Chapter18十九世紀浪漫歌劇樂劇課件

1、Chapter 18十九世紀浪漫歌劇樂劇Chapter 18十九世紀浪漫歌劇樂劇十九世紀前半浪漫歌劇十九世紀前半浪漫歌劇歌劇的角色一般趨勢General trends 歌劇是音樂生活的中心, 尤其在義大利與法國. 歌劇同時是最高尚的娛樂與適合各階層的大眾娛樂. 作家繼續(xù)依不同的國家風格寫作. 義大利作家為主導. 德法地區(qū)所孕育的新歌劇風格並持續(xù)具有影響力歌劇的角色十九世紀前有段歌劇黃金年代. 歐洲與新大陸比比皆是歌劇院. 經(jīng)紀人推展歌劇以營利,但通常也受到政府或私人的贊助. 貴族或中產(chǎn)階級以聽歌劇顯現(xiàn)其社會身分. 歌劇選曲的演出促進歌劇的流行. Amateurs, singing from p

2、iano reductions, performed individual numbers in salons. 歌劇選曲改寫成鋼琴獨奏 . Overtures and arias appeared in concerts. 歌劇在劇院中被模仿. 十九世紀前有段歌劇黃金年代. 歌劇的故事有相當?shù)母淖? 而以中產(chǎn)階級的興趣為取向. 音樂成為歌劇最重要的部分, 作曲家成為歌劇的主導. 1850年起, 歌劇開始有所謂永久的曲目. 歌劇的故事有相當?shù)母淖? 而以中產(chǎn)階級的興趣為取向. Italian Opera Gioachino Rossini (1792-1868)Rossini 是1820年代最

3、著名的歐洲作曲家. 以歌劇留名於世. Tancredi and LItaliana in Algeria (The Italian Woman in Algiers), both from 1813, established his international reputation. In 1815, he became musical director of the Teatro San Carlo in Naples. Il Barbieri de Siviglia (塞爾維亞理髮師, 1816), 喜歌劇，最成功之作. Rossini 移居巴黎成為Theatre Italien總監(jiān). G

4、uillaume Tell (William Tell, 1829) 是他最後的主要歌劇. Italian Opera Chapter18十九世紀浪漫歌劇樂劇課件之後的四十年未曾些歌劇. 多病並且飲食過量. 以寫作鋼琴曲即歌曲為主 , 其風格影響法國作曲家. 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. 他所建立的義大利歌劇模式維持了半個世紀之久. Rossini 齊力建立了bel canto風格. 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. In bel canto, 旋律是最重要的

5、元素之後的四十年未曾些歌劇. Rossinis operatic style Rossini 結合旋律性與精力充沛的節(jié)奏 清楚的樂句. 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. 和聲架構簡單卻帶有原創(chuàng)性, 同樣偏好三度的調性關係 慣用漸強的反覆樂句 Rossini crescendo, created by gradually getting louder as a single phrase was repeated. Rossinis operatic style Rossinis scene structure Rossini distributed the

6、action throughout each act by constructing scenes (scena) rather than confining the action to recitatives. 每一景有標準的段落. 器樂導奏 喧敘調以樂團伴奏 如歌的樂段, the slow and lyrical section of the aria, generally expresses calm moods In some, an interlude called tempo di mezzo (middle movement) interrupts and changes the

7、 mood Cabaletta, 詠唱調結尾快速的部分, 常有反覆或裝飾性的反覆. 終曲通常聚合許多角色. Rossinis scene structure The cantabile and cabaletta together constitute the aria; some scenes contain nothing else. A duet or ensemble may follow a similar pattern, but it was often preceded by a tempo dattacco, in which the characters trade mel

8、odic phrases. The cantabile and cabaletta toUna voce poco fa 不久前我聽到一個聲音 The Barber of Seville ) Rosina sings of her love for the count and her determination to outwit her guardian. 角色入場的詠唱調entrance aria, Rossini 稱之為cavatina(原意是小歌曲). The orchestral introduction presents ideas that will be heard later

9、. Rosina begins with a cantabile. The opening resembles recitative, which suggests her tentativeness. Una voce poco fa 不久前我聽到一個聲音 ThRossini的嚴肅歌劇 Rossini以喜歌劇著名, 但他的嚴肅歌劇在當時也同樣令人稱道. Otello (1816) Mos in Egitto (Moses in Egypt, 1818) Guillaume Tell (William Tell, 1829) Guillaume Tell 威廉泰爾當時在巴黎演出超過500場 .

10、 關於革命的情節(jié)在當時其實是禁諱的. 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. Rossini的嚴肅歌劇 Rossini 的序曲 在音樂會中也常被演出. 大多是包含導奏與無發(fā)展部的快板奏鳴曲式. The overture to Guillaume Tell, his most famous overture, has four sections. A slow pastoral introduction A musical depiction of a storm Another pastoral featu

11、ring a ranz de vaches (a Swiss cowherds call) played by an English horn. A galloping allegro that was used as the theme for The Lone Ranger. Rossini 的序曲 Vincenzo Bellini (貝利尼1801-1835) Bellini came into prominence after Rossini retired. He preferred dramas of passion with gripping action. Action was

12、 not limited to recitative, but was also built into arias. Bellini composed ten operas, including: La Sonnambula (The Sleepwalker, 1831) Norma (1831) I Puritani (The Puritans, 1835) Vincenzo Bellini (貝利尼1801-1835His style is characterized by long, sweeping, highly embellished, intensely emotional me

13、lodies. Casta diva (Chaste Goddess) from Norma (see HWM Example 26.2) The form of this scene follows the structure established by Rossini. In each section, the chorus plays an important role in creating a sense of continuous action. His style is characterized by Gaetano Donizetti (唐尼采第, 1797-1848) D

14、onizetti 寫作超過70首歌劇, about one hundred songs, several symphonies, and a number of other vocal works. Lucia di lammermoor (1835), a serious opera La Filled u regiment (The Daughter of the Regiment, 1840), an opra comique Don Pasquale (1843), an opera buffa Donizettis melodies captured the sense of a c

15、haracter, situation, or feeling. By averting cadences, he avoided applause until a scene was finished. The music often has a seamless continuity. The mad scene from Lucia di Lammermoor has an unbroken flow of events. Gaetano Donizetti (唐尼采第, 1797-Classics of Italian opera Rossini, Bellini, and Doniz

16、etti were performed throughout Europe and America. Many of their arias became popular tunes that were known in large segments of society. Several of their operas became permanent classics of the operatic repertoire. Classics of Italian opera French Opera Opera 是19世紀前半法國最受尊崇的樂種. Napoleon 只允許三個劇院演出歌劇.

17、 The Opra, (大歌劇院)which primarily showed tragedies, was the most prestigious. The Opra-Comique 喜歌劇院演出帶有口白的歌劇. The Thatre Italien 演出義大利歌劇. Other theaters presented a variety of theatrical works often using music. A new building for the Opra theater was built in 1821 during the Restoration After the Ju

18、ly Revolution of 1830, the government continued to subsidize opera. French Opera Grand opera Grand opera 吸引中產(chǎn)階級. 壯麗場面與音樂同等重要. 舞臺機關道具Machinery 芭蕾Ballets 合唱 Choruses 群眾場面Crowd scenes Grand opera The leaders of grand opera were librettist Eugene Scribe and composer Giacomo Meyerbeer (1791-1864). Meyerb

19、eer, 日爾曼的猶太人, 以兩首作品奠定了大歌劇的樣式: Robert le diable (魔鬼Robert, 1831) Les Huguenots (清教徒, 1836) The leaders of grand opera werLes Huguenots (新教徒) 為典型的大歌劇. 五幕 Five acts 演員眾多 戲劇化的場景雷鳴閃電的效果 16世紀法國悲劇故事 集結合娛樂效果與宏大的歌唱, 如第二幕結尾 Les Huguenots (新教徒) 為典型的大歌劇. 其他的大歌劇 grand operas Guillaume Tell (1829) by Rossini La J

20、uive (The Jewess, 1835) by Jacques Halvy Don Carlos (1867) by Verdi Rienzi (1842) by Wagner Les Troyens (特洛伊人1856-58) Berlioz has elements of grand opera and the traditions of Lully.其他的大歌劇 grand operas Opra comique 法國喜歌劇與大歌劇的不同 Opra comique 使用口白. 較不誇飾, 較少歌者. 劇情以喜劇或半嚴肅的戲劇. 19世紀初, there were two kinds

21、 of opra comique, 浪漫劇與喜劇. Ballet 芭蕾Ballet 自17世紀起即在法國流行. Marie Taglioni introduced a new style called Romantic ballet Ballerinas 身著透明薄紗裙, 輕鬆靈活的以足尖跳動. Taglioni introduced the new ballet to Russia, Europe, and North America. Opra comique 法國喜歌劇Marie Taglioni Marie Taglioni Composers for Romantic ballet

22、fit the music to the choreography. Giselle (吉賽爾1841) by Adolphe Adam, one of ballets highlights, uses recurring motives to underscore the progress of the drama. Composers for Romantic ballet German Opera General The interaction between music and literature was strong in German-speaking regions. Sing

23、spiel integrated romantic elements from French opera with the genres national features. German Opera Der Freischtz (魔彈射手) by Carl Maria von Weber (韋伯1786-1826) 建立了日爾曼浪漫歌劇. The opera 是German Romantic opera的典型. 以一般的平民的關注與愛情為中心思想. 劇情採自中世紀歷史傳奇或神話故事. 故事帶有超自然事物, 自然神秘的背景. Der Freischtz (魔彈射手) by Carl Scene

24、s of a humble village and country life are interspersed. Mortal characters represent superhuman forces, both good and evil. The triumph of good represents a type of religious redemption. The musical style draws upon traditions of other countries, but also uses simple, folklike melodies, giving it a

25、distinctly German quality. The chromatic harmonies and orchestral color are also distinctive. Scenes of a humble village andWolfs Glen scene (NAWM 126) The scene is set around midnight at the eerie Wolfs Glen (see HWM Figure 26.7). The scene incorporates elements of melodrama, a genre of musical the

26、ater that combines spoken dialogue with background music. While casting seven magic bullets, various terrifying images appear in the dark forest. Daring harmonies, a colorful orchestration, and an offstage chorus support the supernatural elements of the plot. Wolfs Glen scene (NAWM 126)Rossinis Stab

27、at Mater brought current operatic styles into church. A revival of the sixteenth-century choral style of Palestrina began in the second quarter of the century. In the nineteenth century, the term a cappella came to mean unaccompanied. By midcentury, the Church promoted composition in the unaccompani

28、ed style of Palestrina. The Cecilian movement, which encouraged a cappella performances of old and new music, centered in German-speaking areas. Rossinis Stabat Mater broughtProtestant Protestant churches also built on their musical heritage. The Berlin Singakaemie performed Bachs Passions. New musi

29、c was composed using Bach as a model, such as the psalm-settings of Mendelssohn. Other works from the past were recovered, including the anthems of Samuel Sebastian Wesley. Women began to sing in churches and serve as professional organists. The Oxford Movement, beginning in 1842, sought to restore

30、all-male choirs and revive sixteenth-century unaccompanied polyphony. Protestant 19世紀後半, 無論義大利, 日爾曼, 法國歌劇都持續(xù)著強烈的民族傳統(tǒng), 俄羅斯的歌劇與芭蕾興起, 以及其他地區(qū)音樂戲劇傳統(tǒng)的成長. 民族主義Nationalism 越來越成為連結歌劇與政治文化潮流的力量. 歌劇劇情的來源眾多, 從古老傳奇到現(xiàn)代愛情故事, 從歐洲歷史到異國風情. 歌劇的市場愈來愈大愈分歧, 上流社會與一般大眾開始區(qū)別, 新型式的喜歌劇為迎合大眾口味而產(chǎn)生. Verdi 與 Wagner 分別主導義大利與日爾曼歌劇,

31、而法國, 波西米亞, 俄國的作曲家也發(fā)展其心的民族風格19世紀後半, 無論義大利, 日爾曼, 法國歌劇都持續(xù)著強烈19世紀晚期 工業(yè)化 Industrialization 歐美成為工業(yè)領導國. 鐵路迅速運輸人貨. 電燈, 電話等新科技, 改變了日常生活也創(chuàng)造了新工業(yè). 人的壽命變長與人口數(shù)量急遽增加. 現(xiàn)代的法人公司出現(xiàn). 大量消耗成為經(jīng)濟成長的動力19世紀晚期 B. 1848 革命法國推翻 Louis Philippe國王, 建立短暫的第二共和 Germany, Italy, 奧匈也紛紛響應起義. 大體上, 這些革命沒改變太多. C. 政治改革Political reforms 在歐美, 人

32、民被賦予較多的自由. 1861俄國廢除農(nóng)奴制度, 1865美國解放黑奴. 工人有新的權利, 女人要求平等待遇. Expanded exploration came at the expense of indigenous populations. B. 1848 革命D. 民族主義Nationalism 全歐人民都在嘗試建立以民族為主體的民族國家. In 法, 英, 俄原就是屬民族國家. 在Germany 與 Italy, 統(tǒng)一的聲浪高漲. Germany 在Bismarck 領導下, 於1864 到 1871年間統(tǒng)一. Italy 則在Victor Emmanuel II 之下於 1859-

33、61統(tǒng)一. 4. While a common heritage helped unify Germany and Italy, 種族眾多的奧匈帝國卻是反抗其統(tǒng)一. 5. 音樂對民族主義的宣揚有所貢獻,民族主義也對音樂有深遠的影響 D. 民族主義Nationalism 其他藝術的風潮 Realism: 在藝術與文學上盛行寫實主義. 異國主義Exoticism, 幻想fantasy, 遙遠的過去提供逃脫現(xiàn)代生活的管道. Impressionism 印象派描繪戶外景物. 其他藝術的風潮 Opera Strong national schools continued in Italy, France

34、, and Germany.民族主義Nationalism 越來越成為連結歌劇與政治文化潮流的力量. 歌劇開始有核心曲目. 因作曲家花較長時間寫作, 新歌劇數(shù)量減少. 作品的原創(chuàng)性較成規(guī)更為重要. 歌劇院與樂團越來越大, 歌者也就需要更大的嗓門. 旋律音節(jié)化 more syllabic 較無裝飾. Subjects ranged from fantastic to realistic. Electricity made it possible to dim the house lights. 漸漸演出時較不允許說話. Opera Giuseppe Verdi (威爾第, 1813-1901)G

35、iuseppe Verdi Verdi 在Donizetti 之後, 主導義大利歌劇長達五十年. Biography Verdi 出生北義大利, 旅館主人之子. 九歲時為教堂風琴師, 之後成為Busseto 的樂師. 喪偶後, 在Milan, 開創(chuàng)了歌劇作曲生涯. 從26到80歲, Verdi完成了26部歌劇. Verdi 的名字成為義大利民族主義愛國者的口號: Viva Verdi was an acronym for Viva Vittorio Emanuele Re dItalia (Long live Victor Emmanuel, king of Italy) 雖然他支持義大利統(tǒng)一

36、, 民族主義並非其歌劇 明顯的元素. Chapter18十九世紀浪漫歌劇樂劇課件 Verdi 歌劇特色characteristics 他的旋律一聽難忘, 且掌握戲劇的情感.Verdi 偏好以成功的戲劇為歌劇的題材, 包括 Shakespeare, Schiller, Victor Hugo的作品. Verdi 的基礎建立在Rossini, Bellini, Donizetti的傳統(tǒng)下. 如Donizetti, Verdi 常使用反覆出現(xiàn)的主題. Verdi 歌劇特色characteristics 早期歌劇 Nabucco (1842) 是其成名之作. Luisa Miller (1849) r

37、eveals a keen sense of psychological portrayal. 1850年代初期, 創(chuàng)作到達高峰,作品有: Rigoletto (弄臣1851) Il trovatore (遊唱詩人1853) La traviata (茶花女1853) In Il trovatore and La traviata, 序曲改為簡短的前奏. La traviata 基於小仲馬的小說改編 Alexandre Dumas, fils. 不同於他其他的歌劇, 以世紀中為故事背景. 人物, 場景與情感都十分寫實. 早期歌劇 La traviata, Act III, excerpt Th

38、e scene follows Rossinis standard structure for duets. Scene (recitative) Tempo dattacco (opening section) Slow cantabile Tempo di mezzo Fast cabaletta Verdi focuses on three keys: E major (tempo dattacco), A-flat major (cantabile), and C major (cabaletta). La traviata, Act III, excerpt Opening scen

39、e The orchestra accompanies the recitative. The dialogue is set in short phrases above a continuous melodic flow in the orchestra. Tempo dattacco (measure 35) A Rossiniesque crescendo builds to a climax as the lovers embrace. The ensuing dialogue features tuneful vocal melodies and a simple accompan

40、iment. Cantabile (measure 75) (see HWM Example 27.1) The form is AABB with coda. In the A section, Alfredo and Violetta sing a simple and direct melody that resembles a slow waltz. In the B section, Alfredo sings grandly of the future, and Violetta sings a light chromatic melody of suffering and rec

41、overing. Opening scene Tempo di mezzo (measure 177) Hope gives way to despair; Violetta will not recover. Stark contrasts of style capture the changing moods. Cabaletta (measure 227) The form is AABA with coda. Violetta voices her desperation, and Alfredo tries to calm her. The coda builds to a clim

42、ax of despair. Tempo di mezzo (measure 177) Middle-period operas Verdi wrote only six new operas in the next two decades. The action becomes more continuous. Solos, ensembles, and choruses are freely combined. Harmonies are more daring. The orchestra is treated with great originality. Les vepres sic

43、iliennes (The Sicilian Vespers, 1855), based on a libretto by Eugene Scribe, is a grand opera inspired by Meyerbeer that blends French and Italian characteristics. Un ballo in maschera (A Masked Ball, 1859) introduces comic roles. Middle-period operas Aida (1871) was commissioned for the Cairo opera

44、. Verdi chose an Egyptian subject, which allowed him to introduce exotic color and spectacle. Verdi officially retired after this opera. Aida (1871) was commissioned f晚期歌劇出版商Ricordi 說服他再寫兩首歌劇, 以 Arrigo Boito為劇作家 (1842-1918). Otello (1887) 音樂在幕間不間斷. The traditional schemes are still present, but they

45、 are arranged in larger scene-complexes. 樂團以類似交響樂的方式處理主題. Falstaff (1893) (see HWM Figure 27.4) 喜歌劇登峰造極之作根據(jù) Shakespeare的 The Merry Wives of Windsor and Henry IV. 劇終以所有角色演唱的複格做結晚期歌劇Verdi之後的義大利作家 Verismo 寫實主義This operatic movement 與文學的realism平行. 平凡人的生活, 通常來自較低的社會階級. 故事常描寫殘酷醜陋的事件. Harps Cavalleria rust

46、icana (鄉(xiāng)村騎士, 1890) by Pietro Mascagni I Pagliacci (丑角, 1892) by Ruggero Leoncavallo Verdi之後的義大利作家 Giacomo Puccini (普契尼, 1858-1924) Giacomo PucciniGiacomo Puccini (1858-1924) Puccini 是Verdi後最成功的歌劇作家. Puccini 混合Verdi的聲樂風格與 Wagner的手法, 包括 leitmotives (see Wagner discussion in section IV below). Manon Le

47、scaut (1893), 第三首歌劇, 成名之作. Giacomo Puccini (1858-1924) Other major works La bohme (波西米亞人1896) Tosca (1900) Madama Butterfly (蝴蝶夫人1904) Turandot (1926) Puccini的故事場景流暢 earlier operas. aria 與recitative 交混融合 La bohme Other major works Richard Wagner (瓦格納, 1813-1883) Richard Wagner Wagner 是世紀文化界關鍵性的人物，也是

48、史上最具影像力的音樂家之一. 將日爾曼歌劇帶到高峰. 他創(chuàng)造了新樂種, 樂劇the music drama. 他豐富的半音化和聲，影響後世作曲家Chapter18十九世紀浪漫歌劇樂劇課件生於 Leipzig, Germany, 警局會計之子 writing operas in the 1830s and held positions with several regional companies. He worked as a music journalist in Paris from 1839 to 1842. He was appointed second Kapellmeister f

49、or the king of Saxony in Dresden in 1843. Wagner 支持1848-49革命，而流亡. 於瑞士寫下主要的論文. He received support from a new patron, King Ludwig II of Bavaria, in 1864. Although married to Minna (1836-66), he had relationships with other women, including Mathilde Wesendonck. In 1870, he married Cosima von Blow, a c

50、hild of Franz Liszt. 生於 Leipzig, Germany, 警局會計之子論文Writings In a series of essays, Wagner argued that music should serve dramatic expression. His essays include: 未來的藝術 (1850) 歌劇與戲劇 (1851, revised 1868) Beethoven Wagner 有感Beethoven已耗盡器樂的可能性. The Ninth Symphony showed the path to the future with its un

51、ion of music and words. 論文Writings 他認為自己是Beethoven的真正繼承者. Gesamtkunstwerk整體藝術 Wagner有感於詩, 舞臺設計, 舞臺動作, 與音樂應聯(lián)結一氣創(chuàng)造出整體藝術Gesmatkunstwerk . The words related the events and situations, while the orchestra conveyed the inner drama. Anti-Semitism 反猶太主義Wagner wrote about politics and morals in several essay

52、s, including the anti-Semitic polemic Das Judentum in der Musik (Jewishness in Music). He attacked both Meyerbeer and Mendelssohn for being Jewish and lacking national roots, although he admired and was influenced by both. 他認為自己是Beethoven的真正繼承者. Operas Rienzi (1842), a five-act grand opera, 成名曲. Die

53、 fliegende Hollnder (漂泊的荷蘭人, 1843) A Romantic opera in the tradition of Weber,故事採自日爾曼傳奇. Wagner 自己寫劇本. Themes from one of the vocal ballads appear in the overture and recur throughout the opera, functioning like reminiscence motives. Tannhuser (1845) 故事也採自日爾曼傳奇. 半宣敘式的聲樂唱腔, which would become Wagners

54、 normal type of text-setting. Operas Der Ring des Nibelungen (Nibelungs的指環(huán)) Wagner composed four music dramas based on Teutonic and Nordic legends. Das Rheingold (萊茵河的黃金) Die Walkre (女武神) Siegfried Gtterdmmerung (諸神的黃昏) Wagner wrote the first two operas and part of Siegfried by 1857; he completed th

55、e rest in 1874. Wagner built his own theater in Bayreuth, where he gave the first performance of the Ring cycle in 1876 Der Ring des Nibelungen (Nibel其他的樂劇 Tristan und Isolde (1857-59) Wagner wrote the libretto, basing it on a thirteenth-century romance by Gottfired von Strassburg. Wagner最具影響的作品. Di

56、e Meistersinger von Nrnberg (紐倫堡名歌手, 1862-67) Parsifal (1882), 最後的作品，以自然音階與半音分別代表救贖與敗壞其他的樂劇 The leitmotiv 主導動機Leitmotiv是個與劇中人物, 情感, 意念相關連的音樂主題或動機. 整個樂劇即是以這些動機交相組織而成. Leitmotives的使用法 動機的意義通常在第一次出現(xiàn)時明確建立Leitmotiv會再出現(xiàn), 當他所指的事物出現(xiàn)或提到時. leitmotiv 可隨劇情變化而改變或變形. 不同leitmotives 間 的相似性, 可表示其意指人事物的關聯(lián)性.The leitmo

57、tiv 主導動機Leitmotives 與主題重現(xiàn)意義不同Leitmotives 大多短小且對其意指人事物有不同層次的特質表現(xiàn). Leitmotives 是音樂的基本素材, 且有系統(tǒng)的使用. The musical material surrounding the leitmotives and their developments creates a sense of an endless melody. Leitmotives 與主題重現(xiàn)意義不同Tristan und Isolde, Act 1, scene 5 (NAWM 128) The scene has a continuous

58、musical flow. The orchestra maintains the continuity. The melodies vary from speechlike to soaring and passionate. 此段音樂用了幾個主導動機 leitmotivesTristan的榮譽at measure 38 and is developed throughout the section. The melodic idea at measure 64 is associated with 愛之毒藥love potion. Measures 66-69 contain the Tristan chord, which was the first chord in the opera. The rising chromatic motive in measures 69-70 represents 渴望. Tristan und Isolde, Act 1, sceA pantomime follows as the potion takes control; the actors move and g