Edited by Adriana Şerban and Kelly Kar Yue Chan
[Benjamins Translation Library 153] 2020
► pp. 175–194
The aim of this study is to investigate the translation politics in the field of opera in the Third Reich with a special focus on the three Mozart-Da Ponte operas. Mozart was considered as a central part of the German culture. His collaboration with the Jewish librettist Lorenzo Da Ponte and the fact that the most popular German translation at the time came from the Jewish conductor Hermann Levi forced the Nazi authorities to create a new translation. In the first section of the article I will analyse the various front lines in this translation war, drawing on Bourdieu’s field theory. The second part of this paper investigates the strategies adopted by a committee which Goebbels established in order to create a new translation of the Mozart operas. The last section of the article is then dedicated to Georg Schünemann, the translator who was nominated by the committee, and his translatorial habitus.