# Literary source seeping through the libretto and music



## BBSVK (10 mo ago)

The opera libretto is often based on another literary source, like a novel or theatrical play. Sometimes the libretto significantly differs from this original source, changing the plot or the emotional dynamic. In spite of this, you can sometimes "feel" the removed original element, either through plot holes or even music.

EDIT: An example: Dellilah in the opera by Saint Saens (Samson et Dellilah) completely fakes her love for Samson, but in the original play by Voltaire, she really loves him. People for years resist the fact, that the famous love aria / duet "Mon coeur s'ouvre a ta voix" depicts a faked love, scholars write essays that certainly Dellilah loves or at least physically desires Samson after all... My argument is, that the original play by Voltaire influenced the outcome. (There are also simpler reasons. The music is bad at depicting irony, people are not trained to see fake love arias in the opera... But my focus now is on the original source in the background).

If you know what I mean, let's list the examples.


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## Tsaraslondon (Nov 7, 2013)

Meilhac and Halévy's libretto is a slightly watered down version of Merimée's original novel, possibly to appease the morals of the day. In the opera, Escamillo is her only indiscretion whilst with José, whereas in the novel she has several lovers. However, I've always felt that the character of Carmen, as depicted by Bizet in the opera, is more like Merimée, which is what makes her so fascinating. Trying to water down her _relaxed _moral code does her a disservice. She is a modern woman, a free spirit who refuses to be tied down by any man; a woman who lives by her own code. Maybe she is more to be admired than admonished. She is certainly one of the most controversial characters in operatic history.


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## BBSVK (10 mo ago)

Norma by Bellini (libretto by Romani) was moved in time, so that, unlike in the play by Soumet, Christianity does not exist yet. However, Adalgisa always resembled the positive stereotype of a pious Chtistian girl, so it made sense, that she converts to Christianity in the original Soumet"s play.

EDIT: I also associate Adalgisa's arioso "Deh, protegi mi o dio" with baroque music and Christian religion.


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## BBSVK (10 mo ago)

Tsaraslondon said:


> ... In the opera, Escamillo is her only indiscretion whilst with José, ...


I think she also slept with the border guard while smuggling things through the mountains. Or did she only distract the guard, without the actual sex happening ? Anyway, it doesn't change your point that much.


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## ColdGenius (9 mo ago)

Most baroque operas are examples of free treat with literary sources. Eneide, more exactly its Carthage chapters, was adapted at least twice before much more accurate Berlioz. In Purcell's version some witches-dissidents act. As someone noticed in a neighbor thread, Dido's suicide is not shown. This typical omitting sharp moments in a light entertainment had been practicing since the first opera in history, about Orpheus and Eurydice, but with happy ending. Cavalli's Didone has a happy ending too. Still further Sicheus isn't dead there. But compared to Berlioz'es in Cavalli's opera troyan act is closer to a source and apparitions of gods are present.
What happened between Troy and Carthage is barely mentioned. Further adventures of Aeneas also didn't become an opera.


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## Mandryka (Feb 22, 2013)

Dusapin’s _Faustus, The Last Night_ is interesting in this respect. Also Rihm’s _Die Eroberung von Mexico_


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## BBSVK (10 mo ago)

Wha


ColdGenius said:


> Most baroque operas are examples of free treat with literary sources. Eneide, more exactly its Carthage chapters, was adapted at least twice before much more accurate Berlioz. In Purcell's version some witches-dissidents act. As someone noticed in a neighbor thread, Dido's suicide is not shown. This typical omitting sharp moments in a light entertainment had been practicing since the first opera in history, about Orpheus and Eurydice, but with happy ending. Cavalli's Didone has a happy ending too. Still further Sicheus isn't dead there. But compared to Berlioz'es in Cavalli's opera troyan act is closer to a source and apparitions of gods are present.
> What happened between Troy and Carthage is barely mentioned. Further adventures of Aeneas also didn't become an opera.


I edited my original post, so that it is more clear what I mean. But yes, people expect Dido to commit suicide, when hearing the sad aria from Purcell. I can even imagine a bold production team taking liberties and inserting the missing suicide into the opera.


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## BBSVK (10 mo ago)

Mandryka said:


> Dusapin’s _Faustus, The Last Night_ is interesting in this respect. Also Rihm’s _Die Eroberung von Mexico_


What happens there ?


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## Mandryka (Feb 22, 2013)

BBSVK said:


> What happens there ?


You can hear the Dusapin here - it's in English

Паскаль Дюсапен. Фаустус, последняя ночь/ Faustus, the Last Night. Лионская опера (март 2006) - мировая премьера :: video.mail.ru

And here's a discussion of its literary allusions

document (archives-ouvertes.fr)

The Rihm is based on Artaud's _Le théâtre de Séraphin, _it also includes a setting of Octavio Paz's _The Root of Man._


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## ColdGenius (9 mo ago)

BBSVK said:


> Dellilah in the opera by Saint Saens (Samson et Dellilah) completely fakes her love for Samson, but in the original play by Voltaire, she really loves him. People for years resist the fact, that the famous love aria / duet "Mon coeur s'ouvre a ta voix" depicts a faked love, scholars write essays that certainly Dellilah loves or at least physically desires Samson after all... My argument is, that the original play by Voltaire influenced the outcome. (There are also simpler reasons. The music is bad at depicting irony, people are not trained to see fake love arias in the opera...


Be it true or false, he was unlikely to run away from a women who would sing like this.


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## ColdGenius (9 mo ago)

"The Queen of spades" has some distinctions from the source. Pushkin's story is concise. Hermann is an obsessed gambler who holds himself in check but finally falls through. It's not clear if he loves Lisa or uses her, rather unconsciously, to get close to the comtess. In the opera love, of course, is present, as far as possible in this turmoiled head. Lisa in the story is a not very happy girl in dependent position. The comtess doesn't abuse her, she's just selfish old lady. (If she discovered her affair, only then it would be a tragedy). In the opera she is on the brink of nervous breakdown from the beginning. Like supporting characters in the libretto Lisa got developement and, in contrast to them, tragic fate. When the work was in progress Tchaikovsky decided that Lisa had no other outcome. The original story ends relatively well: Hermann goes to the asylum, Lisa gets married and takes care of poor girl, even Tomsky marries Pauline. ￼
In the opera, in addition to Hermann's obsession more characters interact and want to get something from each other, Eletsky, for example. Pauline appears not only to give a mezzo-soprano job, but to show a happier path for a girl and to predict the end. Pastoral in the middle is a precious musical moment, a kind of ballet in the grand opera, but much more thoughtful. 
There are countless papers about allusions of Queen of spades and Tchaikovsky's private life, his relationship with his wife. 
The scene is also laid in XVIII century, the climax of Catherine the Great's reign, compared to Pushkin's story, laid in his time.


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