'Wort oder Ton'? Reading the Libretto in Contemporary Opera

Article

Blake, Andrew 2010. 'Wort oder Ton'? Reading the Libretto in Contemporary Opera. Contemporary Music Review. 29 (2), pp. 187-199.
AuthorsBlake, Andrew
Abstract

This article considers adaptations of existing works in contemporary opera. The author
considers the role of the libretto in operatic productions, notes the number of film sources
for modern operas, and applies adaptation theories from television and film studies to
operas such as Owen Wingrave. He considers critical responses to collaborations between composer Harrison Birtwistle and writer David Harsent, discusses Robin Holloway’sadaptation of Richardson’s Clarissa, and focuses on the reworking of The Tempest by composer Thomas Adès and librettist Meredith Oakes.

KeywordsLibretto; Dramaturgy; Adaptation; Film; Adès; Collaboration
JournalContemporary Music Review
Journal citation29 (2), pp. 187-199
ISSN0749-4467
1477-2256
Year2010
Accepted author manuscript
License
CC BY-ND
Web address (URL)http://dx.doi.org/10.1080/07494467.2010.534929
http://hdl.handle.net/10552/1121
Publication dates
PrintApr 2010
Publication process dates
Deposited04 Jan 2011
Additional information

Citation:
Blake, A. (2010) ''Wort oder Ton'? Reading the Libretto in Contemporary Opera', Contemporary Music Review, 29 (2) pp.187-199.

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Accepted author manuscript
Blake, A (2010) CMR 29 (2) 187.pdf
License: CC BY-ND

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