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Shakespeare As Opera In English: Britten's Dream And Adès' The Tempest, Joanne E. Gates

Presentations, Proceedings & Performances

I assert that we learn Shakespeare better when we study him against the adaptation. Some of the adaptation choices made by opera composers and librettists-- and especially by stage designers in recent productions-- provoke us to critique a production concept for its innovative staging, forcing us to learn more about Shakespeare's original. The recent Metropolitan's The Tempest conveys the 2004 Thomas Adès Tempest as if an 18th century impresario Prospero had conjured or appropriated the contents of the Milan opera house to his island. Meredith Oakes's libretto simplifies much of Shakespearean language to efficient rhyming couplets, yet this opera eloquently …