This paper investigates the opera adaptation of Tennessee Williams’ play »A Streetcar Named Desire« by André Previn. Particular attention is going to be paid to the relation between the original play and the changes made in the opera or caused by the change of genre. Naturally an adaptation of a play into an opera necessitates a shortening of the original text to turn it into an opera libretto. The music added to the play may also change its atmosphere, mood - it might even be an interpretation which is not contained in the play to that extent. Thus this paper follows up on these possible differences and examines whether André Previn succeeded in writing an opera »A Streetcar Named Desire« meeting the high expectations caused by the popularity of the play.
Table of Contents
1. Introduction
2. Why Streetcar as an Opera?
3. Play and Opera - Differences and Similarities
a) The Libretto
b) The Characters
c) The Music
4. Reception of the Opera
5. Conclusion
Objectives & Research Focus
This academic paper explores the operatic adaptation of Tennessee Williams' acclaimed play "A Streetcar Named Desire" by composer André Previn. The primary research question examines whether the transition from a spoken drama to an opera successfully preserves the narrative essence or if the generic shift compromises the original work's emotional and psychological impact.
- Analysis of the structural and textual modifications in the libretto by Philip Littell.
- Examination of character development and the shifting balance of power among the protagonists.
- Critical evaluation of the musical score, specifically regarding the integration of leitmotifs and atmospheric elements.
- Assessment of the opera’s reception by critics and its effectiveness as an audio-visual adaptation.
Excerpt from the Book
c) The Music
As already discussed above, A Streetcar Named Desire is full of stage directions demanding music. However André Previn decided not to take these into account when composing the music. According to him “those specific references which worked so well in the play would set up interference in the opera”.15 Critics argued that “there is so much music implicit in the melancholy prose of […] A Streetcar Named Desire that the notion of adding more, by turning the play into an actual opera, becomes an exercise in redundancy”.16 This shows that Previn and some of the critics have contrary opinions about the question whether Streetcar can be set to music and how.
The musical stage directions certainly pose a problem in terms of their compatibility with a different style of music. However they are a powerful means of expressing atmosphere because the music they demand is adapted to the situation. The way the blue piano is played varies from situation to situation: at times it is soft at others it is loud, then “The distant piano goes into a hectic breakdown” (p. 115/ l. 13), sometimes it is supported by a trumpet and by drums (whenever something emotional happens, such as Stanley and Stella embracing [p. 76/ ll. 14-15] but also during the rape [p. 146/ ll. 29-30]). Much the same way the ‘Varsouviana’ adapts to the circumstances: it changes to a minor key when Blanche tells the story of her husband’s suicide (p. 103/ l. 6), it becomes rapid and feverish when Blanche is home alone trying to drown the tune with alcohol (p. 125/ l. 6).
Summary of Chapters
1. Introduction: This chapter outlines the scope of the study, focusing on the challenges of adapting Tennessee Williams' play into an opera and the necessity of evaluating the musical and structural changes.
2. Why Streetcar as an Opera?: The chapter discusses the inherent operatic qualities of the original play while addressing the debate over whether the text's existing musical directions represent a creative foundation or a hindrance for the composer.
3. Play and Opera - Differences and Similarities: This section performs a detailed comparative analysis covering the libretto's fidelity to the source material, the shift in focus towards the character of Blanche, and the efficacy of the operatic musical score.
4. Reception of the Opera: This part reviews contemporary critical responses, highlighting the divide between praise for individual performances and criticism regarding the opera's lack of musical coherence.
5. Conclusion: The final chapter summarizes the findings, concluding that while the adaptation is a valid artistic endeavor, it fails to achieve the high standard of the original play due to musical inconsistencies.
Keywords
Tennessee Williams, A Streetcar Named Desire, André Previn, Opera adaptation, Libretto, Blanche DuBois, Stanley Kowalski, Musical analysis, Leitmotif, Modern opera, Theatre studies, Character analysis, Musicology, Stage directions, Critical reception.
Frequently Asked Questions
What is the core focus of this research?
The paper investigates how André Previn’s opera adaptation handles the transition from Tennessee Williams' play, focusing on the changes made to the text, the characters, and the musical score.
What are the primary thematic areas explored?
The study centers on the adaptation process, the evolution of characters from play to libretto, and the role of music in establishing atmosphere.
What is the main research objective?
The objective is to determine if the operatic version of "A Streetcar Named Desire" succeeds as an adaptation or if the changes significantly diminish the impact of the original work.
Which scientific methodology is applied?
The author uses a comparative analysis method, evaluating the original text against the libretto and secondary critical sources to derive a subjective assessment.
What aspects of the play are covered in the main body?
The main body examines the libretto written by Philip Littell, the shifts in character balance—specifically the increased focus on Blanche—and the musical composition choices.
Which keywords summarize this work?
Key terms include Tennessee Williams, André Previn, operatic adaptation, libretto, character analysis, and critical reception.
How does the author view the inclusion of the "Blue Piano" and "Varsouviana" in the opera?
The author suggests that ignoring these original musical cues was a mistake, as they were essential for character depth and atmospheric consistency.
Why does the author conclude that the opera is not as successful as the play?
The conclusion points to a lack of a coherent musical style, the absence of memorable melodies, and a failure to capitalize on the musical potential inherent in the source text.
- Quote paper
- Katharina Kierig (Author), 2004, Tennessee Williams' Play "A Streetcar Named Desire" - An Opera Missing the Music?, Munich, GRIN Verlag, https://www.grin.com/document/66733
