Misplaced Pages

#661338

54-504: The name is symbolic, derived from the Book of Isaiah 9:10: "The bricks have fallen down, but we will rebuild with dressed stone". The kibbutz was originally called "Argentina A". The kibbutz community was formed in 1947 by immigrants from Argentina , Poland , Romania and Turkey , and the physical kibbutz was established in 1948 on the lands of the Palestinian village of al-Tira , which

108-530: A community pub. Apart from these fields, The Kibbutz's main income is largely based on the Factory " Plazit " that produces rigid plastic sheets, plastic products primarily for the food trays for the food industry (with grouping ascending ). In recent years, the factory has incorporated a number of other factories, and even bought factories in Bulgaria and Chile. In 1952 "Naaman Gazit ", a factory producing porcelain plates,

162-443: A highly successful play by its librettist, Gabriele D'Annunzio , a celebrated Italian poet, novelist and dramatist of the day. In some cases, the operatic adaptation has become more famous than the literary text on which it was based, as with Claude Debussy 's Pelléas et Mélisande after a play by Maurice Maeterlinck . The question of which is more important in opera – the music or the words – has been debated over time, and forms

216-411: A lasting collaboration), Auber , Bellini , Donizetti , Rossini and Verdi . The French writers' duo Henri Meilhac and Ludovic Halévy wrote many opera and operetta libretti for the likes of Jacques Offenbach , Jules Massenet and Georges Bizet . Arrigo Boito , who wrote libretti for, among others, Giuseppe Verdi and Amilcare Ponchielli , also composed two operas of his own. The libretto

270-512: A newly constructed road through the wilderness was taken up by all four Gospels and applied to John the Baptist and Jesus. Christians point to Chapter 53 and its discussion of a suffering servant as a striking prediction of the crucifixion of Jesus Christ, the messiah predicted by Isaiah. Isaiah seems always to have had a prominent place in Hebrew Bible use, and it is probable that Jesus himself

324-445: A subject and developing a sketch of the action in the form of a scenario , as well as revisions that might come about when the work is in production, as with out-of-town tryouts for Broadway musicals, or changes made for a specific local audience. A famous case of the latter is Wagner's 1861 revision of the original 1845 Dresden version of his opera Tannhäuser for Paris. The opera libretto from its inception ( c.  1600 )

378-501: A summary of its contents like the following: The older understanding of this book as three fairly discrete sections attributable to identifiable authors leads to a more atomised picture of its contents, as in this example: While it is widely accepted that the book of Isaiah is rooted in a historic prophet called Isaiah , who lived in the Kingdom of Judah during the 8th century BCE, it is also widely accepted that this prophet did not write

432-412: Is divided between verse and prose passages, and a currently popular theory is that the verse passages represent the prophecies of the original 8th-century Isaiah, while the prose sections are "sermons" on his texts composed at the court of Josiah a hundred years later, at the end of the 7th century. The conquest of Jerusalem by Babylon and the exile of its elite in 586 BCE ushered in the next stage in

486-479: Is evidence that much of it was composed during the Babylonian captivity and later. Johann Christoph Döderlein suggested in 1775 that the book contained the works of two prophets separated by more than a century, and Bernhard Duhm originated the view, held as a consensus through most of the 20th century, that the book comprises three separate collections of oracles : Proto-Isaiah ( chapters 1 – 39 ), containing

540-588: Is greatly different from the Edna Ferber novel from which it was adapted , uses some of Ferber's original dialogue, notably during the miscegenation scene. And Lionel Bart 's Oliver! uses chunks of dialogue from Charles Dickens 's novel Oliver Twist , although it bills itself as a "free adaptation" of the novel. As the originating language of opera, Italian dominated that genre in Europe (except in France) well through

594-419: Is not always written before the music. Some composers, such as Mikhail Glinka , Alexander Serov , Rimsky-Korsakov , Puccini and Mascagni wrote passages of music without text and subsequently had the librettist add words to the vocal melody lines (this has often been the case with American popular song and musicals in the 20th century, as with Richard Rodgers and Lorenz Hart 's collaboration, although with

SECTION 10

#1732885126662

648-854: Is the Persian king Cyrus the Great , who is merely the agent who brings about Yahweh's kingship. Isaiah speaks out against corrupt leaders and for the disadvantaged, and roots righteousness in God's holiness rather than in Israel's covenant. Isaiah was one of the most popular works among Jews in the Second Temple period (c. 515 BCE – 70 CE). In Christian circles, it was held in such high regard as to be called "the Fifth Gospel", and its influence extends beyond Christianity to English literature and to Western culture in general, from

702-408: Is the diminutive of the word libro ("book"). Sometimes other-language equivalents are used for libretti in that language, livret for French works, Textbuch for German and libreto for Spanish. A libretto is distinct from a synopsis or scenario of the plot, in that the libretto contains all the words and stage directions, while a synopsis summarizes the plot. Some ballet historians also use

756-483: Is the text used in, or intended for, an extended musical work such as an opera , operetta , masque , oratorio , cantata or musical . The term libretto is also sometimes used to refer to the text of major liturgical works, such as the Mass , requiem and sacred cantata, or the story line of a ballet . The Italian word libretto ( pronounced [liˈbretto] , plural libretti [liˈbretti] )

810-422: The aria " Nessun dorma " from Puccini's Turandot , the final lines in the libretto are "Tramontate, stelle! All'alba, vincerò!" (Fade, you stars! At dawn, I will win!). However, in the score they are sung as "Tramontate, stelle! Tramontate, stelle! All'alba, vincerò! Vincerò! Vincerò!". Because the modern musical tends to be published in two separate but intersecting formats (i.e., the book and lyrics, with all

864-465: The libretto of Handel's Messiah to a host of such everyday phrases as " swords into ploughshares " and " voice in the wilderness ". General scholarly consensus through most of the 20th century saw three separate collections of oracles in the book of Isaiah. A typical outline based on this understanding of the book sees its underlying structure in terms of the identification of historical figures who might have been their authors: While one part of

918-415: The public domain ) this format is supplemented with melodic excerpts of musical notation for important numbers. Printed scores for operas naturally contain the entire libretto, although there can exist significant differences between the score and the separately printed text. More often than not, this involves the extra repetition of words or phrases from the libretto in the actual score. For example, in

972-652: The 18th century, and even into the next century in Russia, for example, when the Italian opera troupe in Saint Petersburg was challenged by the emerging native Russian repertory. Significant exceptions before 1800 can be found in Purcell 's works, Handel 's first operas, ballad opera and Singspiel of the 18th century, etc. Just as with literature and song, the libretto has its share of problems and challenges with translation . In

1026-627: The 37 quotations from the prophets in the Pauline epistles , and takes pride of place in the Gospels and in Acts of the Apostles . Isaiah 7:14 , where the prophet is assuring king Ahaz that God will save Judah from the invading armies of Israel and Syria, forms the basis for Matthew 1:23 's doctrine of the virgin birth , while Isaiah 40:3–5's image of the exiled Israel led by God and proceeding home to Jerusalem on

1080-461: The Lilacs , Carousel used dialogue from Ferenc Molnár 's Liliom , My Fair Lady took most of its dialogue word-for-word from George Bernard Shaw 's Pygmalion , Man of La Mancha was adapted from the 1959 television play I, Don Quixote , which supplied most of the dialogue, and the 1954 musical version of Peter Pan used J. M. Barrie 's dialogue. Even the musical Show Boat , which

1134-480: The Roof has a composer ( Jerry Bock ), a lyricist ( Sheldon Harnick ) and the writer of the "book" ( Joseph Stein ). In rare cases, the composer writes everything except the dance arrangements – music, lyrics and libretto, as Lionel Bart did for Oliver! . Other matters in the process of developing a libretto parallel those of spoken dramas for stage or screen. There are the preliminary steps of selecting or suggesting

SECTION 20

#1732885126662

1188-472: The basis of at least two operas, Richard Strauss 's Capriccio and Antonio Salieri 's Prima la musica e poi le parole . Libretti have been made available in several formats, some more nearly complete than others. The text – i.e., the spoken dialogue, song lyrics and stage directions, as applicable – is commonly published separately from the music (such a booklet is usually included with sound recordings of most operas). Sometimes (particularly for operas in

1242-470: The composer (past or present) of the musical score to an opera or operetta is usually given top billing for the completed work, and the writer of the lyrics relegated to second place or a mere footnote, a notable exception being Gertrude Stein , who received top billing for Four Saints in Three Acts . Another exception was Alberto Franchetti 's 1906 opera La figlia di Iorio which was a close rendering of

1296-549: The composer. In some 17th-century operas still being performed, the name of the librettist was not even recorded. As the printing of libretti for sale at performances became more common, these records often survive better than music left in manuscript. But even in late 18th century London, reviews rarely mentioned the name of the librettist, as Lorenzo Da Ponte lamented in his memoirs. By the 20th century some librettists became recognised as part of famous collaborations, as with Gilbert and Sullivan or Rodgers and Hammerstein . Today

1350-409: The context of a modern English-language musical theatre piece, the libretto is considered to encompass both the book of the work (i.e., the spoken dialogue) and the sung lyrics. Libretti for operas, oratorios and cantatas in the 17th and 18th centuries were generally written by someone other than the composer, often a well-known poet. Pietro Trapassi , known as Metastasio (1698–1782) was one of

1404-465: The country and who now owned the land, and there were further conflicts over the form of government that should be set up. This background forms the context of Trito-Isaiah. The Book of Isaiah focuses on the main role of Jerusalem in God's plan for the world, seeing centuries of history as though they were all the single vision of the 8th-century prophet Isaiah. Walter Brueggemann has described this overarching narrative as "a continued meditation upon

1458-482: The destiny of Jerusalem". God's plan for the world is based on his choice of Jerusalem as the place where he will manifest himself, and of the line of David as his earthly representative – a theme that may possibly have originated with Jerusalem's reprieve from Assyrian attack in 701 BCE. God is "the holy one of Israel"; justice and righteousness are the qualities that mark the essence of God, and Israel has offended God through unrighteousness. Isaiah speaks out for

1512-425: The entire book of Isaiah. The composition history of Isaiah reflects a major difference in the way authorship was regarded in ancient Israel and in modern societies; the ancients did not regard it as inappropriate to supplement an existing work while remaining anonymous. While the authors are anonymous, it is plausible that all of them were priests, and the book may thus reflect Priestly concerns, in opposition to

1566-478: The entire book, or even most of it, to one person, the book's essential unity has become a focus in more recent research. The book can be read as an extended meditation on the destiny of Jerusalem into and after the Exile. The Deutero-Isaian part of the book describes how God will make Jerusalem the centre of his worldwide rule through a royal saviour (a messiah ) who will destroy the oppressor ( Babylon ); this messiah

1620-729: The following: Isaiah was one of the most popular works in the period between the foundation of the Second Temple c. 515 BCE and its destruction by the Romans in 70 CE. Isaiah's "shoot [which] will come up from the stump of Jesse" is alluded to or cited in the Psalms of Solomon and various apocalyptic works including the Similitudes of Enoch , 2 Baruch , 4 Ezra , and the third of the Sibylline oracles , all of which understood it to refer to a/the messiah and

1674-458: The foolishness of the carpenter who worships the idol that he himself has carved. While Yahweh had shown his superiority to other gods before, in Second Isaiah he becomes the sole God of the world. This model of monotheism became the defining characteristic of post-Exilic Judaism and provided the basis for Christianity and for Islam . A central theme in Second Isaiah is that of a new Exodus –

Gazit - Misplaced Pages Continue

1728-542: The formation of the book. Deutero-Isaiah addresses himself to the Jews in exile, offering them the hope of return. This was the period of the meteoric rise of Persia under its king Cyrus the Great – in 559 BCE he succeeded his father as ruler of a small vassal kingdom in modern eastern Iran, by 540 he ruled an empire stretching from the Mediterranean to Central Asia, and in 539 he conquered Babylon. Deutero-Isaiah's predictions of

1782-457: The general consensus still holds, this perception of Isaiah as made up of three rather distinct sections underwent a radical challenge in the last quarter of the 20th century. The newer approach looks at the book in terms of its literary and formal characteristics, rather than authors, and sees in it a two-part structure divided between chapters 33 and 34: Seeing Isaiah as a two-part book (chapters 1–33 and 34–66) with an overarching theme leads to

1836-529: The imminent fall of Babylon and his glorification of Cyrus as the deliverer of Israel date his prophecies to 550–539 BCE, and probably towards the end of this period. The Persians ended the Jewish exile, and by 515 BCE the exiles, or at least some of them, had returned to Jerusalem and rebuilt the Temple. The return, however, was not without problems: the returnees found themselves in conflict with those who had remained in

1890-533: The increasingly successful reform movement of the Deuteronomists . The historic Isaiah ben Amoz lived in the Kingdom of Judah during the reigns of four kings from the mid to late 8th-century BCE. During this period, Assyria was expanding westward from its origins in modern-day northern Iraq towards the Mediterranean, destroying first Aram (modern Syria) in 734–732 BCE, then the Kingdom of Israel in 722–721, and finally subjugating Judah in 701. Proto-Isaiah

1944-521: The later team of Rodgers and Hammerstein the lyrics were generally written first, which was Rodgers' preferred modus operandi). Some composers wrote their own libretti. Richard Wagner is perhaps most famous in this regard, with his transformations of Germanic legends and events into epic subjects for his operas and music dramas. Hector Berlioz , too, wrote the libretti for two of his best-known works, La damnation de Faust and Les Troyens . Alban Berg adapted Georg Büchner 's play Woyzeck for

1998-424: The libretto of Wozzeck . Sometimes the libretto is written in close collaboration with the composer; this can involve adaptation, as was the case with Rimsky-Korsakov and his librettist Vladimir Belsky , or an entirely original work. In the case of musicals, the music, the lyrics and the "book" (i.e., the spoken dialogue and the stage directions) may each have its own author. Thus, a musical such as Fiddler on

2052-402: The lyrics of the arias , duets , trios and choruses written in verse. The libretto of a musical, on the other hand, is almost always written in prose (except for the song lyrics). The libretto of a musical, if the musical is adapted from a play (or even a novel), may even borrow their source's original dialogue liberally – much as Oklahoma! used dialogue from Lynn Riggs 's Green Grow

2106-584: The messianic age. Isaiah 6, in which Isaiah describes his vision of God enthroned in the Temple, influenced the visions of God in works such as the "Book of the Watchers" section of the Book of Enoch , the Book of Daniel and others, often combined with the similar vision from the Book of Ezekiel . A very influential portion of Isaiah was the four so-called Songs of the Suffering Servant from Isaiah 42, 49, 50 and 52, in which God calls upon his servant to lead

2160-529: The messianic interpretation of Enoch, interpreted Isaiah 52:13–53:12, the fourth of the songs, as a prophecy of the death and exaltation of Jesus , a role which Jesus himself accepted according to Luke 4:17–21. The Book of Isaiah has been immensely influential in the formation of Christianity, from the devotion to the Virgin Mary to anti-Jewish polemic, medieval passion iconography, and modern Christian feminism and liberation theology . The regard in which Isaiah

2214-413: The most highly regarded librettists in Europe. His libretti were set many times by many different composers. Another noted 18th-century librettist was Lorenzo Da Ponte . He wrote the libretti for three of Mozart 's greatest operas, and for many other composers as well. Eugène Scribe was one of the most prolific librettists of the 19th century, providing the words for works by Meyerbeer (with whom he had

Gazit - Misplaced Pages Continue

2268-538: The nations (the servant is horribly abused, sacrifices himself in accepting the punishment due others, and is finally rewarded). Some Second Temple texts, including the Wisdom of Solomon and the Book of Daniel identified the Servant as a group – "the wise" who "will lead many to righteousness" (Daniel 12:3) – but others, notably the Similitudes of Enoch , understood it in messianic terms. The earliest Christians, building on

2322-442: The old Betty Grable – Don Ameche – Carmen Miranda vehicles, are largely unaffected, but this practice is especially misleading in translations of musicals like Show Boat , The Wizard of Oz , My Fair Lady or Carousel , in which the lyrics to the songs and the spoken text are often or always closely integrated, and the lyrics serve to further the plot. Availability of printed or projected translations today makes singing in

2376-471: The original language more practical, although one cannot discount the desire to hear a sung drama in one's own language. The Spanish words libretista (playwright, script writer or screenwriter) and libreto (script or screen play), which are used in the Hispanic TV and cinema industry, derived their meanings from the original operatic sense. Librettists have historically received less prominent credit than

2430-629: The past (and even today), foreign musical stage works with spoken dialogue, especially comedies, were sometimes performed with the sung portions in the original language and the spoken dialogue in the vernacular. The effects of leaving lyrics untranslated depend on the piece. A man like Louis Durdilly would translate the whole libretto, dialogues and airs, into French: Così fan tutte became Ainsi font toutes, ou la Fidélité des femmes , and instead of Ferrando singing "Un' aura amorosa" French-speaking audiences were treated to Fernand singing "Ma belle est fidèle autant qu'elle est belle". Many musicals, such as

2484-421: The poor and the oppressed and against corrupt princes and judges, but unlike the prophets Amos and Micah he roots righteousness not in Israel's covenant with God but in God's holiness. Isaiah 44:6 contains the first clear statement of Yahwist monotheism : "I am the first and I am the last; beside me there is no God". In Isaiah 44:09–20, this develops into a satire on the making and worship of idols, mocking

2538-407: The return of the exiled people Israel from Babylon to Jerusalem. The author imagines a ritualistic return to Zion (Judah), led by Yahweh. The importance of this theme is indicated by its placement at the beginning and end of Second Isaiah (40:3–5, 55:12–13). This new Exodus is repeatedly linked with Israel's Exodus from Egypt to Canaan under divine guidance, but with new elements. These links include

2592-467: The word libretto to refer to the 15- to 40-page books which were on sale to 19th century ballet audiences in Paris and contained a very detailed description of the ballet's story, scene by scene. The relationship of the librettist (that is, the writer of a libretto) to the composer in the creation of a musical work has varied over the centuries, as have the sources and the writing techniques employed. In

2646-534: The words of the 8th-century BC prophet Isaiah; Deutero-Isaiah , or "the Book of Consolation", ( chapters 40 – 55 ), the work of an anonymous 6th-century BCE author writing during the Exile; and Trito-Isaiah ( chapters 56 – 66 ), composed after the return from Exile. Isaiah 1– 33 promises judgment and restoration for Judah, Jerusalem and the nations, and chapters 34 –66 presume that judgment has been pronounced and restoration follows soon. While few scholars today attribute

2700-533: Was depopulated during the 1948 Arab–Israeli War , 1.5 km southwest of the village site. Gazit became a permanent settlement in 1950. Initially a communist kibbutz, its members decided to swear allegiance to the state in 1952, expelling 22 Maki members in the process. The main Traditional livelihood branches of the kibbutz are field crops, orchard (near Nahal Tavor ), almond and olive groves, barn, house sheep, beef, and chicken coop. The Kibbutz also runs

2754-505: Was deeply influenced by Isaiah. Thus many of the Isaiah passages that are familiar to Christians gained their popularity not directly from Isaiah but from the use of them by Jesus and the early Christian authors – this is especially true of the Book of Revelation , which depends heavily on Isaiah for its language and imagery. Translations Libretto A libretto (From the Italian word libretto , lit.   ' booklet ' )

SECTION 50

#1732885126662

2808-650: Was established at the kibbutz, but closed several years later. Book of Isaiah The Book of Isaiah ( Hebrew : ספר ישעיהו [ˈsɛ.fɛr jə.ʃaʕ.ˈjaː.hu] ) is the first of the Latter Prophets in the Hebrew Bible and the first of the Major Prophets in the Christian Old Testament . It is identified by a superscription as the words of the 8th-century BC prophet Isaiah ben Amoz, but there

2862-480: Was held was so high that the book was frequently called "the Fifth Gospel": the prophet who spoke more clearly of Christ and the Church than any others. Its influence extends beyond the Church and Christianity to English literature and to Western culture in general, from the libretto of Handel's Messiah to a host of such everyday phrases as "swords into ploughshares" and "voice in the wilderness". Isaiah provides 27 of

2916-489: Was written in verse, and this continued well into the 19th century, although genres of musical theatre with spoken dialogue have typically alternated verse in the musical numbers with spoken prose. Since the late 19th century some opera composers have written music to prose or free verse libretti. Much of the recitatives of George Gershwin 's opera Porgy and Bess , for instance, are merely DuBose and Dorothy Heyward 's play Porgy set to music as written – in prose – with

#661338