REDAKSIONEEL / EDITORIAL
Abstract
Die meeste klassici sou geneig wees om enigsins neer te sien op die opera en sou beslis nie reken dat die bestudering van 'n opera tot die beter verstaan van 'n Griekse tragedie sou kon lei nie. Tog het twee klassici in die onlangse verlede in besprekings van Strauss en Hofmannsthal se Elektra juis dit beweer. In 'n artikel "Elektra: Sophokles, Von Hofmannsthal, Strauss"! s~ Michael Evans die volgende: "Hofmannsthal and Strauss, far from travestying Sophokles' play, have responded to its powerful depiction and indictment of the consequences of an amoral obsession with revenge. Their own diagnosis and portrait, in twentieth century terms, of the corruption which the desire for revenge and the aftermath of its fulfillment, can bring a 'reading' of Sophokles at least as important and interesting as any modem book or article about the ancient playwright. • Marianne McDonald kom in haar artikel "Elektra's kleos aphthiton: Sophokles into opera" ,2 tot dieselfde gevolgtrekking: "I maintain that these two emotions - the profound response of the modem audience to the seemingly alien matter of ancient tragedy, and the elevating and universalizing effect of music - make the experience of a modem opera based on a Greek tragedy an extraordinarily demanding and rewarding one. The Elektra by Sophokles can be better understood if read against modern times and in particular against the opera by Strauss and Hofmannsthal."
Published
2014-03-30
Issue
Section
Editorial / Redaksioneel
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