Opera in Translation

Unity and diversity

Editors
| Paul Valéry University
| The Open University of Hong Kong
HardboundForthcoming
ISBN 9789027207500 | EUR 95.00 | USD 143.00
 
e-BookOrdering information
ISBN 9789027260789 | EUR 95.00 | USD 143.00
 
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.
[Benjamins Translation Library, 153]  Expected October 2020.  vii, 363 pp. + index
Publishing status: In production
Table of Contents
This is a provisional table of contents, and subject to changes.
Introduction: Translation and the world of opera
Adriana Şerban and Kelly Kar Yue Chan
1–9
Open perspectives
Opera and intercultural musicology as modes of translation
Helen Julia Minors
13–33
Surtitles and the multi-semiotic balance: Can over-information kill opera?
Judi Palmer
35–51
Tradition and transgression: W. H. Auden’s musical poetics of translation
Lucile Desblache
53–72
Across genres and media
When Mei Lanfang encountered Fei Mu: Adaptation as intersemiotic translation in early Chinese opera film
Kenny K.K. Ng
75–94
Fluid borders: From Carmen to The Car Man. Bourne’s ballet in the light of post-translation
M. Carmen África Vidal Claramonte
95–115
Aesthetics of translation: From Western European drama into Japanese operatic forms
Yoshiko Takebe
117–131
Text and context
Translations, adaptations or rewritings?: English versions of Mozart and Da Ponte’s Don Giovanni
Pierre Degott
135–158
The voice of the translator: A case study of the English translations of The Peony Pavilion
Cindy S.B. Ngai
159–173
“Ordne die Reih’n”: The translation of the Mozart-Da Ponte operas in the Third Reich
Klaus Kaindl
175–194
The migration of Madama Butterfly: Otherness in the creation and translation of Puccini’s opera
Danielle Thien
195–216
From text to stage
The intertwined nature of music, language and culture in Bartók’s Duke Bluebeard’s Castle
Gyöngyvér Bozsik
219–242
Translating Wagner’s Versmelodie: A multimodal challenge
Karen Wilson-deRoze
243–270
Operetta in Turkey: A case study of Gün’s translation of Strauss’s Die Fledermaus
Özlem Sahin Soy and Merve Şenol
271–287
Libretto translation revisited
Two English translations of Jaroslav Kvapil’s Rusalka libretto
Patrick John Corness
291–314
Intertextuality in nineteenth-century Italian librettos: To translate or not to translate?: A case study of Adriana Lecouvreur
Miquel Edo
315–336
Multilingual libretti across linguistic borders and translation modes
Marta Mateo
337–357
About the contributors
359–363
Subjects

Literature & Literary Studies

Theoretical literature & literary studies

Translation & Interpreting Studies

Translation Studies
BIC Subject: CFP – Translation & interpretation
BISAC Subject: LAN023000 – LANGUAGE ARTS & DISCIPLINES / Translating & Interpreting
U.S. Library of Congress Control Number:  2020023172