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林鳳珊 and Fung-shan Lam. "A study of Cantonese opera scripts of the 1920s and1930s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31215452.
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Couvreur, Manuel. "Le livret d'opéra en France de Cadmus et Hermione de Quinault et Lully (1673) aux Boréades de Cahusac et Rameau (1763): essai de définition pluridisciplinaire d'un "genre d'écrire"." Doctoral thesis, Universite Libre de Bruxelles, 1989. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213232.
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Bergström, Gunnel. "In search of meaning in opera : an opera singer's approach to the dialetics of words, music, & myth in opera from Monteverdi to Verdi /." Online version, 2000. http://bibpurl.oclc.org/web/26209.
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Patino, Julio. "Matador." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc279182/.
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Matador is an opera scored for orchestra, mixed chorus and soloists (mezzosoprano, 3 tenors, 2 baritones). The work is in one act divided into two main sections. Each of these sections is divided into subsections. The libretto is aphoristic in nature and dictates the form of each of these subsections. The division into two parts also serves as a means to evoke a sense of hopelessness of emotions in the first and a transforming disposition that culminates in a jubilant song in the second.
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Miller, Robin A. (Robin Annette). "The Prologue in the Seventeenth-Century Venetian Operatic Libretto: its Dramatic Purpose and the Function of its Characters." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277705/.
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The Italian seicento has been considered a dead century by many literary scholars. As this study demonstrates, such a conclusion ignores important literary developments in the field of librettology. Indeed, the seventeenth-century operatic libretto stands as a monument to literary invention. Critical to the development of this new literary genre was the prologue, which provided writers with a context in which to experiment and achieve literary transcendence. This study identifies approximately 260 dramatic works written in Venice between the years 1637 and 1682, drawn together for the first time from three sources: librettos in the Drammaturgia di Leone Allacci accresciuta e continuata fino all'anno MCDDLV; the musical manuscripts listed in the Codici Musicali Contariniani; and a chronological list of seventeenth-century Venetian operas found in Cristoforo Ivanovich's Minerva al Tavolino. Of the 260 Venetian works identified, over 98 begin with self-contained prologues. This discovery alone warrants a reconsideration of the seventeenth-century Italian libretto and the emergence of the dramatic prologue as a new and important literary genre.
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Daly, Daniel. "The Banshee: A Chamber Opera in One Act." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22647.
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This opera is the composer’s fanciful speculation on the origin of the banshee, a character out of Irish legend whose keening is a herald of death. In three scenes, the opera tells the story of a witch whose quest for power leads her from one depravity to the next and ends with the destruction of her family. When the witch finally confronts the ruin she has caused, she wails with grief and transforms into the banshee. The work is scored for soprano, mezzo-soprano, baritone, dancer, and chamber orchestra, and it is approximately one hour in duration.
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Mai, Alex Chih-Yuan. "Sacrificial forms the libretti in English 1940-2000 /." Thesis restricted. Connect to e-thesis to view abstract, 2008. http://theses.gla.ac.uk/437/.
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Thesis (Ph.D.) - University of Glasgow, 2008.<br>Ph.D. thesis submitted to the Department of English Literature, University of Glasgow, 2008. Includes bibliographical references. Print version also available.
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Nelson, Sarah Patterson. "Costumes for "The Magic Flute", composed by W.A. Mozart, libretto by Emanuel Schikaneder." Connect to this title, 2008. http://scholarworks.umass.edu/theses/203/.
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Thomson, I. "Mozart's opera Die Zauberflote : an analysis of the historical and literary sources of the libretto." Thesis, University of East Anglia, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503064.
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This dissertation contains an analysis of the libretto of Mozart's Die Zauberflote. The analysis was contemplated with apprehension, given that so much has already been written about the opera. But the work was prompted by two factors. Firstly, by a longstanding concern that the libretto contains classical, literary, historical and philosophical references which have not been referred to in previous explanations of the opera. There was a sense in which the opera may have been well documented but perhaps not well understood. Secondly, and consequentially, the study was fuelled by the magnitude of the challenge to understand how these unacknowledged references fit together to create what the librettists considered to be their "purpose". This dissertation, then, develops many new analytical themes and throws fresh light on the purpose of the opera and the methods by which it was developed. Many people have helped me in a variety of ways during this study. I am particularly grateful to my Supervisor, David Chadd, Head of the School of Music at the University of East Anglia (UEA), Norwich, for his constant support and advice, and to my two examiners Professor Julian Rushton at Leeds University and Anthony Gritten at UEA. I am also grateful to Simon Waters at UEA and Ian Biddle (formerly UEA but now at Newcastle University) for their help during an earlier M.Mus. study which unexpectedly led to the research presented here. I am particularly grateful to Edvina Franceschini for her assistance, comments, encouragement and hospitality throughout the period of this study. And I am indebted to Prebendary Michael Moreton, for reading draft text and offering helpful comments on theological and other references, and to Angela Biston for helpfully commenting on several occasions on my draft text. I also wish to acknowledge the help of a number of people on whom I have relied for specific advice on a miscellany of subjects. Their contributions may have been partial, because none were aware of the objectives of my study, but their help was nevertheless important. I am particularly grateful to Anna Plattner and Bettina Kann, Osterreichische Nationalbibliothek, Vienna; Frieder Hepp, Director, KurpJiilzisches Museum, Heidelberg; Clare Rider, The Honourable Society of the Inner Temple, London; Diana Weber, Stadtarchive, Heidelberg; Daniel Pailthorpe, Principal Flautist, English National Opera, London; Cesare Poppi, Deputy Director, The Sainsbury Centre, UEA, Norwich: Joe Taylor, Head Ranger, Sports and Parks Division, City of Coventry; Ineke Fijan, the Erasmus University, Rotterdam; Anne Mitchell, Woburn Abbey; Catherine Baron, Assistant Curator ofthe Royal Collection; Bernhard Overbeck, Bayerische Staatsbibliothek, Munich; Claire Leach, Voltaire Foundation; Sylvia Morris, Shakespeare Memorial Library, Stratford-uponAvon; Richard Palmer, Lambeth Palace Library, London; Lynda McLoed, Sotherby's, London; Mr. Ellis, Astrological Association, London; The Astrology Shop, London; Clive Wilkins-Jones, Norfolk and Norwich Millenium Library, Norwich; Ingrid Lamey, Schwetzingen Castle; Lucia Underhill, Kimbolton School; Omar Samy, Al Ahram Newspaper, Cairo; Ingrid Horning, Utrecht; Julian Roberts; and Jean Rafferty. Finally, I am grateful for the unfailing assistance of countless anonymous staff in many libraries and museums. Staff at The British Library, where necessarily most of my research was undertaken, have been exceptionally helpful. But I have also received considerable help from staff at the UEA library; the Bodleian; the House of Lords Record Office; the Egypt Exploration Society; the National Portrait Gallery Heinz Archive; German Historical Institute, London; London University Library; the Wellcome Library; the Victoria and Albert Museum; the Warburg Institute Library; Christie's Images; Coventry City Library; Warwickshire Records Office; the Ashmolean Museum; Centraalmuseum, Utrecht; the National Maritime Museum; the Historische Museum, Berne; the Offentliche Kunstammlung, Basle; the London Park Lane Mosque Library and the Vatican State Library.
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Aguedo-Silva, Jose Luis. "Il Trovatore e o libreto belcantista." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270293.
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Orientador: Maria Betania Amoroso<br>Dissertação (mestrado) - Universidade EStadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-13T14:46:52Z (GMT). No. of bitstreams: 1
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Previous issue date: 2009<br>Resumo: A ópera sempre teve, desde seus primórdios, uma grande importância para a sociedade, tanto como fonte de lazer como transmissora do pensamento de uma época. E era esta característica que Giuseppe Mazzini (1805-1872), o maior teórico do Risorgimento, considerava primordial: a ópera repassaria a seus ouvintes os ideais risorgimentali. Para isso, era necessário que sobretudo libretistas e compositores estivessem engajados nessa causa. Era o caso de um dos mais representativos libretistas do século XIX, Salvatore Cammarano (1801-1852), prolífico autor, que escreveu libretos para diversos compositores em quase vinte anos de carreira. Dada a sua importância para a História da ópera, enquanto um de seus criadores mais ativos, ele foi escolhido como o objeto principal de nossa pesquisa. Tomamos como objeto de estudo, entre os mais de trinta libretos que Cammarano escreveu, a obra que consideramos a síntese do período: Il Trovatore (1853), ópera em quatro partes com música de Giuseppe Verdi (1813-1901). Il Trovatore nos parece essencial para ir mais a fundo nas pesquisas sobre o Romantismo na Itália. Numa época em que o romance tentava se fixar, a ópera teve uma participação fundamental na divulgação não só dos ideais do Risorgimento, como já citado, mas também na propagação de elementos do movimento romântico, então em voga. Na ópera, o período que coincide com o Romantismo europeu costuma ser chamado Bel Canto tardio, e são consideradas suas datas limite os anos de 1823 (quando da première da Semiramide, de Gioacchino Rossini e Gaetano Rossi) e 1853 (justamente com a Il Trovatore - sendo este mais um motivo para a escolha dessa obra). Dentre os objetivos de nossa pesquisa está o de proporcionar um estudo em português sobre o libreto, uma vez que a literatura relacionada ao assunto é escassa em nossa língua. Além disso, quisemos fazer um panorama da evolução do texto operístico com o passar do tempo, mostrando diferenças e pontos de vista, culminando na última obra de Cammarano, analisada mais profundamente<br>Abstract: Opera has always had, since its first years, a great importance to society, as a source of leisure and as a transmitter of the thoughts of a time. And the last characteristic is the one which Giuseppe Mazzini (1805-1872), the most important theorist of Risorgimento, considered essential: opera would be able to pass to its listeners the risorgimentali ideals. In order to do that, it was necessary that librettists and composers were engaged in this cause. That was the case of one the most representatives librettists of the 19th century, Salvatore Cammarano (1801-1852), prolific author, who wrote librettos for several composers in almost twenty years of a career. Given his importance to opera history, as one of its most active creators, he was chosen as the main object of our research. We chose to study, among more than thirty librettos written by Cammarano, the work that we consider the synthesis of the period: Il Trovatore (1853), opera in four parts set to music by Giuseppe Verdi (1813-1901). Il Trovatore seems essential to us in order to go further in our understanding of Italian Romanticism. In a time when the novel tried to fix itself, opera had a fundamental participation in spreading not only the risorgimentali ideals, as already said, but also the Romantic elements present in the age. In opera, the period which coincides with the European Romanticism is usually called late Bel Canto, and its limit dates are 1823 (when Semiramide, by Gioacchino Rossini and Gaetano Rossi was premièred ) and 1853 (with Il Trovatore). Among the objectives of our research is to provide a study in Portuguese about libretto, since the literature related to this subject is scarce in our language. Besides, we wanted to make an overview of the evolution of operatic text over time, showing differences and points of view, culminating in the last work of Cammarano, which we analyzed more profoundly<br>Mestrado<br>Literatura e Outras Produções Culturais<br>Mestre em Teoria e História Literária
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Salfen, Kevin McGregor. "Myth in the Early Collaborations of Benjamin Britten and William Plomer." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4837/.
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Although the most well-known collaborations of William Plomer and Benjamin Britten are the three church parables (or church operas) - Curlew River, The Burning Fiery Furnace, and The Prodigal Son - by the time of the completion of Curlew River in 1964, the librettist and composer had been working together for well over a decade. During that time, they had completed the opera Gloriana and had considered collaborating on three other projects: one a children's opera on Beatrix Potter's The Tale of Mr. Tod, one on an original story of Plomer's called "Tyco the Vegan," and one on a Greek myth (possibly Arion, Daedalus and Icarus, or Phaëthon). Far from being footnotes to the parables, these early collaborations established Plomer and Britten's working relationship and brought to light their common interests as well as their independent ones. Their successive early collaborations, therefore, can be thought of as a conversation through creative expression. This metaphor of conversation can be applied both to successive collaborations and to the completed Gloriana, in that the libretto and the music can be seen as representing different interpretations of both major and minor characters in the opera, including Elizabeth I and Robert Devereux, Earl of Essex. In Gloriana, Britten employed at least three specifically musical methods of challenging the meaning of the libretto: instrumental commentary, textural density, and dramatically significant referential pitches. Plomer and Britten's conversation, carried out through these early collaborations, touches on the function of art, activism, and modern morality, but it is best circumscribed by the concept of myth. Two divergent and very influential interpretations of myth - Matthew Arnold's "sweetness and light" and primal liberation (deduced from Nietzsche) - can be usefully applied to Plomer and Britten's unfolding conversation. The implications of Plomer and Britten's adoption of myth as the topic and language of their collaborative conversation are vast and must be considered in order to understand more fully their work together.
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Hartmann, Tina. "Goethes Musiktheater : Singspiele, Opern, Festspiele, "Faust /." Tübingen : M. Niemeyer, 2004. http://catalogue.bnf.fr/ark:/12148/cb399344256.
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McCleary, Mary. "Textual composition and the Macbeth, Othello, and Falstaff of Shakespeare and Verdi." Thesis, Boston University, 2012. https://hdl.handle.net/2144/32035.
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Thesis (Ph.D.)--Boston University<br>PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>The dissertation examines adaptations of Shakespearean plays in the operatic libretti of Giuseppe Verdi (1813-1901), who dominated Italian opera in the second half of the nineteenth century. Although Verdi relied on the assistance of librettists with all his operas, he maintained scrupulous control over the textual details. The primary focus is on the triangle formed by Shakespeare, Verdi, and the librettist with considered attention to the ways in which a dramatic crux, or challenge, will both differ from and be cognate with an operatic crux. The monograph explores original Shakespearean sources, literary and musicological criticism, and the impact of historical circumstances on the genesis of Verdi's Shakespearean libretti. A brief biographical account of the composer is followed by a synopsis of the development of opera and an overview of the role of the librettist. It then addresses the distinguishing features of Shakespeare's writing that need to be considered when assessing adaptations of his plays into libretti.
The second, third, and fourth parts of the study focus respectively on the three operas: Macbeth (1847) written with librettist Francesco Piave, Otello (1887), and Falstaff (1893), the latter two written with Arrigo Boito. Additional research includes new evidence regarding Verdi's unfinished Re Lear. The three complete operas are examined in close textual comparison with their original sources. Particular attention is given to the translations used in the libretti; textual and plot conformity; replication of rhyme and meter; diction and syntax; character portrayal and replication; and distinctions between dramatic and operatic settings. The study also compares different editions of the plays upon which the operas were based, as well as various editions of correspondence. The conclusion assesses Verdi's contribution to Shakespearean adaptation and the subsequent implications for the task of the librettist in creating a quality text that enhances, rather than detracts from, the composer's effort.<br>2031-01-02
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Zen, Maria Gabriella <1957>. "Chronos parádoksos : genesi di un'opera poliglotta." Doctoral thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/1163.
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La tesi analizza le scelte strutturali, poetiche e musicali del progetto CHRONOS PARÁDOKSOS, vincitore nel 2007 del Concorso Europeo EACEA (Education, Audiovisual and Culture Executive Agency della Comunità Europea) 09/2006, bandito nell'ambito del Cultural Programme 2007-2013 per un'opera lirica nuova che puntasse alla trasmissione dell'identità culturale europea e prevedesse aspetti musicali innovativi. Il libretto dell'opera è composto da versi originali in 10 lingue di 24 poeti: Eschilo (greco antico), W. Szymborska, Z. Herbert, C. MiƗosz (polacco), A. Machado, C. Vallejo (spagnolo), J. Saramago (portoghese), A. MacLeish (inglese), M. Buber, P. Celan, S. G. Frug, G. Kolmar, H. Kräftner, E. Weinert (tedesco), E. Ady, M. Radnoti (ungherese), P. Levi, M. Luzi, V. Sereni, G. Ungaretti (italiano), V. Hugo, F. Monod, J. Romains (francese), Erasmo da Rotterdam (latino medievale). La tesi contiene anche il libretto dell'opera con le indicazioni di regia e la partitura.<br>My thesis focuses on the structural, poetical and musical choices of the “CHRONOS PARÁDOKSOS” project, winner in 2007 of the 09/2006 European Competition, proclaimed by EACEA (Education, Audiovisual and Culture Executive Agency of the European Community) for a new opera aiming at the transmission of the European cultural identity and containig innovative musical aspects. The libretto of the opera is built by a choice of lines in 10 different languages by 24 poets: Eschilo (ancient Greek), W. Szymborska, Z. Herbert, C. MiƗosz (Polish), A. Machado, C. Vallejo (Spanish), J. Saramago (Portuguese), A. MacLeish (English), M. Buber, P. Celan, S.G. Frug, G. Kolmar, H. Kräftner, E. Weinert (German), E. Ady, M. Radnoti (Hungarian), P. Levi, M. Luzi, V. Sereni, G. Ungaretti (Italian), v. Hugo, F. Monod, J. Romains (French), Erasmus from Rotterdam (mediaeval Latin). My thesis contains also the libretto, complete with the direction notes, and the orchestral score of the opera.
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Darlow, Mark. "'Le progres des arts' : Nicolas-Etienne Framery's contribution to late eighteenth-century musical and theatrical life in France." Thesis, University of Kent, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342136.
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De, Fina Giovanna <1992>. "La Lunga Marcia in musica. Proposta di sopratitolaggio dell' opera in sei atti tratta dal libretto di Yin Qing." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15253.
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Obiettivo principale della mia tesi è lo studio sulla creazione di sopratitoli per spettacoli in lingua cinese. Nello specifico, vuole analizzare un'opera in musica molto particolare: La lunga marcia, basata su un evento storico cruciale per la fondazione della Nuova Cina.
Il primo capitolo introduce una breve analisi sull'evoluzione del teatro moderno cinese, arrivando a toccare il tema di maggiore interesse: come si è arrivati al cosiddetto teatro in musica. Inoltre, verrà presentato il tema del sopratitolaggio legato a questa tipologia di teatro, ben diversa dalla tradizionale opera cinese. Pertanto, il primo capitolo vuole essere di maggiore aiuto per meglio comprendere l'opera analizzata e tradotta.
Il secondo breve capitolo consiste nella descrizione del libretto: cercherà di rispondere ad alcune semplici domande legate alla creazione dell'opera sulla Lunga Marcia. In più, verrà presentata un'analisi delle composizioni musicali studiate appositamente per quest'opera, delle varie contaminazioni e dei vari elementi di tradizione ivi presenti. Il terzo capitolo tratta le maggiori difficoltà riscontrate durante il processo di creazione dei sopratitoli e le varie soluzioni adottate per ovviare al problema. Saranno presentati esempi tratti da alcuni brani dell'opera, in modo da meglio delineare tutto il processo traduttivo che ha permesso di arrivare al risultato finale. Inoltre, verranno inseriti i tentativi di adattamento in musica di due brani selezionati dall'opera in questione. L'ultimo capitolo è dedicato al risultato finale: la trascrizione dei sopratitoli dell'intera opera in sei atti, ideata esclusivamente per la National Centre for the Performing Arts (NCPA) di Pechino. Infine, sarà inserita una bibliografia di testi di riferimento.
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Jayakumar, Emma Michelle. "Beyond the Wall An opera for children in 2 acts –and– Toward a more engaging operatic genre for children An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2149.
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Toward a more engaging operatic genre for children is a practice-led PhD research project which aimed to create a more engaging opera for children aged 4-13 (Australian Kindergarten to year 7) than current Australian company approaches to young audience repertoire. The culmination of this research was the children’s chamber opera Beyond the Wall, presented in workshop form at the Western Australian Academy of Performing Arts (WAAPA), Edith Cowan University in December 2017.
Current house repertoire offered for a young Australian audience overwhelmingly involves the adaptation of an existing adult opera, generally presented in school touring incursion programs; an approach lacking effectiveness on many levels. The paucity of work performed in quality in-house theatrical venues determines that children are rarely exposed to opera at its most impressive musically or theatrically, whilst additionally relinquishing the positive artsgoing habitus influence many children experience when attending works with their family members, particularly their parents.
Practice-led research (PLR) methodology was identified as the most appropriate to the varied and interdisciplinary features characteristic to opera as an artform. As such, several writing and compositional methods were identified from various sources, and adapted to meet the requirements of an operatic libretto and score. These methods included those adapted from screenwriting, theatre for young audience literature, the development of many process cycles facilitating effective praxis, and the extensive use of reflective journaling in written and voice memo forms. These methods were supported by a robust conceptual and theoretical framework, prioritising the development of a child-centric perspective for adult writers creating work for children. This child-centric mandate or child’s gaze focused on three key areas of literature, theory and practice surrounding the broader dramatic and musical concepts of relevance, appeal and comprehension for children.
Some of the key components to the success of this child-centred approach was the understanding of emotive psychological undercurrents of effective stories for child audiences, as well as the ability to develop and maintain children’s identification with the main character. Necessitating an insightful construction of the protagonist’s universe within the libretto, it also required thoughtful reflection on how the musical score reinvented and heightened the dramatic impact of the text and story themes. Additionally, an understanding of movement between realistic speech styles and heightened operatic styles of singing was essential to the development of effective musico-dramatic devices, such as spoken word/recitative/Sprechstimme vocalisation sections. Presenting greater variation in vocalisation styles than more traditional forms of opera, these devices aided in the more effective engagement of the workshop audience with both the sound-world of the opera and audience identification with the main child protagonist.
The successful workshop reception of Beyond the Wall within a culture that has very few operatic works specially devised for young audiences, challenges the prevailing view that children are incapable of engagement with the heightened emotional world of opera. The many innovative methodological tools developed to aid in the research and development additionally present valuable additions to practice-led research composition literature, whilst presenting broader solutions to composers and writers within this fledgling genre.
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FAUSTINI, Piero. "La cucina dello spettacolo Forme drammatico–musicali di transizione nei libretti dell’opera italiana postunitaria." Doctoral thesis, Università degli studi di Ferrara, 2010. http://hdl.handle.net/11392/2389183.
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The traditionally so–called ‘transitional’ period of italian melodramma, roughly corresponding
to the decades of 1870s and 1880s, saw also wide transformations in its
relationship with the librettos, their creation and their form. Changes happened also
in the status of the libretto and of the librettist among the new publishing industry,
in their stength ratio with the music and the musician and in their related production
modalities, as in the specific examples of librettists Angelo Zanardini and Carlo
D’Ormeville. Great importance was to be found in new poetry configurations in the
domain of meter, of ‘liricity’ and of solo, duo and collective singing forms and in
‘metasinging’ prescription.
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Powell, Edwin C. "Bandanna, An Opera by Daron Aric Hagen with Libretto by Paul Muldoon, Commissioned by the College Band Directors National Association: The Origins of an Artwork with a Glimpse at its Musical Character Development." Thesis, connect to online version, 2002. http://www.library.unt.edu/theses/open/20023/powell%5Fedwin/index.htm.
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Thesis (D.Mus. Arts)--University of North Texas, 2002.<br>Original thesis was accompanied by a sound cassette and 5 sound discs; not included in microfiche edition. Author's name on fiche header: Powell, Edwin Charles. Includes bibliographical references (p. 131-132).
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Darra, Daniele. "A misura di canto. Aspetti della metrica nei libretti scritti per Verdi." Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3424658.
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The object of this research is the complex literary work called libretto and more specifically its metrics. The peculiarity of the libretto resides in the multiple factors which interact in it. It is first and foremost a poetic text which be however inevitably integrated into two non-literary contexts: the musical and the theatrical one. The libretto is assimilated by those contaxts and their mechanisms, from its creation up to the performance. The metrical analyis, of which I will give the first, punctual results, has been carried out on the libretti composed for Verdi in italian, conceived by different authors in different periods in a time span of about sixty years (from 1839, when Oberto conte di San Bonifacio went in première up to 1893, the staging of Falstaff). I analyzed how traditional metrical forms were selected and used in order to adapt to the complex melodramatic code inside which the libretto will function. I have also tried to investigate whether the internal formal articulation of this highly misregarded poetic product evolved in Verdi's long production.<br>Il composito prodotto letterario denominato libretto d'opera, e più precisamente l'aspetto metrico che lo caratterizza, costituisce l'oggetto del lavoro. La particolarità della sua natura nasce dall'eterogeneità dei fattori chiamati ad interagire nella sua stesura, trattandosi, in primo luogo, di un testo poetico, destinato però ad essere integrato e ad alimentare due “contesti” non letterari: quello musicale ed infine quello teatrale, dai quali, già all'atto della composizione e successivamente dell'esecuzione, viene inglobato ed assimilato all'interno dei loro meccanismi. L'analisi metrica, di cui s'intende qui fornire i primi, puntuali risultati, è stata condotta sui libretti italiani composti per Giuseppe Verdi, frutto del lavoro di autori diversi, concepiti in anni diversi nell'arco di circa un sessantennio (dal 1839, anno della prima dell'Oberto, fino al Falstaff messo in scena nel 1893), al fine di esaminare in quale maniera le forme metriche tradizionali siano state selezionate e disposte per adeguarsi al complesso codice melodrammatico entro cui il libretto è destinato ad operare, e se e come attraverso gli anni della lunga carriera di Verdi sia andata modificandosi l'interna articolazione formale di questo ambiguo e spesso screditato testo poetico.
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Greenhalgh, Michael John. "A critical edition, with introduction and commentary, of the libretto texts of Montagu Slater and Benjamin Britten's Peter Grimes." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:e7341552-afc2-4c6f-b7de-9339c85e304b.
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A definitive text of the libretto of Benjamin Britten's opera Peter Grimes is here presented. The process by which it was created is revealed in detail. All the extant versions are collated and significant differences between them displayed. For the first time the scenarios written by Britten and his partner Peter Pears and the first surviving draft versions of scenes by the librettist Montagu Slater are published in full. Additions to the draft and final libretto texts and revisions throughout this process by Slater, Britten, producer Eric Crozier and, in the final scene, poet Ronald Duncan, are clarified and a critique provided. Marked differences in stage directions between the libretto texts and music scores are shown and versions selected or created which offer the best indicative detail for performance practice. The edited text is similarly enriched by the inclusion of performance indicators from various sources added by Britten, Pears and the work's first conductor, Reginald Goodall. The edition is introduced by three 'Perspectives' sections which consider (1) Britten's relationship with Slater and working practice with librettists; (2) the relationship of the work to its original source, George Crabbe's poem The Borough, the difference in the portrait and treatment of the character Peter Grimes and the reasons for the difference; and (3) the particular contribution and features of Slater's writing. Thereafter follow an account of the rationale, principles and practice of the edition and introductions to every scene in which the use of source material, the evolution of the text, the plot development and performance issues of the scene, the presentation of characters and the set are delineated, the latter with reference to photographs of the original set hitherto unpublished.
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Miyamoto, Margareth Ramos Teixeira. "A máscara da ópera em Dom Casmurro." Pontifícia Universidade Católica de São Paulo, 2006. https://tede2.pucsp.br/handle/handle/14808.
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Previous issue date: 2006-11-16<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This study has the aim of investigating the opera's representation in D.
Casmurro's speech, as an I mask, which unroll itself in three personas: Casmurro
as an author, narrator and as a character, Bentinho.
This expansion creates a correlation with the operistic tripartite structure,
whose authorship is shared among the playwriter, the librettist and the musician,
besides, it appears in the novel in chapters VIII - It's time , IX - The Opera and X
Accepted the Theory , in which the narrator approches his life to an operistic
spectacle.
This operistic drama element in DC's structure, has been the target not only
for the critics as we´ll see in chapter 2, but also for composers like João Gomes Jr.,
who had transformed DC in a theater show. The music score belongs to him, but the
libretto was written by Antonio Picarollo, which could be found in the music section of
Rio de janeiro's nacional library.
To reach our goal and to be able of demonstrating the operistic scene built by
the casmurro-author, we started with Machado de Assis' experience in the theater,
trying to show to our reader how the author experienced his life that later he wrote in
the novel.
In chapter 2, we will recuperate the literary censorious' voice, because they
analysed the opera that appears inside the novel, giving a special view of the
methaphor and alegory that could be seen in DC.
In chapter 3, the central focus will be the opera, its parts and relations with
DC, showing how the overture, arias, intermezzos, preludes and leitmotifs are written
in the narrative.
Finally in chapter 4, our target will be to analyse the operistic mask inside the
novel's speech through Casmurro's tripartite performance as long as a playwriter,
librettist and musician<br>Este estudo tem por objetivo investigar a representação da ópera no discurso
de D.Casmurro, como máscara de um eu , que se desdobra em três personas: a do
autor-casmurro, a do narrador e a da personagem Bentinho. Tal desdobramento cria
uma correlação com a estrutura tripartite do gênero operístico, cuja autoria, também
se divide entre o dramaturgo, o libretista e o músico, além de surgir no romance nos
capítulos VIII ( É tempo ), IX ( A Ópera ) e X ( Aceito a teoria ), nos quais o narrador
aproxima sua vida de um espetáculo operístico.
Esse elemento dramático-operístico na estrutura de DC tem sido alvo não só
de posicionamentos críticos, como os que abordaremos no capítulo 2 desta
dissertação, mas também de versões operísticas do romance para o palco, como
ocorreu em 1922, quando o compositor paulista João Gomes Jr. elaborou a partitura
da primeira montagem operística de DC com libreto em italiano de Antonio
Piccarollo, que pode ser encontrado na secção de música da Biblioteca Nacional do
Rio de Janeiro.
Para atingirmos a meta de demonstrar o cenário operístico construído pelo
autor-narrador Casmurro, partindo da experiência de Machado de Assis no teatro,
procurando mostrar ao leitor como o autor vivenciou o que mais tarde passaria para
o romance.
No capítulo 2, recuperaremos a voz da crítica literária que analisou a
inserção da ópera na narrativa do ponto de vista metafórico-alegórico.
No capítulo 3, o foco central será a ópera, suas partes e correlações com DC,
mostrando o modo como se inscrevem no romance a abertura, as árias, os
intermezzos, os prelúdios e os motivos condutores da partitura.
Finalmente, no capítulo 4, nos concentraremos na análise da máscara
operística do discurso romanesco por meio da atuação tripartite do casmurro
enquanto dramaturgo, libretista e músico
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Eouzan, Fanny. "Le fou et la magicienne : Réécritures de l'Arioste à l'opéra (1625-1796)." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3031/document.
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Le Roland furieux constitue un réservoir d'intrigues inépuisable pour l'opéra baroque. Nous prenons en compte un corpus de quatre-vingts livrets mais aussi pièces de théâtre et ballets, résumés dans l'Annexe et analysés au fil d'une réflexion qui vise à dégager des grandes lignes d'histoire de l'opéra pouvant justifier la disparition des personnages, qui coïncide avec le passage du texte source au second plan après le XVIIIe siècle. Le point de vue adopté dans la première partie nous permet de mettre en lumière la circulation des sujets et de démêler les différents filtres de réécritures intermédiaires en fonction des influences littéraires, mais aussi politiques et matérielles. La plasticité de l'Arioste qui le rend adaptable à tous les contextes, entraîne également une fortune sérieuse aussi bien qu'une fortune comique. Les épisodes de l'épopée privilégiés à l'opéra, au-delà des différences entre contextes de création et genres, sont ceux qui mettent en scène l'excès et le désir. Les deux personnages qui cristallisent ces thématiques suivent, dans l'histoire des réécritures opératiques, deux trajectoires inversées. Roland ébranle les conventions génériques et perd dans ses plus belles réalisations l'essentiel de sa charge comique tandis qu'Alcine, se fondant dans tous les genres, de sérieuse, devient comique<br>Ariosto's Orlando furioso offers a countless multitude of plots for the baroque opera. Our corpus is composed of eighty librettos and also of some dramatic plays and ballets, presented in the appendix. This thesis intends to consider why Ariosto's heroes disappeared from European scenes, while they lost their aura, by taking in account the main lines of operatic history. Firstly, we would like to accent the circulation of the plots between cultural areas and to analyze the different literary, political and factual influences that can alter the original text. Then, our purpose is to examine the ariostan plasticity, which suits to all the contexts and explains the ambivalent generic posterity of the epic romance on operatic stages, either comic or serious. Finally, we want to highlight that the most adapted episodes are related to excess and desire. The both characters, that carry these themes, meet an opposite fate. Orlando's most achieved treatments subvert more and more the generic conventions, by reducing his comic aspect, whereas Alcina loses her serious nature and becomes a comic figure
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PARENTI, PAMELA. "I libretti di Giuseppe Palomba e il teatro comico musicale a Napoli tra Sette e Ottocento." Doctoral thesis, Università degli Studi di Roma "Tor Vergata", 2008. http://hdl.handle.net/2108/615.
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This research is a monography about Giuseppe Palomba, a neapolitan librettist, lived between the eighteenth and nineteenth century. The first part of the thesis reconstructes the musical comic theatre’s history in Naples from 1700 to 1825. Then, after a bibliographic research about the librettist’s Opera, the themes, the structures, the style and the language of a sample of Palomba’s librettos (63 librettos) are analysed in detail. The last section of this work analyses the critically acclaimed librettos derived from Goldoni.
On the whole Palomba’s librettos give important information about the greatest opera composers of the era, theatres and impresarios, companies of players, the public tastes, other librettists and finally the Opera’s commerce and exportation in Europe. And from these librettos it is possible to reconstruct a unknown part of musical comic theatre.
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Ménesse, Aline. "Mythe et prosodie dans l’histoire de l’opéra du XVIIème siècle à nos jours." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL117.
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Notre travail porte sur l’histoire de l’opéra vue à travers le double prisme du mythe et de la prosodie. Dans une première partie, nous définissons chacun de ces termes - mythe, prosodie - et envisageons ceux-ci dans les contextes précis de l’histoire de l’art, de l’histoire de la musique, enfin de l’histoire de l’opéra. Ainsi, l’aspect généalogique de notre travail est exposé dès cette première partie introductive, avant que chacune des parties suivantes ne soit consacrée à une, deux ou trois œuvres, siècle après siècle, de façon chronologique. Il nous a semblé important de rapprocher mythe et histoire pour aborder le XVIIe siècle qui voit tout d’abord la naissance de l’opéra liée à un certain retour au monde antique et à ses mythes, puis l’émergence, avec la dernière œuvre de Monteverdi notamment, de sujets historiques. Le XVIIIe siècle nous amène en France avec l’épanouissement de la tragédie lyrique, tandis que le XIXe siècle nous porte en Allemagne, sur les terres du romantisme. Le point d’aboutissement de notre parcours est l’opéra de Betsy Jolas, Schliemann, créé en 1995<br>Our research deals with the history of opera as observed through the double prism of myth and prosody. We begin with a definition of these terms - myth, prosody - and examine them within the specific contexts of the history of art, the history of music and finally the history of the opera. The genealogical aspect of our work is thus presented forthwith at this introductory stage following which we shall, at each of the following stages, focus specifically on one, two or three works, century by century, in chronological order. It appeared important to us to bring together myth and history in order to deal with the 17th century which first witnessed the birth of the opera as a result of a return of sorts to the ancient world and its myths, and then saw the emergence of historical themes, notably illustrated by the final work of Monteverdi. The 18th century brings us to France with the tragédie lyrique in full bloom while the 19th century transports us to Germany on the footsteps of the romantic movement. Our journey culminates with the opera Schliemann by Betsy Jolas staged for the first time in 1995
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Gribenski, Michel. "Le chant de la prose dans l'opéra (France, Italie, Allemagne), 1659-1902 : élements de poétique, d'esthétique et d'histoire du goût." Thesis, Paris 4, 2008. http://www.theses.fr/2008PA040197.
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Si l’opéra sur un livret en prose ne se manifeste publiquement en Europe qu’au tournant des XIXe et XXe siècles, dans les domaines russe, puis français, enfin allemand et tchèque, des essais de chant de prose et des réflexions sur ses conditions de possibilités sont cependant intervenus, en France, dès le XVIIIe siècle. Envisagée comme forme verbale apériodique, la prose peut ainsi être considérée comme étant au fondement du genre de l’opéra. D’une part, en effet, dans la tragédie lyrique et auparavant dans l’opéra italien, des vers mêlés apériodiques sont d’emblée associés à un chant lui aussi largement apériodique, notamment dans le récitatif. Cette caractéristique formelle du récitatif est soulignée par la notion analogique péjorative de « prose musicale », élaborée dans la seconde moitié du XVIIIe siècle, en France et en Allemagne, par les partisans de la mélodie périodique italienne. D’autre part, l’ opposition entre le régime du récitatif et le régime de l’air peut être interprétée comme un conflit entre un principe dramatique linéaire de prosa oratio et un principe lyrique circulaire de versus. Sur un plan stylistique, la notion formelle de prose s’articule en outre à celle de prosaïsme, non seulement dans le drame lyrique naturaliste en prose, mais plus généralement dans le chant de type récitatif, considéré par certains théoriciens comme la prose du chant, parce qu’il est apériodique et dévolu aux matières de moindre valeur lyrique. Cette articulation entre les plans formel et stylistique s’opère notamment dans la prosodie musicale, et plus spécifiquement à travers le traitement de l’e caduc, qui fait l’objet de débats idéologiques touchant aux limites entre le naturel et le prosaïsme. Les tentatives de divers compositeurs, poètes et théoriciens pour dépasser l’antagonisme entre le vers et la prose conduisent dès lors à repenser le genre, non en termes de dichotomie formelle et stylistique, mais comme une unité organique. Celle-ci prend ainsi la forme d’un poème lyrico-dramatique, qui s’incarne dans un discours poético-musical associant chant, orchestre, et silence. Le problème du chant de la prose dans l’opéra apparaît donc comme un révélateur des enjeux génériques, esthétiques, voire idéologiques du théâtre lyrique<br>Although prose opera only appeared in Europe at the turn of the nineteenth and twentieth centuries, in Russian, French, German and Czech opera, some ventures into prose singing and reflections about it did occur in France as early as the eighteenth century. Seen as an aperiodic verbal form, prose can be considered to have been an essential part of the operatic genre from the beginning. Indeed, aperiodic free mixed verse is used in French tragédie en musique, and before that in Italian opera, in association with largely non-periodic singing, especially in recitative. This formal characteristic of recitative is summed up in the metaphoric and pejorative phrase of “musical prose”, which was created in France and Germany in the second half of the eighteenth century by admirers of the Italian periodic melody. This opposition between two modes of singing, recitative-like and aria-like singing, can be seen as a conflict between two contradictory principles in opera: on the one hand, a prosa oratio principle, whose linearity represents the dramatic progressive succession ; on the other hand, a versus principle, whose periodic circle constitutes the traditional form of lyrics. On a stylistic level, prose also has to do with prosaic matters and language, not only in the naturalistic drame lyrique, but more generally in recitative singing. The latter is sometimes considered the prose of music, not only because of its form, but also because it deals with less lyrical matters than aria. This relationship between formal and stylistic levels is particularly tight in prosodic matters, especially in the treatment of the famous mute e, which provokes multiple ideological debates concerning natural, realistic, or prosaic styles of diction. Attempts to solve this problematic opposition between verse and prose logics led various musicians, librettists and theorists to go beyond formal and stylistic dichotomy and to rethink opera as an organic whole: in the form of a lyric-dramatic poem and a poetic-musical speech, where singing, orchestra, and silence are combined. The problem of prose singing in opera thus clearly reveals the generic, aesthetic, and ideological issues concerning lyric theatre
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Buroni, E. "Arrigo Boito librettista : un'indagine linguistica tra testo poetico e testo musicale." Doctoral thesis, Università degli Studi di Milano, 2010. http://hdl.handle.net/2434/214743.
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This thesis focuses on Arrigo Boito as a librettist. It mainly considers his works from the linguistic point of view, but also investigates how the poetic style influenced the musical composition or, on the other side, if any poetic solution has been determined by the requirements of the composer (in this case Giuseppe Verdi or Boito himself). The first chapter presents an overview on the critical studies about Boito from the beginning of the twentieth century to the present. The second chapter, based on the author’s public and private writings, reconstructs his aesthetic and artistic conception and purposes: music, opera, canon and linguistic problems are mainly examined. The third chapter presents Boito’s working methods as a librettist (also considering the relations with the composers he worked with), some philological observations about melodramatic texts, and then illustrates the sources, the genesis and the evolutions of the two analyzed librettos: Mefistofele and Falstaff. The next two chapters, the main part of the thesis, describe these operas through a linguistic examination between the poetic and the musical texts; so it isn’t a systematic list that groups similar phenomena (as syntax, morphology, lexicon): they are presented following the dramaturgic plot of Mefistofele and Falstaff. The sixth chapter summarizes the linguistic and stylistic features of the two operas; short conclusions end the thesis.
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Dubruque, Julien. "Edition critique, histoire, genèse et esthétique des deux versions du Temple de la Gloire de Voltaire et Rameau." Thesis, Tours, 2014. http://www.theses.fr/2014TOUR2024/document.
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Le Temple de la Gloire fut commandé par la cour à Voltaire et à Rameau pour célébrer le retour du roi, victorieux à Fontenoy. Créé en 1745 à Versailles, il fut repris aussitôt à Paris en décembre. Retiré après son échec public et critique, il fut considérablement remanié, recréé à Paris en avril 1746, puis oublié, même si beaucoup de ses morceaux ont été réutilisés. Il demeure l’unique opéra de Voltaire a avoir été représenté à l’Académie royale de musique. Ce travail propose une double édition critique du livret et de la musique des deux versions de 1745 et de 1746. Il fait l’histoire de l’oeuvre de 1745 à nos jours (I), en retrace la genèse (II), et en évalue la portée esthétique (III), qui est originale. Voltaire, loin de flagorner, y érige en modèle non le roi conquérant, mais celui qui fait le bonheur du peuple. Il se propose pour cela, en 1745, d’étendre sa réforme dramatique (moins d’amour, plus de spectacle, sérieux métastasien) à l’opéra. Mais finit, en 1746, par céder à Rameau, aux codes de l’Académie royale de musique et à son public<br>The court commissioned Voltaire and Rameau to write Le Temple de la Gloire in celebration of the king’s victorious return from Fontenoy. Premiered in Versailles in 1745, restaged in Paris in December, the opera closed down after its critical and box-office failure. It was considerably reworked, restaged in Paris in April 1746, and then forgotten, although many of its pieces were reused in other works. It is the only Voltaire opera staged at the Royal Academy of Music. This study consists of a double critical edition of the libretto and music of the two versions, from 1745 and 1746. It traces the history of the work from 1745 to the present day (Chapter 1), discusses it genetically (Chapter 2), and analyzes its esthetic reach (Chapter 3), which is considerable. Voltaire is not a courtly flatterer here ; he does not present a model of the conquering king, but rather one of a king who makes the people happy. Thus, in 1745, Voltaire extends his dramatic reforms to opera (less love, more entertainment, Metastasian gravitas). But in the end, in 1746, he gives into Rameau, to the Royal Academy of music’s protocol, and to his audience
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Piffaut, Ludovic. "L'univers médiéval et ses figures de représentations dans l'opéra italien (1690-1730)." Thesis, Tours, 2012. http://www.theses.fr/2012TOUR2006.
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L’univers médiéval tient une place importante dans la culture poétique italienne du XVème au XVIIIème siècle. Emblèmes de cet univers, les poèmes épiques de l’Arioste et du Tasse, imités de ceux d’Homère, promeuvent les histoires les plus populaires des théâtres italiens des XVIIème et XVIIIème siècles. L’écriture du Moyen Âge dans l’opéra, entre 1690 et 1730, montre une diversité des esthétiques et des figures poétiques et dramatiques. Grâce à l’Accademia dell’Arcadia, la rénovation du livret ouvre de nouvelles perspectives à son exploitation, que développera Zeno contrairement à Metastasio. En s’appuyant sur la tragédie française, celle-ci lie étroitement art poétique et musical. L’air symbolise ce point de rencontre des affects et de leur représentation musicale. Il contribue à la célébrité de l’Artaserse (1730) de Vinci et celui de Hasse. Ces opéras précipitent le déclin des sujets médiévaux et laissent la place à un nouveau modèle lyrique<br>Medieval universe took an important place in the Italian poetic culture from the 16th to the 18th century. Emblems of this universe, Ariosto and Tasso’s epic poems, imitated of Homer’s, upgraded to most popular histories of the Italians theatres of the 17th and 18th centuries. The Middle Ages’ representation in Opera between 1690 and 1730, showed a diversity of esthetics but dramatic and poetic figures too. Thanks to the Accademia dell’Arcadia, the renovation of the libretto led to consider new prospects of its exploitation. Zeno developed the new vision of Middle Ages contrary to Metastasio. Supporting by French tragedy, this renovation unified with strength poetical and musical art. The aria symbolized the meeting point of affects and their musical representations. It contributed to the celebrity of Vinci’s and Hasse’s Artaserse (1730). These two operas hastened the decline of medieval subjects and installed a new lyric model
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Obert, Julie. "Les traductions françaises de Die Entführung aus dem Serail et Die Zauberflöte de W. A. Mozart sur les scènes parisiennes de 1798 à 1954." Thesis, Tours, 2013. http://www.theses.fr/2013TOUR2023.
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De la fin du 18e siècle jusqu’au milieu du 20e siècle, la plupart des opéras de Mozart ont été joués en français sur les scènes parisiennes. Condition essentielle aux représentations, la traduction a donc joué un rôle décisif dans la diffusion des œuvres lyriques de Mozart en France. Cette thèse étudie les traductions françaises des deux plus célèbres opéras de Mozart en langue allemande, Die Entführung aus dem Serail und Die Zauberflöte, représentées sur les scènes parisiennes entre 1798 et 1954. S’appuyant sur de nombreuses sources encore inédites, cette étude cherche à comprendre comment les traducteurs affrontent les multiples enjeux que représente la traduction des livrets allemands pour le public français. Loin de n’assurer que le transfert d’une langue à l’autre, les traductions remodèlent sans cesse le livret comme la partition des opéras mozartiens, donnant souvent naissance à des œuvres entièrement nouvelles. En croisant l’approche historique et les méthodes de l’analyse textuelle, il s’agit de mettre en lumière les spécificités de chaque traduction, d’éclairer les choix des traducteurs et d’interroger l’évolution des traductions au fil du temps. En permettant au public français de découvrir et d’entendre les opéras de Mozart, les traductions façonnent la réception française de ces œuvres en même temps qu’elles en témoignent. Ce qui est en cause est tout autant la situation particulière du monde lyrique français et ses rapports avec les pays de langue allemande, que la conception de la traduction et de l’œuvre d’art<br>The two German operas of Mozart, Die Entführung aus dem Serail and Die Zauberflöte were performed primarily in French from the end of the 18th century until the middle of the 20th century. Cultural conventions and market conditions required that the libretti of German operas be translated into French. In consequence, translation was a vital element in the diffusion of Mozart’s operatic corpus in France. This dissertation is the first to focus on all four sequential translations of Die Entführung aus dem Serail and the five of Die Zauberflöte, performed in Paris between 1798 and 1954. Based on a number of unpublished manuscripts and unknown publications, this scholarly study of the process of translation discloses the transformations of the original works into new versions of Mozart’s operas, not only in the libretti but also in the music. What matters most is to understand how these translations were made and how they evolved over time, as well as exploring the way translators approached the particular difficulties presented by the need to translate texts meant to be sung. What we see is not only a set of changes in the nature of translations, but also a shift in the professional and popular understanding of what constitutes a work of art. Translation both transmitted and framed the meanings of Mozart’s operas at the same time as they made them available to the French musical world. In this context we can see how fruitful it is to braid together musicological research and the insights of literary scholarship in German studies<br>In Frankreich wurden Mozarts Opern vom Ende des 18. Jahrhunderts bis in die zweite Hälfte des 20. Jahrhunderts hinein in erster Linie auf Französisch aufgeführt. Um kulturellen Konventionen Genüge zu tun und Markttauglichkeit zu sichern, mussten deutsche Opernlibretti ins Französische übertragen werden, damit das Publikum die Werke verstehen konnte. Folglich waren Übersetzungen eine unumgängliche Voraussetzung für die Verbreitung von Mozarts Opernschaffen in Frankreich. Die vorliegende Dissertation untersucht zum ersten Mal alle Übersetzungen der beiden bekanntesten deutschsprachigen Opern Mozarts, Die Entführung aus dem Serail und Die Zauberflöte, die zwischen 1798 und 1954 auf Pariser Bühnen zu hören und zu sehen waren. Die Studie zieht eine Reihe unveröffentlichter Handschriften und in Vergessenheit geratener Veröffentlichungen heran und zeigt, dass die Übersetzer nicht nur am Text, sondern auch an der Musik Veränderungen vornahmen, die die neuen Fassungen gleichsam zu eigenständigen Werken machten. Das vorrangige Ziel der Arbeit besteht darin zu verstehen, wie die jeweilige Gestaltung der Übersetzungen zustande kam, und wie sie sich im Lauf der Zeit entwickelten. Dabei wird nicht nur ein Wandel in der Übersetzungsart festgestellt: vielmehr wird auch sichtbar, dass sich bei den Übersetzern wie beim Publikum die Auffassung verändert von dem, was ein Kunstwerk ist, und wie man mit ihm umgehen sollte. Indem sie Mozarts Opern der französischen Musikwelt zugänglich machten, bestimmten die Übertragungen das Verständnis der Werke mit, so dass sie aufschlussreiche Quellen zur französischen Mozart-Rezeption darstellen. Um diesen Verschiebungen und wechselseitigen Wirkungen nachzugehen, werden die Methoden der Übersetzungskritik mit den Grundlagen historischmusikwissenschaftlicher Forschung zusammengeführt
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Segonzac, Charlotte. "Les écrivains librettistes dans la période post-wagnérienne : vers un opéra littéraire ? : autour de Catulle Mendès, Émile Zola, Jean Cocteau, Paul Claudel et Armand Lunel." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100090.
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De 1883 à 1939, après une période marquée par le drame lyrique wagnérien, de nombreux écrivains français ou francophones se sont engagés dans une collaboration avec un compositeur pour donner naissance à une œuvre opératique. Cette thèse étudie les relations humaines et le travail créateur qui ont pu s’instaurer entre hommes de lettres et musiciens. Elle explore de façon plus approfondie les livrets de cinq créateurs qui se distinguent par l'intérêt qu'ils ont porté au genre lyrique, mais aussi par la diversité de leurs livrets et de leurs collaborations : Catulle Mendès, Émile Zola, Jean Cocteau, Paul Claudel et Armand Lunel.Une première partie est consacrée à la genèse des œuvres lyriques, de la naissance du travail à quatre mains jusqu'à la création de l’œuvre (si elle a lieu). Chaque collaboration est une fenêtre sur l'homme et sur l'auteur : elle révèle son tempérament, sa vision esthétique et ses convictions. Elle permet également de mesurer l'investissement esthétique et humain de ces créateurs et d'aller sur les traces de leurs doutes, de leurs espoirs, de leurs blessures d'orgueil, de leurs vexations comme de leurs exaltations. Une seconde partie considère le livret en tant que matière poétique pour les écrivains : nous nous interrogeons sur l'opportunité que ce texte opératique peut représenter pour leur permettre d'exprimer un style personnel tout en s'adaptant à un support qui leur est généralement étranger. L'objectif est alors de questionner les apports esthétiques que les écrivains ont pu apporter au livret d'opéra, dans la mesure où faire appel à un « spécialiste » pouvait apparaître aux yeux des collaborateurs comme un « gage » de qualité littéraire : cette participation permet-elle de faire entrer le texte opératique dans la sphère de la littérature ?<br>From 1883 to1939, after a period dominated by the lyrical Wagnerian drama, many French or French-speaking writers started collaborating with composers to give birth to opera compositions. This thesis is a study of the human relationships and the creative work which was established between men of letters and musicians. It analyses more particularly the libretti of five creators who distinguish themselves by their interest in the lyrical genre, but also by the diversity of their libretti and of their collaboration : Catulle Mendès, Emile Zola, Jean Cocteau, Paul Claudel and Armand Lunel. The first part deals with the genesis of the lyrical works, from the beginning of the four-handed cooperation to the creation of the works (if it takes form ). Each collaboration opens a window on the man and on the writer : it reveals his temperament, his aesthetic vision and his convictions. It also measures the aesthetic and human investment of these creators and it permits to trace their doubts, their hopes, their wounded pride , their vexations as well as their exaltation. The second part examines the libretto as poetical creation for the writers : we ponder over the opportunity given by opera writing which allows them to express a personal style while adjusting to a medium generally unfamiliar to them. The aim is then to question the aesthical contributions which writers were able to bring to the libretto in so far as the calling in of a « specialist » could appear, in the eyes of their collaboraters, as a guarantee of literary quality. Can this participation allow opera writing to enter the sphere of literature ?
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Samson, Sylvain. "Saint Exupéry et Villiers de l'Isle-Adam : Les épicentres de la construction de l'Univers, du parcours et de la figure du héros dans le Théâtre de Luigi Dallapiccola : une esthétique du sacré et de l'initiatique." Thesis, Tours, 2011. http://www.theses.fr/2011TOUR2031.
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L’opéra occupe une place essentielle dans la pensée de Luigi Dallapiccola (1904-1975). Ses deux premiers opéras, Volo di notte et Il Prigioniero, sont influencés par Antoine de Saint Exupéry (1900-1944) et Auguste de Villiers de l’Isle-Adam (1838-1889). Ces deux auteurs, fondamentaux pour l’ensemble du corpus musico-théâtral du compositeur, s’avèrent décisifs dans sa conception de l’Univers, du Parcours et de la Figure du Héros : ils annoncent une esthétique du Sacré et de l’Initiatique. En écrivant lui-même ses livrets, Dallapiccola retravaille ses sources, qu’il questionne et qu’il associe à une littérature riche. Le héros traverse un cheminement méandreux, entre ombre et lumière, rêve et cauchemar, liberté et prison. Exaltation sereine et effroi se conjuguent, mythe et religion sont investis : ils génèrent un espace sacré du héros. Les lectures, littéraire, musicale, mais aussi philosophique et anthropologique, découvrent un parcours semé d’épreuves, voyage initiatique teinté de solitude, d’angoisse et de souffrance. Le héros évolue au sein d’une triple structure, sacrée, initiatique et expressionniste. Luigi Dallapiccola construit une pensée de l’opéra transdisciplinaire, humaniste et visionnaire, qui interroge la thymie de l’Homme<br>Opera is the core of Luigi Dallapiccola’s thought (1904-1975). His first two operas, Volo di notte and Il Prigioniero are influenced by Antoine de Saint Exupéry (1900-1944) and Auguste de Villiers de l’Isle-Adam (1838-1889). These two authors, essential to the composer’s whole musical and dramatic corpus, are in fact at the root of the World, of the Journey and of the Figure of the Hero: they foretell an aesthetic of the Holy and of the Initiatory. When writing his libretti himself, Dallapiccola works on his sources, questioning them and associating them to a rich literature. The hero follows a tortuous path, amid light and shadow, dream and nightmare, freedom and jail. Serene Elation and dread mingle, myth and religion are treated: they create a sacred place for the hero. The readings, literary, musical but also philosophical and anthropological, reveal a treacherous course, an initiatory journey imbued with loneliness, fear and suffering. The hero evolves in a tripartite structure, sacred, initiatory and expressionist. Luigi Dallapiccola builds up a multi-disciplinary conception of opera, humanist, visionary, which questions Man’s mood
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Bolin, Gregory Bryant. "Tome : a chamber opera in one act." Thesis, 2007. http://hdl.handle.net/2152/2997.
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Bolin, Gregory Bryant 1971. "Tome : a chamber opera in one act." 2007. http://hdl.handle.net/2152/13171.
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Wood, Alison J. E. "The poetics of Libretti: reading the opera works of Gwen Harwood and Larry Sitsky." Thesis, 2008. http://hdl.handle.net/2440/49219.
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Gwen Harwood is one of Australia’s most celebrated poets. Her longstanding collaboration with composer Larry Sitsky produced six substantial operas between 1963 and 1982; Fall of the House of Usher (1965); Lenz (1970); Fiery Tales (1975, based on Chaucer’s Canterbury Tales and excerpts from Boccaccio’s Decameron); Voices in Limbo (1977); The Golem (1980, first performed in 1993); and De Profundis (1982, a setting of Oscar Wilde’s letters). Both Harwood and her critics acknowledge the
libretti as some of her best writing (Harwood cites her libretto for Lenz as her ‘selected poem’); to date, there has been no major study of these works.
This thesis engages with Harwood’s opera texts, arguing for readings that are neither atomist nor reductive but jointly focused on both the effect of the text and the mechanics of its production. It begins by outlining the theoretical terrain of words and music studies and establishes an approach to Harwood and Sitsky’s operas based on the idea that opera’s textual exaggeration is a function of its multiple critical components; that is, the intersection of words and music, collaborative authorship, and dramatic language.
The thesis then offers focused studies of each of these aspects in Harwood and Sitsky’s works, constructing a literary picture of the opera texts. Primary sources include the scores of the operas (usually copies of the composer’s autograph), selected correspondence between Sitsky and Harwood, drafts and typescripts of the libretti (held in the National Library, Canberra, and the Fryer Library, University of Queensland), and selected essays by Harwood on her words for music.<br>Thesis (M.A.) -- University of Adelaide, School of Humanities, 2008
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Wood, Alison J. E. "The poetics of Libretti: reading the opera works of Gwen Harwood and Larry Sitsky." 2008. http://hdl.handle.net/2440/49219.
Full textAbstract:
Gwen Harwood is one of Australia’s most celebrated poets. Her longstanding collaboration with composer Larry Sitsky produced six substantial operas between 1963 and 1982; Fall of the House of Usher (1965); Lenz (1970); Fiery Tales (1975, based on Chaucer’s Canterbury Tales and excerpts from Boccaccio’s Decameron); Voices in Limbo (1977); The Golem (1980, first performed in 1993); and De Profundis (1982, a setting of Oscar Wilde’s letters). Both Harwood and her critics acknowledge the libretti as some of her best writing (Harwood cites her libretto for Lenz as her ‘selected poem’); to date, there has been no major study of these works. This thesis engages with Harwood’s opera texts, arguing for readings that are neither atomist nor reductive but jointly focused on both the effect of the text and the mechanics of its production. It begins by outlining the theoretical terrain of words and music studies and establishes an approach to Harwood and Sitsky’s operas based on the idea that opera’s textual exaggeration is a function of its multiple critical components; that is, the intersection of words and music, collaborative authorship, and dramatic language. The thesis then offers focused studies of each of these aspects in Harwood and Sitsky’s works, constructing a literary picture of the opera texts. Primary sources include the scores of the operas (usually copies of the composer’s autograph), selected correspondence between Sitsky and Harwood, drafts and typescripts of the libretti (held in the National Library, Canberra, and the Fryer Library, University of Queensland), and selected essays by Harwood on her words for music.<br>http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1331575<br>Thesis (M.A.) -- University of Adelaide, School of Humanities, 2008
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Bendrups, Faye. "Service station : straying the Australian landscape : a modern Aussie ballad opera." Thesis, 1996. https://vuir.vu.edu.au/15566/.
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Have you driven someplace, walked or climbed or jumped in from two miles up? Have you travelled thousands of kilometres world-wide by motor vehicle, round mazes of freeways and off the beaten track? Set against this activity are interruptions, intended or unintended; a necessary fuel stop, an unforeseen accident, R&R, times to debrief, reflect and record. On the road, this duality is a constant. It seemed that a focal point for exploring these opposing forces could be the SERVICE STATION - a place of brief stops and encounters, but also of continual movement -of machinery, vehicles, work; of coming, stopping and going.
It was on this premise that this ballad opera was based.
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Wood, Alison J. E. "The poetics of libretti reading the opera works of Gwen Harwood and Larry Sitsky /." 2007. http://digital.library.adelaide.edu.au/dspace/handle/2440/49219.
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Boysen, Sandra Gayle Delp Roy. "The operas of Paul Stuart based on libretti by Sally M. Gall." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-11242003-044318/.
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Treatise (D.M.A.) -- Florida State University, 2003.<br>Advisor: Roy Delp, Florida State University, School of Music. Title and description from treatise home page (viewed 9-28-04). Document formatted into pages; contains 101 pages. Includes biographical sketch. Includes bibliographical references.
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Forssell, Jonas. "Textens transfigurationer." Doctoral thesis, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-96.
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This thesis focuses on the opera text enlightened from four different perspectives: the translator, the librettist, the composer and finally the singer, based on the author’s thirty years of professsional practice, in the spirit of Donald A. Schön’s study from 1983: The Reflective Practitioner; How professionals think in action. The method is basically hermeneutic and the esthetics inspired by Umberto Eco’s Opera Aperta (”The Open Work”) from 1962. Questions from within the perspective of the translator are: In what ways does opera translation differ from other forms of translation, and how does an opera translator work? What is the history of “opera in the ver-nacular” compared to “opera in original language” and are singable translations needed whatsoever in the modern era of subtitling? The perspective of the librettist examines the opera form’s SWOT-analysis, the differences from other “storytelling” art forms, the task of making an adaption compared to choosing to create an original plot, the matter of taste and building the form from dramaturgical principles, the shaping of aria texts, the importance of tight collaboration and cutting, cutting, cutting (“a libretto cannot be short enough” Edgar Istel, 1922). The composer’s perspective contains practical and theoretical words of advice and examples from practice, together with a so ”think aloud”-study from within a composer’s thought process while working. The final chapter, from the singer’s perspective, focuses on whether modern vocal ideals and singing “in original language”, with subtitles, together with expanding performance halls, have made opera text harder to perceive, and rendered earlier established texting techniques forgotten or obsolete. The answers to all these questions are complex. This thesis concludes that the opera form is still expanding, but not necessarily in the direction of creating a new, contemporary canon. “There are about 600 opera houses in the world, all are ‘National Galleries’, none is the Tate Modern” (Per-Erik Öhrn, 2012), but there are also opportunities. Almost all successful new opera productions in recent years have their librettos written in English, a language traditionnally regarded as “weak” in the field of opera. Opera audiences worldwide are nowadays accustomed to hearing and understanding sung English words and comprehending a dramatic context when expressed in English, thanks to 100 years of Anglo-American dominance in popular music and about 50 years of dominance in television and films.
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Lam, George Tsz-Kwan. "The Persistence of Smoke: Opera in One Act, Libretto by John Justice." Diss., 2011. http://hdl.handle.net/10161/3903.
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<p><italic>The Persistence of Smoke</italic> is a documentary opera. The libretto is based on interviews with various individuals related to the former Liggett and Myers Tobacco Company headquarters in Durham, North Carolina.</p><p>The cigarette industry once dominated Durham, but saw its decline in the 1990s as the link between cancer and smoking became increasingly clear. The American Tobacco Company and the Liggett and Myers Tobacco Company were once the biggest cigarette manufacturers in the city. As these companies left Durham, their factories and tobacco warehouses first sat vacant, but were gradually preserved and transformed into new spaces for offices, apartments and restaurants.</p><p>This project focused on the former Liggett and Myers headquarters along Main Street, a collection of buildings now known as "West Village". I interviewed current and former Durham residents who had a connection with these buildings, including local business representatives, community leaders, former Liggett employees, historians, current residents in the downtown area, municipal urban planners, journalists, and an architect. These interviews were given to local playwright John Justice, who created a libretto based on the themes that emerged.</p><p>The opera's story focuses on Kevin, an architect about to unveil his visionary master plan for redeveloping several defunct cigarette factories in an unnamed city. As Kevin leaves his newly renovated apartment for the press conference, he is confronted by his estranged father Curtis, a former cigarette worker who desperately wants to reconcile and reconnect, deliriously recalling the glory days of tobacco and the money that followed.</p><br>Dissertation
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Nelson, Sarah P. "Costumes for "The Magic Flute", Composed by W.A. Mozart, Libretto by Emanuel Schikaneder." 2008. https://scholarworks.umass.edu/theses/203.
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Kirkpatrick, David Adam Mozart Wolfgang Amadeus Fisher Douglas. "The role of Metastasio's libretti in eighteenth century opera as propaganda." Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-03052005-035942/.
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Treatise (D.M.A.) Florida State University, 2005.<br>Advisor: Douglas Fisher, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-2-07). Document formatted into pages; contains 48 pages. Includes biographical sketch. Includes bibliographical references.
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WANG, MING-MEI, and 王明美. "Ballad, Taiwanese Opera and Libretto: A Study of ‘Go to Market, My Boy An-Ton’." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/10637125279900363721.
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碩士<br>國立臺灣師範大學<br>台灣文化及語言文學研究所在職進修碩士班<br>99<br>From collecting, sorting, comparing to analyzing, this paper is working on the research of ballads, Taiwanese opera libretto（Kua-á-tsheh） and records in early days. ‘Go to Market, My Boy An-Ton’（An-Tông-Ko bé- tshài） was one of popular songs hitting the top chart, which was performed by singers, made records and then published as libretto booklet. Due to flourishing printing and records industry, a lot of Taiwanese opera records and ballads were published; it has become well-known and been adapted/innovated by folks continually. In the period of indoor opera, this play not only enriched the plot but also eased the audience’s emotion. Using simple language and depicting folk’s daily lives, this play aroused echoes in people’s heart and favoured by various groups in all periods. From the angle of folk literature, this play shows roles’ characters and actor/actress’ skills from aspects of food material, party dishes, drama, and gambling etc.
The entertaining media like records preserve buskers’ voices in early days, providing folk arts resources for later generations. ‘Go to Market, My Boy An-Ton’ possesses the value of literature, linguistics, ethnomusicology, historical material of text. It’s a precious folk literature work in terms of cultural preservation. However, fixed mono-libretto version in later period limited the development of diversity of folk literature.
By utilizing different media been sung and simple words in daily lives, ‘Go to Market, My Boy An-Ton’ is suitable for vernacular, art, and literature teaching material. By this play, students are able to learn practical words in daily lives as well as approach the beauty of traditional drama.
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Zuvela, Perica. "The use of the clarinets and bass clarinets in combination with other instruments to potray the libretto of Puccini's opera Tosca." Diss., 2000. http://hdl.handle.net/2263/26369.
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The main aim of the study was to examine and discover the use of the clarinets and bass clarinet, in combination with other instruments, to portray the libretto in Puccini's opera Tosca. • scrutiny of the literature about Puccini's life and works, • an analysis of the score with emphasis on the clarinets', bass clarinet's and singers' parts and specific attention to the demands of the libretto, and • listening to a number of recordings of the opera A variety of different aspects are organized in the following chapters: Chapter 1 consists of general information about the study. Chapter 2 offers a short biography, while Chapter 3 provides a discussion about the libretto. In Chapter 4 the author deals with tonguing and articulation. Chapter 5 examines melodic aspects and Chapter 6 consists of views on dynamic aspects. In Chapter 7 a discussion about rhythmic aspects takes place, and in Chapter 8 the author explores the combination of the clarinets and bass clarinet with other instruments. Finally, Chapter 9 is a summary of the conclusions drawn in this study. • Puccini's predilection for continuous mixing of instrumental colours sometimes makes it difficult to separate the clarinet for analytical purposes. Nevertheless, the importance of the use of the clarinets or bass clarinet can clearly be detected. • Puccini employs all creative and technical capabilities of the clarinet and bass clarinet in creating and changing the atmosphere, depicting human emotions and emphasizing dramatic moments. • Carefully chosen and applied articulation, trills, tremolos and repeated notes in the clarinet and bass clarinet parts are Puccini's gestures in the expression of love, anger and fear. However, articulation in the clarinet and bass clarinet parts mainly matches the other instrumental lines in the orchestra. • Because the clarinet and bass clarinet blend well with any instrument and with the human voice, Puccini uses them in solo parts, in unison with the singer, or as an accompaniment to the singer's line. • As a consequence of Puccini's need to consciously pay minute attention to the details of the libretto, the structure, shape and length of the clarinet phrases constantly change. • Exploring the dynamic's capabilities of the clarinets and bass clarinet presents the wide palette of colours and nuances which these instruments can produce. Puccini uses a large number of dynamic markings in the clarinet and bass clarinet parts. They range between ppp and fff. The piano dynamic level is mainly used to suggest fear and suspicion or to portray lyrical moments in the libretto, while the forte level is a tool to create drama and express human anger, pain, or the struggle between good and bad. • Puccini puts very strong emphasis on rhythm as a device for illuminating the details of the libretto, stage actions, human feelings, and different atmospheres in the opera Tosca. The different rhythmical patterns and changes of metre affect all instruments. Sometimes the clarinet line has the same rhythmical figures as the rest of the woodwind, but very often the clarinet plays a different rhythm from the rest of the orchestra or the singer's melody.<br>Dissertation (M Mus (Performing Art))--University of Pretoria, 2007.<br>Music<br>unrestricted
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Smith, Elizabeth Lena Clendinning Jane Piper Barber Samuel Menotti Gian Carlo Foss Lukas. "Musical narrative in three American one-act operas with libretti by Gian-Carlo Menotti a hand of bridge, the telephone, and Introductions and good-byes /." Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-04082005-001625/.
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Thesis (Ph. D.)--Florida State University, 2005.<br>Advisor: Jane Piper Clendinning, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-13-07). Document formatted into pages; contains 128 pages. Includes biographical sketch. Includes bibliographical references.
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Lucia, Christine. "Reading Etienne Leroux: a Libretto based on Seven Days at the Silbersteins and a Preface." Thesis, 2007. http://hdl.handle.net/10539/2147.
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Student Number : 0318162X -
MA research report -
School of Literature and Language Studies -
Faculty of Humanities<br>This Research Report comprises the preface to an opera libretto based on the English
translation by Charles Eglington (1964) of Etienne Leroux’s novel Seven Days at the
Silbersteins (1962), and the libretto itself. In the preface I discuss the genre of operatic
libretto and the literary and personal context in which Leroux worked, by way of
explaining why Seven Days made such a compelling challenge to adapt as libretto. I
consider some of the issues involved in transposing a rambling allegorical narrative
produced in Afrikaans in the 1960s in the lineage of the plaasroman, into a tighter postapartheid
discourse in English in the 2000s, one that creates space for live music, singing,
acting, staging, setting and pre-recorded audio-visuals – some of which take over the
‘layered’ significations of Leroux’s earlier literary discourse. A work of great poetic
resonance in the original language (beautifully captured by poet and critic Charles
Eglington in translation), this surrealist novel, so rooted in cultural and ideological tropes
unique to Leroux’s time and yet presented by him as if they belonged to a timeless world,
presents opportunities for a new kind of realisation as an operatic text in our own time.
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Stanovská, Tereza. "Literatura a hudba: Woyzeck a Wozzeck. Hudební zpracování dramatu Georga Büchnera Albanem Bergem." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-312917.
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TITLE: Literature und Music: Woyzeck and Wozzeck. Alban Berg's Musical Adaptation of the Drama by Georg Büchner. SUMMARY: This thesis deals with a musical adaptation of the opera Wozzeck by the composer Alban Berg in the context of its literary model. The theoretical part offers an overview of the most important information and data about the authors and the origin of their works, based on the relevant sources. In the practical part, the principal emphasis is put on the libretto, specifically on formal and language similarities and differences detected in the text and their impact on the content and message of the work. Another focus is on musical language and its essential features, especially on the treatment of the voice, instrumentation and motives in the opera. The attention is also paid to the occurrence of autobiographical elements and critical reviews of the work. KEYWORDS: opera, drama, Woyzeck, Wozzeck, Alban Berg, Karl Emil Franzos, libretto, scenes, elision, alteration, literary model
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Jimenez, Alfred. "Historien >Scenen>Kompositionen : Ett försök att sätta fart på dramaturgin i ett operakomponerande." Thesis, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-57009.
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Chuang, Yu-Hsin, and 莊郁馨. "From the World of Literature to the Stage of Opera: The Evolution of Hugo von Hofmannsthal as a Librettist." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/zduv2y.
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博士<br>輔仁大學<br>跨文化研究所比較文學博士班<br>103<br>The cooperation between Hugo von Hofmannsthal and Richard Strauss achieve six operas: Elektra, Der Rosenkavalier, Ariadne auf Naxos, Frau ohne Schatten, and Arabella. The first one is composed of the drama text directly which is so called Literaturoper. The other are created specifically for Strauss.
Before the co-work with Strauss, Hofmannsthal has been well known as a German writer. His dramas have won acceptance on German stages, including the Elektra which gave him the opportunity to work with Strauss, is based on Greek tragedy. A distinguishing feature of his arrangement on Greek tragedy is to have every member of chorus characteristic. Through amount of monologues and dialogues, as well as performance, each figure is so built. The adaption from the drama text to an opera has obviously influent Hofmannsthal’s librettos writing.
As Strauss reminded, Hofmannsthal acknowledged that a Literaturoper cannot be composed from a comedy. The acknowledgement makes him to begin writing librettos. Thus, his librettos and comedies remain intertextual relationship. Even in the first libretto, Der Rosenkavalier, the author had meant to have distinguished between drama texts and librettos. In another words, he recognized librettos as particular Genre.
Nevertheless, Hofmannsthal saw librettos as one of numerous theatric forms which can combine with or substituted for while he wrote Ariadne auf Naxos. Hence he tried to have Ariadne linked as ending of Bürger als Edelmann, in order to substitute the ordinary Turkish dancing in Molière’s origin. Several “Masks” of commedia dell’arte appear also in this piece for one literary chorus. The two literary choruses in Ariadne consist different feature from that in Hofmannsthal’s drama texts: the members possess no longer characters. The phenomenon keeps showing up in the following two librettos, Frau ohne Schatten and Ägyptische Helena.
Before the premiere for the first version of Bürger als Edelmann, many literary authors and musicians expected this piece would be without success, for its attempt to combine a comedy and a small opera. The results of premiere in many cities forced the author to face the essential problem. So he had the small opera separated from the Bürger als Edelmann, so called the second version, which remained performing as spoken theater.
The creation duration of Frau ohne Schatten overlapped that of Ariadne auf Naxos. The libretto of Frau ohne Schatten presents the image of voice and location of the choir, the literary chorus and the symphony. Hofmannsthal’s writing principles altered from what he done for a comedy. He also stated clearly that he create humor after Goethe’s “sehr ernstlicher Humor”, no more rely the incomplete humor as in his early theatric works.
The last two librettos, Ägyptische Helena and Arabella, are truly made with quality. The way to present choir, literary chorus, the timbre and the musical style are all considered in these two pieces. The author attended to leave “blank” in the work and waited to be completed in by the composer. He also had known better at shaping characters and organizing movement on the stages. But the recipient of his times, including the composer, could not understand completely the dramatic essence of these pieces. The crucial reason is the lack of familiarity with the themes.
Literature and music contribute a “whole” in each opera made by Hofmannsthal and Strauss. The writer attempted to have the literary texts indicated “Lyric”, in which language, music, visual arts and other theatric features earn possibility to practice, to define each other and confusion in such the “whole”. Hofmannsthal did never see a libretto as a rough draft of opera music, but a libretto rather guides music in an opera. This thesis tries to recognize the ripe innovation of his librettos which all created in post-Wagnerian times. We are looking forward to understand Hofmannsthal’s work.