This thesis deals with a comparatice analysis, where there are original literary productions (proses, dramas), that were then used for creating librettos of operas productions. The thesis focus on opera performances presented on stages of South Bohemian Theatre in last few years, and also belongs to canon of tradition of world's opera. The analysis is following the way of adaptation of the original piece, it means the conversion of the production, originally defined for a quiet reading, into the genre based on performing and accented his performance's nature. The thesis follows conventional and inventive characters by original literary production, and also by opera's text "adaptation". The thesis specifically follows the relationship of these productions: Victorien Sardou: Tosca and Giacommo Puccini: Tosca; Prosper Mérimée: Carmen and Georges Bizet: Carmen; Pierre - Augustin Caron de Beaumarchais: The Marriage of Figaro and Wolfgang Amadeus Mozart: The Marriage of Figaro; Antonio García Gutiérrez: Il Trovatore and Giuseppe Verdi: Il Trovatore; and also the productions without the original literar artwork: Giuseppe Verdi: Aida and Antonín Dvořák: Rusalka.

Le chorégraphe français Marius Petipa (1818-1910), qui a effectué la majeure partie d’une très longue carrière au service des Théâtres impériaux, est considéré comme l’inventeur du grand ballet académique ou du ballet « russe ». Ceci constitue un paradoxe intéressant, dans la mesure où il s’agit d’un chorégraphe étranger. Cette thèse propose d’envisager l’œuvre de Marius Petipa comme une œuvre à la frontière entre deux pays et deux cultures et de mettre à jour les oppositions et les tensions qui la traversent. Nous l’analysons comme un exemple d’hybridation culturelle et de transfert culturel, une notion qui sert à définir toute réalité sociale issue de contacts entre des identités initialement distinctes et autonomes. La question centrale soulevée dans cette thèse est l’analyse de la dimension slave de son œuvre et de son imaginaire au contact de la réalité russe. Après avoir brossé le contexte culturel et artistique russe, sont examinés les ballets des prédécesseurs de Petipa qui abordent un sujet slave et russe. Nous analysons Le Prisonnier du Caucase ou l’ombre d’une fiancée (1823) et Rouslane et Lioudmila ou Tchernomor, le sorcier maléfique (1824) du chorégraphe français Charles-Louis Didelot. Le ballet abordant le monde slave apparaît également dans l’œuvre de Jules Perrot. Le ballet signé par Arthur Saint-Léon, Le Petit Cheval bossu (1864), inspiré par le conte de Piotr Erchov, connaît un vrai succès. Le chorégraphe français s’adresse également à l’œuvre d’Alexandre Pouchkine pour son ballet au thème russe, Le Poisson doré (1867). Sont enfin analysés les ballets méconnus et peu étudiés de l’œuvre petipienne qui abordent un sujet slave : Roxana, la Belle de Monténégro (Saint-Pétersbourg, 1878) et Mlada (Saint-Pétersbourg, 1879). Ces créations coïncident avec un moment de tensions sociales et d’émergence des idées nationales en Russie au XIXe siècle. Elles confirment aussi la volonté du ballet de s’adapter, à sa manière, aux tendances du jour, reproduites cependant d’une façon conventionnelle. Cette thématique slave, abordée en Russie par les chorégraphes français, contribue à la construction de la notion de « ballet russe » qui trouvera son apogée au début du XXe siècle à Paris. / The French choreographer Marius Petipa (1818-1910), who spent most of his life-long career at the service of the Imperial Theatres, is considered as the inventor of the academic Grand Ballet, or Russian Ballet. This constitute an interesting paradox, since he happens to be a foreign choreographer. This thesis proposes to look at Marius Petipa's work as a work on the frontier between the two different countries and cultures and to expose the oppositions and tensions that cross it. We’ll study it as an example of cultural hybridization and cultural transfer, a notion used to define every social reality issued from the contacts between two initially distinct and autonomous identities. The main hypothesis studied through this thesis is the analysis of the Slavic dimension of his artwork and of its imaginary in close proximity of a Russian reality. After covering the Russian cultural artistic context, the ballets of Petipa’s predecessors who address the Slavic and Russian topic are examined. We analyse The Prisoner of Caucasus, or the Bride’s shadow (1823) and Ruslan and Ludmila, or Chernomor, the evil magician (1824) by the French choreograph Charles-Louis Didelot. The ballet created by Arthur Saint-Léon, The Little Humpbacked Horse (1864), inspired with Piotr Erchov’s tale, was met with success. This choreograph draws also his inspiration from the Alexander Pushkin’s tale to compose The Golden Fish (1867). Finally, we explore little known ballets with a Slavic theme of Petipa’s universe: Roxana, the Beauty of Montenegro (Saint-Petersburg, 1878) and Mlada (Saint-Petersburg, 1879). These creations coincided with a period of social tensions and the emergence of national ideas in Russia in the 19th centaury. They also confirm the ballet's desire to adapt, to the trends of the day, reproduced however in a conventional way. This Slavic theme in the work of French choreographs in Russia contribute to the construction of the notion of «Russian ballet» the will arrive in its apogee in the 20th centaury in Paris.

Le Temple de la Gloire fut commandé par la cour à Voltaire et à Rameau pour célébrer le retour du roi, victorieux à Fontenoy. Créé en 1745 à Versailles, il fut repris aussitôt à Paris en décembre. Retiré après son échec public et critique, il fut considérablement remanié, recréé à Paris en avril 1746, puis oublié, même si beaucoup de ses morceaux ont été réutilisés. Il demeure l’unique opéra de Voltaire a avoir été représenté à l’Académie royale de musique. Ce travail propose une double édition critique du livret et de la musique des deux versions de 1745 et de 1746. Il fait l’histoire de l’oeuvre de 1745 à nos jours (I), en retrace la genèse (II), et en évalue la portée esthétique (III), qui est originale. Voltaire, loin de flagorner, y érige en modèle non le roi conquérant, mais celui qui fait le bonheur du peuple. Il se propose pour cela, en 1745, d’étendre sa réforme dramatique (moins d’amour, plus de spectacle, sérieux métastasien) à l’opéra. Mais finit, en 1746, par céder à Rameau, aux codes de l’Académie royale de musique et à son public / The court commissioned Voltaire and Rameau to write Le Temple de la Gloire in celebration of the king’s victorious return from Fontenoy. Premiered in Versailles in 1745, restaged in Paris in December, the opera closed down after its critical and box-office failure. It was considerably reworked, restaged in Paris in April 1746, and then forgotten, although many of its pieces were reused in other works. It is the only Voltaire opera staged at the Royal Academy of Music. This study consists of a double critical edition of the libretto and music of the two versions, from 1745 and 1746. It traces the history of the work from 1745 to the present day (Chapter 1), discusses it genetically (Chapter 2), and analyzes its esthetic reach (Chapter 3), which is considerable. Voltaire is not a courtly flatterer here ; he does not present a model of the conquering king, but rather one of a king who makes the people happy. Thus, in 1745, Voltaire extends his dramatic reforms to opera (less love, more entertainment, Metastasian gravitas). But in the end, in 1746, he gives into Rameau, to the Royal Academy of music’s protocol, and to his audience

Gwen Harwood is one of Australia’s most celebrated poets. Her longstanding collaboration with composer Larry Sitsky produced six substantial operas between 1963 and 1982; Fall of the House of Usher (1965); Lenz (1970); Fiery Tales (1975, based on Chaucer’s Canterbury Tales and excerpts from Boccaccio’s Decameron); Voices in Limbo (1977); The Golem (1980, first performed in 1993); and De Profundis (1982, a setting of Oscar Wilde’s letters). Both Harwood and her critics acknowledge the libretti as some of her best writing (Harwood cites her libretto for Lenz as her ‘selected poem’); to date, there has been no major study of these works. This thesis engages with Harwood’s opera texts, arguing for readings that are neither atomist nor reductive but jointly focused on both the effect of the text and the mechanics of its production. It begins by outlining the theoretical terrain of words and music studies and establishes an approach to Harwood and Sitsky’s operas based on the idea that opera’s textual exaggeration is a function of its multiple critical components; that is, the intersection of words and music, collaborative authorship, and dramatic language. The thesis then offers focused studies of each of these aspects in Harwood and Sitsky’s works, constructing a literary picture of the opera texts. Primary sources include the scores of the operas (usually copies of the composer’s autograph), selected correspondence between Sitsky and Harwood, drafts and typescripts of the libretti (held in the National Library, Canberra, and the Fryer Library, University of Queensland), and selected essays by Harwood on her words for music. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1331575 / Thesis (M.A.) -- University of Adelaide, School of Humanities, 2008

Licht. Die sieben Tage der Woche (1977-2003) est un cycle constitué de sept opéras composés par Karlheinz Stockhausen (1928-2007) qui en a également conçu le livret. Le cycle a pour thème principal l'accomplissement cyclique du destin de trois esprits – Michael, Eva et Luzifer – dont le destin est lié aux caractéristiques de chacun des sept jours de la semaine. Cependant, une multitude d'éléments vient s'ajouter au propos général, rendant le déroulement parfois difficilement intelligible. De plus, le propos universel vient se heurter à la dimension personnelle et autobiographique de l'œuvre. Notre thèse, principalement centrée sur le livret de Licht, a pour but d'étudier les éléments autobiographiques et les relations intertextuelles présents tout au long des opéras, afin de cerner les éléments d'unification au sein du cycle. La première partie de cette thèse est consacrée à une présentation générale du projet de Licht, du livret et des personnages. Le cycle s'inscrit en effet dans la continuité de l'œuvre de Stockhausen, notamment des pièces construites sur le principe d'une formule et de celles faisant appel à un propos extra-musical. S'ensuit une étude de la dimension autobiographique des opéras. Dans cette partie, nous établissons tout particulièrement le lien entre la volonté de délivrer un message universel, cosmique intemporel, et l'évocation des souvenirs, des voyages et des influences du compositeur. Enfin, notre étude se clôt par une analyse de la dimension religieuse, philosophique et ésotérique du cycle. Stockhausen a en effet été profondément influencé par les cultures et religions asiatiques, notamment d'Inde et du Japon. À ces influences viennent s'ajouter la Bible, ainsi que l'ésotérisme et l'influence prégnante de divers courants et ouvrages néo-chrétiens, en particulier celle du Livre d'Urantia. Sous un argument centré sur les relations entre les trois principaux protagonistes, Licht devient ainsi un résumé de la vie et de l'œuvre de Stockhausen. / Licht. Die sieben Tage der Woche (1977-2003) is a cycle of seven operas composed by Karlheinz Stockhausen (1928-2007) who also wrote the libretto. The main topic of the cycle is the cyclical fulfilment of the destiny of three spirits – Michael, Eva and Luzifer – whose destiny is related to the characteristics of each of the seven days of the week. A multitude of events will however be added to the main story, making the progress of the action sometimes difficult to understand. Our thesis, mainly focused on the libretto, aims at studying the autobiographical elements and the intertextual relationships throughout each opera in order to identify the elements of unity into the cycle. The first part of this thesis is dedicated to a general presentation of the Licht project and to the libretto and characters’ introduction. The cycle follows indeed in the footsteps of Stockhausen’s work, including parts based on the principle of a formula and those appealing an extra-musical theme. A study of the autobiographical dimension of the operas follows. In this part, we particularly establish the link between the desire to deliver a universal, cosmic and timeless message and the evocation of the composer’s memories, travels and influences. Finally, our work closes with an analysis of the religious, philosophical and esoteric dimensions of the cycle. Stockhausen has indeed been deeply influenced by the Asian cultures and religions, in particular from India and Japan. There are other influences like The Bible, but also esotericism and the significant influence of many new-Christian movements and books like the Urantia Book. Under the guise of focusing on the relationships between the three main characters, Licht becomes a summary of Stockhausen’s life and work.

Canadian composer Istvan Anhalt (1919-2012) wrote four operas: La Tourangelle (1975), Winthrop (1986), Traces (Tikkun) (1996), and Millennial Mall (1999). The overarching thematic structure of these works represents the composer’s historical and personal exploration of identity construction and the immigrant experience. This thesis focuses on the first opera in the cycle, La Tourangelle, which premiered at the MacMillan Theatre in Toronto in 1975. Specifically, it builds a chronology of the opera’s history from a study of previously unpublished primary source documents (mainly folder E,32 from Library and Archives Canada, containing personal correspondences and professional correspondences, with the addition of other folders containing source materials, and libretto manuscripts) dated 1970 to 1975. In addition to revealing budding friendships and professional respect, the documents provide invaluable insights into the various phases of Anhalt’s creative process. The thesis chronicles each phase of the process, from both personal and musical points of view, from contract negotiations, monastery visits, lending of resources, humble requests for feedback, recording of multimedia components, and rehearsals, to the premiere and its initial reception. The chronicle reveals Anhalt’s non-linear creative process for La Tourangelle which involves multiple collaborations and reciprocal influences.

[pt] Esta tese é um trabalho teórico-prático sobre a tradução vocal para o português dos números musicais da ópera Porgy and Bess, de George Gershwin, sobre libreto de DuBose Heyward e letras de DuBose e Ira Gershwin. Aqui a tradução vocal é entendida como aquela destinada ao canto. Portanto, as traduções estão organizadas e editadas em partituras de redução da ópera, isto é, vocal(ais) e piano. Somam-se a esse núcleo da tese dois capítulos. Um teórico, em que são discutidas as principais tendências do recente campo de estudos sobre a tradução de ópera, e outro de comentários sobre a tradução realizada. / [en] This thesis is a theoretical-practical work on the vocal translation into Portuguese of the musical numbers from George Gershwin s opera Porgy and Bess, with libretto by DuBose Heyward and lyrics by DuBose and Ira Gershwin. Here vocal translation is understood as that intended for singing. Therefore, the translations are arranged and edited into reduction scores of the opera, that is, vocal(ls) and piano. Added to this core of the thesis are two chapters. One is theoretical, in which the main trends of the recent field of studies on opera translation are discussed, and the other is a commentary on the translation performed.

This thesis applies qualitative literary analysis and ethnographic methods to examine the portrayal of Appalachia in the operas Susannah and Cold Mountain. The operas were premiered almost 60 years apart, yet they share many themes that epitomize roles, patterns, and stereotypes within the Appalachian region. One theme observed is the role and expectations of Appalachian women and how they have developed over time, as the plots are placed roughly a century apart. The depictions of Appalachian religious traditions and representations of violence are also explored as these themes play a considerable role in Susannah and Cold Mountain. By analyzing the representation of Appalachia in these operas, this study places the significance of opera among other forms of media and drama that are evaluated in the field of Appalachian Studies. Susannah and Cold Mountain depict some historically founded representations of Appalachian culture, yet some stereotypes also appear and are evaluated.

The topic of the thesis is an in-depth study of the issues and solutions for a more sustainable regeneration of the small centres on the Italian territory. The followed path starts from a first overview of the phenomenon of minor centres. The first step has been that to describe the evolution of the concept of the minor centres, presenting the different visions born over time. After this first step, the thesis focused on the verification of their consistency on the territory, checking objectively if there is a really need to carry out their regeneration. At the same time, has been presented the sectorial legislation, with which are currently managed the different towns, highlighting the various points in which it is possible to see problems. Subsequently, has been presented and reviewed the available management tools, from which gave rise the various ideas for improving the regeneration of the centres. Another aspect studied has been this to study economic aids and economic programs proposed to sustain initiatives from people and communities, with the aim to underline that the regeneration of the centres is economically possible, only if these actions are well framed through some tools that make easier to choose the locations in which do the regeneration. The proactive part of the thesis has dealt with the possibility of setting up a system through which facilitate the choice methods to implement the regeneration of the minor centres. In particular, the proposal followed by the thesis, is to build a management infrastructure, capable to support administrations in choosing where to act and how to act, allowing to optimizing available resources, avoiding wasting them and achieving the regeneration of the minor localities as soon as possible. Every centre is unique in itself, with its own characteristics that distinguish it, a uniqueness that objectively however, makes difficult to establish easily where it is necessary and possible to start with the regeneration. The proposed method define and use a series of values, through which to go to measure and know the centres objectively and in a shared way, in order to obtain indications on the places that deserve greater attentions. The proposed system provide to use a series of indicators through which local characteristics are measured, taking into account different sectors, through a multiscalar and multidisciplinary approach. From this has been studied a system for the management of information of the localities, with a series of practical modules that can be provided to the administrators, to manage the flow of the actions and information necessary to establish the priorities for the regeneration of Italian minor centres.

Denna kandidatuppsats består av en översättning av sju scener ur librettot till en musikal (Dear Evan Hansen av Steven Levenson, Benj Pasek och Justin Paul) och en översättningsteoretisk kommentar. Kommentaren ger först en kort översikt över musikalgenren och behandlar sedan översättningsarbetet, från källtext till måltext. I kommentaren beskriver jag min översättningsprincip, till vilken jag har använt mig av både Johan Franzons funktionella översättningsperspektiv (Franzon, 2009) och H. S. Drinkers principer (Drinker, 1950). Jag tar även upp de utmaningar och problem som jag stött på under översättningsarbetet och förklarar hur jag har löst dessa. Jag reflekterar också över hur musikallibrettots särskilda egenskaper har påverkat de val jag gjort i min översättning. / This bachelor’s thesis consists of a translation of seven scenes from a musical libretto (Dear Evan Hansen by Steven Levenson, Benj Pasek och Justin Paul) and a commentary of this translation. The commentary first provides a brief overview of the musical genre and proceeds to describe my translation, from source text to target text. The commentary describes my translation principle, which is inspired by the functional perspective of Johan Franzon (2009) as well as the principles of H. S. Drinker (1950). I also deal with the specific challenges encountered during the translation and describe how I handled them, as well as how the specific characteristics of the musical libretto has influenced my translation.