Rev4b loubinoux
Rev4c balin
Rev4d champonnois
Rev4e quetin
Rev4a preface
Rev4f balbo
Rev4g degott
Rev4h rushton
Rev4i jacobshagen
Rev4j moron
Rev4k vermaelen
Rev4l gier
Rev4 texte
Acc1 responsables
Acc2a tatin
Acc1 responsables
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev20 Comedy
Rev20 Comedy
Rev19 Chabanon
Rev18 Mal
Rev17 Querelles
Rev16 Oratorio
Rev15 Theatralite
Rev14 haendel
Rev13 hennin
Rev12 wagner
Rev11 debussy
Rev10 noverre
Rev9 gluck
Rev8 prokofiev
Rev7 haydn
Rev6 chabanon
Rev5 livret
Rev4 texte
Rev3 representations
Rev2 interpretation
Rev1 melanges
M1 Communications
M1 Communications
M1 Communications
M1 Communications

This paper presents first some examples of intertextual collage in contemporary librettos, written by the composers (Harald Weiss, Amandas Traum, 1992 ; Helmut Lachenmann, Das Mädchen mit den Schwefelhölzern, 1997 ; Wolfgang Rihm, Die Eroberung von Mexiko, 1992 ; Hans Zender, Stephen Climax, 1986, and Chief Joseph, 2005). Then follow two case studies :

- for Intolleranza 1960 (1961), Angelo Ripellino concieved a text that was far away from Luigi Nono’s aesthetical and dramaturgical ideas, therefore the composer made many changes, eliminated whole passages, and introduced quotations from many different sources (poetry, political slogans,...). In this way, he pointed out the aesthtics of collage that had always guided Ripellino.

- Luciano Berio’s rewriting of Italo Calvino’s Un re in ascolto is totaly different : Calvino had conceived a conventional libretto and proved himself unable to make the changes Berio asked for. Therefore, the composer wrote his own libretto after Shakespeare’s comedy The tempest, its operatic adaptation by Fr. W. Gotter, and W. H. Auden’s The sea and the mirror. Calvino’s contribution consists only in the words of Propero’s « arias », but the front page of the libretto bears his name, not Berio’s.

Le compositeur face au texte

N° 4 l

Albert Gier

Otto-Friedrich-Universität Bamberg

Der Komponist als Arrangeur : Luigi Nono, Intolleranza 1960, Luciano Berio, Un re in ascolto

Gérard Loubinoux
Gérard Loubinoux - Le texteface au compositeur

Pascal Balin
Pascal Balin - Les sources antiques des Horaces et des Curiaces

Cécile Champonnois
Cécile Champonnois - Les Horaces et les Curiaces

Laurine Quetin
Laurine Quetin - Les Horaces d'Antinio Salieri


Tarcisio Balbo
Tarcisio Balbo - La cosrtuzione dell'intreccio nel dramma permusica del Settecento

Pierre Degott
Pierre Degott - Création, re-création et/ou récréation

Julian Rushton
Julian Rushton - Berlioz, Irlande, and English

Arnold Jacobshagen
Arnold Jacobshagen - Leoncavallo, Wagner und der Historismus

Nicolas Moron
Nicolas Moron - Les origines akkadiennes de Sept, ils sont sept

Denis Vermaelen
Denis Vermaelen - Le rossignol et la mort

Albert Gier
Albert Gier - Der Komponist als Arrangeur