【摘要】：巴洛克時期的歌劇對于今天的歌劇表演具有重要意義,而亨德爾是巴洛克時期正歌劇的代表性人物,《里納爾多》則是亨德爾一部成功的正歌劇作品。在《里納爾多》中,亨德爾對女高音角色阿爾米達進行了出色的音樂刻畫。阿爾米達在劇中的唱段主要包括《可怕的復仇女神》(Furie terribili)、《充滿渴望》(Moltovoglio)、《啊!殘忍》(Ah!crudel)、《我想要戰(zhàn)斗》(Vo' farguerra)四首詠嘆調(diào)。對這四首詠嘆調(diào)的研究是本文的重點所在。本文對阿爾米達詠嘆調(diào)的研究立足于亨德爾《里納爾多》的創(chuàng)作背景及1711年《里納爾多》首演的版本,結(jié)合學習心得,逐步加以展開。本文分為三大部分:亨德爾與歌劇《里納爾多》以及角色阿爾米達的分析、阿爾米達四首詠嘆調(diào)音樂結(jié)構(gòu)分析、阿爾米達四首詠嘆調(diào)的演唱處理分析。通過這些分析,我們可以把握阿爾米達立體的人物形象和演唱其唱段時的技巧處理,認識亨德爾歌劇的創(chuàng)作風格,進一步理解巴洛克時期的正歌劇。
[Abstract]:The opera of Baroque period is of great significance to today's opera performance. Hendell is a representative figure of the classical opera of Baroque period, and Rinaldo is a successful classical opera work of Handel. In Rinaldo, Hendel performed an excellent musical portrayal of Almida, the soprano character. Almida's songs in the play mainly include "terrible Nemesis" (Furie terribili), < full of desire > (Moltovoglio), < ah! "cruelty" (Vo' farguerra) four aria. "I want to fight." The study of these four aria is the focus of this paper. The research of Armida aria in this paper is based on Hendel Rinaldo's creation background and the first edition of Rinaldo in 1711, combining with the learning experience, it is carried out step by step. This paper is divided into three parts: Handel and the opera "Rinaldo" as well as the analysis of the character Almida, the analysis of the music structure of Almida's four aria, and the analysis of the singing processing of the four aria of Almida. Through these analyses, we can grasp the three-dimensional character image of Almida and the skill of singing it, understand the creative style of Hendel's opera, and further understand the classical opera of Baroque period.
【學位授予單位】：山東大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J617.2

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本文編號：2433643