【正文】 Chapter 18 十九世紀浪漫歌劇樂劇 十九世紀前半浪漫歌劇 I. 歌劇的角色 A. 一般趨勢 General trends 1. 歌劇是音樂生活的中心 , 尤其在義大利與法國 . 2. 歌劇同時是最高尚的娛樂與適合各階層的大眾娛樂 . 3. 作家繼續(xù)依不同的國家風格寫作 . a. 義大利作家為主導 . b. 德法地區(qū)所孕育的新歌劇風格並持續(xù)具有影響力 A. 十九世紀前有段歌劇黃金年代 . 1. 歐洲與新大陸比比皆是歌劇院 . 2. 經紀人推展歌劇以營利 , 但通常也受到政府或私人的贊助 . 3. 貴族或中產階級以聽歌劇顯現(xiàn)其社會身分 . 4. 歌劇選曲的演出促進歌劇的流行 . a. Amateurs, singing from piano reductions, performed individual numbers in salons. b. 歌劇選曲改寫成鋼琴獨奏 . c. Overtures and arias appeared in concerts. d. 歌劇在劇院中被模仿 . 1. 歌劇的故事有相當?shù)母淖?, 而以中產階級的興趣為取向 . 2. 音樂成為歌劇最重要的部分 , 作曲家成為歌劇的主導 . 3. 1850年起 , 歌劇開始有所謂永久的曲目 . I. Italian Opera A. Gioachino Rossini (17921868) 1. Rossini 是 1820年代最著名的歐洲作曲家 . 2. 以歌劇留名於世 . a. Tancredi and L39。Italiana in Algeria (The Italian Woman in Algiers), both from 1813, established his international reputation. b. In 1815, he became musical director of the Teatro San Carlo in Naples. c. Il Barbieri de Siviglia (塞爾維亞理髮師 , 1816), 喜歌劇，最成功之作 . d. Rossini 移居巴黎成為 Theatre Italien總監(jiān) . e. Guillaume Tell (William Tell, 1829) 是他最後的主要歌劇 . 1. 之後的四十年未曾些歌劇 . a. 多病並且飲食過量 . b. 以寫作鋼琴曲即歌曲為主 , 其風格影響法國作曲家 . 1. Rossini歌劇的流行 , 部分是因為他能夠 混合喜歌劇與莊歌劇的元素 . 2. 他所建立的義大利歌劇模式維持了半個世紀之久 . 3. Rossini 齊力建立了 bel canto風格 . a. Literally “美麗的歌唱 ,” the term refers to 抒情旋律線 , 毫不費力的聲樂技巧 , 流暢的演唱 . b. In bel canto, 旋律是最重要的元素 A. Rossini39。s operatic style 1. Rossini 結合旋律性與精力充沛的節(jié)奏 清楚的樂句 . 2. 儉約的管絃樂輕輕地支持著聲樂 , 偶爾會加些樂器獨奏以製造不同的顏色 . 3. 和聲架構簡單卻帶有原創(chuàng)性 , 同樣偏好三度的調性關係 4. 慣用漸強的反覆樂句 Rossini crescendo, created by gradually getting louder as a single phrase was repeated. A. Rossini39。s scene structure 1. Rossini distributed the action throughout each act by constructing scenes (scena) rather than confining the action to recitatives. 2. 每一景有標準的段落 . a. 器樂導奏 b. 喧敘調以樂團伴奏 c. 如歌的樂段 , the slow and lyrical section of the aria, generally expresses calm moods d. In some, an interlude called tempo di mezzo (middle movement) interrupts and changes the mood e. Cabaletta, 詠唱調結尾快速的部分 , 常有反覆或裝飾性的反覆 . f. 終曲通常聚合許多角色 . 1. The cantabile and cabaletta together constitute the aria。 some scenes contain nothing else. 2. A duet or ensemble may follow a similar pattern, but it was often preceded by a tempo d39。attacco, in which the characters trade melodic phrases. A. Una voce poco fa 不久前我聽到一個聲音 The Barber of Seville ) 1. Rosina sings of her love for the count and her determination to outwit her guardian. 2. 角色入場的詠唱調 entrance aria, Rossini 稱之為 cavatina(原意是小歌曲 ). 3. The orchestral introduction presents ideas that will be heard later. 4. Rosina begins with a cantabile. a. The opening resembles recitative, which suggests her tentativeness. A. Rossini的嚴肅歌劇 1. Rossini以喜歌劇著名 , 但他的嚴肅歌劇在當時也同樣令人稱道 . a. Otello (1816) b. Mos232。 in Egitto (Moses in Egypt, 1818) c. Guillaume Tell (William Tell, 1829) 1. Guillaume Tell 威廉泰爾 a. 當時在巴黎演出超過 500場 . b. 關於革命的情節(jié)在當時其實是禁諱的 . c. Rossini 依大歌劇 French grand opera的方式 , 包含了合唱 , 重唱 , 舞蹈 , 遊行 , 大場面的器樂間奏 . A. Rossini 的序曲 1. 在音樂會中也常被演出 . 2. 大多是包含導奏與無發(fā)展部的快板奏鳴曲式 . 3. The overture to Guillaume Tell, his most famous overture, has four sections. a. A slow pastoral introduction b. A musical depiction of a storm c. Another pastoral featuring a ranz de vaches (a Swiss cowherd39。s call) played by an English horn. d. A galloping allegro that was used as the theme for The Lone Ranger. A. Vincenzo Bellini (貝利尼 18011835) 1. Bellini came into prominence after Rossini retired. 2. He preferred dramas of passion with gripping action. 3. Action was not limited to recitative, but was also built into arias. 4. Bellini posed ten operas, including: a. La Sonnambula (The Sleepwalker, 1831) b. Norma (1831) c. I Puritani (The Puritans, 1835) 1. His style is characterized by long, sweeping, highly embellished, intensely emotional melodies. 2. Casta diva (Chaste Goddess) from Norma (see HWM Example ) a. The form of this scene follows the structure established by Rossini. b. In each section, the chorus plays an important role in creating a sense of continuous action. A. Gaetano Donizetti (唐尼采第 , 17971848) 1. Donizetti 寫作超過