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So begins Book 1 of The Odyssey. For almost 3,000 years we have been reading, reciting, and even performing Homer’s epic poem, along with countless other stories of gods behaving badly and mortal heroes performing superhuman tasks. Yet, centuries before the invention of modern opera, even Homer points out that the most fitting way to tell these stories is to sing them into being. 

From the mighty Zeus to the passionate Medea, from ruthless wars to all-consuming love affairs, Greek mythology is brimming with action, drama, and intrigue.

In other words, what better source material for an artform as grandiose and imaginative as opera? 

Greek Mythology and Music: Why is mythology such a good fit for opera?

Besides arguably the Old Testament, there are few other stories as foundational to Western society thanGreek mythology. The reign of the Olympian gods might be long over, but these mighty deities have dominated the cultural imagination for millennia. Paintings like Boticelli’s

The Birth of Venus or Caravaggio’s Bacchus are among the most celebrated works of art. Authors like Oscar Wilde and James Joyce engaged the ancient myths within their own works, and the Greek myths continue to reach even younger generations thanks to phenomena like the Percy Jackson series or shoutouts in The Simpsons.

Stories from Greek mythology remain some of our most enduring tales. There might not be much linking someone who is alive in 2026 to someone who was alive in 1726, but it is possible that they both know the truth about the Trojan horse or the answer to the Sphinx’s riddle.

Greek mythology has also maintained its cultural relevance by simultaneously evoking a specific time and place while remaining evergreen and universal. Essentially, the myths of the people from a Mediterranean peninsula thousands of years ago speak to us now. These myths talk about epic love stories and quests for glory and ask questions about where we come from and what we do when faced with difficult choices. We’ll likely be telling these stories and asking these questions for the next three thousand years.

The players in Greek mythology are also some of the most recognizable figures in fiction. Passionate, powerful, deeply complex and often fatally flawed, to put it simply, when evoking the gods, you are in for some drama. These awe-inspiring deities fall in love, start wars, and create new beings, sometimes all within the same day. Besides the twelve Olympian gods, there are the mortals who get caught in their webs like Jason, Semele, and Heracles, who themselves are out to seek glory and adventure.

These dramatic myths and larger-than-life characters are right at home in the world of opera. Such grandiose, imaginative material is ideal for the stage, but what keeps audiences coming back centuries later is how these fantastical stories of gods and monsters are ultimately, deeply human. Because aren’t the themes and desires that motivate the gods and heroes alike — family, love, honor, passion, art — not the same motivations we harbor within ourselves ?

Gods and Heroes in Opera: The Myths Adapted for the Stage (and who adapted them)

There is no shortage of myths that would make for gripping operas that leave audiences at the edge of their seats, but there are a select few myths and characters that seem to capture the imagination of composers throughout the different centuries and musical movements. 

Monteverdi and his Influence: Greek Mythology and Baroque Opera

Greek mythology has been present since the very beginnings of what is considered modern opera, starting with L’Orfeo in 1607. Italian composer Claudio Monteverdi had been Duke Vincenzo Gonzaga’s master of music since 1601. The Gonzaga Court was known for being a longtime proponent of dramatic entertainment, and upon watching Euridice by Jacopo Peri, the Duke recognized the then-novelty of the operatic form, as well as the potential prestige for its sponsors. He then commissioned Monteverdi to write an opera based on the same myth, telling the story of the musically gifted but fatally unlucky Orpheus who must journey into the Underworld who must save his beloved Euridyce.

At just over 400 years old, L’Orfeo is the earliest opera to still be performed today, but Monteverdi returned to subject of Greek mythology with Il ritorno d’Ulisse in patria. Taken from the second half of The Odyssey, the opera tells the story of when Odysseus (or Ulysses) finally returns to Ithaca after ten years at sea. Disguised as a beggar so no one will recognize him, he sets out to reunite with his son and kill the suitors who loiter in his halls and torment his wife.

In 1752 Christoph Willibald Gluck premiered his own adaptation of the myth with Orfeo ed Euridice. The work ended up becoming a major influence on subsequent German operas, with the hero’s rescue mission also becoming a major plot point in works like The Magic Flute and Fidelio. Gluck continued to explore Greek myths in his music, adapting the tragic fate of Iphigenia into two separate operas that evoke the chilling buildup and bloody aftermath of her father Agamemnon sacrificing her to the gods.

Baroque composers and operas inspired by mythology seems to have been a match made in musical heaven. Considered a master of the French Baroque music, Jean-Baptiste Lully wrote several operas inspired by Classicism. Described as “tragedies set to music,” Lully’s operas leaned in the direction of the macabre. First performed in 1675, Thésée recounts the tumultous love triangle between the turbulent sorceress Medea, the warrior Theseus, and the princess Aegele. And complete with dances, fight scenes, and mythical beasts, the two-part Persée follows the adventures of Perseus as he sets out to slay Medusa to win the heart of Andromeda.

No conversation about Baroque opera is complete without George Friderich Handel. Among his many operas inspired by Greek mythology, the composer set to music the story of Hercules, as well as of Semele, mother of Dionysus who fell victim to the goddess Hera’s (or Juno)’s jealous rages. 

Making Mythology Modern: Strauss’s Adaptations

As the ambitious and experimental German composer transitioned from Romanticism to Early Modernism, he combined the old with the new and turned to Antiquity to create some of his most enduring operas, with a particular focus on Ancient Greek heroines.

Remember Gluck’s two operas about Iphigenia and her murder by her own father? After his return from the Trojan War, his wife Clytemnestra and her lover Aegisthus murder him in an act of vengance, and this is where Strauss picks up the saga of the cursed House of Atreus. Premiering in 1909, Elektra follows the daughter of the now-murdered Agamemnon as she confronts the members of her household, swearing revenge for her father. Though a one-act opera with a duration of less than two hours, Elektra packs a punch. The titular role is one of the most demanding in the dramatic soprano repertoire, requiring both exceptional vocal prowess and dramatic abilities as Strauss dives deep into the character’s psychology.

Strauss and his frequent collaborator, librettist Hugo von Hofmannsthal, then combined comedy and drama for Ariadne auf Naxos, which premiered in 1912. An opera within an opera, the Prologue takes place in the home of the richet man in Vienna as two troupes prepare their performances: the first, a saucy burlesque group, the second, an opera company preparing Ariadne auf Naxos. The titular Ariadne despairs at having been abandoned by her lover Theseus on the desert island of Naxos, but little does she know, the god Bacchus (or Dionysus) has his eye on her.

Zerbinetta, the leader of the burlesque group, joins the performance as an in-universe character who tries to cheer up Ariadne, giving the opera seria a humorous spin. By adding his own imaginative touch to Classical mythology and mixing comedy with tragedy, Strauss brings the myth modern audiences while providing insight into the challenges of keeping an audience entertained.

Listen to operas inspired by Greek mythology on medici.tv

From Monteverdi to Media, Strauss to Semele, if you have a craving for Classicism, medici.tv has you covered.

This exclusive playlist brings to you the best of classical mythology put to the operatic stage. Rencounter the legends, gods and heroes of Ancient Greece reimagined to music by visionary composers and inventive libretists.

For thousands of years, these timeless tales have set the imagination on fire of painters, sculpturs, and musicians. Between new cinematic adaptations, literary reimaginings, and musical reinventions, it appears that the Muses continue to inspire this generation of artists, and should the gods will it, the generations that come after.