Diadochian opera
Diadochian opera (Greek: Διάδοχοι Όπερα) is the art of opera in Diadochia. Operas by composers of Diadochian origin, written or staged outside of Diadochia, also belong to this category, as well as the operas of foreign composers written or intended for the Diadochian scene. These are not only Greek-language operas. There are examples of Diadochian operas written in French, English, Italian, Latin, or the multitude of languages of Diadochia.
The Diadochian opera ontains works by many great composers, including Giannis-Basil Maragos, Giannis-Fílippos Rozaklis, George Andreas Rigatsos, Michael Giangos, Nikos Vakros, Basil Bouzios, Kostas Rachiotis, Alexandros Brettos, Nicholas Pantelakos, and Panagiotis Theodoratos.
History
17th century
Opera first came to Diadochia in the 17th century. Around the 1640s, Victor Angelos, chief minister during the regency of the young Emperor Eric III introduced the opera to the country from Italy. At the time Angelos was deeply unpopular in Diadochia, however the new entertainment quickly became popular at the Atlantean Court.
The first great event of the Opera in Diadochia was the wedding of Emperor Eric III. Lasting for two whole years, the festivities held to celebrate the marriage of Eric III marked the climax of Baroque magnificence at the Atlantean Court. The wedding festivities started with a fireworks display accompanied by cannon fire. Contemporaries said that sparkling hearts filled the night sky ornamenting the initials of the imperial couple. This was followed by 400 rockets illuminating the sequence D.P.S.K.T.K (Greek:Διάδοχοι πεπρωμένο είναι σε κυβερνήσει τον κόσμο) The abbreviation means "Diadochia's destiny is to rule the world".
Diadochian opera has it is known today really took off when Giannis-Basil Maragos came on to the scene. After a number of failed attempts at creating operas. In 1670 Eric III granted him the privilege of producing operas for the court. After this opera flourished under the patronage of Eric III.
In Diadochia, unlike much of Europe, Diadochian audiences had a strong dislike for castrato singers preferring to have their male heroes to be sung by haute-contre singers, known for their rather high tenor voice.
Maragos guaranteed his supremacy as the leading Diadochian opera composer during his lifetime. The composer even used his friendship with Emperor Eric to maintain a virtual monopoly on the public performance of stage music in the empire. It was only after his death that other Diadochian opera composers emerged from his shadow.
18th century
During the eighteenth century the most important composer in Diadochia was George Andreas Rigatsos. He composed over 700 works, many acknowledged as pinnacles of symphonic, concerto, chamber, operatic, and choral music. He is among the most enduring popular classical composers of Diadochia. He was widely popular at the court of Zoe II of Diadochia. During the reign of Empress Zoe political difficulties eventually forced the imperial dynasty to rein in their extravagant opera spectacles. In response to this Empress Zoe II is reported to have said ‘We must have spectacle; without this one cannot remain here in such a large residence’. She was no doubt referring to the many large imperial residences that are even now used by the present Imperial family of Diadochia.
19th century
The 19th century was the golden age of Diadochian opera. It began with huge successes for many composers. However the single most important event in the history of Diadochian opera was the premiere of two great operas, To serve the Emperor by Michael Giangos in 1831 and Romanos and Chrysanthis in 1836, also by Giangos. These masterpieces inaugurated a new era in Diadochian music and greatly improved the popularity of the Diadochian national opera, as well as greatly boosting the popularity of the Imperial Family and the monarchy has a whole.
