tag:blogger.com,1999:blog-5998744234538946992.post1707223138249671140..comments2024-02-15T07:56:02.706+00:00Comments on Capriccio: Der Rosenkavalier at ENOCapricciohttp://www.blogger.com/profile/11066947469648187572noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-5998744234538946992.post-19345242958421561392012-02-07T23:38:26.938+00:002012-02-07T23:38:26.938+00:00I agree with everything you say of course. Though ...I agree with everything you say of course. Though I pity them because it's an impossible task really to do an accurate translation, that is poetically beautiful, true to the spirit of the original, and keep within the meter, especially with this particular composer and librettist. Part of Hofmannsthal's genius is how much he says with so little, and never is that truer than in the Marschalin's monologue, where the translation's limitations were felt most keenly. <br /><br />Ya, ya.Capricciohttps://www.blogger.com/profile/11066947469648187572noreply@blogger.comtag:blogger.com,1999:blog-5998744234538946992.post-68315068392307658432012-02-07T22:06:23.933+00:002012-02-07T22:06:23.933+00:00Excellent news about 'Ariadne': well, part...Excellent news about 'Ariadne': well, partially excellent. I couldn't agree more about the issue of translation, especially in an age of surtitles. At best, ENO's translations do not get in the way too much; far too often, they ruin everything. A particular culprit here is Jeremy Sams: those unforgivably cheapening monstrosities he has inflicted upon Mozart... Likewise, I have never met a single soul who has spoken of translation as an attraction; reactions range from 'what a pity' to never darkening the doors. <br /><br />I think you are, if anything, too generous in the present case. The translation used was often misleading, inconsistent, and straightforwardly banal. If I remember correctly, the Marschallin's final words were 'oh yes'...Mark Berryhttps://www.blogger.com/profile/17693194967620507933noreply@blogger.com