歌剧

Write an opera about and opera is the only art form that is really worth a damn and I was wishing I had an opera in me not to write but to live.It was a cold and snowy night so I had the Dark Horse almost to myself except for one woman at the bar who had the barkeep bring me a drink only it was a shot of JD and not the stuff I was drinking and I took it and raised it to her and drank it down and she came and sat across from me and she said,"Pain—has an Element of Blank—" just like that with the capital letters and the dashes and she was wearing a black velvet dress that wasn't even remotely sexy with its white lace collar around her throat and the brooch fastened at her collarbone just like a padlock so I told her,"And blank — has an element of pain," but I couldn't manage the capital letters.

我在黑马里坐了20分钟，要喝完冰镇堪蓓莉开胃酒因为我恨堪蓓莉开胃酒，这样我就可以不要喝醉了虽然我半想喝醉因为我终于在经历了几次爱情之后又一次找到了爱情，其实是在我一生中的一次伟大的爱抛弃了我之后，就像她抛弃了一个法国电影，用模糊的字幕，没有性爱，甚至没有裸露的屁股蛋，而且我已经不再思念我生命中的爱了而且生活中有多次爱情也好，不过没什么可以写成个歌剧的，而歌剧是唯一的一种有价值的艺术形式，而我一直希望在我的心里有个歌剧，不是要写的而是要生活的。

The opera 'Carmen' was the last piece of work by French composer, Georges Bizet; it is still one of the few most popular and most staged operas in the world.

歌剧《卡门》是法国作曲家乔治·比才的最后一部歌剧作品，至今仍是全球最受欢迎和上演率最高的几部歌剧之一。

Her first major appearances were in London singing Isolde and Brunhilde. She sang four seasons at the Royal Opera, Covent Garden, and then appeared in a fabled production of Purcell's Dido and Aeneas at the Mermaid Theater. She returned to the Metropolitan Opera in 1950 and during her final seasons there sang Brunhilde, Isolde, Fidelio, and the title role in Gluck's Alceste, the role of her farewell. In 1949 and 1950, she appeared in Fidelio at the Salzburg Festival, her only appearances there.

一个人要经历漫长达20年的失意而不放弃自己的事业是一件了不起的事情，当时，为了迎合观众的口味弗拉斯达德主要演唱轻歌剧，这类歌剧根本就不符合她的气质和音色，但是，她依然不肯息影舞台，不过，在那段日子里弗拉斯达德并没有刻意学过瓦格纳歌剧，她本人对瓦格纳的兴趣也很不稳定，日后能成为杰出的瓦格纳女高音连弗拉斯达德自己也有些吃惊。

This chapter mainly explains the development condition of Chinese opera in 12 years, from to 1957"The new opera colloquium".

第三 中国歌剧的全面发展，本章节主要论述了中国歌剧自1957年"新歌剧讨论会"召开后到50年代末60年代中期，开始呈现出前所未有的繁荣兴盛局面。

Was born in Leipzig, the Leipzig University .1831 harmony and counterpoint .1833 Wurzburg, he became head of theater and opera chorus,"demons." In 1842 his opera "Leith Qi" in the performance a big success, this served as the command .1849 Dresden Royal Opera House, joined in May failed to escape the riots caused by Zurich refuge .1854 began brewing four years, in conjunction opera "Nibelung root Ring "and complete the opera" Tristan und Isolde,"the creation of .1860 years, returning in 1864 to be King Ludwig of Bavaria invited to Munich perform" Tristan und Isolde." In 1876 to build on thanks to the Opera .1877 Pruitt began work,"Parsifal," 182 years to complete because of illness drag .183 years, died of a heart attack in Venice.

生于莱比锡。1831年莱比锡大学学习和声与对位。1833年任维尔茨堡剧院合唱团团长并创作歌剧《妖魔》。1842年其歌剧《利思齐》演出大获成功，为此荣任德累斯顿皇家歌剧院指挥。1849年参加五月暴动失败逃致苏黎世避难。1854年起开始酝酿四联歌剧《尼伯龙根的指环》并完成歌剧《特里斯坦与伊索尔德》的创作。1860年回国，1864年应巴伐利亚国王路德维希之邀去慕尼黑演出《特里斯坦与伊索尔德》。1876年于拜鲁伊特筹建歌剧院。1877年开始创作《帕西法尔》，因病拖至182年完成。183年因心脏病逝世于威尼斯。

Regardless of its short-term popularity, operetta manifested a trend from serious opera to popular opera, and played a significant role in connecting traditional opera with musical.

它的流行时间虽然不长，但从整个歌剧的历史来看，轻歌剧却体现出歌剧艺术由严肃到通俗的发展趋势，起着连接传统歌剧和20世纪音乐剧的桥梁作用。

First the formation of composing features is explored with reference to the life experiences of Lehar, the social and cultural background of his age and the development of Viennese operetta; secondly, the composing features are analyzed as to rhythm, melody, instruments device, ensemble and play books; Finally, the work is analyzed from the angle of singing. In this part the style of singing is explained specifically in terms of rhythm, timbre, etc. Also a famous Aria "vilja-lied" in this work is explained in detail and a comparison is made between operetta and opera to impress people with the singing style of operetta in a deeper way.

首先，本文从雷哈尔的生活经历、所处时代的社会文化背景、维也纳轻歌剧的发展来分析《风流寡妇》创作特特征的形成；其次，从节奏、旋律、配器、重唱以及剧本这几个方面来分析作品的创作特征；最后，从演唱的角度分析作品，除了从节奏、音色、起句等方面具体的分析作品的演唱风格外，还对其中的一首著名咏叹调维利亚之歌做了详细地分析，并且从演唱的角度把轻歌剧和歌剧做了一个比较，从而使人们能够更深刻的理解轻歌剧演唱的风格。

The opera, Jphigenie en Tauride, It is the last masterpiece which has brought Gluck's operatic reformation the genuine resplendence. It is also the maintenance and development of creative idea and means of Italian opera seria reformation. So it has very significant meaning and viscounty on Glcuk's operatic reformation.

歌剧《依菲姬尼在陶里德》是给格鲁克歌剧改革事业带来真正辉煌的集大成之杰作，也是其意大利正歌剧改革创作思想、创作手法的继续和发展，在格鲁克歌剧改革中具有非常重要的意义和地位。

He produced a large quantity of mucic works in his lifetime, included 22 operas, his perfect opera achievement is Le nozze di Figaro, Don Giovanni and Die Zauberflote in his later years, all these master pieces are experienced a long time to create, we have to learn his early opera so that we can know him and his later operas better.

他一生写了大量的音乐作品，其中歌剧就有22部，最为我们熟知的是他后期创作的《费加罗的婚礼》、《唐·璜》和《魔笛》等。为探索莫扎特歌剧的成熟过程，进一步认识和了解莫扎特，更好的把握他歌剧的演唱风格，我们有必要研究他早期的歌剧。

Bellini is one of the most significant Italian opera playwrights in the 19th century.

贝利尼是意大利十九世纪重要的歌剧作家，他的歌剧创作极具个性化特征，这些歌剧在捍卫意大利歌剧传统的同时，开辟了民族艺术的新天地，其中许多咏叹调既是人类艺术宝库中的瑰宝，又是声乐教学中的重要教学内容。

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％。