歌劇的歷史

1. 歌劇的歷史 Week Three

2. 歌劇的歷史 • 歌劇的誕生 • 時代與技術 • 創意與天才

3. 歌劇的歷史 • 早期歌劇 (1600-1690) • Favola in Musica人文主義宮廷藝術(Florence, Mantua, Rome) • Dramma per Musica, 商業化的音樂劇場(Venice) • 向全歐傳播

4. 歌劇的歷史 • 雖然音樂與戲劇的最初結合是在古希臘，而音樂形式的歌劇則誕生在在1590年代義大利的佛羅倫斯。那時一群貴族, 所謂 Camerata (卡麥拉塔社), 試圖用音樂為希臘戲劇譜曲來復興古典戲劇。由於會社成員主要對戲劇感興趣，所以往往強調詞而更於音樂。文藝復興後期複雜的複調音樂，因為在複調音樂中不同聲部相互交織而變得相當複雜，造成幾乎聽不懂歌詞，而不敷要求。然而。一種新的音樂形態，developed from these early experiments was called monody.

5. 歌劇的歷史 • Florentine Camerata • 乃是當時的一些貴族和風流雅士在Bardi伯爵宮廷裡聚會，進行藝術研究欣賞活動，這種聚會稱為 “Camerata”

6. 歌劇的歷史 • Florentine Camerata • Giulio Caccini, Pietro Strozzi, Vincenzo Galilei (the father of the astronomer Galileo Galilei). Girolamo Mei文學家、音樂家、劇作家的組合，裡面也有理論家，像Mei是專門在研究希臘文學、音樂及戲劇的一個專家，可以說是一個活的希臘百科全書，以至於能夠讓當時的音樂家們很快的知道很多資訊，知道希臘人如何作出這麼多有創意的戲劇的原則，然後再把這些資訊吸收過來，用在早期的歌劇上

7. 歌劇的歷史 • Largely concerned with a revival of the Greek dramatic style, the Camerata‘s musical experiments led to the invention of the stile recitativo宣敘風. Cavalieri was the first to employ the new recitative style, trying his creative hand at a few pastoral scenes. The style later became primarily linked with the development of opera.

8.                             Peri                                          Peri               歌劇的歷史 • 保存下來最早的佛羅倫斯歌劇是 0. Rinuccini (黎努契尼)作詞、 J. Peri(佩利)作曲(Caccini也貢獻了部分音樂)的Euridice (優麗狄茜)，1600年在Marie de Medici (梅迪奇)和法國國王亨利四世的婚禮慶典上演出。(Peri的1598歌劇Dafne年代最久，但樂譜的大部分已失傳。 Caccini(卡奇尼)使用與Rinuccini同劇本的歌劇Euridice ，於1600出版，但直到1602年才上演。

9. 歌劇的歷史 • 歷史上第一部歌劇是Ottavio Rinuccini根據阿波羅與Dafne的神話故事所編撰, 由Peri作曲的Dafne，於1597年在Jacopo Corsi伯爵（柯爾西）府中演出，，劇中的音樂表現，主要創新的地方是宣敘調〈Recitative）來表現。

10. 歌劇的歷史 • 宣敘調〈Recitative）遵循詞的節奏的抑揚頓挫，低音聲部使用簡單的和絃幫助歌者保持音準，以此構成的整個歌劇的主要缺點是過於單調。

11. Monteverdi • To Monteverdi (蒙台威爾第1567-1643) the words must be "the mistress of the harmony", • 受到Camerata的歌劇影響, Monteverdi也寫了他第一部歌劇L’Orfeo 《 奧菲歐》於1607年於Mantua上演。

12. 歌劇的歷史From Monteverdi to Monteverdi • Orfeo於1607年於Mantua上演。 Monteverdi不僅豐富了和聲並使recitative更其表現力，也增加了精緻的詠唱調(aria獨唱)、合唱和由編制較多的樂隊演奏的器樂樂段。

13. 歌劇的歷史 • 在16-17世紀音樂史中，Monteverdi擁有極重要的地位。因為他不但能把Peri （佩里）和Caccini （卡奇里）那些較重於文字的歌劇，加入更多的音樂去發展，而且也因為他作品中的表現，跨越了兩個時代的風格，因此甚至有人把他比擬貝多芬的成就。。(right: Gonzaga, Mantua)。

14. 歌劇的歷史

15. L’Orfeo • Prologue and Five Acts • Synopsis • The action is based on the ancient Greek myth of Orpheus, who attempts to rescue his dead lover Eurydice from Hades, the underworld. • Monteverdi's orchestra

16. L’Orfeo • Overture • Toccata, military Fanfare • Act II: vi ricorda • Orfeo’s Recitative, “Tu se’ morta” • Act III: possente spirto • Monteverdi's orchestra

17. Tu se' morta, mia vita,ed io respiro?tu sei, tu se' pur ita per mai più non tornare, ed io rimango?No, che se i versialcuna cosa ponno,n' andrò sicuroa' più profondi abissie, intenerito il cordel Re de l' ombre, meco trarròttia riveder le stelle.O se ciò negherammiempio destino,rimarrò tecoin compagnia di morte,Adio terra,adio cielo, e Sole, adio. You are dead, my life,and I still breathe?You have departed from menever to come back, and I remain?No, that if the verseshave any Power,I shall go safely to the most profound abyss, And having softened the heart of the King of the ShadesI shall bring youback to see the stars.And if this is denied by wicked fate,I shall remain with you in the company of deathFarewell earth, farewell sky and sun, farewell

19. 基於Orfeo故事的歌劇 J. Peri (1600, as Euridice); G. Caccini (1602, as Euridice); C. Monteverdi (1607); Belli (1616); Landi (1619, as La morte d’Orfeo); L. Rossi (1647); C. d’Aquino (1654); J. J. Löwe von Eisenach (1659, as Orpheus aus Thracien); A. Sartorio (1672); Locke (1673); G. di Dia (1676); F. della Torre (1677); J. P. Krieger (1683, as Orpheus und Euridice); Draghi (1683, as La lira d’Orfeo); M.-A. Charpentier (c1685, as La descente d’Orphée aux enfers)

20. 基於Orfeo故事的歌劇 Sabadini (1689, as Amor spesso inganna); L. Lully (1690); W. Goodson (1697); R. Keiser (1698, rev. 1699, 1709); Campra (1699, as Orfeo nell’Inferni: Act 3 of Le carnaval de Venise); Weldon (c1701, as Orpheus and Eurydice); Fux (1715, as Orfeo ed Euridice); Telemann (1726); Lampe (1740, as Orpheus and Eurydice); Rameau (c1740, as Orphée aux enfers, projected); Ristori (1749, as I lamenti di Orfeo); Wagenseil (1750, as Euridice); Graun (1752)

21. 基於Orfeo故事的歌劇 Gluck (1762, as Orfeo ed Euridice); Barthélemon (1767); Tozzi (1775, as Orfeo ed Euridice); Bertoni (1776, as Orfeo ed Euridice); L. Torelli (1781); F. Benda (1785); J. G. Naumann (1786, as Orpheus og Eurydike); Dittersdorf (1788, as Orpheus der Zweyte); Reichardt (1788, rev. of Bertoni, 1776); Trento (1789, as Orfeo negli Elisi); Haydn (comp. 1791, as L’anima del filosofo, ossia Orfeo ed Euridice, unperf.); Paer (1791, as Orphée et Euridice)

22. 基於Orfeo故事的歌劇 Winter (1792, as La mort d’Orphée et d’Euridice); Deshayes (1793, as Le petit Orphée, parody of Gluck); L. Lamberti (1796); F. Morolin (1796, as Orfeo ed Euridice); Dauvergne (before 1797, as La mort d’Orphée, unperf.); G. Bachmann (1798, as Der Tod des Orpheus); Carl Cannabich (1802); Kanne (1807); Kauer (1813, as Orpheus und Euridice); L. Sampieri (1814); Offenbach (1858, as Orphée aux enfers); G. Michaelis (1860, as Orpheus auf der Oberwelt)

23. 基於Orfeo故事的歌劇 K. F. Konradin (1867, as Orpheus im Dorfe); Godard (1887); Sélim (1902, as Orphée et Pierrot); F. de Azevedo e Silva (1907, as A morte d’Orpheus); Debussy (1907–16, as Orphée-roi, projected); Roger-Ducasse (1913, as Orphée); G. F. Malipiero (1925, pt 3 of the triptych L’Orfeide); Milhaud (1925, as Les malheurs d’Orphée); Krenek (1926, as Orpheus und Eurydike); Casella (1932, as La favola d’Orfeo); Birtwistle (1986, as The Mask of Orpheus)

24. Monteverdi • 1613, he had moved to the San Marco in Venice where, as Maestro di Cappella • Republic • 第一個公眾的歌劇院(Teatro S. Cassiano)於1637年開放

25. Dramma per musica • Venice Carnival season: From Christmas to Lent (Feb) • 威尼斯，威尼斯第一個公眾的歌劇院(Teatro S. Cassiano)於1637年開放 • 取悅付費觀眾成為新的目標,對歌劇形式影響甚為顯著 • 歌劇變得更長; 演出更豐富; 情節更複雜; 採用的角色更多，插人的喜劇部分活躍了表演。 • 經濟效應的考量 樂團 佈景 故事內容 • 新的歌唱風格美聲唱法誕生，成群的觀眾去聆聽當時受大眾歡迎的歌唱家演唱。Diva, castrato 結果，詠唱調成為最重要的，而recitative、合唱、樂器部分和甚至戲劇本身都不受重視。

26. Favola in Musica vs Dramma per musica • Display of splendor was 是counter-reformation及Baroque宮廷音樂主要的功能, 如何呈現splendor呢 花大錢 宮廷巨觀 • 融合所有的資源誇示國力 • 希臘神話與古代歷史直接隱喻贊助的統治者們 • 嚴格的限制virtuosity, 除非 • 公眾的歌劇院(Teatro S. Cassiano)於1637年開放 • virtuosity • Sex, female • 早期商業歌劇無力支付華麗佈景 複雜合唱與舞蹈 卻以特技般違反自然的Vocalism填補 • 新的歌唱風格美聲唱法誕生，成群的觀眾去聆聽當時受大眾歡迎的歌唱家演唱。Diva, castrato 結果，詠唱調成為最重要的，而recitative、合唱、樂器部分和甚至戲劇本身都不受重視。 • Aria與 recitative的清楚分離

27. Monteverdi’s Poppea • 退休後寫下3部歌劇 • For the Teatro SS. Giovanni e Paolo • Academy of the Disquised: Society of libertine • Do their best to subvert the values of court theatricals for the greater enjoyment of paying public • Celebrates neither the reward of virtue nor the chastisement of vice • Celebration of vice triumphant and virtue mocked • 精簡的樂團加上超技的聲樂 • 滑稽的情結與嚴肅的悲劇的並置

28. Prologue • The goddesses of Fortune, Virtue and Love dispute their respective powers.  Love vaunts her pre-eminence and claims to be master of the world, as the story of Nero and Poppea will prove. • 3 Acts • Emperor Nero, enamored of Poppea, who was the wife of Otho, sent the latter abroad so that he could pursue her. • On returning, the despairing Otho is commanded by Octavia, wife of Nero, to kill Poppea. Otho promises to do it, but lacking the spirit to deprive his adored Poppea of life, he dresses in the clothes of Drusilla, who was infatuated with him. Thus disguised, he enters the garden of Poppea, but his love still prevents the fatal blow. The plot is discovered; Octavia is expelled from Rome, and Nero makes Poppea his wife. Seneca is sentenced to death, and Octavia is expelled from Rome.

29. Poppea的加冕 • Monteverdi 最後作品

30. Poppea的加冕 • Monteverdi 最後作品 • Virtuosic vocalism • Duet • Comic scenes

31. Poppea的加冕 主要角色

32. POPPEA My lord, do not go; let these arms of mine Entwine your neck, As your beauties entwine my heart. NERONE Poppea, let me go …. POPPEA Do not go, my lord, do not go. Dawn is just breaking, and you who are my incarnation of the sun, my light made tangible, and the day of love in my life – why so soon, why do you wish to leave me? Say that you are not leaving! For at the mere sound of such harsh words, Ah, I feel my soul dying, expiring. NERONE Since you are of noble birth, Rome must not know that we are one until O�avia is set aside by my renunciation. Go, beloved; in a sigh welling up from the depth of my heart, I hide a kiss, my dearest, and a farewell. We shall soon meet again, my idol. POPPEA My lord, you see me always; And yet you never see me. For if it is true that I am hidden within you, in your heart, your eyes cannot behold me. NERONE My beloved eyes, then stay! Remain, my Poppea, my heart, my beauty, my light! POPPEA Say not that you are leaving! For at the mere sound of such harsh words, Ah, I feel my soul dying, expiring. NERONE Fear not; you are always with me, splendour in my eyes, and deity in my heart … POPPEA Will you come back? NERONE Though I leave, yet I stay with you … POPPEA Will you come back? NERONE My heart can never, never be taken from your eyes …. POPPEA Will you come back? NERONE I cannot live away from you unless unity itself is divided POPPEA Will you come back? NERONE I will. POPPEA When? NERONE Very soon … POPPEA Very soon, you promise? NERONE I swear it! POPPEA And will you keep your vow? NERONE And if I do not come to you, you will come to me. POPPEA Farewell Nerone, farewell. NERONE Farewell Poppea, my love.

33. Lie down now, Poppea, hush, my darling; you shall be guarded. May gentle oblivion lull sweet thoughts in you, my child. Now rest, thievish eyes; why stay open if you can steal all hearts even when closed? Poppea, rest calmly; dear eyes, fond eyes, sleep now, sleep. Lovers, behold a new miracle; the day is bright as usual and yet you see the sun asleep. ARNALTA: Oblivion soave

34. NERONE & POPPEA I gaze at you, I rejoice in you, I embrace you, I enchain you, no more do I suffer, no more do I die, O my life, O my treasure. I am yours, you are mine, O my hope, say it, say, you are my idol, yes my love, yes my heart, yes my life, yes I gaze at you etc… Pur ti miro

35. Pur ti miro Pur ti miro (L'incoronazione di Poppea) - Rial, Jaroussky Monteverdi - L' Incoronazione di Poppea Pur ti miro

36. Poppea的加冕 • Monteverdi 最後作品 • 宮廷歌劇 特殊事件 出版紀念 • 商業歌劇 不出版 如 Broadway show 不斷修訂 為不定劇院 不同用途

37. Monteverdi後, Venice歌劇 • Cavalli, Cesti • 更抒情的風格 (Bel canto??) • 此風格強調的是聲樂美感。一開始歌劇的發展是極強調戲劇化的，而到了17世紀中期則走上抒情的風格，與之前的發展剛好與成為兩種極端， • 以獨唱為主，。 • Recitative與Aria分離, simple Recitative: repeated notes • 多種aria特有的風格 • 儘管佛羅倫斯的作曲家強調歌詞在音樂之上，但後繼者則反之, 變成強調音樂大於戲劇。把曲調唱得甜美才是至高無上的目的，這種情形大體上在義大利歌劇持續了往後二百年。

38. Cesti • (Cesti: Orontea) • Intorno all’idol mio “Around my idol” • 分節體 Strophic

39. 1650 Italy

40. Venice之外的歌劇 • 17世紀後半期的歌劇發展，17世紀後半期是義大利歌劇從它本土Venice發展成熟以後走向國際化的一個過程，一定的風格，以及主要的樂派在這個時候產生，乃至於奠定義大利在歌劇屹立不搖的地位，17世紀後半期的歌劇的特質： • 大家開始喜歡喜歡華麗複雜的佈景道具、 • 在聲樂要求有超技的技巧、 • 完全幾乎不使用合唱、在劇情上會參雜嚴肅和滑稽的劇情。

41. Naples • 歌劇在十七世紀後半期，由義大利Venice逐漸向外(其他國家)擴展。 • 十七世紀晚期，Naples開始興起，成為歌劇發展的另一個中心。最主要的作曲家Alessandro Scarlatti亞歷山卓史卡拉第，先承襲威尼斯樂派，而後成為十八世紀(Bach、Handel的時代)整個歐洲歌劇的主要風格。它代表著17世紀歌劇到18世紀風格的進程。

42. Naples歌劇 • Alessandro Scarlatti(1660-1725) 掌控Naples17世紀末至下一世紀的歌劇趨勢，Naples從十七世紀末開始，大約經過一百年，以Scarlatti為首的一些作曲家們奠定歌劇一般型式。 • 這些形式雖非Scarlatti所創, 大多由Scarlatti標準化且流傳 • 以下為例

43. da capo aria 反始詠唱調 • da capo aria 反始詠唱調 Ritornello A Transitional Rit B A (器樂間奏) (過門用的器樂間奏) (關係大調) C minor Modulation to E C minor 反始詠嘆調── close section 閉區間 、 三段式 ABA

44. Recitative • 返始詠唱調形式(da capo aria)成為時代的主流。Scarlatti還在recitative中用管弦樂的伴奏來緩和同詠嘆調之間的對立。 • Recitative分為兩種 • Recitative secco (dry recitative) 獨唱+數字低音 • Recitative obbligato 獨唱+管絃樂團

45. Recitative • Recitative obbligato 獨唱+管絃樂團 • Handel: Julius Cesare

46. Italian Overture義大利序曲 • 這時歌劇的情況是recitative和aria交替出現，每個aria會被編號，受觀眾的喜好驅策，aria數量可達60首, 較早期多的多。這類型的歌劇非常強調solo singing獨唱的唱腔。這些solo的唱腔非常在乎音樂的優雅，取代過去戲劇化的效果，到18世紀看到的aria都是較為抒情的。另外Scarlatti的重要貢獻，是他所奠基的拿坡里序曲形式叫〝Italian Overture義大利序曲〞

47. Sinfonia: Italian Overture • 定型為〝快─慢─快〞的形式(拿坡里風格的歌劇序曲，為多樂章器樂曲的雛形)。 • 以燦爛的節慶樂開始, 慢抒情中段, 舞曲作收 • 舞曲 標準的舞曲2段體 • 不論是sinfonia〝Italian Overture義大利序曲〞或是〝French Overture法式序曲〞，都會成為將來18世紀器樂形式的基礎，等於是從歌劇的序曲中，衍伸出大型的管絃樂曲，早期所謂的交響曲即為快─慢─快的形式，器樂的發展有很多都歸功於歌劇。