Opera and the Novel: The Case of Henry JamesOpera and the Novel: The Case of Henry James offers the first full-length study of the theory and practice of the adaptation of fiction into opera: the transference of a work from one medium to another - metaphrasis - is its point of departure. Starting with a survey of the current thinking regarding the nexus between words and music with specific reference to operatic adaptation of existing literary works, it traces the four-hundred-year history of opera, demonstrating that the novel has become increasingly attractive to librettists and composers as an operatic source. As the resources of modern music theatre have increased in sophistication, so too have the possibilities for an expanded engagement with complex fictional works. The intricate relationship between fictional and musical narrative is examined: the proposition that the orchestra assumes much of the function of the narrator in fiction is explored. The second section is a detailed examination of eight operatic works based on Henry James's fiction. It is opera's unique capability to present the intense emotional and psychological situations central to James's fiction as well as the ability to engage with his synthesis of melodrama and psychological ambiguity which makes James's work peculiarly amenable to operatic adaptation. Composers who have used James as a source include Douglas Moore, Benjamin Britten, Thomas Pasatieri, Donald Hollier, Thea Musgrave, Philip Hagemann and Dominick Argento. The operas discussed represent a contemporary critical and often self-conscious engagement with the art form itself as well as illustrating current adaptive strategies, and suggest ways in which new operatic paths may be forged. This volume is of relevance to students and scholars of English literature and opera as well as readers who take an interest in intermedial research and the question of adaptation in general. |
Contents
1 | |
19 | |
Operatic and Fictional Discourse | 45 |
James Opera and Melodrama | 85 |
James Structure Scene and Picture | 103 |
The Turn of the Screw | 117 |
The Wings of the Dove | 161 |
Owen Wingrave | 221 |
The Last of the Valerii | 267 |
Washington Square | 303 |
The Aspern Papers | 361 |
Conclusion | 429 |
Appendix | 437 |
479 | |
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action ambiguity appears argues aria Ariadne aspect Aspern Papers audience Barelli becomes Benjamin Britten Britten Cath Catherine Catherine's composer consciousness Count Countess course Coyle death Densher describes dialogue discourse discussion Dominick Argento Douglas Moore Dr Sloper drama duet effect element emotional film final Flora frequently ghosts governess governess's Grose Henry James Hollier ibid James's tale Juliana Kate Kate's Lavinia Lechmere librettist libretto Lodger Lord Mark Maud Medea melodrama Miles Miles's Milly Milly's Miss Giddens Miss Jessel Morris Morris's narrative narrator narrator's notes novel observes operatic adaptation operatic characters orchestra Owen Wingrave Owen's Paramore Pasatieri Penniman performance perhaps play portrait present psychological Quint relationship reveals says scene Screw seen sense similar singing situation song Sonia stage story structure suggests Susan tells theatre theatrical theme Thomas Pasatieri Tina tion Venice vocal line voice Voice of Ariadne Washington Square words
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