女仆作夫人.ppt

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 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。 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 十八世紀--新的歌劇型態 Comic Opera G. P. Pergolesi Opera buffa : La serva padrona?norton 7 十八世紀--新的歌劇型態 Comic Opera France Opéra comique was the French version of light opera 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 Pergolesis La serva padrona, inspiring composers to create a mixed Italian-French style 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: Grétrys Richard Coeur-de-Lion (Richard the Lion-Hearted, 1784) 十八世紀--新的歌劇型態 England The ballad opera became popular, as England rebelled against foreign opera The Beggars Opera by John Gay (1728) satirized Italian opera (e.g., NAWM 87) 韓德爾的神劇 Handels 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 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 Italia