Der Freischütz als Hollywood-Spektakel: Übersetzungstheoretischer Blickwinkel auf die finnischen Neuinszenierungen in den Jahren 2006 und 2008

The article concentrates on the recent singable Finnish translation of Carl Maria von Weber’s opera Der Freischütz, used in the stagings of the Nilsiä’s Cava Opera Festival and in the Finnish National Opera in 2006 and 2008. In this article, a short introduction to opera in general and to Der Freischütz is given, and furthermore, opera translation is examined as an object of translation research, by taking a glance at previous research on opera translation in the work of such scholars as Kaindl, Dürr and Gorlée. In a short exemplary analysis, the new translation of Der Freischütz is examined from a translation theoretical point of view. Already at this stage, the analysis reveals that although this translation can, for the most part, be sung to the original melody and rhythm, there are other elements pertaining to opera translation, which are not taken into account in this translation. A further object of interest is to define later on, to which extent the older Finnish translation from 1924 was adapted or used directly for the new translation.