Abstract:
This is a study of the use of translations in vocal music of the Western art music tradition, particularly opera and art song. The use of translations in their numerous forms is still a rather controversial endeavour (owing to tradition and respect for the composers and poets/librettists). However, translations are commonly utilised in order to better communicate a text to an audience who do not speak the language in which it was written. The study is divided into two main sections: the first identifies how classical vocal music translations fit within the narrative of translation theory and history, and the second explores two case studies - Mozart’s opera The Magic Flute and Ravel’s song cycle Chants populaires - in order to demonstrate and analyse the practical use of translations which may be found in many works in the classical vocal music canon. Other works have been explored in the process of this research and through a 90-minute recital. As the art of translation involves a large amount of negotiation, a translator has the difficult task of finding the appropriate balance between a faithful rendering of the source language of a text into the target language and creating a new, stand-alone literary work which communicates effectively to the target audience. If a translation is to be sung, a translator must also consider how they can most effectively transmit the text to the audience in an aural and immediate way, while ensuring the suitability of the text for performance by a singer. The translations within this thesis have been analysed with a combination of practical and theoretical approaches in order to identify their positive and negative points, and to determine the elements of an effective translation. Ultimately, if a translation brings the audience to a greater understanding of the original text, it may be considered successful.
