Part of
Opera in Translation: Unity and diversity
Edited by Adriana Şerban and Kelly Kar Yue Chan
[Benjamins Translation Library 153] 2020
► pp. 5371
Auden, W. H.
1951 “Reflections.” Tempo 20 (summer): 6–10. DOI logoGoogle Scholar
1952 “Some reflections on Music and Operas.” Partisan Review 19: 10–18.Google Scholar
1968Secondary Worlds. T. S. Eliot Memorial Lectures. London: Faber and Faber.Google Scholar
Auden, W. H. with the collaboration of C. Kallman
[1962] 2012 “Translating Opera Libretti.” In The Dyer’s Hand, by W. H. Auden, 345–357. London: Faber and Faber.Google Scholar
Auden, W. H., and Chester Kallman
1993Libretti and Other Dramatic Writings 1939–1973, ed. by Edward Mendelson. Princeton: Princeton University Press. (Opera libretti / musical texts included in this volume are: Paul Bunyan, The Rake’s Progress, Delia, The Magic Flute, Elegy for Young Lovers, The Bassarids, Love Labour’s Lost, The Entertainment of the Senses, The Queen’s Masque, The Duchess of Malfi, a script for On the Way and lyrics for Man of La Mancha .)Google Scholar
Bakhtin, Mikhail
1981The Dialogic Imagination: Four Essays. Trans. by Caryl Emerson, and Michael Holquist, ed. by Michael Holquist. Austin: University of Texas Press.Google Scholar
Bassnett, Susan
1985 “Ways through the Labyrinth. Strategies and Methods for Translating Theatre Texts.” In The Manipulation of Literature. Studies in Literary Translation, ed. by Theo Hermans, 87–102. London: Croom Helm.Google Scholar
2014Translation. London: Routledge.Google Scholar
Boulez, Pierre
1967 “ Sprengt dir Opernhäuser die Luft ” [Blow Up Opera Houses!]. Der Spiegel 25 September, [URL], last accessed 23 March 2020.
1971 “Style ou idée? Éloge de l’amnésie” [Style or Idea? In Praise of Amnesia]. Musique en jeu 4: 5–14.Google Scholar
Bourdieu, Pierre
1979La Distinction. Critique sociale du jugement. Paris: Presses Universitaires de France.Google Scholar
Branscombe, Peter
1962 “ The Magic Flute at Covent Garden.” The Musical Times 103 (1428): 105. DOI logoGoogle Scholar
Brecht, Bertolt, and Kurt Weill
1961The Seven Deadly Sins of the Lower Middle Class: A Ballet Cantata [Die Sieben Todsünden der Kleinbürger]. Transl. by W. H. Auden, and Chester Kallman. The Tulane Drama Review 6 (1): 123–129.Google Scholar
Britten, Benjamin, in conversation with Donald Mitchell
1984 “Mapreading.” In The Britten Companion, ed. by Christopher Palmer, 87–96. London: Faber and Faber.Google Scholar
Britten, Benjamin, and W. H. Auden
1936Our Hunting Fathers, op. 8. Symphonic Cycle for High Voice and Orchestra. London: Boosey and Hawkes.Google Scholar
Carpenter, Humphrey
1981W. H. Auden. A Biography. London: George Allen and Unwin.Google Scholar
Chamberlain, Jane
2009 “Threepenny politics in translation.” ATA, The Newsletter of the Literary Division 45: 20–31.Google Scholar
Cronin, Michael
2013Translation in the Digital Age. London: Routledge.Google Scholar
Cross, Joan
1958 “ The Magic Flute. Auden vs Dent.” Tempo 46 (winter): 6–8. DOI logoGoogle Scholar
Crozier, Eric
[1947] 1981Albert Herring. Preface and libretto. London: Boosey and Hawkes.Google Scholar
Da Ponte, Lorenzo
1961Don Giovanni. Trans. by W. H. Auden, and Chester Kallman. New York: Schirmer.Google Scholar
Dass, Nirmal
1992Rebuilding Babel: The Translations of W. H. Auden. Amsterdam: Rodopi.Google Scholar
Dent, Edward J.
1911 Mozart’s Opera The Magic Flute. Its History and Interpretation. Cambridge: W. Heffer and Sons.Google Scholar
1934–1935 “The Translation of Operas.” In Proceedings of the Musical Association 61st session: 81–104. DOI logoGoogle Scholar
Eden, David, and Meinhard Saremba
(eds.) 2009The Cambridge Companion to Gilbert and Sullivan. Cambridge: Cambridge University Press. DOI logoGoogle Scholar
Even-Zohar, Itamar
[1978] 2000 “The position of translated literature within the literary polysystem.” In The Translated Studies Reader (2nd ed.), ed. by Lawrence Venuti, 199–203. London: Routledge.Google Scholar
Frayne, John P.
1985 “Mozart Revised. The Auden / Kallman Version of The Magic Flute .” Opera Quarterly 3 (1): 52–71. DOI logoGoogle Scholar
Fuller, John
1970W. H. Auden. A Reader’s Guide. London: Thames and Hudson.Google Scholar
Genette, Gérard
1982Palimpsestes. La littérature au second degré [Palimpsests. Literature in the Second Degree]. Paris: Éditions du Seuil.Google Scholar
Gibbons, William
2012 “(De)translating Mozart : The Magic Flute in 1909 Paris.” Opera Quarterly 28 (1–2): 37–53. DOI logoGoogle Scholar
Goethe, Johann Wolfgang von
[1963] 1992Italian Journey [Italienische Reise]. Trans. by W. H. Auden, and Elizabeth Mayer. London: Penguin Classics.Google Scholar
Herman, Mark, and Ronnie Apter
1991 “Opera Translation.” In Translation: Theory and Practice, Tension and Interdependence, ed. by Mildred Larson, 100–118. Amsterdam: John Benjamins. DOI logoGoogle Scholar
Hermans, Theo
ed. 1985The Manipulation of Literature: Studies in Literary Translation. London: Croom Helm.Google Scholar
Kerman, Joseph
1957 “Auden’s Magic Flute. Postscript to a Bicentennial.” The Hudson Review 10 (2): 309–316. DOI logoGoogle Scholar
Lefevere, André
1992Translation, Rewriting, and the Manipulation of Literary Fame. London: Routledge.Google Scholar
Mahdawi, Arwa
2014 “Satire Is Dying because the Internet Is Killing It.” The Guardian 7 July, [URL], last accessed 27 March 2020.
Middleton, Richard
2006Voicing the Popular. On Subjects of Popular Music. London: Routledge.Google Scholar
Mozart, Wolfgang, Amadeus, and Emanuel Schikaneder
[1911] 2013The Magic Flute. Opera in Two Acts [Die Zauberflöte]. Trans. by Edward J. Dent. London: Boosey and Hawkes.Google Scholar
1937The Magic Flute. Opera in Two Acts [Die Zauberflöte]. Trans. by Edward J. Dent. Oxford: Oxford University Press.Google Scholar
1941 (revised 1951) The Magic Flute [Die Zauberflöte]. Trans. by Ruth Martin, and Tomas Martin. New York: Schirmer.Google Scholar
New York Metropolitan Opera
Archives, [URL], last accessed 27 March 2020.
Pears, Peter
1953 “The Vocal Music.” In Benjamin Britten. A Commentary on His Works from a Group of Specialists, ed. by Donald Mitchell, and Hans Keller, 59–73. New York: Philosophical Library.Google Scholar
Riker, Charles
1953 “Music Chronicle.” The Sewanee Review 61 (1): 157–174.Google Scholar
Robinson, Paul
2002Opera, Sex and Other Vital Matters. Chicago: University of Chicago Press.Google Scholar
Ross Griffel, Margaret
2013Operas in English. A Dictionary. Plymouth: Scarecrow Press.Google Scholar
Royal Opera House. Performance Database
[URL], last accessed 23 August 2019.
Sabin, Robert
1956 “Review of The Magic Flute .” Musical America 1 February: 12.Google Scholar
Scholes, Robert
1974Structuralism in Literature. An Introduction. New Haven: Yale University Press.Google Scholar
Slater, Joseph
1956 “Interpreting the Quest.” The Saturday Review 15 December: 35–37.Google Scholar
Spielgelman, Willard
2009 “The Rake, The Don, The Flute. W. H. Auden as Librettist (1982).” In Imaginative Transcripts. Selective Literary Essays, ed. by Willard Spiegelman, 90–103. Oxford: Oxford University Press.Google Scholar
Stravinsky, Igor
1951The Rake’s Progress. Libretto by W. H. Auden, and Chester Kallman. Vocal and orchestral scores. London: Boosey and Hawkes.Google Scholar
Stravinsky, Igor, and Robert Craft
1960Memories and Commentaries. New York: Doubleday.Google Scholar
Venuti, Lawrence
[1995] 2003The Translator’s Invisibility. A History of Translation. London: Routledge. DOI logoGoogle Scholar
Wasserman, Dale
2009 “Auden in the Autumn. What Would Man of La Mancha Be Like If the Poet W. H. Auden Had Written Lyrics for This Classic Musical?American Theatre 26 (10): 48–51.Google Scholar
Weisstein, Ulrich
[1970] 2006 “Reflections on a Golden Style. W. H. Auden’s Theory of Opera.” In Word and Music Studies, Selected Essays on Opera, ed. by Walter Bernhart, 43–63. Amsterdam and New York: Rodopi.Google Scholar
Cited by

Cited by 1 other publications

Minors, Helen Julia
2021. Desblache, Lucile (2019): Music and Translation: New Mediations in the Digital Age. London: Macmillan, 407 p. . Meta: Journal des traducteurs 66:1  pp. 230 ff. DOI logo

This list is based on CrossRef data as of 24 may 2024. Please note that it may not be complete. Sources presented here have been supplied by the respective publishers. Any errors therein should be reported to them.