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                      莫扎特之旅-文化交流-音乐历史上的今天                    
                     
 
 
                   
                     

                   
                     
 
 

 
 

                                    田润德 编译文/图 2020-04-28  20:36

 
 
 
 
 

 
 
 
 
 

 
 
 
 
 
 
  贾科莫·梅耶贝尔(Giacomo  Meyerbeer 1791-1864)      
         
 

    梅耶贝尔的歌剧《非洲女人》(导演伊曼纽尔·维罗姆  2013)

     
 

     Meyerbeer - L'Africaine (dir Emmanuel Villaume 2013)

     
 
     
  音乐历史上的今天

1865年4月28日, 梅耶贝尔的歌剧《非洲女人》(L'Africaine)——一部讲述达伽马环球探险的罗曼史在巴黎上演。
贾科莫·梅耶贝尔(
Giacomo  Meyerbeer),德国歌剧作曲家,犹太人出身,被认为是19世纪最成功的舞台作曲家。他在1831年创作的歌剧《罗伯特·勒·迪亚布尔》及其后继者给了大歌剧“决定性的人物”这一体裁。梅尔比尔的伟大歌剧风格是通过他将德国管弦乐队风格与意大利声乐传统相结合而实现的。这些被运用在由尤金·斯克里普创作的煽情和情节剧的剧本中,并被巴黎歌剧院的最新戏剧技术所增强。他们树立了一个标准,帮助维持了巴黎作为19世纪歌剧之都的地位。

从歌剧史上来说,贾科莫·梅耶贝尔曾经是一个辉煌的名字。在当时,他统治着欧洲的歌剧界,评论界对他的推崇甚至超过了贝多芬,称它是“歌剧界的米开朗基罗”。瓦格纳、威尔第等都曾经模仿过他,但随着历史的进程,这个名字似乎已经没有那么重要了,甚至被绝大部分人所遗忘。一个时代选择一个人扮演受公众欢迎的角色,但历史却有自己的判断。古往今来,生前显赫、死后寂寞的例子比比皆是。或许一个时代的趣味不足以穿越时空,它仅仅是停留在历史的一角,而真正能穿越历史的,是那些能反映人类共通情感的作品。
梅耶贝尔的名气之大,在当时既有崇拜他的,也有攻击他的,尤其在1864年他去世之后界的主流开始蔑视和抛弃他,故此,在梅耶贝尔诞辰100周年的时候,著名的音乐理论家汉斯利克为他辩解道:“人们不遗余力地毁损这位毫无嫉妒心、谦虚谨慎和宽厚慷慨的作曲家的名誉......法国人越是认可和赏识这位陌生人,德国的批评家就越坚信必须拉他下水。人们嫉妒他的两个方面:财富和成功。”这或许说出了问题的实质——成功和财富总是让人嫉妒的。可汉斯利克并无远见,当年代离梅耶贝尔越来越远的时候,后代人是不会嫉妒他的。梅耶贝尔虽然没有被遗忘,但已经不再是炙手可热的主流歌剧作曲家了。和他同时代的罗西尼、多尼采蒂在世界范围的歌剧上演率,远远比他的要高,更不用说威尔第和瓦格纳。这其实直接说明了梅耶贝尔盛名之下,其实难副!历史当然是公正的,舒伯特生前冷落、死后辉煌,已经足以说明问题了。
但无论如何,梅耶贝尔是法国大歌剧的奠基人,这是他的历史功绩,谈论大歌剧是无法绕过他的名字的。他为法国的歌剧贡献了他的全部才华。在意大利歌剧一统天下的时代,使法国的歌剧能够脱颖而出,不光能抗衡意大利歌剧,还成为了歌剧的大码头——当时无论是罗西尼、还是瓦格纳、威尔第等,为了能在法国演出自己的歌剧,不惜忍气吞声,按照法国人的口味修改自己的歌剧。
梅耶贝尔一生作有17部歌剧。他的大歌剧通常取材于历史上的重要政治事件和宗教冲突,充分展示了进步与严肃的思想主题。他对剧场的各种效果非常熟悉,也知道如何满足听众需要。他把德、法、意的歌剧传统和自己的构想柔为一体,创作出新的形式。他的歌剧故事发展紧凑,情节动人,人物情感鲜明,在戏剧结构上,他注重幕与幕之间的对比。他重视声乐的感染力,精心挑选演员。在乐队写作方面,他强调戏剧效果,配器色彩,因而名噪一时。
由于他在不同时期创作过不同风格的歌剧,因此,在他的作品中,各国的歌剧风格融会其中,既有意大利式的优美旋律,也有德国式的丰满和声,还有法国式的机智乐汇和多变节奏。更重要的是,梅耶贝尔把这些有机地组合为一个整体,形成了独特的风格,这对相当长的一个时期内的歌剧艺术产生了重要的影响。但梅耶贝尔的歌剧在内容上往往拘泥于写实和激烈的外在效果,这种虚饰浮夸的作风在盛行二三十年之后终于销声匿迹,如今世界各国很少上演他的作品。

今日视频:1、伊曼纽尔·维罗姆指挥梅耶贝尔的歌剧《非洲女人》(2013)
;2、-李斯特-《非洲女郎》中的乐曲2首,为钢琴而改编, S.415 No.2。

 
 
 
 
 
   
  贾科莫·梅耶贝尔(Giacomo Meyerbeer)的化身:彩色明信片,上面画着这位歌剧作曲家身边最著名歌剧的主要人物      
  Apotheosis of Giacomo Meyerbeer : Colorized postcard showing the opera composer with the main characters of his most famous operas around him      
  Today in the history of music
On April 28, 1865, mayebel's opera "L 'africaine," a romance about vasco da gama's round-the-world adventure, opened in Paris.
Giacomo Meyerbeer, a German opera composer of jewish origin, is considered the most successful stage composer of the 19th century.His 1831 opera "Robert le diabur" and its successors gave grand opera its "definitive figure" genre.Melbier's great operatic style was achieved by combining the German orchestral style with the Italian vocal tradition.These are used in sensational and melodramatic plays by Eugene scrip, enhanced by the Paris opera's latest theatrical techniques.They set a standard that helped maintain Paris's status as the opera capital of the 19th century.
Giacomo mayebel was once a brilliant name in the history of opera.At that time, he dominated the European opera world, and critics praised him even more than Beethoven, calling it "the Michelangelo of opera."Wagner, verdi and others have imitated him, but with the course of history, the name seems to have become less important, even by the majority of people forget.An era chooses a man to play a popular role, but history has its own judgment.Through the ages, life prominent, after the death of lonely examples everywhere.Perhaps the interest of an era is not enough to travel through time, it just stays in a corner of history, and the works that can travel through history are those that can reflect the common feelings of human beings.
Meyer, the name of the bell, both worshipped him at that time, also have attacked him, especially in the mainstream of the world after his death in 1864 began to despise and abandoned him, and therefore, when meyer bell's 100th birthday, the famous music theorist Hans he defends his way: "people spare no effort to damage the no jealousy, modest and prudent, and generous generous composer's reputation...The more the French recognise and appreciate the stranger, the more convinced German critics are that he must be dragged down.People envied him for two things: wealth and success."This probably gets to the heart of the matter - success and wealth are always envied.But hanslick had no vision, and as the years passed away from mayebel, future generations would not envy him.Mayebel, though not forgotten, is no longer a sought-after mainstream opera composer.His contemporaries rossini and donizetti performed far more operas worldwide than he did, not to mention verdi and Wagner.This is a direct explanation of the mayebel fame, in fact, it is difficult to pair!History is, of course, just, and schubert's neglect in life and his glory in death speak for themselves.
But anyway, mayebel was the founder of the grand opera in France, which is his historical merit, and you can't get around his name talking about grand opera.He contributed all his talents to French opera.In an age of Italian opera unify the whole country, make the French opera can stand out, not only against the Italian opera, also became the mart of opera, when both rossini, Wagner, verdi, etc, in order to show their own opera in France, willing to submit to humiliation, according to the French tastes change their opera.
Mayebel wrote seventeen operas in his lifetime.His grand operas are usually based on important political events and religious conflicts in history, which fully demonstrate the theme of progress and serious thinking.He was familiar with the effects of the theatre and knew how to satisfy the audience.He combined the opera tradition of Germany, France and Italy with his own conception and created new forms.His operas have a compact story development, touching plots and vivid emotions. In terms of dramatic structure, he pays attention to the contrast between curtain and curtain.He valued the appeal of vocal music and carefully selected the actors.In the band writing, he emphasized the dramatic effect, the orchestration color, therefore is famous.
As he wrote operas of different styles in different periods, the opera styles of different countries were integrated in his works, including the beautiful melody of Italy, the full harmony of Germany, the witty music of France and the changeable rhythm.More importantly, mayebel organically combined these into a whole and formed a unique style, which had an important influence on opera art for a long period.But mayebel's operas tend to be limited in content to realistic and intense external effects. After 20 or 30 years of popularity, this ostentatious style has finally disappeared, and his works are rarely performed in the world today.
Video of the day: 1. Emmanuel villum conducting mayebel's opera "African woman" (2013); 2.2. - liszt - 2 pieces of music from "African girl", adapted for piano, s. 415 No. 2.
 

 
 
 
       
  贾科莫·梅耶贝尔(Giacomo  Meyerbeer)歌剧出版      
   
  贾科莫·梅耶贝尔(Giacomo  Meyerbeer)歌剧剧照      
       
  贾科莫·梅耶贝尔(Giacomo  Meyerbeer)歌剧《非洲女人》发行的唱片封面      
  梅克夫人《非洲女人》:歌剧内容介绍:瓦斯科从非洲探险归来,带回非洲海岸地图及两个奴隶,并请求政府再一次远征发现新的领地。皇家议会主席佩德洛认为瓦斯科违反了天主教教义,将他打入大牢。瓦斯科的恋人、议员之女伊奈丝为营救爱人,答应了佩德洛的求婚。女奴赛莉卡原本是非洲某国的国王,被瓦斯科从贩奴船上解救后就暗恋上了他。在瓦斯科再一次出征非洲时,船队遭遇了土著的伏击,赛莉卡被认出并恢复了女王的身份。为救出瓦斯科,女王宣布两人已私定终身。但最终为成全瓦斯科和伊奈丝这对情人,赛莉卡悲伤地死去。      
       
   What it's about: vasco returns from his adventure in Africa with a map of the African coast and two slaves, and asks the government for another expedition to discover new territory.Pederot, President of the royal council, sent vasco to prison for what he said was a violation of Catholic doctrine.In order to rescue him, innes, vasco's lover and the senator's daughter, accepted pederot's proposal.Female slave celica was originally the king of a country in Africa, was vasco from the slave ship after the rescue on his secret love.On vasco's next expedition to Africa, the fleet was ambushed by aboriginals, and seleka was recognized and restored as queen.In order to save vasco, the queen announced that the two men had agreed to live their lives together.But in the end, to help vasco and innes this lover, selica sadly died.      
 
     
   
  贾科莫·梅耶贝尔(Giacomo  Meyerbeer)歌剧剧照      
         
  李斯特-《非洲女郎》中的阐述2首,为钢琴而改编, S.415 No.2      
 
   Illustrations de l'opéra L'Africaine, S.415 (Liszt, Franz) No.2  
     
 
 
 
     
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