歌剧《魔笛》中咏叹调《复仇的痛苦》的演唱风格把握

发布时间：2018-05-06 18:05

本文选题：莫扎特 + 魔笛　；参考：《上海师范大学》2017年硕士论文

【摘要】：《魔笛》是莫扎特的最后一部歌剧,这首具有正歌剧时代咏叹调风格的作品,充斥着华丽精彩的花腔乐句,对花腔女高音声部的演唱技巧与表现力要求较高。其中令人震撼的夜后咏叹调《复仇的痛苦》是全剧中最有名的女高音咏叹调,莫扎特以炫技般的华彩乐段来塑造夜后的人物性格特征,并以高超的花腔演唱技巧刻画了这个矛盾复杂而又极具戏剧性的人物。夜后是整部歌剧的灵魂人物,她冷漠、无情、威严,同时又在细微处展现了母性的本能,从她身上所表现出的矛盾性和戏剧性推动了这首作品的发展,引人入胜。本文结合自己的演唱体会,通过分析演唱风格和演唱技巧,为如何运用到歌唱实践中提供处理方案,为欣赏者和演唱者提供借鉴,并力图让演唱者能更好的展现出莫扎特笔下塑造的极具戏剧冲突的夜后的角色。
[Abstract]:Pied Piper is Mozart's last opera, which has the arias of the opera era, full of gorgeous and wonderful melodies, and requires high singing skills and expressive power of the soprano and soprano. One of the most famous soprano arias in the series is the thrilling after-night aria, the pain of Revenge, which Mozart uses to shape the character of the character after the night. And with superb flowery singing skills to portray this contradiction complex and very dramatic character. After night is the soul of the whole opera, she cold, ruthless, majestic, at the same time the subtle display of maternal instinct, from her contradictory and dramatic to promote the development of the work, fascinating. This article combines own singing experience, through the analysis singing style and the singing skill, provides the processing plan for how to apply in the singing practice, provides the reference for the appreciator and the singer, And try to make the singer better show Mozart's portrayal of the dramatic conflict of the character after the night.
【学位授予单位】：上海师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J617.2

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