摘要
莫扎特是欧洲音乐史上一位罕见的天才作曲家,也是欧洲古典音乐的奠基人之一。作为古典主义音乐的典范,他对欧洲音乐的发展起到了巨大的作用。莫扎特虽然只活了35岁,但他的作品创作数量之多、体裁之广都是非常罕见的。
歌剧创作是莫扎特声乐作品的最主要领域,但莫扎特在美学上的见解与这一时期歌剧的改革者格鲁克存在极大的差别:格鲁克强调剧情决定音乐,首先是戏剧,然后才是音乐;而莫扎特则强调音乐在歌剧中的主体地位。莫扎特认为,在一出歌剧中,歌词必须绝对服从音乐。因为音乐家并非诗人或画家,无法用诗句或色彩表现感情。另外莫扎特还强调了音乐对于塑造形象和反映角色内心活动方面的巨大作用。莫扎特的这种对音乐与戏剧的态度决定了歌唱者在表现莫扎特歌剧作品时的特殊风格。
塑造鲜活的音乐人物形象是莫扎特歌剧音乐创作成功所在。本文就莫扎特晚期的三部具有代表性的经典歌剧《后宫诱逃》、《费加罗的婚礼》、《女人心》中一类具有典型特点的女性人物进行分析,探究莫扎特音乐创作女性角色中的女仆角色。莫扎特作为18世纪最伟大的音乐肖像画家,根据这所有的特点对这一类人物音乐有着别具匠心的新设计,这些女仆角色在音乐的指引下活灵活现。在人们的视野里,经常关注的都是那些女性角色中的重要角色,关注女主人公角色,但正因为这些女仆角色的存在,才让那些女主人公角色更加生动。
本文通过对莫扎特晚期三部经典剧目中女仆角色的横向比较,总结了这一类角色的特性。其中包括对人物的个性特征、声音共性、音乐形象特点、以及这些女仆角色在歌剧中的重要意义。另外,本文专门对这三部剧中的女仆角色的经典唱段进行了分析。她们是对主人不离不弃、开朗的布朗德;美丽机灵对女主人很忠诚的苏珊娜;对爱情态度轻浮却勤劳服侍两位女主人的德斯皮娜。她们的性格都开朗活泼,声部上都属于小号抒情女高音,她们身上有女仆角色的勤劳朴实,也有作为社会底层人物的一些小气、市侩,但是莫扎特塑造的她们都很真实,有血有肉。本文对“女主人公角色”与“女仆角色”之间也作了一番比较,让大家能对这一类“女仆角色”的角色印象更加深刻。最后,本文总结了一下关于这些“女仆角色”的唱段对声乐教学上的意义。因为这些唱段虽然不像女主人公角色唱段那样辉煌,却几乎是声乐学习者必唱的作品,对声音技巧的训练、音乐表情和创造力的培养和音乐素养的提高有很大的帮助。
莫扎特的歌剧一直以来都备受青睐,也有很多人专门研究莫扎特的歌剧,但是却很少看到专门关注其中女性角色的,更不要说女性角色中的“女仆”了。本文将这些女仆角色集中起来加以研究,当我们演唱莫扎特歌剧作品时再遇到这一类角色,就能更准确的把握人物的风格特点,更准确的完成作品。
Mozart who is in the European music history a rare talent composer is also one of European classical music founders. As classicism music model, he to European music development huge function. Although Mozart has only lived 35 years old, but he works as many as the number and breadth of style are very rare.
Mozart's opera creation is the most important areas of vocal works. But in Mozart's aesthetic views on this period and the reformers Gluck opera great differences exist; Gluck stressed that music drama, first of all, is drama, music and only then, and stressed the music of Mozart In the major opera status. Mozart, an opera in the middle, music lyrics must be absolute obedience. Because the musicians are not poets or artists, not with lines or color performance feelings. In addition Mozart's music has also stressed the role of shaping the image and reflecting the inner activities of the tremendous role. Mozart's music and drama of this attitude in the decision of the singing performance of Mozart's opera works at the special style.
Shaping the image of live music personalities is the success of Mozart's opera the music. In this paper, Mozart's four representative of the classic opera "Concubines Lure Defectors," "Wedding of Figaro", "Tang Giovanni" and "Woman Heart" in a class of typical characteristics of the female characters, explore Mozart Music Creation of the special role of women in the " Maid role." Mozart as the 18th century's greatest music portraitist. Under this all the characteristics of this type of music is whenever he becomes aware of it full of ingenuity figures of the new design, these " Maid role " under the guidance of the music come alive. In people's vision, often those who are concerned about the role of women in important roles, "Actress", but precisely because of these "little" the existence of only those who " Actress " more vivid.
Through these four classic operas in the " Maid role " horizontal comparison, summed up the characteristics of this type of role. Including the personality characteristics of the characters, voice characteristics, the role of shape and characteristics of these " Maid role " work in the position and role. In addition, the paper devoted to this drama of the four " Maid role " classic songs were analyzed. Never leave and desert the one you love of their masters, open the Blonde; beautiful alert the hostess of very loyal Susanna; Zerlina correct a mistake, is lively; love is hard-working attitude frivolous serve two wives of Despina . They are bright and lively personality, the voice on all belong to trumpet lyric soprano, who was a " Maid role " hard-working and simple, but also as a social figure in the bottom of some petty, philistine, but they are Mozart's true shape, Flesh and blood. In this paper, "Actress" and "Maid role" also made a comparison between, so that we can on this type of " Maid role " role in a more profound impression. Finally, the paper summed up what about these " Maid role " songs of vocal teaching significance. songs, although not because these so-called " Actress " songs, it is almost bound to get learning to sing the vocal works, the voice training, music and enhance the quality of expression and creativity of the training is very helpful.
Mozart's operas have been greatly favored, many people to study Mozart's opera, but rarely see them special attention the role of women, not to mention the role of women in the "Maid role". This article will concentrate on those with little to study, then we sing Mozart opera in the works encountered this type of role, we can more accurately grasp the characteristics of the style of characters, more accurate completion of works.
引文
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[1]费里克斯·胡赫著《名人传记--莫扎特》,北京燕山出版社2001
[1]许丽支主编,《你不可不知道的莫扎特》,中国青年出版社 2006
[2]李英杰 文载自《乐府新声》1985年第1期
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[1]高静 文载自《宿州学院学报》2007年第4期
[2]赵治华 文载自《大理学院学报》2004年第4期
[1]高静 文载自《宿州学院学报》2007年第4期
[2]侯宝平 文载自《音乐探索》1996年第2期
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