This substantial book contains eight case studies in the adaptation of Greek tragedy and Homeric epic into opera. The chapters analyze the original source text, the use made of the source text in the opera's libretto, and the music to build up a picture of how each Greek original was particularly suited for adaptation in the socio-political context of each opera, and how the Greek material could be made to speak compellingly to a modern audience. The operas chosen range from the seventeenth to the twentieth century.

A new translation of 'Elektra', 'Philoctetes' and 'Oedipus at Colonus', the three plays which survive from Sophocles' output in his eighties and nineties, and which reflect the upheaval in values and social norms at Athens during the late fifth century. The edition comes with a full introduction covering historical and politico-social matters as well as with Notes on the staging of the plays, which are based on productions by the three contributors in a replica of the Greek theatre shape.

A survey of the influence of Aeschylus' 'Agamemnon' in nineteenth-century Germany, focusing in particular on its reception by the three outstanding figures in German drama and music drama. Goethe, Schiller and Wagner all developed their own concept of what drama should be in their own times by absorbing and meditating on Aeschylus' achievement.

A fundamental article which justifies the methodology of the author's practice-based research into Greek drama, and shows why insights gained by performing ancient plays in a replica of the original performance shape yield insights which are not available to scholars who work solely from the perspective of what they can glean by reading the plays.

A pioneering article presenting a new interpretation of the character of the title figure in Goethe's important and influential play, and through this a new interpretation of the play as a whole.

A study of the scenes between Elektra and Chrysothemis in Sophocles' 'Elektra'. This performance-based research re-evaluates the nature of the dialogue between the two sisters, and demonstrates in detail that Elektra's scorn for her sister's pragmatic position would not have been received by the fifth-century audience as heroic (as it has often been read in modern interpretations) but as foolish.

An article which establishes the relationship to the political events around the time of first performance of Aristophanes' three comedies from the last years of the Peloponnesian War, 411-404 b.c.e.

A significant production of one of Aristophanes' best comedies in a replica of the original performance space, which enabled research to be conducted into many issues of staging which the comedy presents.

A significant production of one of Aristophanes' best comedies in a replica of the original performance space, which enabled research to be conducted into many issues of staging which the comedy presents.