Music and Translation in Opera, Music Theatre and Popular Music

9th June, Birmingham – Organised by ITI WMG and MAT group.


When the Music and Translation workshop in Birmingham was advertised earlier in the year, it went straight in the diary: my specialist field is music and so this was a not-to-be-missed and rare opportunity to get some CPD in my area of expertise.

I had a concert the night before, so despite being up at the crack of dawn, I unfortunately missed the first session. This was “Singing with Other Voices – translation in opera and music theatre” with John Lloyd Davies, an opera and theatre director, designer and dramaturg who has worked in many of the world’s leading opera houses.

After a quick coffee and a résumé of John’s talk from my (as always) friendly colleagues, I was straight into the hands-on activity of translating a song in our language groups. I really enjoyed translating as a group, learning from the various strengths that we each brought to the table. We had people working in the creative sector, who came up with alternative versions to fit the music better, and people with a strong religious background in both languages who helped with the text-type:  we needed to decide whether it was appropriate to use “thee and thou” and whether or not the German was based on a standard version of the psalm. If it had been, we may have felt we should try to stick closely to the standard English “Book of Common Prayer”. As a musician, my biggest input was probably how singable our efforts actually were!

We rounded off the morning session with a choir singing through both the original versions of the songs and our translated versions. We were working under a lot of time pressure, but given that, I don’t think we did too badly!

operdramThe afternoon session was led by Klaus Kaindl, Professor in Translation Studies at Vienna University, where he specialises in opera and popular music translation. His excellent and wide-ranging presentation looked at the linguistic aspects of opera translation, singability of texts and the opera in changing cultural contexts. He also looked at popular song in translation and how the image of the artist is of primary importance here. This was nicely illustrated by Elvis Presley’s “Surrender” – actually a version of “Torna a Surriento”!

The day ended in mixed language groups, where we looked at different translated versions of “La Paloma”. These differed widely according to the different traditions and conventions of the target cultures.

You can see some samples of my own translations of musical texts on my website,

Many thanks to Dr. Ulrike Nichols and Juliet Hammond-Smith for organising such a stimulating workshop and making the long trip down so worthwhile.


Translating the Classics

As a musician-translator, one of the real joys for me is translating CD booklets. My reasons for this are:

– As a translator I like being able to engage with a longer text in my specialist area
– As a musician it maintains my knowledge of music history
– As someone who is passionate about audience engagement it gives me great pleasure to share German recordings with a wider audience.

Recently I’ve been translating booklets for CDs of Mozart and Beethoven. The market for these composers is quite saturated, so it’s relatively rare that I get to translate texts on them. Equally, I don’t get to do pre-concert talks on them so often as the late 19th century onwards tends to be more my cup of tea.

It’s good, then, to be able to refresh my knowledge of the Classical period, in both English and German, as well as getting some fresh perspectives on the music from some of Germany’s best scholars and musicians.

As a viola player myself I have an intimate knowledge of the subject area, especially in chamber music, which helps me to find “der treffende Ausdruck”, or ” the most appropriate expression”.

If you want to see my work, visit TACET records and buy a CD!

Learning Danish Greenland-style!

Katherine in KulusukDSCN3681

As a translator, it’s really important to keep your language skills up to date. Naturally that involves reading, writing, speaking and listening to material in your working languages: German and English in my case.

It’s vital to retain fluency, accuracy and to keep abreast of changes in the languages you work with.

I also think it’s beneficial and refreshing to learn a new language once in a while, or to revisit one of your secondary languages. It gives the language-learning part of your brain a good old workout and encourages you to focus on language structure. It also encourages you to work creatively with words. To start with, your vocabulary will be pretty restricted, meaning you have to explore alternate ways of expressing what you want to say. Playing around with words and expressions like this is a vital skill in translation, too.

To learn a new language you need motivation. For me, this came in bucket loads after visiting Greenland this summer. I absolutely fell in love with the place: not surprising when you look at the picture above! It’s not just the landscape, though. I want to be able to speak to people about their lives and their culture. I want to share their jokes and join in their conversations and I want to say just how beautiful their country is.

I should point out that the first language of Greenland is Greenlandic, but that’s maybe a challenge too far at the moment. My friends at “Visit Greenland” did teach me that beautiful is “kusanaq”, though! In the meantime, I hope to share a second language with the Greenlanders, and to that end I’m busy learning about their country in Danish.

Translating for TACET – Part 2 – Press Releases

The second part of my blogs on working for TACET records focuses on the press release.

Press releases tend to be short and pithy and I often get asked to translate them at fairly short notice.
Often they are quite informal in tone and include direct appeals to the reader:
Lassen Sie sich überraschen… [Allow yourself to be surprised…]

However, even though the text may be informal, that doesn’t necessarily make it easy to translate. TACET like to use imagery in their press releases. Take this example, where I’ve highlighted some of the difficult phrases in the text:

Peng! – ein Luftballon platzt. Peng! – ein zweiter. Und dann purzelt eine Menge bunter Melodien von der Bühne des Concertgebouw Amsterdam. Das Nederlands Philharmonisch Kammerorkest spielt frech wie kleine Kinder auf der Straße. Der langsame Satz glüht innig. Dem Publikum geht das Herz auf. Ist das wirklich Charles Gounod, der Langeweiler mit dem Ave Maria? Alle lauschen gebannt einem Feuerwerk aus Ideenreichtum, Instrumentationskunst und Spielfreude und staunen, wie es dem Geiger Gordan Nikolic gelingt, in all dies eine Atmosphäre des Geschehenlassens hineinzuzaubern, die den Hörer zu nichts zwingt und doch unwiderstehlich ist.

Firstly, we have an onomatopoeic word, Peng! At least that’s not too difficult: Bang! Then, we have quite an idiomatic phrase, which I have translated as  “The audience’s hearts are filled with joy.”

The remaining highlighted passages display one of German’s most characteristic linguistic features: compound nouns, where two or more nouns are stuck together to make a new word. Often these require a phrase in English. My translations are as follows:

einem Feuerwerk Ideenreichtum, Instrumentationskunst und Spielfreude                           [a cascade of rich ideas, artful instrumentation and the sheer joy of playing.]

eine Atmosphäre des Geschehenlassens                                                                               [an atmosphere of simply letting it all happen]

My final translation of this press release looks like this:

Bang! A balloon bursts. Bang! A second one. And then a whole bunch of colourful melodies tumble from the Amsterdam Concertgebouw stage. The Netherlands Philharmonic Chamber Orchestra plays as boldly as little children in the street. The slow movement glows inwardly. The audience’s hearts are filled with joy. Is that really Charles Gounod, the boring one who wrote that Ave Maria? Everyone listens spellbound to a cascade of rich ideas, artful instrumentation and the sheer joy of playing. They are amazed how, in the midst of all this, the violinist Gordan Nikolic manages to conjure up an atmosphere of simply letting it all happen, which doesn’t demand anything of the listener and yet is completely compelling.

The example above displays why a translator needs to be well-trained in recognising linguistic differences between Source and Target Languages (SL and TL), but once again, it is also important that the translator knows the music industry well. Take the following example:

Auszeichnungen wie 5 Stimmgabeln von der französischen Zeitung Diapason

Anyone checking the word Diapason in a German to English dictionary would discover exactly the same word in English. As this is not a particularly well-known word, you may decide to look for an English definition: “An organ stop sounding a main register of flue pipes, typically of eight-foot pitch” or “A grand swelling burst of harmony.” (

An alternative check on the French translation yields: tuning fork” ( In fact, it is this word that yields the award of “5 Stimmgabeln” [5 tuning forks]. So the unwary may have translated the above phrase as “awards such as the 5 tuning forks of the French magazine ‘Tuning Fork'”. Not exactly wrong, but I’m sure you would agree with me that this sounds faintly ridiculous!

In actual fact, the magazine Diapason is well-known in the classical music world and therefore does not need to be translated. I agonised a little over the 5 Stimmgabeln. The English press more usually award “5 stars”, but the “5 tuning forks” reflect the title of the magazine and also the graphics used in their reviews. Not all translators have agreed with me, but I decided to keep the literal translation with the more usual English expression in brackets:

has already received numerous awards on CD, such as “5 tuning forks” (5 stars) from the French magazine Diapason.

Hopefully this has given you a flavour of my work with TACET and highlights once again the need for a sound knowledge of the relationship between SL and TL as well as a specialist knowledge of the subject area the translator is working in.