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.
Inhaltsverzeichnis (Table of Contents)
- 1. Introduction
- 2. Why Streetcar as an Opera?
- 3. Play and Opera - Differences and Similarities
- a) The Libretto
- 4. Reception of the Opera
- 5. Conclusion
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This paper aims to analyze André Previn's opera adaptation of Tennessee Williams' A Streetcar Named Desire, focusing on the relationship between the original play and the changes necessitated by the transition to opera. The study will explore the challenges and successes of adapting a play rich in existing musical elements into a new operatic form.
- Adaptation of a play into an opera
- Comparison of play and opera
- The role of music in both versions
- The impact of changes made in the adaptation
- Reception of the opera adaptation
Zusammenfassung der Kapitel (Chapter Summaries)
1. Introduction: This introductory chapter sets the stage for the analysis of André Previn's operatic adaptation of Tennessee Williams' A Streetcar Named Desire. It outlines the paper's objective: to investigate the relationship between the original play and its operatic counterpart, paying close attention to the alterations necessitated by the genre shift. The introduction acknowledges the inherent challenges of condensing a play into an opera libretto and the potential impact of music on the overall atmosphere and interpretation. The author also explains the limitations of their analysis due to only having access to audio of the opera, making the analysis dependent on secondary sources regarding the visual aspects of the stage production.
2. Why Streetcar as an Opera?: This chapter explores the arguments for and against adapting A Streetcar Named Desire into an opera. It begins by quoting André Previn's assertion that the play felt inherently operatic, lacking only music. The chapter then analyzes the play's inherent operatic qualities, such as its poetic language, dramatic intensity, and emotional depth, which lend themselves to musical expression. The chapter also acknowledges that the play already incorporates significant musical elements – specifically the “Blue Piano” and “Varsouviana” – and discusses how these might either aid or hinder the operatic adaptation. It concludes by highlighting the inherent ambiguity surrounding the suitability of the play for operatic adaptation, leading to a deeper examination of Previn's actual work.
3. Play and Opera - Differences and Similarities: This chapter focuses on the comparison between the original play and Previn's opera. The section on the libretto, written by Philip Littell, highlights the constraints imposed by the Williams estate, which ensured that a substantial portion of the original text remained intact. While some omissions were necessary for practical reasons, the libretto largely adhered to Williams' original work. This chapter serves as a point of comparison for the subsequent analysis of the operatic adaptation, setting up the examination of the effects of the other compositional choices.
Schlüsselwörter (Keywords)
A Streetcar Named Desire, Tennessee Williams, André Previn, opera adaptation, libretto, Philip Littell, music, dramatic adaptation, genre change, theatrical adaptation, operatic qualities, psychological themes.
Frequently Asked Questions: André Previn's Operatic Adaptation of A Streetcar Named Desire
What is the main focus of this paper?
This paper analyzes André Previn's opera adaptation of Tennessee Williams' A Streetcar Named Desire. It examines the relationship between the original play and the changes made for the opera, exploring the challenges and successes of this adaptation.
What are the key themes explored in the paper?
Key themes include the adaptation of a play into an opera, a comparison of the play and opera versions, the role of music in both, the impact of changes made during adaptation, and the reception of the opera adaptation.
What are the main chapters and their summaries?
The paper includes the following chapters: 1. Introduction (sets the stage and outlines the objective); 2. Why Streetcar as an Opera? (explores arguments for and against the adaptation, analyzing the play's operatic qualities); 3. Play and Opera - Differences and Similarities (compares the play and opera, focusing on the libretto and the constraints imposed); and 5. Conclusion (not summarized in the provided text).
What is the role of the libretto in the adaptation?
The libretto, written by Philip Littell, largely adhered to Williams' original text, with some necessary omissions due to practical constraints and requirements from the Williams estate. A substantial portion of the original dialogue remained intact.
What limitations does the author acknowledge in their analysis?
The author mentions that their analysis is limited by only having access to an audio recording of the opera, making their assessment of visual aspects dependent on secondary sources.
What are the key arguments for adapting "A Streetcar Named Desire" into an opera?
The paper argues that the play possesses inherent operatic qualities: poetic language, dramatic intensity, and emotional depth, all suitable for musical expression. The existing musical elements in the play (like "Blue Piano" and "Varsouviana") are also discussed as potential aids or hindrances to the adaptation.
What are the keywords associated with this paper?
Keywords include: A Streetcar Named Desire, Tennessee Williams, André Previn, opera adaptation, libretto, Philip Littell, music, dramatic adaptation, genre change, theatrical adaptation, operatic qualities, and psychological themes.
What is the overall objective of the study?
The study aims to investigate the relationship between Tennessee Williams' original play and André Previn's operatic adaptation, paying close attention to the alterations required by the genre shift.
- 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
