“JANKO”, THE “FOLK OPERA” LISZT NEVER WROTE by Mónika IVÁNYI-PAPP

“…Rubinstein (the Russian Liszt) composed music on the basis of the libretto and called it Kinder der Heide (Children of the Moorland). …”
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UNE PERSPECTIVE SÉMANTIQUE INTÉGRALISTE SUR L’INTERFÉRENCE TEXTE-MUSIQUE DANS LE CAS DU THÉÂTRE MUSICAL by Mirona BENCE-MUK

“…These correspondences refer to the existence of particular metaphoric strategies within the musical discourse, collaborating from the same position with the above mentioned strategies, presented in the text of the libretto in order to enhance the mystery and to articulate the metaphorical meaning existent in the final artistic text: libretto accompanied by the musical discourse. …”
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Daar is méér. ’n Outobiografiese reisverhaal deur Amper-Stamperland en Metaversum by L. Hoffman

“…; “Die misterie van verwondering: ’n Libretto met die titel ‘Daar is méér!’”; “Klopdisselboom met ’n pedonkiekar in Amper-Stamperland”; “Pikkewouters: Amperkaraktertjies in die Wilde Weste van stamper”; “bewolkte rekenarisering” (“computer clouding”); “blokkettings” (“block chains”). …”
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LE MASQUE COMIQUE DE L’OPÉRA DANS L’ITALIE DU XVIIIe SIÈCLE by Diana TODEA

“…This approach is maintained until the early eighteenth century, when the former dramma per musica, which aimed to be entertainment for the aristocracy, removes from its librettos the comic element that is found to be irrelevant to the topic and not in accordance with the tragic style. …”
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