At A Glance
While Igor Stravinsky had picked the story of Oedipus Rex precisely because he assumed everybody already knew the plot, posterity has vindicated that a composer or librettist should not assume much about an audience’s literary background. Most opera-goers have doubtless appreciated the Speaker’s role in reminding us of the classic plot: how Oedipus, King of Thebes and husband of Jocasta, is urged by the Oracle of Delphi (whose directive is conveyed by Oedipus’s brother-in-law Creon) to save his city from plague by discovering who killed King Laïus; how, at his own unwitting urging, Oedipus himself is revealed (reluctantly, by the blind seer Tiresius) to be the ignorant murderer of King Laïus; how he accuses Creon of fomenting this accusation in an effort to unseat him; how it is further disclosed (by a messenger) that his ancestry is not what he had thought, and (by a shepherd) that he is in fact the son of King Laïus and Jocasta, Oedipus’ own wife; how the revelation of this unsuspecting but nonetheless incestuous bond and inadvertent patricide causes Jocasta to commit suicide and leads Oedipus to blind himself with her brooch.