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Finally - a complete Italian grammar course that addresses the specific needs of singers translating opera librettos, with their archaic forms and poetic syntax! In Grammar and Translation for the Italian Libretto, Professor Berrong guides you through examples from numerous librettos as you build your expertise. Each chapter includes a short vocabulary list and translation exercises to self-test. You will be empowered to speak and understand Italian more masterfully and to translate Italian opera without having to depend on others to do it for you!
Finally -- a complete Italian grammar course that addresses the specific needs of singers translating opera librettos, with their archaic forms and poetic syntax! In Grammar and Translation for the Italian Libretto, Professor Berrong guides you through examples from numerous librettos as you build your expertise. Each chapter includes a short vocabulary list and translation exercises to self-test. You will be empowered to speak and understand Italian more masterfully and to translate Italian opera without having to depend on others to do it for you!
This book features line-by-line English translations of the complete Italian libretto of Il trovatore by Giuseppe Verdi. With Italian on the left and English on the right column, the book's layout makes it easy to follow both languages. The book contains a list of main characters and a synopsis of the opera. Most descriptions of characters' movements, emotions, and scene descriptions are deliberately omitted so that readers can easily follow dialogues while they read the text and listen to the opera simultaneously. However, when omission might create possible confusion in understanding the storyline, they remain intact. All soliloquies (Fra se) are parenthesized.While most translations abide by the principle of line-by-line translation, the convoluted syntax of certain parts of the original text makes it impossible to do so. We wish that readers are open-minded to this aspect of translation.
This book features line-by-line English translations of the complete Italian libretto of Macbeth by Giuseppe Verdi. With Italian on the left and English on the right column, the book's layout makes it easy to follow both languages. The book contains a list of main characters and a synopsis of the opera. Most descriptions of characters' movements, emotions, and scene descriptions are deliberately omitted so that readers can easily follow dialogues while they read the text and listen to the opera simultaneously. However, when omission might create possible confusion in understanding the storyline, they remain intact. All soliloquies (Fra se) are parenthesized.While most translations abide by the principle of line-by-line translation, the convoluted syntax of certain parts of the original text makes it impossible to do so. We wish that readers are open-minded to this aspect of translation.
Popular and multimodal forms of cultural products are becoming increasingly visible within translation studies research. Interest in translation and music, however, has so far been relatively limited, mainly because translation of musical material has been considered somewhat outside the limits of translation studies, as traditionally conceived. Difficulties associated with issues such as the 'musicality' of lyrics, the fuzzy boundaries between translation, adaptation and rewriting, and the pervasiveness of covert or unacknowledged translations of musical elements in a variety of settings have generally limited the research in this area to overt and canonized translations such as those done for the opera. Yet the intersection of translation and music can be a fascinating field to explore, and one which can enrich our understanding of what translation is and how it relates to other forms of expression. This special issue is an attempt to open up the field of translation and music to a wider audience within translation studies, and to an extent, within musicology and cultural studies. The volume includes contributions from a wide range of musical genres and languages: from those that investigate translation and code-switching in North African rap and rai, and the intertextual and intersemiotic translations revolving around Mahler's lieder in Chinese, to the appropriation and after-life of Kurdish folk songs in Turkish, and the emergence of rock'n roll in Russian. Other papers examine the reception of Anglo-American stage musicals and musical films in Italy and Spain, the concept of 'singability' with examples from Scandinavian languages, and the French dubbing of musical episodes of TV series. The volume also offers an annotated bibliography on opera translation and a general bibliography on translation and music.
Gluck's most famous opera, Orfeo ed Euridice features one of the most beautiful love stories ever written. The opera is Gluck's first 'reformed' opera, in which beautiful, seamless melodies highlight a simple story plot. This book is an English translation of the original Italian libretto written by Ranieri de'Calzabigi (1762 Vienna version). It also includes a translation of the famous bravura aria, Addio, addio o miei sospiri!, part of the Paris version and then translated back into Italian.The book consists of line-by-line translations of Italian and English. With Italian on the left and English on the right column, the book's layout makes it easy to follow both languages. While most translations abide by the principle of line-by-line translation, the convoluted syntax of certain parts of the original text makes it impossible to do so. We wish that readers are open-minded to this aspect of translation.The book contains a list of main characters and a synopsis of the opera. Most descriptions of characters' movements, emotions, and scene descriptions are deliberately omitted so that readers can easily follow dialogues while they read the text and listen to the opera simultaneously. However, when omission might create possible confusion in understanding the storyline, they remain intact. All soliloquies (Fra se) are parenthesized