‘Wort oder Ton’? Reading the Libretto in Contemporary Opera

Abstract

This article considers adaptations of existing works in contemporary opera. The author considers the role of the libretto in operatic productions, notes the number of film sources for modern operas, and applies adaptation theories from television and film studies to operas such as Owen Wingrave. He considers critical responses to collaborations between composer Harrison Birtwistle and writer David Harsent, discusses Robin Holloway's adaptation of Richardson's Clarissa, and focuses on the reworking of The Tempest by composer Thomas Adès and librettist Meredith Oakes.

Keywords:

• Libretto
• Dramaturgy
• Adaptation
• Film
• Adès
• Collaboration

Notes

[1] Thomas Adès, The Tempest, with a libretto by Meredith Oakes, conducted by the composer, EMI 50999 6 95234 2 7, 2009.