Sympathy for the devil? Bertram (Robert le diable) in Copenhagen, 1833

Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research › peer-review

Standard

Sympathy for the devil? Bertram (Robert le diable) in Copenhagen, 1833. / Hesselager, Jens.

Grand Opera Outside Paris: Opera on the Move in Nineteenth-Century Europe. ed. / Jens Hesselager. Abingdon : Routledge, 2018. p. 97-113 (Ashgate Interdisciplinary Studies in Opera).

Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research › peer-review

Harvard

Hesselager, J 2018, Sympathy for the devil? Bertram (Robert le diable) in Copenhagen, 1833. in J Hesselager (ed.), Grand Opera Outside Paris: Opera on the Move in Nineteenth-Century Europe. Routledge, Abingdon, Ashgate Interdisciplinary Studies in Opera, pp. 97-113.

APA

Hesselager, J. (2018). Sympathy for the devil? Bertram (Robert le diable) in Copenhagen, 1833. In J. Hesselager (Ed.), Grand Opera Outside Paris: Opera on the Move in Nineteenth-Century Europe (pp. 97-113). Routledge. Ashgate Interdisciplinary Studies in Opera

Vancouver

Hesselager J. Sympathy for the devil? Bertram (Robert le diable) in Copenhagen, 1833. In Hesselager J, editor, Grand Opera Outside Paris: Opera on the Move in Nineteenth-Century Europe. Abingdon: Routledge. 2018. p. 97-113. (Ashgate Interdisciplinary Studies in Opera).

Author

Hesselager, Jens. / Sympathy for the devil? Bertram (Robert le diable) in Copenhagen, 1833. Grand Opera Outside Paris: Opera on the Move in Nineteenth-Century Europe. editor / Jens Hesselager. Abingdon : Routledge, 2018. pp. 97-113 (Ashgate Interdisciplinary Studies in Opera).

Bibtex

@inbook{05a0ee12127049c0abc4e1abf8d1b340,
title = "Sympathy for the devil?: Bertram (Robert le diable) in Copenhagen, 1833",
abstract = "This chapter deals with the adaptation of Robert le diable for the Danish stage in 1833, for which the translator, Thomas Overskou, was asked to transform Bertram – Robert{\textquoteright}s diabolic father – into {\textquoteleft}a decent human being{\textquoteright}. Following a standard practice at the Royal Theatre in Copenhagen at the time, Overskou sought to achieve this moral remodelling not least in passages of spoken dialogue or monologue that would often replace the original recitatives. This, however, not only effected a change in verbal meaning, but also in vocal register at significant moments. This chapter discusses the implications of such a cultural practice of adaptation and relates it to similar transformations and perceptions (notably S{\o}ren Kierkegaard{\textquoteright}s) of the Don Giovanni character in the contemporary Danish version.",
keywords = "Faculty of Humanities, Grand opera, Meyerbeer, Cultural Translation, Cultural transfer, Thomas Overskou, S{\o}ren Kierkegaard, Robert le diable (opera), Don Giovanni (opera), Giovanni Battista Cetti, plot-character, voice-character",
author = "Jens Hesselager",
year = "2018",
language = "English",
isbn = "978-1-138-20201-6",
series = "Ashgate Interdisciplinary Studies in Opera",
publisher = "Routledge",
pages = "97--113",
editor = "Jens Hesselager",
booktitle = "Grand Opera Outside Paris",
address = "United Kingdom",

}

RIS

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T1 - Sympathy for the devil?

T2 - Bertram (Robert le diable) in Copenhagen, 1833

AU - Hesselager, Jens

PY - 2018

Y1 - 2018

N2 - This chapter deals with the adaptation of Robert le diable for the Danish stage in 1833, for which the translator, Thomas Overskou, was asked to transform Bertram – Robert’s diabolic father – into ‘a decent human being’. Following a standard practice at the Royal Theatre in Copenhagen at the time, Overskou sought to achieve this moral remodelling not least in passages of spoken dialogue or monologue that would often replace the original recitatives. This, however, not only effected a change in verbal meaning, but also in vocal register at significant moments. This chapter discusses the implications of such a cultural practice of adaptation and relates it to similar transformations and perceptions (notably Søren Kierkegaard’s) of the Don Giovanni character in the contemporary Danish version.

AB - This chapter deals with the adaptation of Robert le diable for the Danish stage in 1833, for which the translator, Thomas Overskou, was asked to transform Bertram – Robert’s diabolic father – into ‘a decent human being’. Following a standard practice at the Royal Theatre in Copenhagen at the time, Overskou sought to achieve this moral remodelling not least in passages of spoken dialogue or monologue that would often replace the original recitatives. This, however, not only effected a change in verbal meaning, but also in vocal register at significant moments. This chapter discusses the implications of such a cultural practice of adaptation and relates it to similar transformations and perceptions (notably Søren Kierkegaard’s) of the Don Giovanni character in the contemporary Danish version.

KW - Faculty of Humanities

KW - Grand opera

KW - Meyerbeer

KW - Cultural Translation

KW - Cultural transfer

KW - Thomas Overskou

KW - Søren Kierkegaard

KW - Robert le diable (opera)

KW - Don Giovanni (opera)

KW - Giovanni Battista Cetti

KW - plot-character

KW - voice-character

M3 - Book chapter

SN - 978-1-138-20201-6

T3 - Ashgate Interdisciplinary Studies in Opera

SP - 97

EP - 113

BT - Grand Opera Outside Paris

A2 - Hesselager, Jens

PB - Routledge

CY - Abingdon

ER -

ID: 187314132