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Opera in Translation: Unity and diversity
Edited by Adriana Şerban and Kelly Kar Yue Chan
[Benjamins Translation Library 153] 2020
► pp. v–vii

Table of contents

Introduction: Translation and the world of opera 1
Open perspectives
Opera and intercultural musicology as modes of translation 13
Surtitles and the multi-semiotic balance: Can over-information kill opera? 35
Tradition and transgression: W. H. Auden’s musical poetics of translation 53
Across genres and media
When Mei Lanfang encountered Fei Mu: Adaptation as intersemiotic translation in early Chinese opera film 75
Fluid borders: From Carmen to The Car Man. Bourne’s ballet in the light of post-translation 95
Aesthetics of translation: From Western European drama into Japanese operatic forms 117
Text and context
Translations, adaptations or rewritings? English versions of Mozart and Da Ponte’s Don Giovanni 135
The voice of the translator: A case study of the English translations of The Peony Pavilion 159
“Ordne die Reih’n”: The translation of the Mozart-Da Ponte operas in the Third Reich 175
The migration of Madama Butterfly: Otherness in the creation and translation of Puccini’s opera 195
From text to stage
The intertwined nature of music, language and culture in Bartók’s Duke Bluebeard’s Castle 219
Translating Wagner’s Versmelodie : A multimodal challenge 243
Operetta in Turkey: A case study of Gün’s translation of Strauss’s Die Fledermaus 271
Libretto translation revisited
Two English Translations of Jaroslav Kvapil’s Rusalka Libretto 291
Intertextuality in nineteenth-century Italian librettos: To translate or not to translate? A case study of Adriana Lecouvreur 315
Multilingual libretti across linguistic borders and translation modes 337
About the contributors 359
Index 365


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