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The story of Pygmalion is the subject of Jean-Philippe Rameau's 1748 opera, Pigmalion. It was also the subject of Georg Benda's 1779 monodrama, Pygmalion. Ramler's poem Pygmalion was set to music as an aria by J.C.F.Bach in 1772, and as a cantata by Friedrich Benda in 1784. Pygmalion was the subject of Gaetano Donizetti's first opera, Il ...
Falconet's 1763 sculpture Pygmalion and Galatea (Walters Art Museum, Baltimore). Galatea (/ ˌ ɡ æ l ə ˈ t iː ə /; Ancient Greek: Γαλάτεια; "she who is milk-white") [1] is the post-antiquity name popularly applied to the statue carved of ivory alabaster by Pygmalion of Cyprus, which then came to life in Greek mythology.
In ancient Greek mythology, Pygmalion fell in love with one of his sculptures, which then came to life. The general idea of that myth was a popular subject for Victorian era British playwrights, including one of Shaw's influences, W. S. Gilbert, who wrote a successful play based on the story called Pygmalion and Galatea that was first presented in 1871.
Pygmalion is the most influential dramatic work by Jean-Jacques Rousseau, other than his opera Le devin du village.Though now rarely performed, it was one of the first ever melodramas (that is, a play consisting of pantomime gestures and the spoken word, both with a musical accompaniment).
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But Pygmalion unlike Hippolytus does desire a woman, just one he deems as perfect which is one that does not speak, is nameless and compliant. Both have a love affair with a statue. Hippolytus's love affair is more subtle where he just says that his wife is a statue but Pygmalion actually marries his statue, which is brought to life. [4]