Overview
Synopsis
Carl Orff’s Antigonae (1949) is a ritualistic opera based on Sophocles’ tragedy, presented in five acts and faithful to the original play. The story begins in Thebes after the civil war in which Antigone’s brothers, Eteocles and Polynices, have killed each other. Creon, the new ruler, decrees that Eteocles will be honored with burial, while Polynices is left unburied as a traitor. Defying this order, Antigone insists that divine law demands she honor her brother with burial rites. Ismene refuses to join her, and Antigone is caught performing the forbidden rituals. Brought before Creon, she proudly admits her defiance, even as he condemns her to death.
The conflict intensifies when Haemon, Creon’s son and Antigone’s betrothed, pleads for her life and warns that the people side with her. Creon refuses, sentencing Antigone to be entombed alive. The prophet Tiresias warns that the gods are angered by his arrogance, prompting Creon at last to change his mind. But his reversal comes too late: Antigone has hanged herself, Haemon kills himself in grief, and Creon’s wife Eurydice also takes her life upon hearing the news. In the final scene, Creon, broken and alone, accepts responsibility for the devastation his pride has caused, while the chorus concludes that wisdom comes only through suffering and reverence for the gods.
Show Information
Context
Carl Orff’s Antigonae (1949) represents one of the composer’s most striking contributions to 20th-century opera. Written after the immense success of Carmina Burana and Catulli Carmina, Orff sought to return to the elemental roots of Western drama by setting the complete text of Sophocles’ Antigone in a German translation by Friedrich Hölderlin. Rather than adapting or condensing the play, Orff remained faithful to its structure and language, creating a musical drama that blurred the
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Act I
The scene opens before the royal palace of Thebes. Antigone and her sister Ismene lament the deaths of their brothers, Eteocles and Polynices, who slew one another in battle. Creon, the new ruler, decrees that Eteocles will be honored with burial while Polynices, branded a traitor, must remain unburied under penalty of death. Antigone confides in Ismene that she will defy Creon’s law to honor the gods. Ismene, terrified of the punishment, refuses to help. Antigone, resolute, declares
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| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Male |
Baritone, Bass |
|
|
Lead |
Female |
Soprano |
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|
Supporting |
Male |
Tenor |
|
|
Supporting |
Male |
Tenor |
|
|
Supporting |
Female |
Mezzo-Soprano |
|
|
Featured |
Female |
Alto, Mezzo-Soprano |
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|
Featured |
Male |
Tenor |
|
|
Featured |
Male |
Bass |
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|
Ensemble |
Male |
|
Songs
Act I
Act II
Act III
Act IV
Act V
A song with an asterisk (*) before the title indicates a dance number.
Monologues
Scenes
Key Terms
Catharsis is the emotional release experienced by the audience at the conclusion of a tragedy or intense dramatic work. It allows viewers to purge feelings of fear, pity, or tension through the resolution of the play’s conflict. The concept dates back to Aristotle, who believed catharsis was central to the purpose of theatre.
A Choral Ode is a sung or chanted section performed by a group of actors called the chorus, most commonly found in ancient Greek tragedy. These odes often appear between scenes to provide commentary, moral reflection, or to describe offstage events. In Carl Orff’s opera Antigonae, the chorus frequently delivers odes in a chant-like style, creating a ritualistic atmosphere that deepens the audience’s understanding of the story.
Declamation is a style of vocal or dramatic delivery that closely follows the rhythms of natural speech while heightening its emotional power. Instead of long melodic lines, performers use strong rhythm, emphasis, and articulation to make the words dramatic and clear. This technique is common in theatre, oratory, and certain types of opera.
Fate is the idea that the course of a person’s life is determined by powers beyond human control, such as destiny or the will of the gods. In many works of literature and drama, characters try to resist fate but remain powerless to escape it. This theme is central to ancient tragedies, where suffering often results from the inevitability of fate.
Hubris is excessive pride, arrogance, or self-confidence that leads a character to defy moral or divine law. In classical tragedy, hubris often causes the downfall of rulers or heroes who overestimate their own power. It serves as a warning about the dangers of ignoring limits set by the gods, society, or fate.
A Prophecy is a prediction or foretelling of future events, usually delivered by a character with divine insight or supernatural authority. In drama, prophecies often create dramatic tension by revealing the outcome before it happens. Characters may try to avoid the prophecy, but their actions usually bring it about, underscoring themes of fate and inevitability.
Stichomythia is a dramatic technique in which two characters exchange short, quick lines of dialogue in rapid succession. This back-and-forth creates tension, speeds up the pace of the scene, and makes conflicts more intense. It is often used in classical tragedies during arguments or confrontations.
A Tragedy is a form of drama that explores human suffering, conflict, and loss, often leading to a disastrous or fatal conclusion. Traditionally, the main character experiences downfall due to a personal flaw, poor judgment, or forces beyond their control. Tragedy aims to evoke pity and fear in the audience, leading to reflection and emotional release. Categories: Dramatic Genre, Greek Theatre, Themes
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Themes, Symbols & Motifs
Themes
Divine Law vs. Human Law The central
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Guide Written By:
Jason Engleman
Humming show tunes day and night.