223:
424:
775:
712:. 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 :
2135:
755:, 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.
674:
513:) 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
792:
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
911:
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.
877:
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
44:
893:
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
560:
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
908:, 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!".
808:. 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
684:
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
360:
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
445:, 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
261:, 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
1152:
832:, 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
196:
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.
1198:
968:
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
720:, 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".
1074:
Frontier
Research in Opera and Multimedia Preservation: a Project Involving the Documentation and Full Text Retrieval of the Libretti of Pietro Metastasio
849:
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,
384:
is perhaps most famous in this regard, with his transformations of
Germanic legends and events into epic subjects for his operas and music dramas.
480:
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
1576:
1164:(Libretto in dream and in reality), holding Russian and some Western libretti (in the Russian language, as Microsoft Word files), notably:
766:(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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838:
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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
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Sometimes the libretto is written in close collaboration with the composer; this can involve adaptation, as was the case with
1035:
207:
in the creation of a musical work has varied over the centuries, as have the sources and the writing techniques employed.
188:
of the plot, in that the libretto contains all the words and stage directions, while a synopsis summarizes the plot. Some
2125:
1184:
573:
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In the context of a modern
English-language musical theatre piece, the libretto is considered to encompass both the
1588:
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in the 17th and 18th centuries were generally written by someone other than the composer, often a well-known poet.
237:
793:
left in manuscript. But even in late 18th century London, reviews rarely mentioned the name of the librettist, as
1569:
921:
814:
673:
463:). In rare cases, the composer writes everything except the dance arrangements – music, lyrics and libretto, as
2160:
735:
vehicles, are largely unaffected, but this practice is especially misleading in translations of musicals like
484:, as well as revisions that might come about when the work is in production, as with out-of-town tryouts for
1504:
1268:
998:(Victor Hugo disapproved of Edouard Duprez's translation) ; he also translated from the German (Faust,
805:
689:
was challenged by the emerging native
Russian repertory. Significant exceptions before 1800 can be found in
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370:
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266:
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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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1102:. 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).
86:) 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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1076:. London: Faculty of Music, University of Western Ontario. Without ISBN
999:
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621:, which supplied most of the dialogue, and the 1954 musical version of
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469:
416:
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252:
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34:. For the seat-back translation system used in some opera houses, see
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1991:
1956:
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1704:
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694:
589:
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95:
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2001:
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Text used in an extended musical work such as an opera or musical
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665:, although it bills itself as a "free adaptation" of the novel.
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641:, uses some of Ferber's original dialogue, notably during the
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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
388:, too, wrote the libretti for two of his best-known works,
680:(1659–1695), whose operas were written to English libretti
269:'s greatest operas, and for many other composers as well.
1100:
The Tenth Muse: a
Historical Study of the Opera Libretto
882:) this format is supplemented with melodic excerpts of
184:
for
Spanish. A libretto is distinct from a synopsis or
2123:
2105:
1824:
1758:
1682:
1596:
1314:
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1218:
878:operas). Sometimes (particularly for operas in the
1130:Public Domain opera libretti and other vocal texts
369:'s collaboration, although with the later team of
992:(on Youtube) ; a new translation of Verdi's
762:(playwright, script writer or screenwriter) and
64:(an English word derived from the Italian word
1570:
1192:
1172:Libretti in Biblioteca Estense, Modena, Italy
599:took most of its dialogue word-for-word from
152:
134:
65:
8:
718:Ainsi font toutes, ou la Fidélité des femmes
277:(with whom he had a lasting collaboration),
1137:Selected operas with corresponding libretti
639:Edna Ferber novel from which it was adapted
203:(that is, the writer of a libretto) to the
122:and sacred cantata, or the story line of a
71:
1577:
1563:
1555:
1199:
1185:
1177:
615:was adapted from the 1959 television play
948:. Princeton University Press. p. 3.
380:Some composers wrote their own libretti.
329:, who wrote libretti for, among others,
172:are used for libretti in that language,
2130:
1052:MacNutt, Richard (1992), "Libretto" in
933:
506:The opera libretto from its inception (
337:, also composed two operas of his own.
218:Relationship of composer and librettist
945:Ballet and Opera in the Age of Giselle
637:, which is greatly different from the
265:. He wrote the libretti for three of
157:
143:
7:
168:("book"). Sometimes other-language
1166:Libretti of classic Russian operas
25:
1143:Index of over 1000 opera libretti
1055:The New Grove Dictionary of Opera
2133:
942:Smith, Marian Elizabeth (2000).
459:) and the writer of the "book" (
427:Pages from an 1859 libretto for
162:) is the diminutive of the word
1466:Political or revolutionary song
866:Prima la musica e poi le parole
812:, who received top billing for
723:Many musicals, such as the old
1110:The Oxford Dictionary of Opera
1040:The Oxford Dictionary of Music
631:'s dialogue. Even the musical
236:, flanked by his librettists,
1:
655:uses chunks of dialogue from
507:
192:historians also use the word
47:Cover of a 1921 libretto for
1084:. Torino: E.D.T. Edizioni.
527:, for instance, are merely
2182:
1019:Libretto in French :
982:) ; a translation of
978:, November 17, 1896, with
705:of the 18th century, etc.
313:libretti for the likes of
297:. The French writers' duo
238:Giovanni Targioni-Tozzetti
29:
2156:Italian opera terminology
1080:Portinari, Folco (1981).
922:List of opera librettists
815:Four Saints in Three Acts
797:lamented in his memoirs.
818:. Another exception was
669:Language and translation
502:Literary characteristics
199:The relationship of the
1162:Либретто во сне и наяву
1153:Selected opera libretti
1108:and West, Ewan (1992),
886:for important numbers.
806:Rodgers and Hammerstein
371:Rodgers and Hammerstein
1135:OperaGlass Opera Index
789:
788:, is given top billing
784:where the librettist,
681:
434:
244:
153:
135:
66:
57:
30:For the computer, see
2072:Stile rappresentativo
1072:Neville, Don (1990).
777:
676:
574:Green Grow the Lilacs
492:version of his opera
426:
391:La damnation de Faust
247:Libretti for operas,
225:
46:
839:Pelléas et Mélisande
802:Gilbert and Sullivan
414:for the libretto of
229:Cavalleria rusticana
1745:Tragédie en musique
1614:Concert performance
1279:Electronic libretto
1208:Musical composition
844:Maurice Maeterlinck
830:Gabriele D'Annunzio
786:Gabriele D'Annunzio
601:George Bernard Shaw
583:used dialogue from
567:used dialogue from
448:Fiddler on the Roof
441:and his librettist
335:Amilcare Ponchielli
159:[liˈbretti]
145:[liˈbretto]
36:electronic libretto
2077:Tenore contraltino
1347:Sentimental ballad
1098:Smith, Patrick J.
825:La figlia di Iorio
820:Alberto Franchetti
790:
781:La figlia di Iorio
758:The Spanish words
682:
557:written in verse.
435:
245:
176:for French works,
58:
2121:
2120:
1552:
1551:
1248:Singer-songwriter
940:See, for example
902:" from Puccini's
697:'s first operas,
315:Jacques Offenbach
16:(Redirected from
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2138:
2137:
2129:
2082:Tenore di grazia
1837:Aria di sorbetto
1579:
1572:
1565:
1556:
1337:Execution ballad
1296:Musical notation
1201:
1194:
1187:
1178:
1095:
1036:Kennedy, Michael
1023:
1017:
1011:
966:
960:
959:
938:
884:musical notation
842:after a play by
795:Lorenzo Da Ponte
744:The Wizard of Oz
687:Saint Petersburg
612:Man of La Mancha
512:
509:
451:has a composer (
263:Lorenzo Da Ponte
226:The composer of
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32:Toshiba Libretto
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2052:Soprano sfogato
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1771:Gesamtkunstwerk
1754:
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1381:Christmas carol
1374:Repetitive song
1369:Cumulative song
1359:Children's song
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1269:Instrumentation
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1030:Further reading
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985:The Magic Flute
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851:Richard Strauss
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657:Charles Dickens
533:Dorothy Heyward
519:George Gershwin
510:
504:
457:Sheldon Harnick
455:), a lyricist (
443:Vladimir Belsky
439:Rimsky-Korsakov
363:Richard Rodgers
350:Rimsky-Korsakov
346:Alexander Serov
259:Pietro Trapassi
234:Pietro Mascagni
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834:Claude Debussy
822:'s 1906 opera
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733:Carmen Miranda
714:Così fan tutte
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618:I, Don Quixote
524:Porgy and Bess
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386:Hector Berlioz
382:Richard Wagner
342:Mikhail Glinka
331:Giuseppe Verdi
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1982:Messa di voce
1980:
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1968:
1965:
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1791:Literaturoper
1789:
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1781:Kapellmeister
1779:
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1604:Breeches role
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1521:
1518:
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1513:
1512:
1511:
1510:Sporting song
1508:
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1499:
1498:"I Want" song
1496:
1495:
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1482:
1479:
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1471:Campaign song
1469:
1468:
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1464:
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1447:
1443:
1442:Nonsense song
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1393:Drinking song
1391:
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1375:
1372:
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1367:
1365:
1364:Campfire song
1362:
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1343:
1342:Murder ballad
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1301:Orchestration
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1128:
1127:
1123:
1119:
1118:0-19-869164-5
1115:
1112:, 782 pages,
1111:
1107:
1106:Warrack, John
1104:
1101:
1097:
1093:
1091:88-7063-017-X
1087:
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1068:0-333-73432-7
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1060:Stanley Sadie
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1049:
1048:0-19-861459-4
1045:
1042:, 985 pages,
1041:
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976:Opéra-Comique
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955:9780691049946
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880:public domain
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679:
678:Henry Purcell
675:
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648:
644:
643:miscegenation
640:
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608:
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598:
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585:Ferenc Molnár
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406:Georg Büchner
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324:
323:Georges Bizet
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300:
299:Henri Meilhac
296:
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271:Eugène Scribe
268:
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242:Guido Menasci
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19:
2042:Solita forma
1961:
1922:Da capo aria
1816:Sprechgesang
1776:Kammersänger
1715:Haute-contre
1669:Sung-through
1532:Tragedy song
1481:Protest song
1476:Freedom song
1437:Novelty song
1430:Breakup song
1291:Musical form
1273:
1168:(in Russian)
1109:
1099:
1081:
1073:
1053:
1039:
1015:
993:
990:Hervé Niquet
983:
971:Don Giovanni
969:
964:
944:
936:
910:
903:
900:Nessun dorma
888:
876:
864:
854:
848:
837:
823:
813:
799:
791:
779:
763:
759:
757:
752:
749:My Fair Lady
748:
742:
736:
725:Betty Grable
722:
717:
707:
699:ballad opera
683:
662:Oliver Twist
660:
650:
632:
629:J. M. Barrie
622:
616:
610:
604:
596:My Fair Lady
594:
588:
578:
572:
562:
559:
536:
522:
505:
493:
475:
468:
461:Joseph Stein
446:
436:
428:
415:
409:
395:
389:
379:
339:
327:Arrigo Boito
257:
246:
227:
209:
200:
198:
193:
181:
177:
173:
163:
128:
111:
61:
59:
52:
40:
2022:Prima donna
1997:Opera seria
1917:Convenienze
1907:Comprimario
1897:Chiaroscuro
1659:Patter song
1654:Opera house
1609:Chest voice
1449:Patter song
1403:Sleeper hit
1386:Advent song
1322:Answer song
873:Publication
778:Poster for
710:translation
647:Lionel Bart
645:scene. And
515:recitatives
511: 1600
498:for Paris.
465:Lionel Bart
397:Les Troyens
367:Lorenz Hart
305:wrote many
170:equivalents
110:. The term
2150:Categories
2113:Hovsångare
2032:Ritornello
2027:Recitative
2017:Portamento
1977:Melodramma
1952:Intermezzo
1947:Impresario
1937:Falsettone
1902:Coloratura
1730:Répétiteur
1624:Head voice
1542:Sea shanty
1527:Theme song
1515:Fight song
1425:Torch song
1408:Summer hit
1315:Song types
1306:Song cycle
1262:Components
1253:Hymnwriter
1243:Songwriter
928:References
760:libretista
729:Don Ameche
693:'s works,
569:Lynn Riggs
495:Tannhäuser
453:Jerry Bock
402:Alban Berg
201:librettist
141:pronounced
2087:Tessitura
2012:Pasticcio
2007:Passaggio
1942:Fioritura
1912:Contralto
1882:Cantabile
1872:Cabaletta
1852:Bel canto
1811:Spieloper
1806:Sitzprobe
1801:Singspiel
1796:Regieoper
1786:Leitmotif
1720:Intermède
1710:Entr'acte
1674:Surtitles
1644:Monodrama
1639:Melodrama
1634:Mad scene
1591:by origin
1537:Work song
1493:Show tune
1459:Hymn tune
1454:Plainsong
1420:Love song
1415:List song
1062:(London)
995:Rigoletto
856:Capriccio
738:Show Boat
703:Singspiel
659:'s novel
634:Show Boat
624:Peter Pan
606:Pygmalion
564:Oklahoma!
521:'s opera
287:Donizetti
275:Meyerbeer
249:oratorios
2067:Stagione
2037:Sinfonia
1962:Libretto
1932:Falsetto
1892:Cavatina
1887:Castrato
1867:Burletta
1862:Brindisi
1750:Travesti
1725:Overture
1664:Prompter
1619:Duodrama
1486:War song
1398:Hit song
1354:Car song
1327:Art song
1274:Libretto
1238:Lyricist
1226:Composer
1038:(2006),
916:See also
905:Turandot
889:Printed
753:Carousel
580:Carousel
555:choruses
535:'s play
486:Broadway
482:scenario
467:did for
408:'s play
404:adapted
358:Mascagni
311:operetta
253:cantatas
205:composer
194:libretto
186:scenario
178:Textbuch
154:libretti
136:libretto
112:libretto
100:oratorio
92:operetta
67:libretto
62:libretto
49:Giordano
18:Textbuch
2097:Vibrato
2092:Verismo
2062:Squillo
2047:Soprano
1972:Maestro
1967:Licenza
1877:Cadenza
1857:Bravura
1825:Italian
1735:Roulade
1597:English
1000:Fidelio
764:libreto
716:became
691:Purcell
652:Oliver!
490:Dresden
470:Oliver!
417:Wozzeck
411:Woyzeck
354:Puccini
291:Rossini
283:Bellini
182:libreto
131:Italian
120:requiem
108:musical
104:cantata
81:booklet
75:
2126:Portal
2057:Spinto
1992:Musico
1957:Legato
1842:Arioso
1759:German
1740:Timbre
1705:Encore
1690:Claque
1683:French
1649:Number
1332:Ballad
1286:Lyrics
1116:
1088:
1066:
1058:, ed.
1046:
1021:p. 107
1008:Oberon
952:
891:scores
770:Status
695:Handel
590:Liliom
529:DuBose
478:dramas
430:Ernani
375:lyrics
267:Mozart
190:ballet
174:livret
150:plural
124:ballet
96:masque
2140:Opera
2106:Other
2002:Ossia
1847:Banda
1589:terms
1586:Opera
1219:Roles
1157:Naxos
627:used
551:trios
547:duets
543:arias
538:Porgy
307:opera
295:Verdi
279:Auber
165:libro
133:word
88:opera
1927:Diva
1832:Aria
1766:Fach
1231:List
1212:song
1210:and
1114:ISBN
1086:ISBN
1064:ISBN
1044:ISBN
950:ISBN
896:aria
859:and
701:and
553:and
531:and
394:and
373:the
365:and
356:and
333:and
321:and
309:and
301:and
293:and
251:and
240:and
212:book
129:The
116:Mass
72:lit.
1155:at
863:'s
853:'s
836:'s
804:or
751:or
649:'s
603:'s
587:'s
571:'s
517:of
106:or
51:'s
2152::
1006:,
1002:,
869:.
846:.
747:,
741:,
731:–
727:–
609:,
593:,
577:,
549:,
545:,
508:c.
473:.
420:.
400:.
352:,
348:,
344:,
325:.
317:,
289:,
285:,
281:,
232:,
148:,
126:.
118:,
102:,
98:,
94:,
90:,
70:,
60:A
2128::
1578:e
1571:t
1564:v
1200:e
1193:t
1186:v
1094:.
1010:…
974:(
958:.
898:"
139:(
84:'
78:'
38:.
20:)
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