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1. |
Record Nr. |
UNISA996336826203316 |
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Titolo |
School and college |
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Pubbl/distr/stampa |
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[Cleveland, OH], : Penton, c1988- |
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Descrizione fisica |
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Disciplina |
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Soggetti |
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Schools |
Universities and colleges |
Periodicals. |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Periodico |
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Note generali |
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2. |
Record Nr. |
UNINA9910988095303321 |
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Autore |
Lichtenstein Sabine |
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Titolo |
Music's obedient daughter : the opera libretto from source to score / / edited by Sabine Lichtenstein |
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Pubbl/distr/stampa |
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Amsterdam, : Editions Rodopi, 2014 |
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Amsterdam ; ; New York : , : Editions Rodopi, , 2014 |
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ISBN |
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Edizione |
[1st ed.] |
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Descrizione fisica |
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1 online resource (507 pages) : illustrations, music |
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Collana |
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Textxet : studies in comparative literature ; ; 74 |
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Altri autori (Persone) |
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LichtensteinSabine <1947-> (Sabine Klara) |
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Disciplina |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Bibliographic Level Mode of Issuance: Monograph |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Preliminary Material -- INTRODUCTION / Sabine Lichtenstein -- THE |
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POWER OF MUSIC: STRIGGIO AND MONTEVERDI’S L’ORFEO / Eddie Vetter -- OCTAVIA REINCARNATED: BUSENELLO’S AND MONTEVERDI’S L’INCORONAZIONE DI POPPEA / Jacques Boogaart -- IN THE OPERATIC WORKSHOP: THE CASE OF VARESCO’S AND MOZART’S IDOMENEO / Tim Carter -- THE LIBRETTIST’S DILEMMA IN LONDON: BADINI’S AND HAYDN’S ORFEO ED EURIDICE / Caryl Clark -- “BUT THERE IS ANOTHER INTRIGUE AND A COMIC ELEMENT PLACED ALONGSIDE”: HANS SACHS – THE RELATION OF LORTZING’S OPERA TO DEINHARDSTEIN’S DRAMA / Irmlind Capelle -- “CE BAL EST ORIGINAL!”: CLASSICAL PARODY AND BURLESQUE IN ORPHÉE AUX ENFERS BY CRÉMIEUX, HALÉVY AND OFFENBACH / Heather Hadlock -- BURNING THE HERETICS AND SAVING DON CARLOS: MÉRY’S, DU LOCLE’S AND VERDI’S DON CARLOS / John Neubauer -- TRACING WOTAN’S INCENDIARY PAST: THE EVOLUTION OF STORMS AND FIRE IN WAGNER’S DER RING DES NIBELUNGEN / Katherine Syer -- MANON AT THE OPERA: FROM PRÉVOST’S MANON LESCAUT TO AUBER’S MANON LESCAUT AND MASSENET’S MANON / Vincent Giroud -- “CLOSED, EFFICIENT, TERRIBLE!”: REFLECTIONS ON THE GENESIS AND DRAMATURGY OF ILLICA’S, GIACOSA’S AND PUCCINI’S MADAMA BUTTERFLY / Kasper Van Kooten -- THE END OF A LINE: STRAUSS’ AND HOFMANNSTHAL’S ELEKTRA / Helga Hushahn -- “SOMETHING UNCOMMONLY GERMAN”: HANS PFITZNER’S PALESTRINA, EINE MUSIKALISCHE LEGENDE / Sabine Lichtenstein -- THE MUSICAL PERSONALITY OF DON QUIXOTE: MANUEL DE FALLA’S EL RETABLO DE MAESE PEDRO / Loes Dommering-Van Rongen -- TRANSFORMATIONS OF THE KILLING OF A BOY: WEILL’S AND BRECHT’S DER JASAGER / Michal Grover-Friedlander -- A THEOLOGICAL MIDRASH IN SEARCH OF OPERATIC ACTION: MOSES UND ARON BY ARNOLD SCHOENBERG / Ruth Hacohen -- THE MAKING OF A VICTIM: FROM CRABBE’S THE BOROUGH TO SLATER’S AND BRITTEN’S PETER GRIMES / C.C. Barfoot -- OPERA ON OPERA: LUCIANO BERIO’S OPERA / Claudia Di Luzio -- NOTES ON CONTRIBUTORS -- INDEX. |
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Sommario/riassunto |
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A libretto is an indispensable part of an opera as a musical genre: with few exceptions, operas have been the subject of musicological studies, and instrumental versions of sung or unsung opera numbers may be heard, but we never listen to libretto texts being performed without the music. Thus as a literary form the libretto is a highly specific genre with its own particular attributes. This volume offers an approach to the libretto through the discussion of these attributes in many different examples. It explores what may be expected of a librettist in response to the demands of the genre’s characteristics, his trials and tribulations, his exchanges with the composer while adapting or converting a source, almost always a literary source, into the eventual libretto, and about the different musical ways of dealing with the text. In this way the volume clarifies the fundamental differences between the libretto and other literary genres. |
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