歌剧

Rossini inherited the brilliant tradition of Italian classical opera; chose typical characters and events in theme; Pursued its ampleness and showed conditions and conflicts in personalities; Adjusted the inne...

在继承意大利古典歌剧优秀传统的同时，在题材上选择典型的人物和事件，在人物塑造上力求丰满，表现个性冲突和矛盾；对歌剧的内部结构进行了合理的调整，改革了以往咏叹调和宣叙调交替出现，统领一部歌剧的现象；改变了歌唱家为了炫耀技巧而随意改动旋律声部，破坏剧作的统一和完整的现象；增加了重唱与合唱的分量；在歌剧管弦乐的表达上与剧作内容紧密结合，管弦乐为戏剧服务。

This paper mainly for the "Habanera" in Carmen's features and characters in the image of opera analysis, and to Bizet's opera "Carmen" in the selections,"Habanera Dance" as the starting point of the opera "Carmen" the composer's life and creative than just a brief introduction to the characteristics, but also the opera "Carmen" creative background to the analysis to a deeper understanding of "Carmen" this work.

本论文主要是针对《哈巴涅拉》的音乐特色及其歌剧中卡门的人物形象进行分析，并且以比才的歌剧《卡门》中的选曲《哈巴涅拉舞曲》为切入点，对歌剧《卡门》的作曲家比才的生平及其创作特点进行了简单的介绍，还对歌剧《卡门》的创作背景进行来了分析，从而更深层次的理解《卡门》这部作品。

The duty of the drame and the music which was give by the subject was accomplished by three elements used in this dissertation as following:the musical theme"La Roi S'amuse"(from the opera"Rigoletto")was the center clue;the forming precess of the three main characters (Rigoletto、Duke and Gilda)was the major may to interprete the drama subject; meanwhile, their own Arias were used to rebuild the musical figures; and the chorus between each of them was the main means to put forward the plot of the drama.

本论文以歌剧《黎戈莱托》的主题"诅咒"作为主轴线，以歌剧中三个主人公(黎戈莱托、曼图阿公爵、黎戈莱托的女儿吉尔达)在歌剧中各自音乐形象的塑造过程作为对歌剧主题诠译的主要手段，同时又以他们各自在歌剧中的咏叹调作为塑造音乐形象的主要方式，以他们相互之间的合唱作为歌剧情节向前发展的重要方式，从而完成歌剧主题所赋予的戏剧任务和音乐任务。

This essay selects the Queen's image in the Gloriana as the study object, through analysis of the libretto and opera music to strive to be comprehensive and detailed to show the drama queen of the arts to shape the characteristics of the image to explore the Britten's Musical-Dramatic techniques, and hope that further study for the academic writing Britten opera, especially in the opera characters to provide help to shape.

本文选取《格洛里阿纳》中的女王形象作为研究对象，通过对歌剧脚本和歌剧音乐的分析，力求全面、细致的展现剧中女王形象塑造的艺术特点，探究布里顿音乐戏剧手法，希望为学界进一步研究布里顿歌剧创作，特别是在歌剧人物形象塑造方面提供帮助。

Charles Francois Gounod (1818—1893) is one of the great French opera composers in the nineteenth century. In his operas he insisted the tenet that thoughts of roles should be expressed by the music that was plain and truehearted. He created the kind of opera named"lyric opera", which broke through the"grand opera"in France in the period of 1830s and pointed out the direction of the French opera.

夏尔·弗朗索瓦·古诺(Charles Francois Gounod，1818——1893)是19世纪中、下叶法国的一位杰出的歌剧作曲家，在歌剧创作中他强调用朴实真挚的音乐语言来表达人物情感，他创作出一种被称之为"抒情歌剧"的歌剧类型，打破了自19世纪30年代以来形成的大歌剧浮华夸张风格的传统，为法国歌剧的发展指明了道路。

The dramatist and musical characters and the perfect combine between music and drama are the purports. The thesis is divided into three parts: the preface, four chapters and the conclusion. In the preface it is explained that what in this thesis is expounded and what kinds of study about the opera there are in Chinese and in the other area of the world. The first chapter is a summary about Gounod and his"Faust", which is the typical work in lyric operas. In the second chapter analysis on drama, the character and figures of the roles in the opera is made, and the characteristic of the plot ,the creation of opera and framework is put together. In the third chapter the music in the opera is studied, and the characteristics are put together on the base of particular analysis on typical passage of aria chorus ensemble. In the last chapter, perfect combine between drama and music is presented by study on Faust's character and psychology,and it is discussed that music implied the plot. And the conclusion is a whole comment of the opera and it's musical characteristics

更多论述。全文由引言、四个章节、结论等几个部分组成：引言是关于论文的选题、国内外研究现状的陈述，指明笔者选题的意义以及国内外学者对此课题的研究程度；第一章是对抒情歌剧作曲家古诺以及抒情歌剧的典范之作《浮士德》的一个总体上的概述；第二章从人物性格与戏剧情节、戏剧结构、戏剧创作等方面对歌剧《浮士德》进行分析，归纳其戏剧特点；第三章是对歌剧《浮士德》音乐特点的研究，通过对咏叹调类、重唱类、合唱类唱段中有代表性唱段的具体分析，总结其在音乐创作方面的主要特点；第四章从音乐刻画人物的性格与心理、音乐暗示戏剧情节的发展等方面，论述了歌剧《浮士德》在戏剧与音乐方面的完美结合；结论是对歌剧《浮士德》的整体论析。

Mozart opera in "the marriage of figaro", the broad resonance absorption of the italian opera, singing the german and austrian drama, opera and french hi english folk opera and many other factors, pay attention to the combination of recitativo and aria and layout, and hi put opera quartet as the main theater of conflict, and promote the development of the story, and reveal contradictions and conflicts.

莫扎特在创作歌剧《费加罗的婚礼》中，广泛吸收了意大利谐歌剧、德奥歌唱剧、法国喜歌剧和英国民谣歌剧等诸多因素，注重宣叙调与咏叹调的组合与布局，并把重唱作为喜歌剧中戏剧冲突的重头戏，推动剧情发展，揭示矛盾冲突。

Gioachino Antonio Rossini was a person to revival of Italian opera.

罗西尼是意大利歌剧的复兴者，他继承了意大利民间音乐的特点和意大利歌剧传统体裁形式，在意大利歌剧日趋衰微时，他创作了一大批歌剧精品，使得意大利歌剧重现辉煌。

Among the Italian opera composer, even though no Bellini Rossini, Verdi then Historiography of the high-status, but with his unique musical language with the concept of the opera maintains the Italian lyric opera tradition, the impact of the Italian opera Development, to defend him in the tradition of Italian opera, based on the establishment of a distinctive artistic personality characteristics.

在众多的意大利歌剧作曲家中，贝利尼尽管没有罗西尼、威尔第那么高的史学地位，但他以他特有的音乐语言与歌剧观念维护着意大利歌剧的抒情传统，影响着意大利歌剧的发展，在捍卫意大利歌剧传统的基础上，建立了自己个性鲜明的艺术特色。

After several years of singing operetta and light opera in Norway, Flagstad was persuaded to take on heavier, dramatic roles, including those of Verdi and eventually Wagner.

再经过了几年轻歌剧的演唱和于挪威的轻歌剧院演出后，弗拉格丝塔特小姐被人说服去演绎那些更具分量，更有戏剧性效果的正歌剧角色，包括意大利歌剧泰斗威尔蒂的重要歌剧名角。最后，当然包括歌剧殿堂内终不可少的德意志民族终极歌剧大帝——瓦格纳的经典作品。

Breath, muscle contraction of the buttocks; arch body, as far as possible to hold his head, right leg straight towards the ceiling (peg-leg knee in order to avoid muscle tension).

呼气，收缩臀部肌肉；拱起身体，尽量抬起头来，右腿伸直朝向天花板（膝微屈，以避免肌肉紧张）。

The cost of moving grain food products was unchanged from May, but year over year are up 8%.

粮食产品的运输费用与5月份相比没有变化，但却比去年同期高8％。