"This volume covers aspects of opera translation within the Western world and in Asia, as well as some of opera's many travels between continents, countries, languages and cultures-and also between genres and media. The concept of 'adaptation' is a thread running through the sixteen contributions, which encompass a variety of composers, operas, periods and national traditions. Sung translation, libretto translation, surtitling, subtitling are discussed from a range of theoretical and methodological perspectives. Exploration of aspects such as the relationship between language and music, multimodality, intertextuality, cultural and linguistic transfer, multilingualism, humour, identity and stereotype, political ideology, the translator's voice and the role of the audience is driven by a shared motivation: a love of opera and of the beauty it has never ceased to provide through the centuries, and admiration for the people who write, compose, perform, direct, translate, or otherwise contribute to making the joy of opera a part of our lives"--.

• Opera in Translation
• Editorial page
• Title page
• Copyright page
• Table of contents
• Introduction: Translation and the world of opera
  • References
• Open perspectives
• Opera and intercultural musicology as modes of translation
  • 1. Introduction
  • 2. ‘Sogni’ as intercultural practice
  • 3. ‘Sogni’: An intercultural production
  • 4. Conclusions: Intercultural musicology as a mode of translation
  • References
• Surtitles and the multi-semiotic balance: Can over-information kill opera?
  • 1. Introduction: From concise to verbose in thirty years
  • 2. A flexible approach to surtitling with reference to additional semiotic information
  • 3. Audience surtitle reading habits and expectations: The tendency to use language as a first point of reference
  • 4. Considering semiotic complements when composing a surtitle script
  • 5. Reducing the quantity of surtitle text to improve audience engagement with the action on stage
  • 6. Considerations to be taken into account when displaying text
  • 7. Examples of operatic scenes
  • 8. Conclusion
  • References
• Tradition and transgression: W. H. Auden’s musical poetics of translation
  • 1. Auden: Translation, pastiche, satire, and tradition
  • 2. Auden as translator and the context of opera translation
  • 3. Auden and Kallman’s opera translations: Tradition and transmutation
  • References
• Across genres and media
• When Mei Lanfang encountered Fei Mu: Adaptation as intersemiotic translation in early Chinese opera film
  • 1. Introduction
  • 2. Mei Lanfang: Transmission of operatic heritage
  • 3. Fei Mu: Restoring the operatic stage in cinematic reproduction
  • 4. Coda
  • References
• Fluid borders: From ‘Carmen’ to ‘The Car Man’. Bourne’s ballet in the light of post-translation
  • 1. Introduction
  • 2. The new epistemology
  • 3. Changes in translation and music
    • 3.1 Towards a new definition of translation
    • 3.2 The new musicology
  • 4. From ‘Carmen’ to ‘The Car Man’
  • 5. Inconclusive conclusions: New venues in Translation Studies
  • Funding
  • References
• Aesthetics of translation: From Western European drama into Japanese operatic forms
  • 1. Introduction
    • 1.1 Baroque opera and Kabuki
    • 1.2 Opera and Noh
  • 2. From Shakespeare into Japanese operatic forms
    • 2.1 Shakespeare’s ‘Twelfth Night’ into the Japanese operatic form of Kabuki
    • 2.2 Shakespeare’s ‘Comedy of Errors’ into the Japanese operatic form of Kyōgen
  • 3. Beckett into the Japanese operatic form of Noh
    • 3.1 Japanese operatic form in Yeats’s ‘At the Hawk’s Well’
    • 3.2 Beckett’s ‘Footfalls’ within the framework of Japanese operatic form
  • 4. The aesthetics of translation
    • 4.1 Translation aesthetics: Adaptation
    • 4.2 Translation aesthetics: Paralanguage, kinesics, and proxemics
  • 5. Conclusion
  • References
• Text and context
• Translations, adaptations or rewritings? English versions of Mozart and Da Ponte’s ‘Don Giovanni’
  • 1. Introduction
  • 2. Natalia Macfarren’s Victorian translation (1871)
  • 3. Edward J. Dent’s translation for London suburban audiences (1921, 1938)
  • 4. Ruth and Thomas Martin’s middle-class translation (1950)
  • 5. W. H. Auden and Chester Kallman’s poetical translation (1961)
  • 6. The ENO pedestrian versions (Norma Platt and Laura Sarti, Amanda and Anthony Holden, Jeremy Sams)
  • 7. Concluding remarks
  • References
• The voice of the translator: A case study of the English translations of ‘The Peony Pavilion’
  • 1. The translator’s voice: An overview
  • 2. ‘The Peony Pavilion’
    • 2.1 The importance of ‘The Peony Pavilion’
    • 2.2 The ‘duality’ of Chinese opera
  • 3. The three English translations
  • 4. Discussion of the three English translations of ‘The Peony Pavilion’
  • 5. Conclusion
  • References
• “Ordne die Reih’n”: The translation of the Mozart-Da Ponte operas in the Third Reich
  • Overture
  • Act 1: The diversity of Mozart translations before 1930
  • Act 2: Each against all: Translation as war
  • Act 3: Enforced conformity of the translation
  • Finale: Wicked Nazi or harmless legacy of the Third Reich?
  • References
• The migration of Madama Butterfly: Otherness in the creation and translation of Puccini’s opera
  • 1. Overture
  • 2. Critical approach
  • 3. Variations on a theme
  • 4. Analysis of the French and English libretti
    • 4.1 A house of paper walls
    • 4.2 Under lock and key
    • 4.3 The love duet
  • 5. Finale
  • References
• From text to stage
• The intertwined nature of music, language and culture in Bartók’s ‘Duke Bluebeard’s Castle’
  • 1. Bluebeard in a nutshell
  • 2. The libretto
  • 3. The music
  • 4. Comparative analysis of the translations
  • 5. Conclusion
  • References
• Translating Wagner’s ‘Versmelodie’: A multimodal challenge
  • 1. Introduction
  • 2. Opera as multimodal text
  • 3. Wagner’s ‘Versmelodie’ as musico-poetic integration
  • 4. Translating ‘Versmelodie’ in ‘Die Walküre’ and ‘Götterdämmerung’
    • 4.1 Accentual relationships
    • 4.2 Intervallic tension
    • 4.3 Tonal relationships
  • 5. Conclusion
  • References
• Operetta in Turkey: A case study of Gün’s translation of Strauss’s ‘Die Fledermaus’
  • 1. Introduction
  • 2. A brief survey of operetta in Europe
  • 3. The development of Turkish operetta
  • 4. Opera and operetta translation from the Ottoman period to the modern Turkish republic
  • 5. Strauss’s ‘Die Fledermaus’ in Turkish
  • 6. Concluding remarks
  • References
• Libretto translation revisited
• Two English translations of Jaroslav Kvapil’s ‘Rusalka’ libretto
  • 1. Genesis of the ‘Rusalka’ libretto and of the opera
  • 2. English translations of ‘Rusalka’
  • 3. A comparison of two selected translations of the ‘Rusalka’ libretto
  • 4. Semantic and stylistic shifts in the two translations
    • 4.1 Act 1: The opening scene
    • 4.2 The aria to the moon
    • 4.3 Ježibaba, the forest witch
    • 4.4 The axis of the drama and the final dénouement
    • 4.5 The final dénouement
  • 5. Concluding remarks
  • References
• Intertextuality in nineteenth-century Italian librettos: To translate or not to translate? A case study of ‘Adriana Lecouvreur’
  • 1. Specific issues about opera intertextuality
  • 2. Intertextuality and naturalising translation
  • 3. The technique of compensation
  • 4. Other techniques: Internal marking and re-creation
  • 5. Conclusions
  • Funding
  • References
• Multilingual libretti across linguistic borders and translation modes
  • 1. Multilingual operas and translation
  • 2. Theoretical issues raised by multilingual operas in translation
    • 2.1 The issue of meaning
    • 2.2 The issue of translation
  • 3. Textual strategies for multilingual libretti
    • 3.1 Features of multilingual operas
    • 3.2 Multilingualism in target opera texts
      • 3.2.1 ‘Type a’ multilingual operas in translation
      • 3.2.2 ‘Type b’ multilingual operas in translation
  • 4. Conclusion
  • References
• About the contributors
• Index