Title: Tragedy
Content:  Contemporary with Shakespeare, an entirely different approach to facilitating the rebirth of tragedy was taken in Italy. Jacopo Peri, in the preface to his Euridice refers to "the ancient Greeks and Romans (who in the opinion of many sang their staged tragedies throughout in representing them on stage)." The attempts of Peri and his contemporaries to recreate ancient tragedy gave rise to the new Italian musical genre of opera. In France, tragic operatic works from the time of Lully to about that of Gluck were not called opera, but tragédie en musique ("tragedy in music") or some similar name; the tragédie en musique is regarded as a distinct musical genre. Some later operatic composers have also shared Peri's aims: Richard Wagner's concept of Gesamtkunstwerk ("integrated work of art"), for example, was intended as a return to the ideal of Greek tragedy in which all the arts were blended in service of the drama. Nietzsche, in his The Birth of Tragedy (1872) was to support Wagner in his claims to be a successor of the ancient dramatists.
Title: Tragédie en musique
Content:  Apart from Lully, the most considerable writer of tragédies en musique is Rameau, whose five works in the form are considered the culminating masterpieces of the genre. The Viking Opera Guide refers to Marc-Antoine Charpentier's tragédie Médée as "arguably the finest French opera of the seventeenth century". In the eighteenth century, Jean-Marie Leclair's lone tragédie Scylla et Glaucus has been similarly praised. Other highly esteemed exponents are André Campra (Tancrède, Idoménée), Marin Marais (Alcyone, Sémélé) and Michel Pignolet de Montéclair (Jephté).
Title: Tragédie en musique
Content:  Tragédie en musique (, musical tragedy), also known as tragédie lyrique (, lyric tragedy), is a genre of French opera introduced by Jean-Baptiste Lully and used by his followers until the second half of the eighteenth century. Operas in this genre are usually based on stories from Classical mythology or the Italian romantic epics of Tasso and Ariosto. The stories may not necessarily have a tragic ending – in fact, most do not – but the works' atmospheres are suffused throughout with an affect of nobility and stateliness. The standard tragédie en musique has five acts. Earlier works in the 
Title: Deirdre of the Sorrows
Content:  The play (along with Irish legend in general) enjoyed a vogue amongst composers in the earlier part of the 20th century and many of them set Deirdre of the Sorrows to music. The first was Italo-Irish composer Michele Esposito in the cantata for soloists, mixed chorus and orchestra, Deirdre (1902) on a text by Thomas William Rolleston. Arnold Bax's orchestral tone poem Into the Twilight (1908) was originally conceived as the overture to a 5-act opera on the Deirdre theme that never materialised. A number of composers turned the subject into an opera including Fritz Hart, Geoffrey Molyneux Palmer, Cecil Gray Havergal Brian, Healey Wlllan and Karl Rankl. Fritz Hart wrote two 
Title: Tragicomedy
Content:  Criticism that developed after the Renaissance stressed the thematic and formal aspects of tragicomedy, rather than plot. Gotthold Ephraim Lessing defined it as a mixture of emotions in which "seriousness stimulates laughter, and pain pleasure." Tragicomedy's affinity with satire and "dark" comedy have suggested a tragicomic impulse in modern theatre with Luigi Pirandello who influenced many playwrights including Samuel Beckett and Tom Stoppard. Also it can be seen in absurdist drama. Friedrich Dürrenmatt, the Swiss dramatist, suggested that tragicomedy was the inevitable genre for the twentieth century; he describes his play The Visit (1956) as a tragicomedy. Tragicomedy is a common genre in post-World War II British theatre, with authors as varied as Samuel Beckett, Tom Stoppard, John Arden, Alan Ayckbourn and Harold Pinter writing in this genre. Vladimir Nabokov's postmodern fiction Pale Fire is a tragicomedy preoccupied with Elizabethan drama
Title: Antigonae
Content:  the composer, as the musical equivalent of Hölderlin's archaic language, to turn the declamation of the singing voices itself into the vehicle for the dramatic action. As Pietro Massa has been able to show, an intensive exchange of ideas with the classical philologist Wolfgang Schadewaldt, the musicologist Thrasybulos Georgiades and the stage director Wieland Wagner, who had originally been selected as director for the world premieres of Oedipus der Tyrann and Prometheus by the composer, accompanied the genesis of Orff's operas on Greek drama. Concentrating on an ensemble of percussion instruments with and without definite pitches, originally certainly born out of the 
Title: Tragédie en musique
Content: Pyrrhus (1730) 
Title: Tragédie en musique
Content: Cadmus et Hermione (1673) ; Alceste (1674) ; Thésée (1675) ; Atys (1676) ; Isis (1677) ; Psyché (1678) ; Bellérophon (1679) ; Proserpine (1680) ; Persée (1682) ; Phaëthon (1683) ; Amadis (1684) ; Roland (1685) ; Armide (1686) ; Achille et Polyxène (1687, completed by Pascal Collasse) 
Title: Tragedy
Content:  Tragedy (1872). Here, he suggests the name originates in the use of a chorus of goat-like satyrs in the original dithyrambs from which the tragic genre developed. Scott Scullion writes: "There is abundant evidence for tragoidia understood as "song for the prize goat". The best-known evidence is Horace, Ars poetica 220-24 ("he who with a tragic song competed for a mere goat"); the earliest is the Parian Marble, a chronicle inscribed about 264/63 BCE, which records, under a date between 538 and 528 BCE: "Thespis is the poet ... first produced ... and as prize was established the billy goat" (FrGHist 239A, epoch 43); the clearest is Eustathius 1769.45: "They called those competing tragedians, clearly because of the song over the billy goat"..."
Title: Tragedy
Content:  and Le Cid (1636), was the most successful writer of French tragedies. Corneille's tragedies were strangely un-tragic (his first version of Le Cid was even listed as a tragicomedy), for they had happy endings. In his theoretical works on theatre, Corneille redefined both comedy and tragedy around the following suppositions: Corneille continued to write plays through 1674 (mainly tragedies, but also something he called "heroic comedies") and many continued to be successes, although the "irregularities" of his theatrical methods were increasingly criticised (notably by François Hédelin, abbé d'Aubignac) and the success of Jean Racine from the late 1660s signalled the end of his preeminence. Jean Racine's tragedies—inspired by Greek myths, Euripides, Sophocles and Seneca—condensed their plot into a tight set of passionate and duty-bound conflicts between a small group 

Question: Who was the composer of Tragedy?
Answer: Andy McCoy.
Antti Hulkko.