Abstract
AbstractOpera is a synchronization of different media of artistic expression, with a dual emphasis on music and drama. Operatic scholarship has voiced different views on the fusion of verbal and musical discourse, the two extremes being logocentrism and musicocentrism. The interlingual translation of the verbal subtext is a complex enterprise subject to multiple constraints. By focusing on its intricacies in some detail (the anatomy of the human vocal apparatus, high/ low pitches, stress, prosodic and intonational patterns, rhyme, etc., together determining the singability of the libretto), I hope that the discussion will shed light on the manifold problems involved in opera translation. The theoretical remarks are exemplified in an analysis of selected passages fromDas Rheingold, by Richard Wagner.
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