Dionysus, the god of wine and ecstasy, returns to Thebes to take revenge on King Pentheus who refuses to acknowledge his divine nature. Dionysus turns the city’s high-ranking women into frenzied Bacchae (Bacchantes). (The word Bacchae comes from Bacchus, the Roman equivalent of Dionysus, whose servants are called Bacchantes.) more
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The women eventually march off to Mount Cithaeron. They have in their midst Agave, the king’s mother, who turns mad and in her frenzy, tears his own son apart with her bare hands. The conflict between Dionysus and Pentheus is that between instinct and logic. When neither can moderate itself, that has a cruel consequence for humans. It is asking a key ontological question: what is a human being?
This is, perhaps, the most profound of all Greek tragedies. Euripedes’ The Bacchae drew on the Dionysus cult as a source, and became its sole theatrical relic.
Camille Saint-Saëns: Cello Concerto No. 1 in A minor, Op. 33 Anton Bruckner: Symphony No. 7 in E major, WAB 107
Béla Bartók: Hungarian Sketches, Sz. 97, BB 103 Karol Szymanowski: Violin Concerto No. 2, Op. 61 Robert Schumann: Symphony No. 4 in D minor, Op. 120
Wolfgang Amadeus Mozart: Die Zauberflöte (The Magic Flute), K. 620
Franz Schubert: The Magic Harp – Overture, D. 644 Max Bruch: Violin Concerto No. 1 in G minor, Op. 26…
Joseph Haydn: Symphony No. 72 in D major, Hob. I:72 Wolfgang Amadeus Mozart: Horn Concerto No. 2 in E-flat major,…
In the BFO’s early music concert, ethereal dance movements alternate with arias about burning passion.
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