“JANKO”, THE “FOLK OPERA” LISZT NEVER WROTE by Mónika IVÁNYI-PAPP

“…Rubinstein (the Russian Liszt) composed music on the basis of the libretto and called it Kinder der Heide (Children of the Moorland). …”
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UNE PERSPECTIVE SÉMANTIQUE INTÉGRALISTE SUR L’INTERFÉRENCE TEXTE-MUSIQUE DANS LE CAS DU THÉÂTRE MUSICAL by Mirona BENCE-MUK

“…These correspondences refer to the existence of particular metaphoric strategies within the musical discourse, collaborating from the same position with the above mentioned strategies, presented in the text of the libretto in order to enhance the mystery and to articulate the metaphorical meaning existent in the final artistic text: libretto accompanied by the musical discourse. …”
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Piecing the Broken Golden Bowl: Dislocation and Diplomacy in Nixon in China by John Adams and Alice Goodman by Mathieu Duplay

“…The purpose of this article is to examine the role of line breaks in the libretto Alice Goodman wrote for Nixon in China (1987), her first collaboration with composer John Adams. …”
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Un opéra français d’après la Salomé de Wilde, l’appropriation d’un drame by Déborah Bonin

“…These different questions allow us to establish how the composer, before setting the text to music, came to understand the playwright’s work in order to write his own libretto.…”
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Salome, an Obsessive Compulsive Myth, from Oscar Wilde to Richard Strauss by Jacques Coulardeau

“…Richard Strauss amplifies the text and the subject with his music and his German libretto.…”
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Retrieving, Translating, and Archiving, Hubert Ogunde’s Aye by Adedoyin Aguoru

“…This study is conceived more as a translation of the libretto of Hubert Ogunde’s Ayé for archival and literary purposes.  …”
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Daar is méér. ’n Outobiografiese reisverhaal deur Amper-Stamperland en Metaversum by L. Hoffman

“…; “Die misterie van verwondering: ’n Libretto met die titel ‘Daar is méér!’”; “Klopdisselboom met ’n pedonkiekar in Amper-Stamperland”; “Pikkewouters: Amperkaraktertjies in die Wilde Weste van stamper”; “bewolkte rekenarisering” (“computer clouding”); “blokkettings” (“block chains”). …”
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“Le Tétraque se perdait dans un rêve”: Concordance between Flaubert’s Hérodias and Hérodiade by Milliet, Grémont and Massenet by Clair Rowden

“…This article, therefore, demonstrates how and where the opera libretto reflects both Flaubert’s prose and his wider views on Republican society, and how these notions are supported in Massenet’s music. …”
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„I Lituani” Amilcare Ponchiellego – Mickiewiczowska opera włoskiego twórcy by Ryszard Golianek

“…Giocondy), jest jedną z nielicznych oper inspirowanych poezją Adama Mickiewicza, które zostały stworzone przez zagranicznych (niepolskich) kompozytorów. Libretto opery, wykorzystujące problematykę powieści poetyckiej Konrad Wallenrod Mickiewicza, wyszło spod pióra Antonia Ghislanzoniego, autora libretta do Aidy Verdiego, a premiera Litwinów miała miejsce 7 marca 1874 roku w mediolańskiej La Scali. …”
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LE MASQUE COMIQUE DE L’OPÉRA DANS L’ITALIE DU XVIIIe SIÈCLE by Diana TODEA

“…This approach is maintained until the early eighteenth century, when the former dramma per musica, which aimed to be entertainment for the aristocracy, removes from its librettos the comic element that is found to be irrelevant to the topic and not in accordance with the tragic style. …”
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