“That which we call a rose”: Adaptations of Romeo and Juliet in the Evolution of a Musical Tradition, 1839-1938
Abstract:
Drawing upon Bortolotti and Hutcheon’s use of biological language in adaptation theory, this paper examines the intersection of literature and music, specifically tracing Shakespeare’s Romeo and Juliet in classical music, ballet, and opera from 1839 to 1938. The cross-section of works includes Berlioz’s dramatic symphony, Tchaikovsky’s Fantasy-Overture, Gounod’s opera, and Prokofiev’s ballet. An investigation into the compositional history of each work reveals the evolution of the narrative, with a focus on how the four composers engaged with Shakespeare’s original play (if at all), encountered other adaptations of the tragedy, and interacted with each other. This particular selection of Romeo and Juliet adaptations reflects broader historical mindsets and debates about classical music, as well as the state of the art(s) and the demands from major cultural institutions throughout the nineteenth and twentieth centuries. Then, I analyze how Tchaikovsky and Prokofiev portray the main tension between the themes of feuding families and young love. These two works demonstrate the parameters and limitations of instrumental music and ballet in communicating a narrative and its major themes. This examination of cultural history and canonical works in classical music leads to further questions about contemporary classical music culture, our continued engagement with long-standing artistic traditions, and how we can revitalize and transform knowledge of narratives for audiences today and in the future.
Hello! I’m Gabrielle, a student at Barnard College in New York City. I’m studying Comparative Literature (English and German) and Music (Ethnomusicology), and I’m also a classical violist and pianist. I’m passionate about the historic overlap between literature and music, particularly 19th- and 20th-century program music, ballets, and operas. For my first Laidlaw summer, my interest in adaptation theory drove me to explore how Shakespeare’s Romeo and Juliet narrative moved across genres and mediums, with a specific focus on works by Tchaikovsky, Berlioz, Prokofiev, and Gounod. My interest in the transmission of cultural and musical knowledge led me to Berlin, Germany for my second Laidlaw summer, where I also spent my exchange year. I worked as a piano teacher at an organization that supports and empowers migrants and refugees in Berlin. I’m also interested in literary translation, archival practices, and engaged pedagogy, and I hope to continue exploring archives, libraries, and museums as sites of cultural memory.
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