Matches in DBpedia 2014 for { ?s ?p Oresteia (Орестея in Cyrillic) is an opera in three parts, eight tableaux, with music by Sergei Taneyev, composed during 1887-1894. The composer titled this work, his only opera, a "musical trilogy." The Russian libretto was adapted by A.A. Wenkstern from the The Oresteia of Aeschylus. The opera was premiered on October 29 [O.S. October 17] 1895 at the Mariinsky Theatre. Nikolai Rimsky-Korsakov wrote that soon after the premiere, the Mariinsky management made cuts to the opera, which angered Taneyev.The best-known excerpt from Oresteia is the entr'acte played before the second tableau of Part III, "The Temple of Apollo at Delphi." This passage, as well as other themes from the opera, figured into one of Taneyev's other works, namely, his orchestral overture entitled Oresteia (1889). This overture—not included in the printed score of this opera—constitutes a separate 18-minute-long symphonic poem based on themes from the trilogy.Harlow Robinson has noted that the opera avoids dramatic treatment of the murders of Agamemnon, Cassandra, Clytemnestra and Aegisthus, depicting those events off-stage.. }
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- Oresteia_(opera) abstract "Oresteia (Орестея in Cyrillic) is an opera in three parts, eight tableaux, with music by Sergei Taneyev, composed during 1887-1894. The composer titled this work, his only opera, a "musical trilogy." The Russian libretto was adapted by A.A. Wenkstern from the The Oresteia of Aeschylus. The opera was premiered on October 29 [O.S. October 17] 1895 at the Mariinsky Theatre. Nikolai Rimsky-Korsakov wrote that soon after the premiere, the Mariinsky management made cuts to the opera, which angered Taneyev.The best-known excerpt from Oresteia is the entr'acte played before the second tableau of Part III, "The Temple of Apollo at Delphi." This passage, as well as other themes from the opera, figured into one of Taneyev's other works, namely, his orchestral overture entitled Oresteia (1889). This overture—not included in the printed score of this opera—constitutes a separate 18-minute-long symphonic poem based on themes from the trilogy.Harlow Robinson has noted that the opera avoids dramatic treatment of the murders of Agamemnon, Cassandra, Clytemnestra and Aegisthus, depicting those events off-stage.".