IN:\u00a0<\/strong>Partit\u00fara Irodalomtudom\u00e1nyi foly\u00f3irat, Volume: X\u00a0,\u00a0Issue 1, 2015, p. 43-56., ISSN 1336-7307<\/p>\n DOI:\u00a0<\/strong>10.17846\/PA.2015.10.1.43-56<\/p>\n Abstract:<\/strong><\/p>\n This study deals with the operatic adaptations of four short stories by E. A. Poe (The Tell-Tale Heart, The Cask of Amontillado, The Fall of the House of Usher, The Pit and the Pendulum). on the one hand, the adaptations use the methods and cliches of the melodramatic concept of the classical opera (Adolphe, Butts, Debussy); on the other hand, they utilize postfreudian strategies of interpretation ( Haas, Bettinelli, \u00a0Glass, Coli). The music is often submitted to the text (Copeland), but there are some cases when the music puts up resistance to the words (Pinkham, Solari). Especially interesting is Poe as person\u2019s or as an alter ego\u2019s (Argento, Adolphe) involvement in the opera, and the metaphorical hibridity used by Haas.<\/p><\/blockquote>\n