本文選題：費(fèi)加羅的婚禮 + 伯爵夫人��； 參考：《上海師范大學(xué)》2017年碩士論文

【摘要】：眾所周知,沃爾夫?qū)ぐ數(shù)聻跛埂つ厥菤W洲古典主義時(shí)期一名偉大的作曲家,其創(chuàng)作領(lǐng)域之集大成者則是歌劇。在莫扎特所創(chuàng)作的諸多歌劇作品中,最能體現(xiàn)他創(chuàng)作技巧并成就斐然的是他的三部喜歌劇;其中,《費(fèi)加羅的婚禮“Lenozze di Figaro”》更是以其幽默生動(dòng)、機(jī)智詼諧的風(fēng)格尤為受到各個(gè)年代不同社會(huì)階層觀眾的喜愛。作為伯爵“尋花問柳”放浪行徑的受害者之一——伯爵夫人羅西娜的著名唱段和音樂形象,更是足以與光彩照人的主角小女仆蘇珊娜彼此襯托、相得益彰。在伯爵夫人數(shù)個(gè)著名唱段中,要數(shù)《哪里去了,美好的時(shí)光Dove sono i bei momente》一曲,最能體現(xiàn)其性格特征與角色特點(diǎn)。整部《費(fèi)加羅的婚禮》看似荒誕搞笑,充斥著色彩強(qiáng)烈的反諷與嘲弄感,卻唯獨(dú)有個(gè)形同正歌劇形象的伯爵夫人,她的情緒基調(diào)似乎與整部歌劇稍顯不符。通過進(jìn)一步分析伯爵夫人在這一唱段中所表現(xiàn)出的音樂形象,以及其情緒和心理在該作品中的表現(xiàn)與變化,分析該段區(qū)別于伯爵夫人在劇中的其它唱段《求愛神給我安慰》和《待到微風(fēng)輕輕吹過》的獨(dú)有特色;并結(jié)合謝麗爾·斯都德(Cheryl Studer)與伊麗莎白·施瓦茨科普夫(Elizabeth Schwarzkopf)兩位頂級女高音歌唱家對該作品不同的演繹,從藝術(shù)處理、歌唱技巧的角度分別剖析該作品宣敘調(diào)與詠嘆調(diào)部分的演唱要點(diǎn),以期對認(rèn)識作品、同時(shí)能更貼切、更完整地將作品演繹好起到積極的作用。
[Abstract]:Wolfgang Amadeus Mozart is a great composer during the European classicism. Among Mozart's many operas, his creative skills and achievements are best reflected in his three happy operas. Among them, Figaro's wedding, "Lenozze di Figaro", is even more humorous. Witty style is especially popular with audiences of different social classes in all ages. As one of the victims of countess Rosina, the famous choir and musical image of Countess Rosina are enough to complement each other with Suzanne, the glamorous little maid of the protagonist. Of the several famous chants of the countess, the best time is Dove sono I bei momente, which best reflects her character and character. The whole "Figaro's Wedding" seems absurd and hilarious, full of intense irony and ridicule, but with the only countess in the same shape as a regular opera, her emotional tone seems to be slightly out of step with the whole opera. Through further analysis of the musical image displayed by the countess in this choir, as well as the expression and change of her emotions and psychology in the work, This paragraph is distinguished from the unique features of the Countess's other verses, "comfort me from God of Love" and "to the gentle breeze"; And combining the different interpretations of Cheryl Studeryl and Elizabeth Schwartzkopf Schwarzkopf, two of the top soprano singers, from artistic processing, From the angle of singing skills, the author analyzes the main points of the singing of the narration and aria parts of the work respectively, in the hope that it can play a positive role in the understanding of the works and in the interpretation of the works more appropriately and completely at the same time.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J617.2

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本文編號：1838251