212:
413:
764:
701:. In the past (and even today), foreign musical stage works with spoken dialogue, especially comedies, were sometimes performed with the sung portions in the original language and the spoken dialogue in the vernacular. The effects of leaving lyrics untranslated depend on the piece. A man like Louis Durdilly would translate the whole libretto, dialogues and airs, into French :
2124:
744:, in which the lyrics to the songs and the spoken text are often or always closely integrated, and the lyrics serve to further the plot. Availability of printed or projected translations today makes singing in the original language more practical, although one cannot discount the desire to hear a sung drama in one's own language.
663:
502:) was written in verse, and this continued well into the 19th century, although genres of musical theatre with spoken dialogue have typically alternated verse in the musical numbers with spoken prose. Since the late 19th century some opera composers have written music to prose or free verse libretti. Much of the
781:
Librettists have historically received less prominent credit than the composer. In some 17th-century operas still being performed, the name of the librettist was not even recorded. As the printing of libretti for sale at performances became more common, these records often survive better than music
900:
Because the modern musical tends to be published in two separate but intersecting formats (i.e., the book and lyrics, with all the words, and the piano-vocal score, with all the musical material, including some spoken cues), both are needed in order to make a thorough reading of an entire show.
866:
Libretti have been made available in several formats, some more nearly complete than others. The text – i.e., the spoken dialogue, song lyrics and stage directions, as applicable – is commonly published separately from the music (such a booklet is usually included with sound recordings of most
33:
882:
for operas naturally contain the entire libretto, although there can exist significant differences between the score and the separately printed text. More often than not, this involves the extra repetition of words or phrases from the libretto in the actual score. For example, in the
549:
The libretto of a musical, on the other hand, is almost always written in prose (except for the song lyrics). The libretto of a musical, if the musical is adapted from a play (or even a novel), may even borrow their source's original dialogue liberally – much as
897:, the final lines in the libretto are "Tramontate, stelle! All'alba, vincerò!" (Fade, you stars! At dawn, I will win!). However, in the score they are sung as "Tramontate, stelle! Tramontate, stelle! All'alba, vincerò! Vincerò! Vincerò!".
797:. Today the composer (past or present) of the musical score to an opera or operetta is usually given top billing for the completed work, and the writer of the lyrics relegated to second place or a mere footnote, a notable exception being
673:
As the originating language of opera, Italian dominated that genre in Europe (except in France) well through the 18th century, and even into the next century in Russia, for example, when the
Italian opera troupe in
349:
wrote passages of music without text and subsequently had the librettist add words to the vocal melody lines (this has often been the case with
American popular song and musicals in the 20th century, as with
434:, or an entirely original work. In the case of musicals, the music, the lyrics and the "book" (i.e., the spoken dialogue and the stage directions) may each have its own author. Thus, a musical such as
250:, known as Metastasio (1698–1782) was one of the most highly regarded librettists in Europe. His libretti were set many times by many different composers. Another noted 18th-century librettist was
1141:
821:, a celebrated Italian poet, novelist and dramatist of the day. In some cases, the operatic adaptation has become more famous than the literary text on which it was based, as with
185:
to refer to the 15- to 40-page books which were on sale to 19th century ballet audiences in Paris and contained a very detailed description of the ballet's story, scene by scene.
1187:
957:
Durdilly (8 November 1848 — 11 October 1929), founder of the
Comptoir général de musique française et étrangère (1878) is remembered for the new translation of
709:, and instead of Ferrando singing "Un' aura amorosa" French-speaking audiences were treated to Fernand singing "Ma belle est fidèle autant qu'elle est belle".
1063:
Frontier
Research in Opera and Multimedia Preservation: a Project Involving the Documentation and Full Text Retrieval of the Libretti of Pietro Metastasio
838:
The question of which is more important in opera – the music or the words – has been debated over time, and forms the basis of at least two operas,
373:
is perhaps most famous in this regard, with his transformations of
Germanic legends and events into epic subjects for his operas and music dramas.
469:
for stage or screen. There are the preliminary steps of selecting or suggesting a subject and developing a sketch of the action in the form of a
1565:
1153:(Libretto in dream and in reality), holding Russian and some Western libretti (in the Russian language, as Microsoft Word files), notably:
755:(script or screen play), which are used in the Hispanic TV and cinema industry, derived their meanings from the original operatic sense.
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musicals, or changes made for a specific local audience. A famous case of the latter is Wagner's 1861 revision of the original 1845
854:
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Sometimes the libretto is written in close collaboration with the composer; this can involve adaptation, as was the case with
1024:
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in the creation of a musical work has varied over the centuries, as have the sources and the writing techniques employed.
177:
of the plot, in that the libretto contains all the words and stage directions, while a synopsis summarizes the plot. Some
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1173:
562:
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In the context of a modern
English-language musical theatre piece, the libretto is considered to encompass both the
1577:
244:
in the 17th and 18th centuries were generally written by someone other than the composer, often a well-known poet.
226:
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left in manuscript. But even in late 18th century London, reviews rarely mentioned the name of the librettist, as
1558:
910:
803:
662:
452:). In rare cases, the composer writes everything except the dance arrangements – music, lyrics and libretto, as
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vehicles, are largely unaffected, but this practice is especially misleading in translations of musicals like
473:, as well as revisions that might come about when the work is in production, as with out-of-town tryouts for
1493:
1257:
987:(Victor Hugo disapproved of Edouard Duprez's translation) ; he also translated from the German (Faust,
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was challenged by the emerging native
Russian repertory. Significant exceptions before 1800 can be found in
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Pari siamo! Io la lingua, egli ha il pugnale. Storia del melodramma ottocentesco attraverso i suoi libretti
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1091:. First ed. New York: A.A. Knopf, 1970. xxii, 417, xvi p. + p. of b&w ill. Without ISBN or SBN
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By the 20th century some librettists became recognised as part of famous collaborations, as with
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was one of the most prolific librettists of the 19th century, providing the words for works by
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Just as with literature and song, the libretto has its share of problems and challenges with
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is also sometimes used to refer to the text of major liturgical works, such as the
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Other matters in the process of developing a libretto parallel those of spoken
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The libretto is not always written before the music. Some composers, such as
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were generally written first, which was
Rodgers' preferred modus operandi).
75:) is the text used in, or intended for, an extended musical work such as an
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which was a close rendering of a highly successful play by its librettist,
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1065:. London: Faculty of Music, University of Western Ontario. Without ISBN
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610:, which supplied most of the dialogue, and the 1954 musical version of
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23:. For the seat-back translation system used in some opera houses, see
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Text used in an extended musical work such as an opera or musical
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654:, although it bills itself as a "free adaptation" of the novel.
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of the work (i.e., the spoken dialogue) and the sung lyrics.
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set to music as written – in prose – with the lyrics of the
377:, too, wrote the libretti for two of his best-known works,
669:(1659–1695), whose operas were written to English libretti
258:'s greatest operas, and for many other composers as well.
1089:
The Tenth Muse: a
Historical Study of the Opera Libretto
871:) this format is supplemented with melodic excerpts of
173:
for
Spanish. A libretto is distinct from a synopsis or
2112:
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1813:
1747:
1671:
1585:
1303:
1250:
1207:
867:operas). Sometimes (particularly for operas in the
1119:Public Domain opera libretti and other vocal texts
358:'s collaboration, although with the later team of
981:(on Youtube) ; a new translation of Verdi's
751:(playwright, script writer or screenwriter) and
53:(an English word derived from the Italian word
1559:
1181:
1161:Libretti in Biblioteca Estense, Modena, Italy
588:took most of its dialogue word-for-word from
141:
123:
54:
8:
707:Ainsi font toutes, ou la Fidélité des femmes
266:(with whom he had a lasting collaboration),
1126:Selected operas with corresponding libretti
628:Edna Ferber novel from which it was adapted
192:(that is, the writer of a libretto) to the
111:and sacred cantata, or the story line of a
60:
1566:
1552:
1544:
1188:
1174:
1166:
604:was adapted from the 1959 television play
937:. Princeton University Press. p. 3.
369:Some composers wrote their own libretti.
318:, who wrote libretti for, among others,
161:are used for libretti in that language,
2119:
1041:MacNutt, Richard (1992), "Libretto" in
922:
495:The opera libretto from its inception (
326:, also composed two operas of his own.
207:Relationship of composer and librettist
934:Ballet and Opera in the Age of Giselle
626:, which is greatly different from the
254:. He wrote the libretti for three of
146:
132:
7:
157:("book"). Sometimes other-language
1155:Libretti of classic Russian operas
14:
1132:Index of over 1000 opera libretti
1044:The New Grove Dictionary of Opera
2122:
931:Smith, Marian Elizabeth (2000).
448:) and the writer of the "book" (
416:Pages from an 1859 libretto for
151:) is the diminutive of the word
1455:Political or revolutionary song
855:Prima la musica e poi le parole
801:, who received top billing for
712:Many musicals, such as the old
1099:The Oxford Dictionary of Opera
1029:The Oxford Dictionary of Music
620:'s dialogue. Even the musical
225:, flanked by his librettists,
1:
644:uses chunks of dialogue from
496:
181:historians also use the word
36:Cover of a 1921 libretto for
1073:. Torino: E.D.T. Edizioni.
516:, for instance, are merely
2173:
1008:Libretto in French :
971:) ; a translation of
967:, November 17, 1896, with
694:of the 18th century, etc.
302:libretti for the likes of
286:. The French writers' duo
227:Giovanni Targioni-Tozzetti
18:
2145:Italian opera terminology
1069:Portinari, Folco (1981).
911:List of opera librettists
804:Four Saints in Three Acts
786:lamented in his memoirs.
807:. Another exception was
658:Language and translation
491:Literary characteristics
188:The relationship of the
1151:Либретто во сне и наяву
1142:Selected opera libretti
1097:and West, Ewan (1992),
875:for important numbers.
795:Rodgers and Hammerstein
360:Rodgers and Hammerstein
1124:OperaGlass Opera Index
778:
777:, is given top billing
773:where the librettist,
670:
423:
233:
142:
124:
55:
46:
19:For the computer, see
2061:Stile rappresentativo
1061:Neville, Don (1990).
766:
665:
563:Green Grow the Lilacs
481:version of his opera
415:
380:La damnation de Faust
236:Libretti for operas,
214:
35:
828:Pelléas et Mélisande
791:Gilbert and Sullivan
403:for the libretto of
218:Cavalleria rusticana
1734:Tragédie en musique
1603:Concert performance
1268:Electronic libretto
1197:Musical composition
833:Maurice Maeterlinck
819:Gabriele D'Annunzio
775:Gabriele D'Annunzio
590:George Bernard Shaw
572:used dialogue from
556:used dialogue from
437:Fiddler on the Roof
430:and his librettist
324:Amilcare Ponchielli
148:[liˈbretti]
134:[liˈbretto]
25:electronic libretto
2066:Tenore contraltino
1336:Sentimental ballad
1087:Smith, Patrick J.
814:La figlia di Iorio
809:Alberto Franchetti
779:
770:La figlia di Iorio
747:The Spanish words
671:
546:written in verse.
424:
234:
165:for French works,
47:
2110:
2109:
1541:
1540:
1237:Singer-songwriter
929:See, for example
891:" from Puccini's
686:'s first operas,
304:Jacques Offenbach
2162:
2127:
2126:
2118:
2071:Tenore di grazia
1826:Aria di sorbetto
1568:
1561:
1554:
1545:
1326:Execution ballad
1285:Musical notation
1190:
1183:
1176:
1167:
1084:
1025:Kennedy, Michael
1012:
1006:
1000:
955:
949:
948:
927:
873:musical notation
831:after a play by
784:Lorenzo Da Ponte
733:The Wizard of Oz
676:Saint Petersburg
601:Man of La Mancha
501:
498:
440:has a composer (
252:Lorenzo Da Ponte
215:The composer of
150:
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21:Toshiba Libretto
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2150:Musical theatre
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1760:Gesamtkunstwerk
1743:
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1370:Christmas carol
1363:Repetitive song
1358:Cumulative song
1348:Children's song
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1258:Instrumentation
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1019:Further reading
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974:The Magic Flute
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850:Antonio Salieri
840:Richard Strauss
761:
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646:Charles Dickens
522:Dorothy Heyward
508:George Gershwin
499:
493:
446:Sheldon Harnick
444:), a lyricist (
432:Vladimir Belsky
428:Rimsky-Korsakov
352:Richard Rodgers
339:Rimsky-Korsakov
335:Alexander Serov
248:Pietro Trapassi
223:Pietro Mascagni
209:
169:for German and
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11:
5:
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811:'s 1906 opera
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722:Carmen Miranda
703:Così fan tutte
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607:I, Don Quixote
513:Porgy and Bess
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375:Hector Berlioz
371:Richard Wagner
331:Mikhail Glinka
320:Giuseppe Verdi
308:Jules Massenet
292:Ludovic Halévy
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43:Andrea Chénier
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1780:Literaturoper
1778:
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1770:Kapellmeister
1768:
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1593:Breeches role
1591:
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1507:
1505:
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1501:
1500:
1499:Sporting song
1497:
1495:
1492:
1488:
1487:"I Want" song
1485:
1484:
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1480:
1476:
1473:
1471:
1468:
1466:
1463:
1461:
1460:Campaign song
1458:
1457:
1456:
1453:
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1436:
1432:
1431:Nonsense song
1429:
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1417:
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1407:
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1398:
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1383:
1382:Drinking song
1380:
1376:
1373:
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1371:
1368:
1364:
1361:
1359:
1356:
1354:
1353:Campfire song
1351:
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1341:
1337:
1334:
1332:
1331:Murder ballad
1329:
1327:
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1309:
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1306:
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1296:
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1291:
1290:Orchestration
1288:
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1128:
1125:
1122:
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1117:
1116:
1112:
1108:
1107:0-19-869164-5
1104:
1101:, 782 pages,
1100:
1096:
1095:Warrack, John
1093:
1090:
1086:
1082:
1080:88-7063-017-X
1076:
1072:
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1060:
1058:
1057:0-333-73432-7
1054:
1050:
1049:Stanley Sadie
1046:
1045:
1040:
1038:
1037:0-19-861459-4
1034:
1031:, 985 pages,
1030:
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965:Opéra-Comique
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946:
944:9780691049946
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869:public domain
861:
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677:
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667:Henry Purcell
664:
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637:
633:
632:miscegenation
629:
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581:
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574:Ferenc Molnár
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396:
395:Georg Büchner
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312:Georges Bizet
309:
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297:
293:
289:
288:Henri Meilhac
285:
281:
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269:
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260:Eugène Scribe
257:
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231:Guido Menasci
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2031:Solita forma
1950:
1911:Da capo aria
1805:Sprechgesang
1765:Kammersänger
1704:Haute-contre
1658:Sung-through
1521:Tragedy song
1470:Protest song
1465:Freedom song
1426:Novelty song
1419:Breakup song
1280:Musical form
1262:
1157:(in Russian)
1098:
1088:
1070:
1062:
1042:
1028:
1004:
982:
979:Hervé Niquet
972:
960:Don Giovanni
958:
953:
933:
925:
899:
892:
889:Nessun dorma
877:
865:
853:
843:
837:
826:
812:
802:
788:
780:
768:
752:
748:
746:
741:
738:My Fair Lady
737:
731:
725:
714:Betty Grable
711:
706:
696:
688:ballad opera
672:
651:Oliver Twist
649:
639:
621:
618:J. M. Barrie
611:
605:
599:
593:
585:My Fair Lady
583:
577:
567:
561:
551:
548:
525:
511:
494:
482:
464:
457:
450:Joseph Stein
435:
425:
417:
404:
398:
384:
378:
368:
328:
316:Arrigo Boito
246:
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216:
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189:
187:
182:
170:
166:
162:
152:
117:
100:
50:
48:
41:
29:
2011:Prima donna
1986:Opera seria
1906:Convenienze
1896:Comprimario
1886:Chiaroscuro
1648:Patter song
1643:Opera house
1598:Chest voice
1438:Patter song
1392:Sleeper hit
1375:Advent song
1311:Answer song
862:Publication
767:Poster for
699:translation
636:Lionel Bart
634:scene. And
504:recitatives
500: 1600
487:for Paris.
454:Lionel Bart
386:Les Troyens
356:Lorenz Hart
294:wrote many
159:equivalents
99:. The term
2139:Categories
2102:Hovsångare
2021:Ritornello
2016:Recitative
2006:Portamento
1966:Melodramma
1941:Intermezzo
1936:Impresario
1926:Falsettone
1891:Coloratura
1719:Répétiteur
1613:Head voice
1531:Sea shanty
1516:Theme song
1504:Fight song
1414:Torch song
1397:Summer hit
1304:Song types
1295:Song cycle
1251:Components
1242:Hymnwriter
1232:Songwriter
917:References
749:libretista
718:Don Ameche
682:'s works,
558:Lynn Riggs
484:Tannhäuser
442:Jerry Bock
391:Alban Berg
190:librettist
130:pronounced
2076:Tessitura
2001:Pasticcio
1996:Passaggio
1931:Fioritura
1901:Contralto
1871:Cantabile
1861:Cabaletta
1841:Bel canto
1800:Spieloper
1795:Sitzprobe
1790:Singspiel
1785:Regieoper
1775:Leitmotif
1709:Intermède
1699:Entr'acte
1663:Surtitles
1633:Monodrama
1628:Melodrama
1623:Mad scene
1580:by origin
1526:Work song
1482:Show tune
1448:Hymn tune
1443:Plainsong
1409:Love song
1404:List song
1051:(London)
984:Rigoletto
845:Capriccio
727:Show Boat
692:Singspiel
648:'s novel
623:Show Boat
613:Peter Pan
595:Pygmalion
553:Oklahoma!
510:'s opera
276:Donizetti
264:Meyerbeer
238:oratorios
2056:Stagione
2026:Sinfonia
1951:Libretto
1921:Falsetto
1881:Cavatina
1876:Castrato
1856:Burletta
1851:Brindisi
1739:Travesti
1714:Overture
1653:Prompter
1608:Duodrama
1475:War song
1387:Hit song
1343:Car song
1316:Art song
1263:Libretto
1227:Lyricist
1215:Composer
1027:(2006),
905:See also
894:Turandot
878:Printed
742:Carousel
569:Carousel
544:choruses
524:'s play
475:Broadway
471:scenario
456:did for
397:'s play
393:adapted
347:Mascagni
300:operetta
242:cantatas
194:composer
183:libretto
175:scenario
167:Textbuch
143:libretti
125:libretto
101:libretto
89:oratorio
81:operetta
56:libretto
51:libretto
38:Giordano
2086:Vibrato
2081:Verismo
2051:Squillo
2036:Soprano
1961:Maestro
1956:Licenza
1866:Cadenza
1846:Bravura
1814:Italian
1724:Roulade
1586:English
989:Fidelio
753:libreto
705:became
680:Purcell
641:Oliver!
479:Dresden
459:Oliver!
406:Wozzeck
400:Woyzeck
343:Puccini
280:Rossini
272:Bellini
171:libreto
120:Italian
109:requiem
97:musical
93:cantata
70:booklet
64:
2115:Portal
2046:Spinto
1981:Musico
1946:Legato
1831:Arioso
1748:German
1729:Timbre
1694:Encore
1679:Claque
1672:French
1638:Number
1321:Ballad
1275:Lyrics
1105:
1077:
1055:
1047:, ed.
1035:
1010:p. 107
997:Oberon
941:
880:scores
759:Status
684:Handel
579:Liliom
518:DuBose
467:dramas
419:Ernani
364:lyrics
256:Mozart
179:ballet
163:livret
139:plural
113:ballet
85:masque
2129:Opera
2095:Other
1991:Ossia
1836:Banda
1578:terms
1575:Opera
1208:Roles
1146:Naxos
616:used
540:trios
536:duets
532:arias
527:Porgy
296:opera
284:Verdi
268:Auber
154:libro
122:word
77:opera
1916:Diva
1821:Aria
1755:Fach
1220:List
1201:song
1199:and
1103:ISBN
1075:ISBN
1053:ISBN
1033:ISBN
939:ISBN
885:aria
848:and
690:and
542:and
520:and
383:and
362:the
354:and
345:and
322:and
310:and
298:and
290:and
282:and
240:and
229:and
201:book
118:The
105:Mass
61:lit.
1144:at
852:'s
842:'s
825:'s
793:or
740:or
638:'s
592:'s
576:'s
560:'s
506:of
95:or
40:'s
2141::
995:,
991:,
858:.
835:.
736:,
730:,
720:–
716:–
598:,
582:,
566:,
538:,
534:,
497:c.
462:.
409:.
389:.
341:,
337:,
333:,
314:.
306:,
278:,
274:,
270:,
221:,
137:,
115:.
107:,
91:,
87:,
83:,
79:,
59:,
49:A
2117::
1567:e
1560:t
1553:v
1189:e
1182:t
1175:v
1083:.
999:…
963:(
947:.
887:"
128:(
73:'
67:'
27:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
