' HUGH MACDONALD argues the case for performing operas in translation'

[Eudaimonia]

Oh, fair enough. Could you please point me to a few first-rate recordings of English-translated operas where the libretto doesn't make a complete hash of the original? Maybe if I bothered hearing them in translation more often, I would have come across some that were anything other than mediocre. In any event, I'm afraid I can't buy into "the hell with foreigners" attitude. To each his own, I suppose.

[Bert Coules]

Well, I don't know your tastes in opera, but you might try the Chandos issue of Wagner's Ring (especially perhaps The Rhinegold, with its lighter orchestral texture and swifter-flowing dialogue) recorded live under Goodall in a fine specially-commissioned new English version by Andrew Porter. Chandos have an extensive range of operas in English, both live and studio recordings, so if the Wagner's not your cup of tea you might well find something more attractive elsewhere in their catalogue.

Since the discussion here has praised singers of an earlier generation for their diction, maybe two of my favourite semi-historical recordings might be of interest: a 1966 Hansel and Gretel with the Sadler's Wells cast and The Abduction from the Seraglio in a 1967 recording under Yehudi Menuhin. Both use texts that are perhaps slightly dated, but I don't think either of them could honestly be described as mangled or half-baked (or both). I don't know if either is currently available, but any decent library should be able to get hold of them for you.

I'm afraid I can't buy into "the hell with foreigners" attitude. To each his own, I suppose.

Now really, please don't misquote me. I said no such thing. I was dismissing the whole international-opera-star system, which can include English singers just as much (well, maybe not quite so much) as foreign ones.

[Eine Alpensinfonie]

I was dismissing the whole international-opera-star system, which can include English singers just as much (well, maybe not quite so much) as foreign ones.

In a sense, I suppose it's a bit like Premiership football where the international balance has been tilted too far.

[Bert Coules]

In a sense, I suppose it's a bit like Premiership football where the international balance has been tilted too far.

That's not a world I'm familiar with, but I like the comparison. I think what I'm sad about is that for many, the word "opera" automatically conjures up the image of glitz, glamour, expense, ludicrous seat prices and foreign singers singing in foreign languages; it would be pleasing to see the form recognised as something a bit more accessible and a lot less elitist.

[David Underdown]

And to what extent would this issue be rendered moot if language teaching/the idea of learning a second language were better regarded in this country?

I certainly struggled with Elektra in Copenhagen - the surtitles were in Danish, and since we hadn't originally anticipated going to the opera while we were there, we hadn't boned up beforehand. But the issue of having to learn translations in addition (and which translation) can be a problem, last time we were at ENO we ended up with Rudolfo being sung in Italian as the replacement tenor didn't know the translation ENO were using, and the time before whe Alfie Boe's understudy was also unwell in Pearlfishers, we ended up in the second half with the understudy doing the acting, while a memebr of the chorus sang the part from the side of the stage - again he didn't know the ENO translation.

[Eudaimonia]

I think what I'm sad about is that for many, the word "opera" automatically conjures up the image of glitz, glamour, expense, ludicrous seat prices and foreign singers singing in foreign languages; it would be pleasing to see the form recognised as something a bit more accessible and a lot less elitist.

When I was a kid growing up in the middle of nowhere, I didn't know the first thing about any of that stuff: all I had was a radio that brought me thrilling stories and exciting music every week. It was something I really wanted to learn about and be a part of. I honestly believe there are hundreds of ways to spark interest without radically changing the work.

Would it be better if more opera were done at the local level and in the schools? Absolutely-- and if the language barrier really is that off-putting, by all means do it in English. But I think there's a lot to be said for making the effort to appreciate it as it is...once people get past all that baggage you mentioned, the works speak for themselves.

[Bert Coules]

...the works speak for themselves.

I think you've neatly stated the fundamental point of the entire debate. I don't believe that that they do, unless translated.

[Eine Alpensinfonie]

On balance, I would opt for recordings in the original languages (with a full libretto and translations provided, of course) but in the local language for live stage performances.

[Chris Newman]

Bert,

Both Hansel and Gretel and The Abduction from the Seraglio are available. H & G comes on Classics for Pleasure with a filler of The Siegfried Idyll under Colin Davis:

http://www.amazon.co.uk/Humperdinck-Hansel-Gretel-Patricia-Kern/dp/B00009KHY1/ref=sr_1_1?ie=UTF8&s=music&qid=1294585717&sr=1-1

The Abduction is on Chandos Opera in English:

http://www.amazon.co.uk/Mozart-Abduction-Seraglio-David-Kelsey/dp/B0000668KH/ref=sr_1_1?ie=UTF8&qid=1294585883&sr=1-1

The Andrew Porter translation of Wagner's Ring for Goodall was very highly praised. Die Berlinner Zeitung were so impressed the reviewer wrote words to the effect of "Please would Andrew Porter translate the Ring back into German as he makes clear what we Germans cannot understand in Wagner's archaic poetry?"

[Bert Coules]

Chris, thanks for that: good news that both recordings are still around.

That's a lovely story about Porter's Ring translation.

[doversoul1]

I cannot speak for opera but it does nettle me terribly when people use ‘translation’ to mean something to mock at. If translated literature is acceptable, surely there must be room for translated opera. Some translators do produce more than incomprehensible manuals.

[Bert Coules]

If translated literature is acceptable...

Presumably, some here would say that it isn't, that we should be able to glean all the author's intentions by looking at his prose in the original language and simply absorbing the meaningful shapes of the letters on the page...

[aeolium]

Well, some translated literature (translations of great poetry, for instance) is imo only barely acceptable and presents a pale shadow of the original. And it's surely a mistake to compare translations of opera libretti with translations of plays - the crucial difference is the setting of the words (and sounds) of the original language by the composer so that these become part of the fabric of the composition, the character of the *music* being quite altered by translation into a different language.

Having said that, it's possible to exaggerate the disruptive effect of translation on operas, particularly if the translation is sensitively done. I enjoyed the performances by the ETO of Handel's Ariodante and Alcina in English at Malvern last autumn, and I actually have a couple of recordings of opera in translation: Furtwängler conducting the VPO in a German performance of Figaro with a wonderful cast, and a 1962 performance of Handel's Serse also in German with Rafael Kubelik conducting and Fritz Wunderlich in the title role. I still get enjoyment from listening to these from time to time.

[doversoul1]

As I expect there are plenty of linguists on these boards, I feel somewhat exposed (?) to be saying this, but professional translators do more than simply change words from one language to another. They have to solve all sorts of problems that come with the change: fitting the number of words into limited space, changing jokes and catch phrases to suit the target culture. These are some of the basic problems and literary translation has its own problems (e.g. what do you do with metaphors?). In the case of opera translation, if the ‘character of the music’ must be maintained, than that is another problem to be solved. Needless to say that this has to be done by a specialist translator (or ideally, a joint work by a linguist and a musician) but the point I am making is that translation itself should not be the main issue. From some of the previous posts, I see the practical difficulties but that, I think, needs to be discussed as different issues.

Hasn’t someone posted a book on this subject (opera translation)?

[RobertLeDiable]

Some opera libretti are easier to render in English than others. In Janacek, for example, the particular stresses of Czech have a very direct relation to his rhythms and melodic shapes. By and large I'm in favour of his operas being done in English in this country, if the cast is largely British as it often is. But so often you hear the Czech stresses in Janacek's music being assigned to the wrong syllables in English translation. Probably it's unavoidable, but it can be very irritating.