Opera and the Novel: The Case of Henry JamesRodopi, 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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Página 3
... " 4 Cf. Michel Poizat ( 1992 : 79 ) who sees modernist opera as a " locus where a multi- plicity of modalities and compromises between language and music cohabit . " emission , the isolated phoneme , all modalities of expression 3.
... " 4 Cf. Michel Poizat ( 1992 : 79 ) who sees modernist opera as a " locus where a multi- plicity of modalities and compromises between language and music cohabit . " emission , the isolated phoneme , all modalities of expression 3.
Página 4
... expression of breath , and literally unheard - of vocalic inflections the very mainstay of the lyric musical project . " This has resulted , in Poizat's view , in the " ex- clusion of all reference not only to meaning but to the word ...
... expression of breath , and literally unheard - of vocalic inflections the very mainstay of the lyric musical project . " This has resulted , in Poizat's view , in the " ex- clusion of all reference not only to meaning but to the word ...
Página 5
... expression of inferi- ority " . One can argue that opera's music supports , expands , or even interrogates a text through its ability to be constructed as an expression of the hidden psychological states of the characters ( cf. Kivy ...
... expression of inferi- ority " . One can argue that opera's music supports , expands , or even interrogates a text through its ability to be constructed as an expression of the hidden psychological states of the characters ( cf. Kivy ...
Página 7
... expression . And if drama is dependent on well - chosen words , music - drama is dependent on the few chosen words dictated by the music . " 12 Carl Dahlhaus ( 1989 : 97 ) argues that music cannot be seen to be somehow super- imposed on ...
... expression . And if drama is dependent on well - chosen words , music - drama is dependent on the few chosen words dictated by the music . " 12 Carl Dahlhaus ( 1989 : 97 ) argues that music cannot be seen to be somehow super- imposed on ...
Página 10
... expression , reflects a view which sees opera essen- tially as an " interplay of systems " ( Levin , 1994 : 8 ) . The hybrid nature of opera would seem to favour this broader approach rather than the reductive , homogenising impulse ...
... expression , reflects a view which sees opera essen- tially as an " interplay of systems " ( Levin , 1994 : 8 ) . The hybrid nature of opera would seem to favour this broader approach rather than the reductive , homogenising impulse ...
Índice
1 | |
19 | |
45 | |
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 |
Washington Square | 303 |
The Aspern Papers | 361 |
Conclusion | 429 |
Appendix | 437 |
Bibliography | 479 |
Outras edições - Ver tudo
Palavras e frases frequentes
action ambiguity appears argues aria Ariadne aspect Aspern Papers audience Barelli becomes Benjamin Britten Britten Cath Catherine Catherine's composer consciousness Count Countess course Coyle death Densher describes dialogue discourse discussion Dominick Argento Douglas Moore Dr Sloper drama duet effect element emotional film final Flora frequently ghosts governess governess's Grose Henry James Hollier ibid James's tale Juliana Kate Kate's Lavinia Lechmere librettist libretto Lodger Lord Mark Maud Medea melodrama Miles Miles's Milly Milly's Miss Giddens Miss Jessel Morris Morris's narrative narrator narrator's notes novel observes operatic adaptation operatic characters orchestra Owen Wingrave Owen's Paramore Pasatieri Penniman performance perhaps play portrait present psychological Quint relationship reveals says scene Screw seen sense similar singing situation song Sonia stage story structure suggests Susan tells theatre theatrical theme Thomas Pasatieri Tina tion Venice vocal line voice Voice of Ariadne Washington Square words
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.