was in fact an official in the household of the Earl of Essex. In 1822, the young Victor Hugo agreed with the elder Alexandre Soumet to write a five-act drama based on Scott's novel. Soumet had outlined the plot and was to write the last two acts, while Hugo was to write the first three. When they"
"The Testament of Cresseid The Testament of Cresseid is a narrative poem of 616 lines in Middle Scots, written by the 15th-century Scottish makar Robert Henryson. It is his best known poem. It imagines a tragic fate for Cressida in the medieval story of ""Troilus and Criseyde"" which was left untold in Geoffrey Chaucer's version. Henryson's cogent psychological drama, in which he consciously resists and confronts the routine depiction of Cressida (Cresseid) as simply 'false', is one of the features that has given the poem enduring interest for modern readers and it is one of the most admired works of"
"Troilus and Criseyde Troilus and Criseyde () is an epic poem by Geoffrey Chaucer which re-tells in Middle English the tragic story of the lovers Troilus and Criseyde set against a backdrop of war during the Siege of Troy. It was composed using ""rime royale"" and probably completed during the mid-1380s. Many Chaucer scholars regard it as the poet's finest work. As a finished long poem it is more self-contained than the better known but ultimately unfinished ""The Canterbury Tales"". This poem is often considered the source of the phrase: ""all good things must come to an end"" (3.615). Although"
"it is hard to explain the many classical blunders in Shakespeare. Not only does he mistake the scansion of many classical names, in ""Troilus and Cressida"" he has Greeks and Trojans citing Plato and Aristotle a thousand years before their births. Willinsky suggests that most of Shakespeare's classical allusions were drawn from Thomas Cooper’s ""Thesaurus Linguae Romanae et Britannicae"" (1565), since a number of errors in that work are replicated in several of Shakespeare’s plays, and a copy of this book had been bequeathed to Stratford Grammar School by John Bretchgirdle for ""the common use of scholars"". In addition, it"
"how Shakespeare's tone is changing from light comic to intensely tragic. Literary critic and scholar Joyce Carol Oates wrote that in reality these shifts complimented the values Shakespeare questioned in the play, love, honour, and hierarchy. She argued that this problem play is in fact remarkably modern for its time. According to Oates' interpretation, Shakespeare's ""Troilus and Cressida"" is indeed one of his most intriguing plays ever written. She believed Shakespeare wrote a grand existential statement with ""Troilus and Cressida"", and that it was a new kind of contemporary tragedy. The story of Troilus and Cressida is a medieval tale"
"of the character as an epic hero, who is the purest of all those who appear in the ""Troy Book"". Of all the treatments of the story of Troilus and, especially, Cressida in the period between Chaucer and Shakespeare, it is Robert Henryson's that receives the most attention from modern critics. His poem ""The Testament of Cresseid"" is described by the Middle English expert C. David Benson as the ""only fifteenth century poem written in Great Britain that begins to rival the moral and artistic complexity of Chaucer's ""Troilus"""". In the ""Testament"" the title-character is abandoned by Diomedes and then"
"appears in the ""Iliad"" but has no connection with Troilus, Diomedes or Calchas. Indeed, the story of Troilus and Cressida does not appear in any Greek legends but was invented by the twelfth century French poet Benoît de Sainte-Maure in the ""Roman de Troie"". The woman in the love triangle is here called not Cressida but Briseida, a name derived from that of Briseis, a different character in the ""Iliad"", who again is neither related to Calchas nor involved in any love affairs with Troilus or Diomedes. Initially, after the ""Roman"" appeared, other authors who refer to the story, for"
"through the works of Boccaccio, Chaucer and Shakespeare is summarised below. Troilus used to mock the foolishness of other young men's love affairs. But one day he sees Cressida in the temple of Athena and falls in love with her. She is a young widow and daughter of the priest Calchas who has defected to the Greek camp. Embarrassed at having become exactly the sort of person he used to ridicule, Troilus tries to keep his love secret. However, he pines for Cressida and becomes so withdrawn that his friend Pandarus asks why he is unhappy and eventually persuades Troilus"
"artists of the time. Ancient writers treated Troilus as the epitome of a dead child mourned by his parents. He was also regarded as a paragon of youthful male beauty. In Western European medieval and Renaissance versions of the legend, Troilus is the youngest of Priam's five legitimate sons by Hecuba. Despite his youth he is one of the main Trojan war leaders. He dies in battle at Achilles' hands. In a popular addition to the story, originating in the 12th century, Troilus falls in love with Cressida, whose father Calchas has defected to the Greeks. Cressida pledges her love"
"by killing Achilles when they meet outside Troy. (The story was originally intended to end more conventionally, with ""Cressida"", despite her love for him, apparently abandoning him for ""Diomede"", but the producers declined to renew co-star Maureen O'Brien's contract, requiring that her character Vicki be written out.) Troilus Troilus ( ; ; ) is a legendary character associated with the story of the Trojan War. The first surviving reference to him is in Homer's ""Iliad"", which some scholars theorize was composed by bards and sung in the late 9th or 8th century BC. In Greek mythology, Troilus is a young"
"Francis Kynaston Sir Francis Kynaston or Kinaston (1587–1642) was an English lawyer, courtier, poet and politician who sat in the House of Commons from 1621 to 1622. He is noted for his translation of Geoffrey Chaucer's ""Troilus and Criseyde"" into Latin verse (as rime royal, ""Amorum Troili et Creseidae Libri Quinque"", 1639). He also made a Latin translation of Henryson's ""The Testament of Cresseid"". Kynaston was born at Oteley Park, near Ellesmere, Shropshire, the eldest son of Sir Edward Kynaston and his wife Isabel Bagenall, daughter of Sir Nicholas Bagenall. His father was High Sheriff of Shropshire in 1599. On"
"based on Kleist's drama. The French composer Pascal Dusapin's opera based on Kleist's work is scheduled to premiere in 2015 at La Monnaie in Brussels under the baton of Ludovic Morlot. In Robert Graves' short poem ""Penthesileia"", Achilles ""for love of that fierce white naked corpse / Necrophily on her"" commits, then slays Thersites for his mockery of Achilles' behavior. Penthesilea Penthesilea (, ""Penthesileia"") was an Amazonian queen in Greek mythology, the daughter of Ares and Otrera and the sister of Hippolyta, Antiope and Melanippe. Quintus Smyrnaeus explains more fully than pseudo-Apollodorus how Penthesilea came to be at Troy: Penthesilea"
"the Trojan hero Aeneas, and her despair when he abandons her. A monumental work in Baroque opera, ""Dido and Aeneas"" is remembered as one of Purcell's foremost theatrical works. It was also Purcell's only true opera, as well as his only all-sung dramatic work. One of the earliest known English operas, it owes much to John Blow's ""Venus and Adonis"", both in structure and in overall effect. The influence of Cavalli's opera ""Didone"" is also apparent. Before ""Dido and Aeneas,"" Purcell had composed music for several stage works, including nine pieces for Nathaniel Lee's ""Theodosius, or The Force of Love"""
"the characters. However, several characteristic elements of the play (the most notable being its constant questioning of intrinsic values such as hierarchy, honour and love) have often been viewed as distinctly ""modern"", as in the following remarks on the play by author and literary scholar Joyce Carol Oates: The Trojans The Greeks ""Troilus and Cressida"" is set during the later years of the Trojan War, faithfully following the plotline of the ""Iliad"" from Achilles' refusal to participate in battle, to Hector's death. Essentially, two plots are followed in the play. In one, Troilus, a Trojan prince (son of Priam), woos"
"Romolo ed Ersilia Romolo ed Ersilia (""Romulus and Ersilia"") is an 18th-century Italian opera in 3 acts by the Czech composer Josef Mysliveček composed to a libretto by the Italian poet Metastasio first produced in Innsbruck in 1765 with music by Johann Adolf Hasse. The drama was one of Metastasio's last, shortest, and least popular. Mysliveček's setting of 1773 was the only other one known to have been produced during the remainder of the eighteenth cebtury. It includes significant alterations, in particular the introduction of new arias that augment the importance of certain characters and the re-ordering of existing arias."
"Francis Beaumont both refer to his lack of classical learning. If a university-trained playwright wrote the plays, it is hard to explain the many classical blunders in Shakespeare. Not only does he mistake the scansion of many classical names, in ""Troilus and Cressida"" he has Greeks and Trojans citing Plato and Aristotle a thousand years before their births. Willinsky suggests that most of Shakespeare's classical allusions were drawn from Thomas Cooper's ""Thesaurus Linguae Romanae et Britannicae"" (1565), since a number of errors in that work are replicated in several of Shakespeare's plays, and a copy of this book had been"
"victim of Achilles' pederasty. By the time of John Dryden's neo-classical adaptation of Shakespeare's ""Troilus and Cressida"" it is the ultimate failure of his love affair that defines the character. For medieval writers, the two most influential ancient sources on the Trojan War were the purported eye-witness accounts of Dares the Phrygian, and Dictys the Cretan, which both survive in Latin versions. In Western Europe the Trojan side of the war was favoured and therefore Dares was preferred over Dictys. Although Dictys' account positions Troilus' death later in the war than was traditional, it conforms to antiquity's view of him"
"Christoph Willibald Gluck Christoph Willibald (Ritter von) Gluck (; born on 2 July, baptized 4 July 1714 – 15 November 1787) was a composer of Italian and French opera in the early classical period. Born in the Upper Palatinate and raised in Bohemia, both part of the Holy Roman Empire, he gained prominence at the Habsburg court at Vienna. There he brought about the practical reform of opera's dramaturgical practices for which many intellectuals had been campaigning. With a series of radical new works in the 1760s, among them ""Orfeo ed Euridice"" and ""Alceste"", he broke the stranglehold that Metastasian"
"to Troilus but she soon switches her affections to the Greek hero Diomedes when sent to her father in a hostage exchange. Chaucer and Shakespeare are among the authors who wrote works telling the story of Troilus and Cressida. Within the medieval tradition, Troilus was regarded as a paragon of the faithful courtly lover and also of the virtuous pagan knight. Once the custom of courtly love had faded, his fate was regarded less sympathetically. Little attention was paid to the character during the 18th and 19th centuries. However, Troilus has reappeared in 20th and 21st century retellings of the"
"than in any former drama since the dissolution of the Royal Academy of Music in 1728.” The opera is scored for flute, two oboes, bassoon, two horns, strings, and continuo (cello, lute, harpsichord). Arianna in Creta Arianna in Creta (""Ariadne in Crete"", HWV 32) is an opera seria in three acts by George Frideric Handel. The Italian-language libretto was adapted by Francis Colman from Pietro Pariati's ""Arianna e Teseo"", a text previously set by Nicola Porpora in 1727 and Leonardo Leo in 1729. The opera was first given at the King's Theatre in London on 26 January 1734 and then"
"planned wedding. When faced with her two lovers, Cressida chooses Troilus. He is then killed by Calchas with a knife in the back. Diomedes sends his body back to Priam with Calchas in chains. It is now the Greeks who condemn ""false Cressida"" and seek to keep her but she commits suicide. Before Cressida kills herself she sings to Troilus to This is one of three references in 20th century literature to Troilus on the banks of the River Styx that Boitani has identified. Louis MacNeice's long poem ""The Stygian Banks"" explicitly takes its name from Shakespeare who has Troilus"
"man from Abydos on the other side of the strait. Leander fell in love with Hero and would swim every night across the Hellespont to be with her. Hero would light a lamp at the top of her tower to guide his way. Pelléas and Mélisande (French: Pelléas et Mélisande) is a Symbolist play by Maurice Maeterlinck about the forbidden, doomed love of the title characters. A classical myth, was a common subject for art during the Renaissance and Baroque eras. Troilus and Cressida is a tragedy by Shakespeare, believed to have been written in 1602. The play (also described"
"example, Azalais d'Altier in her poem ""Tanz salutz e tantas amors"" and Guido delle Colonne in his ""Historia destructionis Troiae"", continue to use names derived from that of Briseis. It is the Italian author and poet Boccaccio who makes the decisive shift in the character's name in ""Il Filostrato"". This poem is the first work dedicated to telling the story of the love triangle rather than to the larger tale of the Trojan War. Geoffrey Chaucer's ""Troilus and Criseyde"" is an expanded version of the story based on Boccaccio. Several other authors then took up the tale, including the Scottish"
"story. Christopher Hassall's libretto blends elements of Chaucer and Shakespeare with inventions of its own arising from a wish to tighten and compress the plot, the desire to portray Cressida more sympathetically and the search for a satisfactory ending. Antenor is, as usual, exchanged for Cressida but, in this version of the tale, his capture has taken place while he was on a mission for Troilus. Cressida agrees to marry Diomedes after she has not heard from Troilus. His apparent silence, however, is because his letters to her have been intercepted. Troilus arrives at the Greek camp just before the"
"Il trionfo di Clelia (Gluck) Il trionfo de Clelia (""The Triumph of Cloelia"") is an opera composed by Christoph Willibald Gluck. It takes the form of a ""dramma per musica"" in three acts. The Italian-language libretto by Pietro Metastasio is based on several semi-legendary narratives concerning the founding of the Roman Republic. The opera premiered on 14 May 1763 at the Teatro Comunale di Bologna. Although rarely performed since then, it was revived in London in 2012 at the Royal Opera House's Linbury Studio. Gluck's opera was the second setting of Metastasio's libretto. The first was composed by Johann Adolf"