海頓歌劇中次女高音詠嘆調：以《月世界》、《無人島》和《真誠的回報》為例

Abstract

在音樂發展的歷史當中，海頓(Franz Joseph Haydn, 1732-1809)的歌劇只有演出紀錄，一直到1960年代，音樂學家才於匈牙利的艾斯特哈吉家族(Esterházy)圖書館中，發現許多海頓歌劇藏譜。經過音樂學家們不斷研究與發掘，逐步將這些樂曲，編修成能夠搬上舞台，展露在大眾面前的風貌。 奠定現代交響曲和弦樂四重奏兩個曲種的海頓，以精緻穩定、幽默又充滿機智的寫作方式，在器樂曲上開啟了古典時期風格；晚期神劇作品《創世紀》(Die Schöpfung)也被稱為世界三大神劇之一，影響其《創世紀》和《四季》(Die Jahreszeiten)的思想與架構，就在他的歌劇作品中。歌劇作品在海頓的創作歷程有著不可抹滅的地位，戲劇音樂中種種創作元素的精熟，透過在歌劇中不斷的實驗，終演繹於聽眾面前。 眾多作品中，本篇演唱詮釋曲目選自《月世界》(Il mondo della luna)、《無人島》(L'isola disabitata)和《真誠的回報》(La fedeltà premiata)三齣歌劇中，分別選擇一個角色在劇中的獨唱曲，以了解海頓的歌劇作品與創作特色。本論文分為六章，以七首次女高音詠唱調為主軸，在海頓身為宮廷樂長的創作背景研究下，探究各階段的風格及聲樂作品間的相互影響，以理解歌劇作品的創作背景。 從這七首詠唱調中，發現海頓多使用戲謔性質的劇本，並搭配色彩明亮的大調，創造出興奮愉悅的氣氛，曲式大多以AB兩段重複變化而成，前奏多先現聲樂旋律，以利觀眾與歌手熟悉樂曲。這七首樂曲轉調並不頻繁，多於近係調之間轉換，符合古典時期樂曲特色，節奏拍型穩定的在四分與八分音符間進行，以精緻優雅的律動為其主要音樂特色。 海頓以類似奏鳴曲式的寫作手法呈現，在樂曲中重複固定旋律為其一大特色，歌者必須將樂段間的情緒轉折做出差異，但須避免過度誇張的詮釋，失卻海頓在樂曲中所呈現的平衡對稱，以維繫古典時期樂曲特有的均衡之美。In the history of the development of music, there are only written records regarding the performance of the operas of Franz Joseph Haydn (1732-1809). It was not until the 1960s that musicologist discovered a wide collection of Haydn’s operas in the library of the Esterházy Family in Hungary. After years of research and examination, musicologists revised these scores and transformed them into performable pieces on stage. Likewise, his operas have been performed in front of a wide audience. Haydn, who established the genre of the symphony and quartet, built up the classical style in instrumental music with his stable, witty, and intelligent compositions. Die Schöpfung, an oratorio he composed in his latter stage, is renowned as one of the three major oratorios in western music. The thinking and structure that influenced his composition of Die Schöpfung and Die Jahreszeiten can be found in his operas, which have undeniable importance in his career. The mature elements in his dramatic music, after endless experiments in his operas, are brought to the audience eventually. Among his works, this essay interprets the excerpts from Haydn’s operas Il mondo della luna, L'isola disabitata, and La fedeltà premiata. The recitals of particular roles in these operas are chosen to allow us understand Haydn’s operas and the features of his works. This essay is comprised of six parts, focusing on seven arias sung by a mezzo-soprano. With the background of Haydn as a court musician and composer, it explores the style of each stage and the interrelations and mutual influence of these vocal repertoires in order to understand the background of the composition of Haydn’s operas. From these seven arias, it is discovered that Haydn tends to employ humorous elements in his operas’ scripts. Employing major scales that are bright and vivid in colors, he creates exciting and pleasing atmospheres in his works. Regarding form, most employ binary form – A and B and their complicated variations, which constitute these marvelous pieces. In the introductions, the melodies are played to familiarize the audience with the tune. Modulation is not frequent in these arias; most are modulated in related keys, complying with the features of the Classical Age. Regarding rhythm, they appear in the stable progression of quarter notes and eighth notes. Regarding their melodies, they are mainly elegant and rhythmic. In a quasi-sonata form, Haydn has the particular melodies repeated to constitute their salient features. The singer should differentiate the emotional twists in different sections to avoid an over-exaggerated interpretation that neglects the balance and symmetric structure Haydn intend to present in his music to maintain the beauty of balance that is special to the music in the Classical Age.