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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La Donna del Lago de Rossini : première entrée en scène de Walter Scott dans l’opéra italien by Liliane Lascoux

“…The composer’s librettist, Andrea Leone Tottola, bases his dramatisation on a French translation of the poem, simplifies and rewrites the text, as is often customary when adapting literature for the stage, thus modifying characters and highlighting the poem’s love interest. If the libretto is unfaithful to the letter of the source, the music pays homage to its spirit and conveys the heroic and legendary aspect of the drama with an extended, inventive and attentive orchestration, thus indicating a decisive step in the “Rossinian Revolution” with the development of a pastoral style, one of the bases of Romantic opera.…”
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A Dinner Engagement (1954) de Lennox Berkeley : un opéra-bouffe anachronique ? by Jean-Philippe Heberlé

“…Commissioned by The English Opera Group, written on a libretto by Paul Dehn and created at the Aldeburgh Festival on 17 June 1954, A Dinner Engagement is a comic opera by Lennox Berkeley (1903-1989). …”
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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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Gawain de Harrison Birtwistle : un opéra (extra-) national ? by Jean-Philippe Heberlé

“…This article deals with Harrison Birtwistle’s opera Gawain (1991). Written on a libretto by the English poet, David Harsent, Gawain is characterized both by national and extra-national elements. …”
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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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The sounds of early eighteenth-century pastoral: Handel, Pope, Gay, and Hughes by Jeffrey HOPES

“…In Acis and Galatea, Gay, Hughes and possibly Pope, who collaborated on the libretto, joined Handel in creating a new and consciously English pastoral language.…”
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Réécritures du mythe d’Orphée et enjeux esthétiques, philosophiques et formels dans The Mask of Orpheus de Harrison Birtwistle by Jean-Philippe Heberlé

“…This article deals with Harrison Birtwistle’s rewriting of the myth of Orpheus in his opera The Mask of Orpheus (1986). Written on a libretto by Peter Zinovieff, The Mask of Orpheus is part of a long tradition of operas dealing with the famous Greek myth. …”
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Tower d’Alun Hoddinott, ou la tentative de créer un opéra populaire by Jean-Philippe Heberlé

“…Added to this, we should bear in mind that both the efficiency of the libretto and the traditional symbolical use of the singers’ tessituras contribute to make of Tower an opera which respects the main features of the genre. …”
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Le Falstaff de Manfredo Maggioni et Michael Balfe : façonner un opéra italien pour le public anglais by Céline Frigau

“…Through the study of the libretto and score, its contextualization, as well as contemporary accounts, we will be concerned both with questioning the expectations of Falstaff’s London public and with circumscribing the frontiers of an aesthetic category named “Italian opera”. …”
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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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Les oratorios bibliques de Haendel ou « ll faut l’entendre pour le croire » by Joël Richard

“…Examples taken from Saul, Joshua, Belshazzar, Israel in Egypt and Samson will show how the complex and varied processes of (re)writing the librettos from their original biblical source often provided Handel with literary pauses, or even “blanks”, which he more than fully filled with moments of “pure” musical experimentation: when singing is heard off stage, or when voices are simply heard no more, sounds do become meaning and hearing is truly believing.…”
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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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