TRANSLATION TRANSFORMATIONS OF THE LIBRETTO BY N. TATE FOR THE OPERA “DIDO AND AENEAS”

The article is devoted to the analysis of translation transformations in musical compositions. Studies in the field of musical translation and opera compositions were considered, difficulties that an interpreter may face were identified. Using the example of N. Tate’s libretto for the opera “Dido and Aeneas”, the texts of the recitative and Dido’s aria were analyzed, as well as the ways of its translation into Russian. Background. To achieve adequacy in the translation of musical compositions, in particular opera librettos, translators resort to the use of various types of transformations. On basis of the libretto for the opera “Dido and Aeneas”, the analysis of Y. Dimitrin’s translation is carried out. Purpose. To identify and analyze the translation transformations of Y. Dimitrin’s libretto of the opera “Dido and Aeneas” in comparison with the literal translation. Materials and methods. The research material was G. Purcell’s opera “Dido and Aeneas” and its translation into Russian. During the analysis of the material, the method of analysis and synthesis of theoretical scientific material on the topic under study, as well as the comparative method were used. Results. The results of the study proved that due to the difference in the structures of languages, the interpreter faced a number of problems in translation of the recitative and Dido’s aria of the opera. In the process, he was forced to use such translation methods as addition, omission, and integral transformation, which helped him make the Russian version close in meaning and in content. Practical implications. The results of the research can be used by students of linguistic universities interested in poetic translation, as well as by translators with experience in translating musical compositions, for a profound understanding of the possibilities of using translation transformations.