Foreword to Aria Da Capo The libretto of the opera is a verbatim setting of Edna St. Vincent Millay's one act play "Aria da Capo." World events, especially World War II and the current Korean War influenced the choice of this timely, yet timeless play. Miss Millay's death occurred during the composition of the opera. She never knew, therefore, of the composition or performance of her play as an opera. The form of the opera is that of the "da capo" aria. he form, of course, was determined by the play which ends exactly as it started. Thematic material consists mainly of two themes: the opening theme or Scene I (Pierrot and Columbine's scene) and the opening theme of Scene II (the Shepherd's scene). All of the significant motivic material used in Scene I is derived from the opening theme of that scene. In the shepherd's scene, material derived from both of the above mentioned themes is used. The musical style of the two scenes is intentionally contrasting. In Pierrot and Columbine's scene an attempt was made to express their characters by means of a pseudo-popular music style which is rhythmic and lively but has no real depth of emotional feeling. In the shepherd's scene an attempt was made to express their changing characters by means of a very simple style eventually evolving into a more complex style. In order to make the score more easily understood all the orchestrated parts are written in concert. For the same reason all directions to the musicians are given in English instead of the usual Italian. The opera was produced under the direction of Dr. Lucas Underwood. Thomas Haynes, musical assistant to Dr. Underwood, deserves special recognition, not only for his excellent job of conducting the opera, but also for designing the set and staging the opera and for his untiring efforts in rehearsing the cast and the orchestra.

[pt] Os estudos em torno de Edna St. Vincent Millay (1892—1950) apresentam lacunas. Sua obra é atrelada a um romantismo extemporâneo, incompatível com as revoluções formais que fundaram o cânone modernista. Contudo, foi contemporânea de autores que forjaram esse cânone. Uma análise formal de seu trabalho que leve em conta critérios mais consensuais em estudos de forma é imprescindível para refletir sobre isso; mas limitar-se a essa análise seria insuficiente para entender a complexidade de um trabalho como a peça Aria da capo, que parece simples em um primeiro momento, mas que traz em si o âmago dessas lacunas a serem investigadas em torno de Millay. Levando-se em conta alguns conceitos-chave em Estudos da Tradução, que se consolidam a partir da Virada Cultural que combina os Estudos Culturais com os Estudos Feministas, e, ainda, tomando como base a premissa fundamental em Paulo Henriques Britto segundo a qual os aspectos formais de um texto muitas vezes contêm mais poeticidade do que o sentido das palavras, esta pesquisa tem o intuito de apresentar uma tradução anotada dessa peça. Pretende-se, assim, analisar seus desafios tradutórios sem deixar de lado as especificidades relativas à tradução de teatro que, neste caso, alinha-se à tradução de poesia por se tratar de um drama em verso do início do século XX. Ao tangenciar as idiossincrasias do trabalho dessa autora a partir da tradução desta peça, observando sua proposta estética e seus ideais para pensar o lugar que ela ocupa, almeja-se colaborar para difundir sua obra. / [en] Studies on Edna St. Vincent Millay (1892—1950) contain gaps. Her work is yoked to a dated romanticism, incompatible with the formal revolutions that founded the modernist canon. Nevertheless, she was a contemporary of authors who forged this canon. A formal analysis of her work that takes into account more consensual criteria in studies of form is essential to reflect on this; but limiting oneself to this analysis would be insufficient to understand the complexity of a work such as the play Aria da capo, which seems simple at first, but bears within itself the core of these gaps to be investigated around Millay. Taking into account some key concepts in Translation Studies, which have been consolidated since the Cultural Turn that combines Cultural Studies with Feminist Studies, and also based in Paulo Henriques Britto s fundamental premise according to which the formal aspects of a text often contain more poetic character than the meaning of the words, this research aims to present an annotated translation of this play. The aim is to analyze its translational challenges without neglecting the specificities of theater translation, which, in this case, also includes problems of poetry translation, since it is a drama in verse from the early 20th century. By touching on the idiosyncrasies of this author s work through the translation of this play, observing her aesthetic proposal and her ideals in order to reflect on the role she occupies, this study intends to contribute to the dissemination of her work.