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巴洛克歌劇的轉向 – 喜歌劇

巴洛克歌劇的轉向 – 喜歌劇. Week Seven. 十八世紀 -- 歌劇型態. Early Comic Opera 十八世紀初期義大利歌劇顯現出許多古典時期風格的新傾向 , 啟蒙運動的衝擊 , 快速的影響著人們的情感思想邏輯 , 直接帶給歌劇新的題材風格方向. 十八世紀 -- 歌劇型態. Early Comic Opera

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巴洛克歌劇的轉向 – 喜歌劇

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  1. 巴洛克歌劇的轉向 –喜歌劇 Week Seven

  2. 十八世紀--歌劇型態 Early Comic Opera • 十八世紀初期義大利歌劇顯現出許多古典時期風格的新傾向, 啟蒙運動的衝擊, 快速的影響著人們的情感思想邏輯, 直接帶給歌劇新的題材風格方向

  3. 十八世紀--歌劇型態 Early Comic Opera • 早期的喜歌劇(comic opera), 遠在1620年代，幽默和耍寶已進入歌劇，從簡短的幕間劇(intermezzo)開始，成為正歌劇幕間表演時的娛樂節目，最終發展為完整的諧歌劇作品, 十八世紀起, 紛紛在各國分別以在地的型式流行起來, 甚至有凌駕原來正歌劇(opera seria)的情勢。

  4. La serva padrona La serva padrona La serva padrona La serva padrona 十八世紀--新的歌劇型態 Comic Opera • 與標準的三幕正歌劇不同，典型的諧歌劇幾乎總是兩幕(因為可能是從插入三幕正歌劇約兩個間插段發展而來的)G. P. Pergolesi 是這類喜歌劇的代表作家 • Opera buffa (also called dramma giocoso, or commedia in musica) norton 7

  5. 十八世紀--新的歌劇型態 Comic Opera • G. P. Pergolesi • Opera buffa : La serva padronanorton 7

  6. La serva padrona La serva padrona La serva padrona adrona 十八世紀--新的歌劇型態 Comic Opera France • Opéra comique was the French version of light opera

  7. La serva padrona La serva padrona La serva padrona adrona 十八世紀--新的歌劇型態 • At mid-century its songs were mostly popular tunes • In 1752 an Italian comic opera troupe performed Pergolesi's La serva padrona, inspiring composers to create a mixed Italian-French style

  8. La serva padrona La serva padrona La serva padrona adrona 十八世紀--新的歌劇型態 • One faction, led by Jean-Jacques Rousseau (1712–1778), argued that the French language was unsuitable for singing • The other faction supported French styles • Rousseau wrote Le Devin du village (The Village Soothsayer), a little opera in French using Italian melodic styles (HWM, ex. 13.6) • Opéra comique alternated spoken dialogue with melodious musical numbers and dealt with social issues; example: Grétry's Richard Coeur-de-Lion (Richard the Lion-Hearted, 1784)

  9. La serva padrona La serva padrona La serva padrona adrona 十八世紀--新的歌劇型態 • England • The ballad opera became popular, as England rebelled against foreign opera • The Beggar's Opera by John Gay (1728) satirized Italian opera (e.g., NAWM 87)

  10. 韓德爾的神劇 • Handel's English oratorios constitute their own genre compared to Italian oratorios, which were hardly more than concert operas on sacred subjects • Elements from Italian oratorios: • Dialogue set in recitative • Lyrical verses set as arias • Arias in styles, forms, and aesthetics similar to those of Italian opera

  11. 韓德爾的神劇 • Recitatives prepare the mood of each aria • Elements from the English masque, the choral anthem, and other dramatic forms were incorporated into the Italian style to form Handel's unique approach to the genre

  12. 韓德爾的神劇 Librettos • All the biblical stories he used were from the Old Testament and were familiar to middle-class Protestant England • In an era of prosperity and an expanding empire, English people felt a kinship with the victorious chosen people of the Old Testament • Handel composed oratorios and other choral music for important state occasions

  13. 韓德爾的神劇 • Some oratorios were on mythological or historical subjects • Use of chorus • England's choral tradition impressed him, and he borrowed from Anglican church music styles

  14. 韓德爾的神劇 • Choruses often comment on the action of an oratorio instead of an aria

  15. 韓德爾的神劇 • Borrowing from his own or others' music was a common practice of his day • Action choruses are those in which the chorus narrates or participates in the action of the story

  16. 韓德爾的神劇 • Musical symbolism, especially word-painting, is common in Handel's choral writing; for example, "All we like sheep have gone astray" in The Messiah uses diverging melodic lines • Handel's choral style is simpler than Bach's and less contrapuntal, but his use of vocal range and choral sound achieve grandiose effects • Handel's attempt to appeal to middle-class audiences and his blending of older with more modern styles are partly responsible for his continuing popularity

  17. 韓德爾的神劇 神劇《彌賽亞》共分三部份, 「總共有五十三曲，「哈利路亞」屬於第二部分最後一首大合唱曲，在全部中排第四十四曲。一七四二年，「彌賽亞」在都柏林首演。隔年，英王喬治二世在倫敦蒞臨欣賞這齣神劇 Messiah was a wonderful blend of elegant, Italianate melody alternating with virtuosic vocalism for the soloists and, for the chorus, unmatched choral sonorities ranging from madrigalesque lightness to the composer's characteristic ceremonial style which endeared him to the British public.

  18. 韓德爾的神劇 1. Sinfony 2. Accompagnato Comfort ye, comfort ye my people, saith your God. Speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness: Prepare ye the way of the Lord, make straight in the desert a highway for our God. Isaiah 40:1-3 3. Air Every valley shall be exalted, and every mountain and hill made low: the crooked straight, and the rough places plain: Isaiah 40:4 4. Chorus And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it. Isaiah 40:5

  19. 乞丐歌劇 • The Beggar's Opera is a comic farce, poking accurate fun at the prevailing fashion in Italian opera as well as the social and political climate of the age

  20. 乞丐歌劇 • Through all the employments of life  Each neighbor abuses his brother;  Whore and rogue they call husband and wife;  All professions be-rogue one another.  The priest calls the lawyer a cheat;  The lawyer be-knaves the divine;  And the statesman, because he's so great,  Thinks his trade as honest as mine. 

  21. 乞丐歌劇 • 'Tis woman that seduces all mankind,  By her we first were taught the wheedling arts;  Her very eyes can cheat; when most she's kind,  She tricks us of our money with our hearts.  For her, like wolves by night, we roam for prey,  And practice ev'ry fraud to bribe her charms;  For suits of love, like law, are won by pay,  And beauty must be fee'd into our arms.

  22. 乞丐歌劇 • If love the virgin's heart invade,  How, like a moth, the simple maid  Still plays about the flame!  If soon she be not made a wife,  Her honor's singed, and then for life,  She's-what I dare not name.

  23. 十八世紀--新的歌劇型態 佩爾戈萊西 Pergolesi (1710-1736) 《女僕作夫人》(La Serva Padrona)

  24. 《女僕作夫人》概述 • 十八世紀初在那不勒斯派歌劇的興盛時代，會使用被稱為 “Intermezzo”的幕間劇形式。顧名思義，這是在正歌劇幕間的一種短小喜劇性質的滑稽劇。作為“幕間劇”上演，或是隨後單獨上演的一種具有喜劇內容的作品。佩爾戈萊西的《女僕作夫人》就是這種喜歌劇之一。

  25. 《女僕作夫人》概述 • 佩爾戈萊西曾就學於那不勒斯音樂學院。在他短暫的一生中寫了約十部正歌劇和幕間劇。作品反映出十八世紀當時興起的自然, 優雅的風格, (galant style)。他的名聲是在他死後才顯現, 代表作《聖母悼歌 Stabat Mater和喜歌劇《女僕作夫人》，這兩部作品使他留名後世。

  26. 《女僕作夫人》作曲經過 • 佩爾戈萊西因他初期的歌劇作品不太成功，專攻器樂曲。1731年那不勒斯大地震時，受巿政當局委託所作的《彌撒曲》得到好評，從而獲得力量和信心，於1733年在寫正歌劇《高傲的囚徒 Il Prigionier Superbo)的同時寫了這部《女僕作夫人》，時年二十三歲。

  27. 《女僕作夫人》首演 • 1733年8月28，那不勒斯的巴爾托洛梅奧劇院teatro san bartolomeo，在那不勒斯王卡魯羅六世的王妃伊麗莎白．克利斯蒂娜的誕辰慶典上，作為《高傲的囚徒》的幕間劇苜演。沒想到同時上演的戲《高傲的囚徒》的聲譽並不好，而配戲幕間劇卻大受歡迎，甚至不得不在次日再度上演。不久，不僅風靡義大利各地，而且1752年8月1日在巴黎的歌劇院路易十五御前舉辦的公演也獲得了高度的評價。

  28. 《女僕作夫人》首演 • 當時，法國以Rameau為首的法國宮廷樂派和以Rousseau盧梭等為中心的義大利喜歌劇派正處於對立的局面，彼此展開了激烈的交鋒，這一場爭論，就是因《女僕作夫人》這部歌劇的上演爆發的。成為當時法國舉國上下爭論的焦點，世人稱此為"丑角之爭"，也是法國音樂史上的一大轉機。

  29. 《女僕作夫人》演出時間 • Intermezzo I: 22分鐘， • Intermezzo II: 28分鐘， • 合計約50分鐘。

  30. 《女僕作夫人》出場人物 • 烏貝托 Uberto (老貴紳，男低音) • 塞爾皮娜 Serpina (女僕，女高音) • 韋斯波內 Vespone (烏貝托的男佣人，啞劇角色) • 時間: 十八世紀初。 • 地點: 南義大利風格的烏貝托家。

  31. 《女僕作夫人》解說 Intermezzo I • 開幕後舞台上是過著獨身生活的貴紳、頑固的老人 • 貝托的臥室。時間是白天。

  32. 《女僕作夫人》解說 • [第一曲) 引子和烏貝托的詠唱調，有節制的快板，降B大調，4/4拍。雖說是白天，女僕沒有按慣例送巧克力來，烏貝托很著急:"左等右等不拿來，上床睡覺，也還是使人心急。無論如何照顧女僕，她連一句恭維話也不會說。這樣下去，我可受不了!"他一面嘮叨，一面按鈴。

  33. 《女僕作夫人》解說 • [第二曲] 宣敘調。聽到鈴聲後進來的不是女僕，而是啞巴男佣人韋斯波內。"來遲了"，烏貝托把他和隨後進來的塞爾皮娜狠狠地罵了一頓。 • [第三曲] 烏貝托的詠唱調，很快的快板，F大調，4/4拍。烏貝托以誇張的姿勢衝著兩人唱了這首返始詠唱調:"你們總不合我的意，你們趕快死去吧，簡直豈有此理!我是你們的主人，明白嗎!(譜例I)

  34. 《女僕作夫人》解說 • [第四曲] 宣敘調。塞爾皮娜非常巧妙地把氣得發瘋的主人，捉弄了一番。 • [第五曲] 塞爾皮娜的詠唱調，小快板，D大調，2/4拍。這是全曲中最美的詠唱調。"我希望您安靜一點，您實在令人討厭!"(譜例2)

  35. 《女僕作夫人》解說 • [第六曲] 宣敘調。塞爾皮娜凡事都要高人一等，她引誘烏貝托說:"把我當做您的夫人吧。"

  36. 《女僕作夫人》解說 • [第七曲] 二重唱，快板，G大調，4/4拍。塞爾皮娜:“您嘴上雖說不願意，您的眼睛卻告訴我，您是喜歡我的!”。另一方面，烏貝托:“你這個女人想引誘我!難道我會認輸嗎 ?”就這樣，展開了愉快的二重唱。

  37. 《女僕作夫人》解說Intermezzo II • 烏貝托的客廳。 • 塞爾皮娜越發耍手段向烏貝托進攻。把韋斯波內也拉到自己這一邊來。 • [第八曲] 宣敘調。塞爾皮娜對韋斯波內說:"你是我的同夥，希望你一定要堅定。"還讓他穿上了上尉軍服，裝扮成塞爾皮娜的未婚夫，目的是激起老人的嫉妒心。

  38. 《女僕作夫人》解說 • 塞爾皮娜來到烏貝扥的面前，告訴他說:"我的未婚夫坦普斯塔上尉來拜訪您"，叉威脅說:"上尉找彆扭的話，說不定會弄出什麼事情來!"

  39. 《女僕作夫人》解說 • [第九曲] 塞爾皮娜的詠唱調，小廣板，降B大調，4/4拍。幕間劇的歌曲多半好似放連珠炮般的快速語言，其中只插入一首慢拍子的抒情曲。這首詠唱調就是屬於這一類的。塞爾皮娜假裝流淚，同主人傾訴即將離別的悲傷:"說不定哪一天，您準會想起塞爾皮娜說，當年，那是一個好女孩!(譜例3)。

  40. 《女僕作夫人》解說 • 這首詠唱調中插有一段獨白"做法各有不同，請看最後結果"。這部分的速度是形成對比的快板，3/8拍。慢中有快，靈活的表現手法，使音樂更加有趣動聽。

  41. 《女僕作夫人》解說 • [第十曲] 宣敘調。"雇了這個女孩子，就這麼輕易地放她走真是人可惜，難道真的就讓她結婚走了不成了哎呀!腦袋都搞糊塗了。"烏貝托的心情十分困惑。 • 第十一曲] 烏貝托的詠唱調，快板，降E大調，4/4拍。烏貝托孢著頭唱道:"實際上，我還是在想力設法，但是，內心卻仍不平靜!"他逐漸被塞爾皮娜所吸引。自己毫無辦法。

  42. 《女僕作夫人》解說 • [第十二曲] 宣敘調。塞爾皮娜領著化裝成上尉的韋斯波內來到鳥貝托的面前，擺出一副給上尉當翻譯的樣子。

  43. 《女僕作夫人》解說 • 上尉向烏貝托索取巨額的陪嫁費，不然的話，…‥"說著就拔出刀來，"給你點顏色看看"。然後又吩咐說:"如果拿不出陪嫁費，她就嫁給你。"便叫烏貝托和塞爾皮娜在上尉面前簽署證辭。塞爾皮娜的詭計終於成功。她抑制不住內心的喜悅唱道:"從現在起，我就是夫人了。"

  44. 《女僕作夫人》解說 • [第十三曲] 二重唱，有節制的快板，D大調，4/4。這是一首和喜劇終曲相應的輕快的二重唱。塞爾皮娜唱道:"我心中，愛情的錘子不停地敲打。"烏貝托唱:"我心中正敲打著愛情的大鼓。"以兩人愉快的重唱圓滿地結束。

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