论威尔第歌剧《游吟诗人》中曼里科的人物形象塑造

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1、0目录目录„„„„„„„„„„„„„„„„„„„„„„„„„0中文摘要„„„„„„„„„„„„„„„„„„„„„„„1英文摘要„„„„„„„„„„„„„„„„„„„„„„„2绪论„„„„„„„„„„„„„„„„„„„„„„„„„3第一章威尔第与歌剧《游吟诗人》追溯„„„„„„„„„91.1风云变幻的时代背景„„„„„„„„„„„„„91.2烦恼阴郁的个人生活„„„„„„„„„„„„121.3曲折复杂的歌剧由来„„„„„„„„„„„„14第二章曼里科的戏剧音乐形象塑造„„„„„„„„„„182.1勇猛刚毅的侠义武士„„„„„„„„„„„„192

2、.2甜蜜浪漫的柔情诗人„„„„„„„„„„„„232.3传奇宿命的悲剧英雄„„„„„„„„„„„„27第三章戏剧性与音乐性的完美结合„„„„„„„„„„313.1优美抒情的传统美歌„„„„„„„„„„„„323.2激情四溢的戏剧新声„„„„„„„„„„„„373.3哀婉动人的经典重唱„„„„„„„„„„„„42余论与结语„„„„„„„„„„„„„„„„„„„„„47参考文献„„„„„„„„„„„„„„„„„„„„„„53后记„„„„„„„„„„„„„„„„„„„„„„„„571中文摘要论威尔第歌剧《游吟诗人》中曼里科的人物形象塑造朱塞佩·威尔

3、第(GiuseppeVerdi,1831——1901)是继罗西尼、贝利尼、多尼采蒂之后19世纪意大利最伟大的歌剧作曲家，他继承并发扬了意大利歌剧的优良传统，以更为深刻、现实的风格将意大利歌剧推向了顶峰，把由蒙特威尔第开创的意大利歌剧传统发展到了更加完美的境界。威尔第成功地塑造了歌剧《游吟诗人》中曼里科这一人物形象，对其进行了非常细腻的心理刻画，将一位融勇猛刚毅的的侠义武士和甜蜜浪漫的柔情诗人于一身的传奇宿命的悲剧英雄形象惟妙惟肖地呈现在大家面前。本文主要立足于曼里科的戏剧形象分析及其主要唱段的音乐形象分析和演唱处理，探悉威尔第是如何刻画曼里科

4、在不同剧情下的复杂的情感活动的，有助于演唱者从更深层次上塑造曼里科的歌剧形象。全文主要按照由理论文献—实践—上升到理论高度的脉络，运用传记式批评方法、本体性批评方法、社会学批评方法进行分析和论述的，共分为五部分：绪论对本课题的研究意义、思路和方法作简要的介绍；第一章介绍了威尔第与歌剧《游吟诗人》的创作背景；第二章从戏剧和音乐两个方面来分析曼里科这一人物形象；第三章从音乐本体入手，分析曼里科的典型唱段，探讨其二度创作。结语概括曼里科人物形象诠释要点和威尔第歌剧创作对美声唱法的影响。[关键词]歌剧威尔第曼里科形象塑造2英文摘要OntheImage

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