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In Die Meistersinger von Nürnberg (1868; "The Mastersingers of Nürnberg"), Wagner partly abandoned his continuous-music style because central episodes in the libretto required self-contained numbers.
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While they appealed to the common people by the inclusion of love intrigues that were not required to reflect historical facts, historical librettos that portrayed magnanimous rulers flattered the aristocracy on whom many opera centres were financially dependent.
As his parents had done, Carte licensed the operas to the J. C. Williamson company and to amateur companies, but he required all licensees to present them in approved productions that closely followed the libretto, score and D'Oyly Carte production stagings.
I need to say that if people have any memory of Paint Your Wagon at all, they focus on the execrable 1969 movie in which the three non-singers Lee Marvin, Clint Eastwood and Jean Seberg (dubbed by Anita Gordon) required Lerner to drop much of the score, collaborate on a severely altered libretto with Paddy Chayevsky and add music by Andre Previn.
The opera may be, as Thomson boasted, "foolproof work," but it still requires serious preparation; Dona D. Vaughn, the director of the production, made sure the cast worked to understand the libretto apart from the music.
Libretto by Nahum Tate.
+ 1 booklet of the libretto.
Poet Anna Rabinowitz wrote the libretto.
Royce Vavrek wrote the libretto.
The libretto often waxes abstract and philosophical.
"Sylvia" 's libretto is already classical.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com