Libretto: the text of opera, oratorio, musical and other sung drama

Form and components

Libretti vary in length and structure according to the genre and period. In opera a libretto normally supplies dramatic scenes divided into acts and numbered or named scenes, and it distinguishes sung passages (arias, duets, ensembles), recitatives that advance the plot, and choral or orchestral passages. In a staged musical the words are often split between song lyrics and a spoken "book" that contains dialogue and stage directions; the sung portions are sometimes credited separately as lyrics while the non-sung material is called the book or libretto. A successful libretto pays attention to prosody, dramatic pacing and the possibilities of vocal expression so the text will be effective when set to music.

History and notable figures

The profession of librettist developed alongside opera in the 17th and 18th centuries. In the 18th century the Roman poet Metastasio was celebrated for crafting texts that many composers set to music. Another prominent figure of that era was the Venetian 18th-century librettist Lorenzo da Ponte, who supplied the words for three of Mozart's best-known stage works. During the 19th century the prolific Eugène Scribe provided texts used by several leading composers including Meyerbeer, Bellini, Donizetti and Verdi. French dramatists such as Henri Meilhac and Ludovic Halévy collaborated with composers like Offenbach, Massenet and Bizet, while in the early 20th century writers such as Hugo von Hofmannsthal worked closely with Richard Strauss.

Collaboration and creative process

Many composers prefer to set words written by a librettist and build the music around a prepared dramatic plan; the composer is often credited simply as the composer. Some composers, however, write their own texts: famous examples include Wagner and Tippett. In other cases the musical material may come first and words are adapted to fit pre-existing music. Composers such as Mikhail Glinka, Alexander Serov, Rimsky-Korsakov, Puccini and Mascagni occasionally proceeded in this way, shaping text to musical ideas rather than the other way around.

Uses, adaptations and distinctions

Libretti serve practical and artistic roles. Practically, a printed libretto provides singers and audiences with the text and dramatic directions necessary for rehearsal and performance; the libretto is often published separately or bound with a score. Artistically, it determines dramatic structure and character development; adaptations from plays, novels or historical events are common. A single libretto may be set to music by many different composers across decades, and translations or revisions frequently accompany new productions. The distinction between a libretto and the lyrics of popular song is that a libretto usually functions within a staged drama and coordinates closely with recitative, ensemble writing and orchestral interludes, rather than existing only as discrete songs.

Examples and further notes

• Musical theatre often separates the roles of composer, lyricist and book writer: for example, Fiddler on the Roof credits a composer, a lyricist and a separate book author; the lyricist for that show was Sheldon Harnick.
• Some librettists also composed music or adapted their own texts for film and concert works.
• Because language affects singability and meaning, translators of libretti must balance literal accuracy with rhythm and vowel sounds suitable for vocal performance.

Understanding a libretto means recognizing it as both literary text and practical blueprint for musical drama. Its authorial and collaborative qualities shape how stories are sung, staged and received, and study of notable libretti helps explain the connection between words and music in Western vocal traditions.