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17 世紀法國歌劇

17 世紀法國歌劇. Week Four. Italy 之外的歌劇 -- 法國. 先要在政治上成功 戲劇與音樂無法混合 最宮廷的宮廷樂 理性的敵人 Marzarin 主教 Rossi 1647 第 1 部 : Orfeo 法國歌劇在路易十四提倡下，有著與義大利不同的發展 , 其特點主要源於兩個文化傳統 : 芭蕾舞劇 (ballet) 與 tragedie 悲劇 . 中央集權 法國 英國. Italy 之外的歌劇 -- 法國. 特殊的歌劇發展需適應 國家成見 宮廷傳統 皇家特權 歐洲最大的貴族群 音樂 與 權力象徵

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17 世紀法國歌劇

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  1. 17世紀法國歌劇 Week Four

  2. Italy 之外的歌劇--法國 • 先要在政治上成功 • 戲劇與音樂無法混合 • 最宮廷的宮廷樂 • 理性的敵人 • Marzarin主教 Rossi 1647第1部: Orfeo • 法國歌劇在路易十四提倡下，有著與義大利不同的發展, 其特點主要源於兩個文化傳統: 芭蕾舞劇(ballet)與tragedie悲劇. • 中央集權 法國 英國

  3. Italy 之外的歌劇--法國 • 特殊的歌劇發展需適應 • 國家成見 • 宮廷傳統 • 皇家特權 • 歐洲最大的貴族群 • 音樂 與 權力象徵 • Opera 1. 國家與王權至上的宣傳; 2. 貴族與中產階級的娛樂

  4. Louis XIV (1638-1715) • Under Louis XIV‘s revolutionary reign, France rose up from a long period of civil discord to new heights of international prominence. Political achievement coincided with cultural and gave birth to an evolution of France’s national identity, known as l‘esprit français. This new self perception acknowledged the superiority of all things French; the French believed France was home to the greatest king, the greatest armies, the greatest people, and, subsequently, the greatest culture.愛新覺羅玄燁1654-1722

  5. Jean-baptiste Lully (1632-1687) • Lully(出生義大利)結合以上兩個文化傳統建立了法國風格的歌劇， • 義大利歌劇pastoral不一樣, 結合了(neo)classical tragedie 嚴肅的劇情於神話主題。Tragedie en musique; tragedie lyrique • 他融合了大型的合唱及間奏舞蹈。另外在音樂的風格上，反映出當時法國宮廷的華麗形式，他的樂團是全歐洲最大的管絃樂團。24 弦樂

  6. Le Roi danse • 1653 Ballet de la Nuit • Idylle sur la paix: Air pour Madame la Dauphine 1685 • 1664 Le Mariage forcé Comeque Ballet, Moliere • Marche pour la cérémonie des Turcs • Les Amants magnifiques : Entrée D’Apollon 1670 • Dies Irae, Motet: Dies Irae Armide: Prélude • Isis

  7. French Overture • 由Lully發展出的French Overture法式序曲(由法國宮廷ballet裡的風格衍生出來), 可以算是法國歌劇對整個音樂歷史中重大的貢獻，它代表整個將來18世紀非常重要的音樂形式，無遠弗屆地影響聲樂與器樂曲式，也象徵了法國在17世紀非常輝煌的國勢。

  8. Italy counterpart • Compare義大利歌劇的序曲 • 壯觀的場面通常是用來歡迎國王蒞臨的(莊嚴慢板)。 • 為兩段式曲子每一段會反覆，第一段──莊嚴的慢板、加了附點的節奏、用許多小音符，第二段(國王已就座)速度會快一點、引大家進入歌劇、通常會有(至少有一個)模仿主題，第二段快結束時會有一點好像回到前面慢板的味道。

  9. Alceste (1774) tragedie en musique • Libretto: Quinault • 神話, 國王自選, 無可違抗的宇宙秩序, 至上神權, 神授君權, 犧牲, 自我犧牲 • 男性 no castrato • 盛大的Overture • Recitative • 壯觀場景與盛大的Chorus • Suite of dances model ballet de cour

  10. Alceste (1774) tragedie en musique • Alcestis is a princess in Greek mythology, known for her love of her husband. Her story was popularised in Euripides's tragedy Alcestis. She was the daughter of Pelias, king of Iolcus, and either Anaxibia or . In the story, many suitors appeared before King Pelias, her father, when she became of age to marry. It was declared she would marry the first man to yoke a lion and a boar (or a bear in some cases) to a chariot. The man who would do this, King Admetus, was helped by Apollo, who had been banished from Olympus for 9 years to serve as a shepherd to Admetus. With Apollo's help, Admetus completed the king's task, and was allowed to marry Alcestis. After the wedding, Admetus forgot to make the required sacrifice to Artemis, and found his bed full of snakes. Apollo again helped the newly wed king, this time by making the Fates drunk, extracting from them a promise that if anyone would want to die instead of Admetus, they would allow it. Since no one volunteered, not even his elderly parents, Alcestis stepped forth. Shortly after, Heracles rescued Alcestis from Hades, as a token of appreciation for the hospitality of Admetus. Admetus and Alcestis had a son, Eumelus, a participant in the siege of Troy, and a daughter, .

  11. Armide: passacailles (1785) tragedie en musique • 80 years in the repertoire • more than 100 operas

  12. Alceste (1774) tragedie en musique

  13. 法國歌劇—古典美學的基本特徵 • 對大自然的模仿 • Hm 1-5 , Les Indes galantes

  14. 法國歌劇—古典美學的基本特徵 • 以藝術蘊藏藝術 • Hm1-6

  15. 法國歌劇—古典美學的基本特徵 • 熱情 • Hm 1-8 Castor et Pollux

  16. 法國歌劇—古典美學的基本特徵 • 悲劇

  17. 歌劇 • Jean-Baptiste Lully (1632-1687) • Armide, Atys, Alceste

  18. 歌劇 Jean-Philippe Rameau (1683-1764) Les indes galantes

  19. Italy 之外的歌劇--英國 • 17世紀初Jacobean時期, 英國的Masque假面劇是貴族們的娛樂，與法國宮廷芭蕾類似，貴族與藝術家自己是觀眾也是演員，是一種參與性的戲劇活動，融合了舞蹈、器樂、歌曲、合唱。Ben Jonson劇作家, 常為戲劇的幕間劇, Shakespear之A Summer Night’s Dream • 在Civil War, Commonwealth時期藝術的衰落 • Puritans closed the English theaters in 1649-1660 (1642起內戰)

  20. Italy 之外的歌劇 • Stuart Restoration Period, 重要的作曲家如John Blow及他的學生Henry Purcell亨利普賽爾 • Purcell是英國在17世紀唯一的大音樂家，也是今後一兩百唯一世界級的音樂家，曾做過西敏寺教堂的管風琴師，是此時唯一能跟得上巴洛克時代腳步的作曲家

  21. Henry Purcell • Masque: Fairy queen

  22. Henry Purcell: Dido and Aeneas • It is based on a story from the fourth book of Virgil'sAeneid,[1] of the legendary Queen of CarthageDido and the Trojan refugee Aeneas. When Aeneas and his crew are shipwrecked in Carthage, he and the queen fall in love. However, Aeneas must soon leave to found Rome. Dido cannot live without him and awaits death.

  23. Dido and Aeneas • Group activities---chorus, dances, orchestrral numbers • Solo behavior by Italian • Ground bass

  24. Italy 之外的歌劇 • Henry的Dido and Aeneas《狄朵與埃涅阿斯》雖然是珠玉之作然而到18世紀時，英國大眾興致盎然地轉向義大利歌劇。英國本地作曲家或多或少地模仿來到英國的義大利歌劇作曲家。

  25. 歌劇--英國歌劇 • Dido and Aeneas《狄朵與埃涅阿斯》

  26. 歌劇--英國歌劇 • Dido and Aeneas (1689) was composed for a girls' boarding school

  27. 歌劇--英國歌劇 • The libretto is an adaptation of Vergil's Aeneid

  28. 歌劇--英國歌劇 • The work has four principal roles plus a small orchestra (strings and continuo)

  29. 歌劇--英國歌劇 • It is in three acts, taking up only about one hour

  30. 歌劇--英國歌劇 • It begins with a French overture in the style of Lully

  31. 歌劇--英國歌劇 • Choruses intermingle with solos

  32. 歌劇--英國歌劇 • Recitatives are sensitive to English text declamation

  33. 歌劇--英國歌劇 • Arias (e.g., NAWM 69, When I am laid in earth) are on a ground bass • Passacaglia帕沙加雅舞曲

  34. 歌劇--英國歌劇 • Preceded by recitative with a stepwise descent to portray impending death

  35. 歌劇--英國歌劇 • Dido's aria (lament) sung over a descending ground bass line, a technique associated with laments in Italian opera • Norton 5-1

  36. 歌劇--英國歌劇 • Followed by a chorus, With drooping Wings, using the descending figure again

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