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  • Cited by 4
Publisher:
Cambridge University Press
Online publication date:
October 2015
Print publication year:
2015
Online ISBN:
9781139135511

Book description

In the early nineteenth century over forty operas by foreign composers, including Mozart, Rossini, Weber and Bellini, were adapted for London playhouses, often appearing in drastically altered form. Such changes have been denigrated as 'mutilations'. The operas were translated into English, fitted with spoken dialogue, divested of much of their music, augmented with interpolations and frequently set to altered libretti. By the end of the period, the radical changes of earlier adaptations gave way to more faithful versions. In the first comprehensive study of these adaptations, Christina Fuhrmann shows how integral they are to our understanding of early nineteenth-century opera and the transformation of London's theatrical and musical life. This book reveals how these operas accelerated repertoire shifts in the London theatrical world, fostered significant changes in musical taste, revealed the ambiguities and inadequacies of copyright law and sparked intense debate about fidelity to the original work.

Awards

Winner, 2017 Diana McVeagh Prize, North American British Music Studies Association (NABMSA)

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Contents

Bibliography

Sources for adaptations

Jean de Paris adapted as Jean de Paris, Drury Lane, 1814

Arnold, S[amuel] J[ames], Jean de Paris, a comic drama … (London: Whittingham and Arliss, 1814)
Arnold, S[amuel] J[ames] Jean de Paris, a farce …, Plays submitted to the Lord Chamberlain, Huntington Library, Larpent 1829
Horn, Charles Edward, Jean de Paris: a favorite divertimento, arranged for the piano forte … (London, W. Horn, c. 1817–24)

Jean de Paris adapted as John of Paris, Covent Garden, 1814

Bishop, Henry R[owley], John of Paris, vol. xiii of Sir H. R. Bishop's works (London: Goulding, D'Almaine and Potter, c. 1814–20)
Bishop, Henry R[owley] John of Paris, opera …, Boston Public Library, M.230.26
Pocock, I[saac], John of Paris; a comic opera … (London: John Miller, 1814)
Pocock, I[saac], John of Paris. Comic opera …, Plays submitted to the Lord Chamberlain, Huntington Library, Larpent 1830

Don Giovanni adapted as The libertine, Covent Garden, 1817

Bishop, Henry R[owley], Don Juan, or the libertine, a grand operatic drama … (London: Goulding, D'Almaine, Potter & Co., c. 1817–20)
Pocock, I[saac], The libertine: an opera … (London: John Miller, 1817)
Pocock, I[saac], The libertine; an operatick drama …, Plays submitted to the Lord Chamberlain, Huntington Library, Larpent 1973

Il barbiere di Siviglia adapted as The barber of Seville, Covent Garden, 1818

Airs, trios, choruses, etc. etc. in the comick opera in two acts called The barber of Seville … (London: E. Macleish, 1818)
The barber of Seville, 1818. Chiefly adapted from Rossini …, British Library Additional Manuscript 36950
The barber of Seville; a comic opera … (London: J. Roach, 1818)
The barber of Seville a comick opera …, Plays submitted to the Lord Chamberlain, Huntington Library, Larpent 2046
Bishop, Henry R[owley], The overture and music (complete) to the comic opera called The barber of Seville … (London: D'Almaine & Co., c. 1838–48)

Le nozze di Figaro adapted as The marriage of Figaro, Covent Garden, 1819

Bishop, [Henry Rowley], Airs, duets, trios, choruses, etc. etc. in the new comick opera … called The marriage of Figaro … (London: E. Macleish, 1819)
Bishop, [Henry Rowley], The marriage of Figaro; a comic opera … (London: Goulding, D'Almaine, Potter, c. 1819–23)
Bishop, [Henry Rowley], The marriage of Figaro; a comic opera … (London: John Miller, 1819)
The marriage of Figaro a comic opera …, Plays submitted to the Lord Chamberlain, Huntington Library, Larpent 2077
The marriage of Figaro; comic opera …, British Library Additional Manuscript 27712

Der Freischütz adapted as Der Freischütz, English Opera House, 1824

Der Freijschutz, the wild hunter or the seventh bullet …, Plays submitted to the Lord Chamberlain, British Library Additional Manuscript 42867
Der Freischütz; or, the seventh bullet … (London: G. H. Davidson, c. 1849–60)
Der Freischütz; or, the seventh bullet … (London: Thomas Dolby, 1825)
Der Freyschutz, romantische Oper in drei Akten …, Royal College of Music Manuscript 4348
Hawes, William and Logan, W. McGregor, Weber's celebrated opera Der Freischutz or the seventh bullet … (London: Cramer, Addison & Beale, [1841])
‘Oh fortune we hail thee’, Royal College of Music Manuscript 1038
Songs, duets, incantation, concerted pieces, choruses, etc. in the new musical performance of Der Freischütz; or, the seventh bullet … (London: John Lowndes, n.d.)
The whole of the music … in the celebrated melodrame, called Der Freischütz; or the seventh bullet … (London: Royal Harmonic Institution, 1824)

Der Freischütz adapted as Der Freischütz, Royal Amphitheatre, 1824

Amherst, J. H., Der Freischutz, or the seven charmed bullets … (London: Duncombe, c. 1824–36)

Der Freischütz adapted as Der Freischütz, West London Theatre, 1824

Kerr, J[ohn], Der Freischutz; or, Zamiel the spirit of the forest … (London: J. Dicks, n.d.)
Kerr, J[ohn], Der Freischutz; or Zamiel the spirit of the forest, and the seventh bullet … (London: John Lowndes, n.d.)

Der Freischütz adapted as Der Freischütz, Surrey Theatre, 1824

[Fitz]Ball, Edward, Der Freischutz; or, the demon of the wolf's glen, and the seven charmed bullets … (London: John Lowndes, n.d.)

Der Freischütz adapted as The Freyschütz, Covent Garden, 1824

‘Each sorrow repelling a duet … sung … in the grand operatic romance of Der Freischutz or the wild huntsman’ (New York: E. Riley, n.d.)
‘Heart wilt thou rest thee never … in the romantic opera of Der Freischutz, or the black huntsman of Bohemia’ (London: W. Eavestaff and Lavenu & Co., n.d.)
Livius, Barham, The Freyschütz; or, the wild huntsman of Bohemia … (London: John Miller, n.d.)
Planché, J[ames] R[obinson] and Livius, Barham, Songs, duets, choruses, incantations, etc. in the romantic opera of Der Freïschutz; or, the black huntsman of Bohemia … (London: John Miller, 1824)
Planché, J[ames] R[obinson] and Irving, Washington, Der Freischutz …, Plays submitted to the Lord Chamberlain, British Library Additional Manuscript 42868
‘Wine, wine, rich and rosy wine. The celebrated drinking song … in the romantic opera of Der Freischutz, or the black huntsman of Bohemia’ (London: Lavenu & Co. and W. Eavestaff, n.d.)

Der Freischütz adapted as Der Freischütz, Drury Lane, 1824

Bishop, Henry R[owley], The overture, & the popular music in Carl Maria von Weber's celebrated romantic opera of Der Freischütz … (London: Goulding, D'Almaine & Co., [1824])
Soane, G[eorge], Der Freischutz, Plays submitted to the Lord Chamberlain, British Library Additional Manuscript 42869
Soane, G[eorge], Der Freischütz: a romantic opera …, 3rd edn (London: Simpkin & Marshall, 1825)

Die Entführung aus dem Serail adapted as The seraglio, Covent Garden, 1827

Kramer, [Christian], Airs, duets, choruses, &c. in the new grand opera … called The seraglio … (London: W. Reynolds, n.d.)
Kramer, [Christian], The seraglio, the celebrated opera by Mozart, with additional music … (London: Clementi and Co. and S. Chappell, [1828])
The seraglio: an opera … (London: R. S. Kirby, 1828)
The seraglio, Plays submitted to the Lord Chamberlain, British Library Additional Manuscript 42885

Così fan tutte adapted as Tit for tat, English Opera House, 1828

Arnold, S[amuel] J[ames] The tables turned (tit for tat or the tables turned), Plays submitted to the Lord Chamberlain, British Library Additional Manuscript 42891
‘Be sure you write and often; the favorite quintet … in the opera called Tit for tat or the tables turn'd’ (London: W. Hawes, n.d.)
Hawes, [William], Recitative, Songs, duets, chorusses, &c. in Tit for tat; or, the tables turned. (London: S. G. Fairbrother, [1828])
‘One word from my angel … in the popular opera, called Tit for tat or the tables turn'd’ (London: W. Hawes [1827])
‘What my Dorabella, the favorite trio, … in the popular opera, called Tit for tat or the tables turn'd’ (London: W. Hawes, n.d.)

La muette de Portici adapted as The dumb girl of Portici, Coburg Theatre, 1829

Milner, H. M., Masaniello; or, the dumb girl of Portici (London: John Cumberland, n.d.)

La muette de Portici adapted as Masaniello, Drury Lane, 1829

Auber, [Daniel François Esprit], ‘Ah! why that tear …’, Cambridge University Library, Additional Manuscript 9045, ff. 71–2
Auber, [Daniel François Esprit], arr. Cooke, T[homas], ‘Take heed, whisper low, barcarole in Masaniello’, Cambridge University Library, Additional Manuscript 9045, ff. 34v–37v
Kenney, James, Masaniello: a grand opera … (London: Edward Moxon, 1831)
Masaniello or the dumb girl of Portici … Plays submitted to the Lord Chamberlain, British Library Additional Manuscript 42895
Masaniello or the dumb girl of Portici: a grand opera, written for the English stage by James Kenney … (London: I. Willis and Co., [1829])
Songs, duets, &c. in the new grand opera of Masaniello; or, the dumb girl of Portici (London: published at the theatre, 1829)

Die Räuberbraut adapted as The robber's bride, English Opera House, 1829

Hawes, W[illiam], Recitative, songs, duets, &c. in the grand serio-comick opera, called The robber's bride! … (London: S. G. Fairbrother, [1829])
Hawes, W[illiam], The robber's bride, a grand opera (London: W. Hawes, 1829)
The robber's bride, or, the outlaws of the Appenines … Plays submitted to the Lord Chamberlain, British Library Additional Manuscript 42896

Der Vampyr adapted as Der Vampyr, English Opera House, 1829

‘A few vocal parts from “The dice of death” … and “Der Vampyr” …’ British Library Additional Manuscript 36573
Hawes, W[illiam], ‘From the ruin's topmost tow'r, cavatina … in Marschner's grand opera Der Vampyr …’ (London, W. Hawes, [1829])
Hawes, W[illiam], ‘Hah! yet one and thirty days, scena … in Marschner's grand opera Der Vampyr …’ (London, W. Hawes, [1829])
Hawes, W[illiam], ‘In autumn we should drink boys, the favorite drinking glee … in Marschner's grand opera Der Vampyr …’ (London, W. Hawes, [1829])
Hawes, W[illiam], ‘Like a cloudless summer morning, grand scena … in Marschner's grand opera Der Vampyr …’ (London, W. Hawes, [1829])
Hawes, W[illiam], ‘Oh! my father, duet … in Marschner's grand opera Der Vampyr …’ (London, W. Hawes, [1829])
Hawes, W[illiam], ‘See mother dear, romance … in Marschner's grand opera Der Vampyr …’ (London, W. Hawes, [1829])
‘Oh fortune, we hail thee’, Royal College of Music Manuscript 1038
‘Oh! my father! must tomorrow …’, British Library Royal Philharmonic Society Manuscript 99
Songs, duets, glees, chorusses, &c. in Der Vampyr; a grand romantick opera … (London: S. G. Fairbrother, [1829])
‘The parts of Michael Zips and Johan Brosky (printed), and a few instrumental parts, from Marschner's “Der Vampyr” …’, British Library Additional Manuscript 33811
The vampire, a grand romantick opera …, Plays submitted to the Lord Chamberlain, British Library Additional Manuscript 42896
‘Vocal parts of Marschner's “Der Vampyr,” adapted to the English stage by William Hawes …’, British Library Additional Manuscript 33810

La gazza ladra adapted as Ninetta, Covent Garden, 1830

Bishop, Henry R[owley], ‘In the cold stilly night … written for “Maid & magpie” when revived … as an opera, but not used’, Royal College of Music Manuscript 64, no. 10
Bishop, Henry R[owley], ‘Like the hunter-stricken deer … written for “Maid & magpie” when revived, as an opera, … but not used’, Royal College of Music Manuscript 64, no. 12
Bishop, Henry R[owley], Ninetta; or, the maid of Paliscan [sic], (n.p., n.d.), Library of Congress m1500.b615 n4
Bishop, Henry R[owley], Ninetta; or, the maid of Palaiseau (London: J. Ebers, [1830])
Bishop, Henry R[owley], The songs, duetts, choruses, &c. &c. in the opera entitled Ninetta; or, the maid of Palaiseau (London, [Balne, 1830])
Bishop, Henry R[owley], ‘Still memory paints the humble vale … composed for the opera of Ninetta …’ (London: Goulding & D'Almaine, [1830])
Bishop, Henry R[owley], ‘Still mem'ry paints the humble vale … written for “Maid & magpie” when revived, as an opera, but not used’, Royal College of Music Manuscript 64, no. 9
Bishop, Henry R[owley], ‘Joy inspires my bounding heart … in the opera of Ninetta …’ (London: Goulding & D'Almaine, [1830–43])
Fitzball, E[dward], Ninetta, or the maid of Palaiseau, Plays submitted to the Lord Chamberlain, British Library Additional Manuscript 42898
Ninetta …, mostly adapted from Rossini …, British Library Additional Manuscript 36965

Guillaume Tell adapted as Hofer, Drury Lane, 1830

Bishop, H[enry] R[owley], ‘Cast we our weaker hearts away’, Royal College of Music Manuscript 64, no. 23
Bishop, H[enry] R[owley], Songs, duets, choruses, &c. in the historical opera of Hofer, the Tell of the Tyrol … (London: Goulding and D'Almaine, [1830])
Bishop, H[enry] R[owley]‘Dear happy Tyrol’, Royal College of Music Manuscript 64, no. 11
Bishop, H[enry] R[owley], ‘Fast from the lake’, Royal College of Music Manuscript 64, no. 15
Hofer, the Tell of the Tyrol. A grand historical opera adapted from the grand opera of Guillaume Tell (London: D'Almaine & Co., n.d.)
Planché, J[ames] R[obinson], Hofer, the Tell of the Tyrol (London: Goulding and D'Almaine, [1830])
Planché, J[ames] R[obinson], Hofer, the Tell of the Tyrol!, Plays submitted to the Lord Chamberlain, British Library Additional Manuscript 42901

Zemire und Azor adapted as Azor and Zemira, Covent Garden, 1831

The magic rose or beauty and the beast (Azor and Zemira or the magic rose), Plays submitted to the Lord Chamberlain, British Library Additional Manuscript 42909
Smart, Sir George, Airs, duets, choruses, &c. in the new grand opera … called Azor and Zemira; or, the magic rose … (London: W. Reynolds, 1831)
Smart, Sir George and Ball, W[illiam], Grand opera of Azor & Zemira … (London: D'Almaine & Co., [1831])

Robert le diable adapted as Robert le diable, Adelphi Theatre, 1832

Fitzball, E[dward], and Buckstone, J[ohn] B., Robert le diable, the devil's son …, Plays submitted to the Lord Chamberlain, British Library Additional Manuscript 42914

Robert le diable adapted as The dæmon, Drury Lane, 1832

Bishop, Henry R[owley], T[homas] Cooke, [Montague Philip Corri] and Hughes, R., The demon! Grand opera from “Robert le Diable” …, 2 vols., Royal College of Music Manuscript 382
The demon duke or the mystic branch …, Plays submitted to the Lord Chamberlain, British Library Additional Manuscript 42914
The dæmon; or, the mystic branch … (London: John Miller, 1832)

Robert le diable adapted as Robert the devil, Covent Garden, 1832

Lacy, M[ichael] R[ophino], The fiend-father or Robert of Normandy, Plays submitted to the Lord Chamberlain, British Library Additional Manuscript 42914
Lacy, M[ichael] R[ophino], Robert the devil or the fiend-father … (London: Thomas Hailes Lacy, n.d.)
Lacy, M[ichael] R[ophino], Songs, duets, and concerted pieces of music in the new celebrated opera of Robert le Diable … (Boston: John H. Eastburn, 1835)

Der Alchymist adapted as Der Alchymist, Drury Lane, 1832

Bayly, T[homas] H[aynes] and Fitzball, E[dward], Der Alchymist, Plays submitted to the Lord Chamberlain, British Library Additional Manuscript 42915
Bishop, H[enry] R[owley], Songs, duets, trios, &c. &c. in the new grand opera entitled Der Alchymist … (London: J. Mallett, [1832])

Don Giovanni adapted as Don Juan, Drury Lane, 1833

Beazley, S[amuel], Don Juan, Plays submitted to the Lord Chamberlain, British Library Additional Manuscript 42920
Songs, duets, recitative, &c. &c. in Don Juan … (London: John Miller, 1833)

La sonnambula adapted as La sonnambula, Drury Lane, 1833

Beazley, S[amuel], La sonnambula, Plays submitted to the Lord Chamberlain, British Library Additional Manuscript 42921
Bishop, H[enry] R[owley], The celebrated opera La sonnambula … (London: T. Boosey & Co., [1839–42])
Bishop, H[enry] R[owley], Songs, Duets, Recitative, &c. &c. in the grand opera of the sonnambula … (London: John Miller, [1835])
La sonnambula. A grand opera … (New York: John Perry and London: Thomas Hailes Lacy, [1800s])

Gustave III adapted as Gustavus of Sweden, Victoria Theatre, 1833

Thackeray, Thomas James, Gustavus of Sweden … (London: R. Wilkes, 1833)

Gustave III adapted as Gustavus the third, Covent Garden, 1833

Celebrated opera of Gustavus the third or the masked ball … (London: D'Almaine & Co., [1830s])
Cooke, T[homas], Songs, duets, choruses, etc. etc. in the grand opera of Gustavus the third, or the masked ball … (London: J. Mallett, [1833])
Planché, J[ames] R[obinson], Gustavus the third, or the masked ball (London: D'Almaine and Co., [1833])
Planché, J[ames] R[obinson], Gustavus the third, or the masked ball, Plays submitted to the Lord Chamberlain, British Library Additional Manuscript 42924

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