【摘要】： 在莫扎特短短的一生中,共創(chuàng)作了22部歌劇,其中喜歌劇占有主導(dǎo)地位。《費(fèi)加羅的婚禮》可謂是莫扎特的所有歌劇中流傳最廣、演出率最高的歌劇。他用音符宣泄著他的情感。在歌劇《費(fèi)加羅的婚禮》中,矛盾沖突的導(dǎo)火索就是作為貴族階層的伯爵,想恢復(fù)本已經(jīng)廢除的初夜權(quán),來占有垂涎已久的蘇珊娜。莫扎特把他對(duì)人物的愛和恨、贊揚(yáng)和諷刺全部融化到音樂中去。《費(fèi)加羅的婚禮》中最重要的藝術(shù)特色就是重唱和小人物的角色塑造。在莫扎特的所有喜歌劇作品中,《費(fèi)加羅的婚禮》中重唱的數(shù)量最多,經(jīng)常被單獨(dú)演出,最能直接刻畫人物性格、激化矛盾沖突,其精彩程度絕不亞于里面的詠嘆調(diào)�！顿M(fèi)加羅的婚禮》中的小人物(例如瑪切琳娜、巴爾托洛),從頭至尾貫穿整個(gè)歌劇,使情節(jié)環(huán)環(huán)相扣,矛盾層出不窮并達(dá)到白熱化。而且,最終使矛盾化解出現(xiàn)轉(zhuǎn)機(jī)的也是他們。本文通過對(duì)重唱唱段的分析來探討和研究《費(fèi)加羅的婚禮》中重唱刻畫人物的性格、制造矛盾沖突。以第一幕的二重唱、三重唱和第三幕的六重唱為例,體現(xiàn)重唱——這種豐富的音樂形式對(duì)展開戲劇情節(jié)、增加矛盾沖突和帶來喜劇效果起到的非常關(guān)鍵的作用；通過對(duì)瑪切琳娜和巴爾托洛這兩個(gè)典型小人物的角色分析和舞臺(tái)表演,體現(xiàn)小人物對(duì)歌劇的情節(jié)發(fā)展和喜劇效果起到的關(guān)鍵作用。本人從聲樂演唱者的角度出發(fā),闡述喜歌劇的演唱風(fēng)格及特征,體現(xiàn)聲樂在歌劇中的重要地位和作用,使演唱者在實(shí)踐中更好地理解喜歌劇作品的精神內(nèi)涵、成功塑造人物形象。
[Abstract]:In Mozart's short life, he wrote 22 operas, among which the happy opera dominated. The wedding of Figaro is the most popular and most popular opera of Mozart. He expressed his feelings with notes. In the opera the Wedding of Figaro, the conflict was triggered by the claim to the long-coveted Suzanne as an aristocratic count who wanted to restore the extinguished right to the first night. Mozart melts his love and hate, praise and satire into music. Of all Mozart's happy operas, Figaro's Wedding has the largest number of recitals, is often performed alone, and is the most direct portrayal of character, fuelling conflicts. It is no less exciting than the aria inside. The little man in Figaro's Wedding (such as Marcellina, Bartolo) runs through the opera from beginning to end, making the plot intertwined, contradictory and white-hot. Moreover, it is them who eventually resolve the conflict and turn the corner. This paper discusses and studies the character of the characters in Figaro's Wedding through the analysis of the choir, which creates contradictions and conflicts. Taking the duet of the first act, the trio and the sixth duet of the third act as examples, this rich musical form plays a very important role in the development of drama plot, the increase of contradiction and conflict, and the comedy effect. Through the role analysis and stage performance of two typical little characters, Marcellina and Bartolo, this paper shows the key role played by the little people in the development of the plot and the comedy effect of the opera. From the angle of vocal music singer, I expound the singing style and characteristics of Xi opera, embody the important position and function of vocal music in opera, and make the singer better understand the spiritual connotation of Xi opera works in practice. Succeed in shaping the character.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J832

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 王丹;莫扎特歌劇創(chuàng)作中啟蒙主義思想的研究[D];云南藝術(shù)學(xué)院;2012年

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本文編號(hào)：2165742