Translating and rewriting Italian opera in German(1600-1750)

Opera libretti are probably the most challenging texts to translate, especially in comparison to other text genres such as novels, poems or theater pieces. Translators have to accommodate several aspects of the libretto through more or less acceptable compromises. For this reason, libretti translations have been the object of numerous studies from the beginning of the 20th century. In these studies, German is often treated as a particularly difficult language for opera because some consider it ill-suited to singing. It is therefore unsurprising that Italian-to-German translations of operas composed before 1750 have received little consideration, despite their vital importance for the history of German opera and literature. The present project will take different types of opera translations into account: translations written to be read during a performance in the original language; singable translations on the original music; and other types of adaptations and rewritings of the opera. An analysis of the translation cannot be restricted to the libretto text but must consider also both the musical component (where scores are available) and staging (where libretto gives some indications about it). Different levels of translation will be taken into account: metres, accents, relation between text and music; idiomatic expressions; the addition, elimination and modification of scenes and characters; and the translation of humor and political satire. This research project will answer the following questions: did translators try to domesticate the metres, expressions and humor of the source libretto for the target audience, or did they prefer to emphasize the foreign aspects of the source text to confront the public with new ideas? How did the different cultural contexts of each German musical center influence translation? Did the translations of Italian libretti contribute to the creation of a German operatic language and how? The study of historical translation may also contribute to the rediscover of a repertoire that is at present forgotten, one that is part of the cultural heritage of both Austria and, more generally, of German- speaking lands.

Opera libretti present a unique challenge for translators when compared to other text genres, such as novels, poems, and plays. These translators must consider various and sometimes conflicting aspects of the source text, making compromises to ensure a successful translation. Since the early 20th century, libretti have been the subject of numerous studies, with German often being regarded as an unsuitable language for singing. Prior research has largely overlooked opera translations, especially from Italian into German before 1750, despite their significant impact on the history of German literature and opera. Consequently, the current project focuses on various types of opera translation from Italian into German. Presently, opera libretti are predominantly utilized as surtitles in opera houses, which are projected during performances in the original language. In the 17th and 18th centuries, libretti were printed in Italian during performances, or singable translations were prepared and adapted to the original music. This practice is now rare. It was also possible to translate the original libretto and set it to new music, often with significant changes to the plot. In the context of this project, various case studies from the three categories mentioned above (reading libretti, singable translations, and adaptations) were analyzed. When working with libretti and singable translations, particular attention was given to the challenges faced by the translators. They had to consider the metrics of the two languages in order to provide an acceptable translation that did justice to the original text. Furthermore, the singable translations had to take into account phonetic and symbolic relationships between text and music. In the case of the adaptations, particular attention was paid to the different conceptions of comedy in Italian and German operas. A particular focus was placed on the comparison of the libretti for the Viennese imperial court with the translations for German public opera houses. The objective was to identify changes in the plot, characterization of figures, and the presentation of wit and satire. This includes elements such as dining and drinking, attire, romantic relationships, and depictions of incarceration. The analysis revealed that the humor present in a court theater differs from that found in a municipal theater. This is due to the difference in the topics of satire, which include politics and bourgeois manners, and the language used, which can include dialect and swear words. When translating opera libretti, it is crucial to consider these factors to accurately convey the cultural and historical context of German-speaking countries during the 17th and 18th centuries.