论文部分内容阅读
意大利音乐大师普契尼平生最后一部以中国故事为背景的力作《图兰朵》一直是近年来热演不断的不朽剧目。虽不是中国本土作曲家所创,但它所产生的音乐表演魅力、反映外国人对中国文化的热爱和积极探索所产生的美学意义,令人叹为观止。本文通过中央歌剧院在埃及开罗的演出及中国作曲家郝维亚最后18分钟的改编,从歌剧的语言美、旋律美、演唱的唱腔美、声乐的器乐美、形体的动作美、舞台设计华丽美及人物服饰的造型美等几个方面,具体阐述该剧在美学方面的独到之处,进一步挖掘歌剧《图兰朵》更深沉的美学涵义。
Italian music master Puccini, the last of his life to the background of the story of China’s masterpiece “Turandot” has been in recent years, ceaseless ceaseless immortal repertoire. Although it is not created by a Chinese composer, the aesthetics of the musical performances produced by it reflects the aesthetics of foreigners’ love of Chinese culture and active exploration. It is amazing. Through the performance of the Central Opera House in Cairo, Egypt and the final 18 minutes of adaptation by the Chinese composer Hao Weaal, this essay starts from the perspective of the opera’s beauty of language, melodic beauty, vocal beauty, vocal instrumental music, physique movements, Styling beauty of costumes, and so on. It elaborates the aesthetics of the play uniquely and excavates the deeper aesthetic connotation of Opera Turandot.