Opera and the Novel: The Case of Henry James

Capa
Rodopi, 2005 - 494 páginas
Opera and the Novel: The Case of Henry James offers the first full-length study of the theory and practice of the adaptation of fiction into opera: the transference of a work from one medium to another - metaphrasis - is its point of departure. Starting with a survey of the current thinking regarding the nexus between words and music with specific reference to operatic adaptation of existing literary works, it traces the four-hundred-year history of opera, demonstrating that the novel has become increasingly attractive to librettists and composers as an operatic source. As the resources of modern music theatre have increased in sophistication, so too have the possibilities for an expanded engagement with complex fictional works. The intricate relationship between fictional and musical narrative is examined: the proposition that the orchestra assumes much of the function of the narrator in fiction is explored. The second section is a detailed examination of eight operatic works based on Henry James's fiction. It is opera's unique capability to present the intense emotional and psychological situations central to James's fiction as well as the ability to engage with his synthesis of melodrama and psychological ambiguity which makes James's work peculiarly amenable to operatic adaptation. Composers who have used James as a source include Douglas Moore, Benjamin Britten, Thomas Pasatieri, Donald Hollier, Thea Musgrave, Philip Hagemann and Dominick Argento. The operas discussed represent a contemporary critical and often self-conscious engagement with the art form itself as well as illustrating current adaptive strategies, and suggest ways in which new operatic paths may be forged. This volume is of relevance to students and scholars of English literature and opera as well as readers who take an interest in intermedial research and the question of adaptation in general.

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Índice

Prima la musica e poi le parole Wort oder Ton?
1
The Novel and Operatic Adaptation
19
Operatic and Fictional Discourse
45
James Opera and Melodrama
85
James Structure Scene and Picture
103
The Turn of the Screw
117
The Wings of the Dove
161
Owen Wingrave
221
The Last of the Valerii
267
The Aspern Papers
361
Conclusion
429
Appendix
437
Bibliography
479
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Palavras e frases frequentes

Passagens conhecidas

Página 151 - And it came to pass, when the evil spirit from God was upon Saul, that David took an harp, and played with his hand: so Saul was refreshed, and was well, and the evil spirit departed from him.
Página 36 - For this reason, one text is potentially capable of several different realizations, and no reading can ever exhaust the full potential, for each individual reader will fill in the gaps in his own way...
Página 94 - Nothing is spared because nothing is left unsaid; the characters stand on stage and utter the unspeakable, give voice to their deepest feelings, dramatize through their heightened and polarized words and gestures the whole lesson of their relationship. They assume primary psychic roles, father, mother, child, and express basic psychic conditions.
Página 119 - Only make the reader's general vision of evil intense enough, I said to myself— and that already is a charming job— and his own experience, his own imagination, his own sympathy (with the children) and horror (of their false friends) will supply him quite sufficiently with all the particulars.
Página 135 - It may be, of course, above all, that what suddenly broke into this gives the previous time a charm of stillness — that hush in which something gathers or crouches. The change was actually like the spring of a beast.
Página 178 - It wasn't, in a word, simply that their eyes had met; other conscious organs, faculties, feelers had met as well, and when Kate afterwards imaged to herself the sharp deep fact she saw it, in the oddest way, as a particular performance. She had observed a ladder against a garden-wall and had trusted herself so to climb it as to be able to see over into the probable garden on the other side. On reaching the top she had found herself face to face with a gentleman engaged in a like calculation at the...
Página 59 - Mahagonny pays conscious tribute to the senselessness of the operatic form. The irrationality of opera lies in the fact that rational elements are employed, solid reality is aimed at, but at the same time it is all washed out by the music. A dying man is real. If at the same time he sings we are translated to the sphere of the irrational.
Página 174 - He had never dreamed of anything so fringed and scalloped, so buttoned and corded, drawn everywhere so tight, and curled everywhere so thick. He had never dreamed of so much gilt and glass, so much satin and plush, so much rosewood and marble and malachite. But it was, above all, the solid forms, the wasted finish, the misguided cost, the general attestation of morality and money, a good conscience and a big bal\They revealed it to him by their merciless difference.

Referências a este livro

The Reception of Henry James in Europe
Annick Duperray
Pré-visualização indisponível - 2006

Informação bibliográfica