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>Female Greek Virtue in the House of Atreus: Daughters of Agamemnon as depicted in Handel's 'Oreste', Gluck's 'Iphigenie en Tauride', and Strauss's 'Elektra'.
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Female Greek Virtue in the House of Atreus: Daughters of Agamemnon as depicted in Handel's 'Oreste', Gluck's 'Iphigenie en Tauride', and Strauss's 'Elektra'.
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机译：阿特鲁斯故居中的女性希腊美德：阿伽门农的女儿，如汉德尔（Handel）的《奥雷斯特》（Oreste），格鲁克（Gluck）的《伊菲真妮·陶瑞德》（Iphigenie en Tauride）和施特劳斯（Strauss）的《埃莱克特拉》（Elektra）中所描绘。
This doctoral project involves a multi-disciplined analysis concerning Agamemnon's daughters (Iphigenia, Electra, and Chrysothemis) and how these women's gender and virtues were depicted as compared with ideal Greek women in antiquity. Three composers in three different eras adapted the literary and musical depictions of these women based on the composer's society, culture, audience expectations, musical climate and personal goals. George Friedrich Handel's Oreste (1734), Christoph Willibald von Gluck's Iphigenie en Tauride (1779) and Richard Strauss's Elektra (1909) are the main operas used for this analysis.;The Mycenaean House of Atreus, a dynasty which the ancient Greeks traced back to the time of the Trojan War in the 12th century BCE, figures prominently in Greek mythology and ancient Greek literature concerning the Trojan War. The House of Atreus included Agamemnon, King of Mycenae and commander of the Greeks at Troy, his wife Clytaemnestra, their son Orestes, and their daughters: Iphigenia, Electra, and Chrysothemis. For over three thousand years, the legend of this ancient family has inspired musical scores, plays, poetry, architecture, sculpture, paintings, and movies. Numerous studies examine the varying interpretations of the House of Atreus myths; few, if any, address the ways in which female Greek virtues are depicted operatically within the myths.;In the music of Handel's Oreste, Gluck's Iphigenie en Tauride and Strauss's Elektra, Agamemnon's daughters contradict the ideal Greek woman while still exhibiting heroic or idealistic virtues. The analysis of the operas in their social contexts will address the audience expectations and composers' dramatic interpretations of the myth. This analysis will include: a brief overview of ancient Greek culture and gender roles; a literary comparison of the original dramas to the librettos; societal audience expectations in their historical contexts; musical, philosophical, and literary influences on the composers; and an examination of music composed in two different centuries and in three different styles. The brief historical, cultural, literary, and musical analyses highlight the absence and presence of ancient Greek virtues, and how these women can be presented both as heroic, or virtuous, and unvirtuous in the same production.
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机译：该博士项目涉及多方面的分析，涉及阿伽门农的女儿（伊菲真尼亚，伊莱克特拉和金菊），以及与古代的理想希腊妇女相比，这些妇女的性别和美德如何被描绘。在三个不同时代的三位作曲家根据作曲家的社会，文化，听众期望，音乐氛围和个人目标，对这些女性的文学和音乐作品进行了改编。分析所用的主要歌剧是乔治·弗里德里希·汉德尔（George Friedrich Handel）的《奥雷斯特（Oeste）》（1734），克里斯托夫·威利巴德·冯·格鲁克（Christoph Willibald von Gluck）的《伊菲真妮·恩·陶瑞德》（Iphigenie en Tauride）（1909）和理查德·斯特劳斯（Richard Strauss）的《埃莱克特拉》（Elektra）（1909）。公元前12世纪的特洛伊战争时期，在希腊神话和有关特洛伊战争的古希腊文学中占有重要地位。阿特雷乌斯家族包括迈锡尼国王，特洛伊希腊人的统帅阿伽门农，他的妻子克雷塔姆内斯特拉，他们的儿子奥雷斯特斯和他们的女儿：伊菲真尼娅，伊莱克特拉和金菊。三千多年以来，这个古老家族的传说启发了乐谱，戏剧，诗歌，建筑，雕塑，绘画和电影。大量研究研究了对阿特留斯神话的各种解释。在神话中有效地描述女性希腊美德的方式几乎没有；如果是在亨德尔的奥雷斯特（Oreste），格鲁克（Gluck）的Iphigenie en Tauride和施特劳斯（Strauss）的Elektra的音乐中，阿伽门农的女儿与理想的希腊女性相矛盾，同时仍表现出英勇或理想主义的美德。 。在其社会背景下对歌剧的分析将满足观众的期望和作曲家对神话的戏剧性诠释。这种分析将包括：对古希腊文化和性别角色的简要概述；原始戏剧与libretto的文学比较；社会观众在其历史背景下的期望；对作曲家的音乐，哲学和文学影响；并且考察了两个不同世纪和三种不同风格的音乐。简短的历史，文化，文学和音乐分析突出了古希腊美德的缺失和存在，以及如何在同一作品中将这些妇女表现为英勇，德行与无德。
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