Wort oder Ton’? Reading the Libretto in Contemporary Opera
Bibliographic Data
| ID | 14809566 |
|---|---|
| Authors | Andrew Blake (0009-0008-0150-9374, corresponding author) |
| Year | 2010 |
| Volume | 29 |
| Issue | 2 |
| Pages | 187-199 |
| Publication date | 2010-04-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Contemporary Music Review (JOURNAL) |
| Journal identifiers | ISSN: 0749-4467 • E-ISSN: 1477-2256 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/07494467.2010.534929 |
| OpenAlex | W2051051385 |
| Language | EN |
| Citations received | 1 |
| References cited | 10 |
This article considers adaptations of existing works in contemporary opera. The author\nconsiders the role of the libretto in operatic productions, notes the number of film sources\nfor modern operas, and applies adaptation theories from television and film studies to\noperas 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
Art · Art history · Linguistics · Literature · Opera · Performance art · Tempest · Cinema and Media Studies · Musicology and Musical Analysis · Philosophy · Psychology · Theater, Performance, and Music History
| Citations per year | 0.25 |
|---|---|
| Citation span | 2022 - 2022 (1) |
| Highly cited | No |