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为什么几个世纪以来，歌剧使观众为之深深着迷？著名音乐学家卡罗琳·阿巴特、罗杰·帕克将起自1600年前后歌剧出现到21世纪初这四百多年的歌剧史娓娓道来，并回答了这一问题。书中涉及罗西尼、瓦格纳、威尔第、普契尼等歌剧大家的作品，为读者呈现一场无与伦比的艺术盛宴。

但本书并非单纯地解读作品。为了让更多普通读者了解歌剧这门艺术，两位作者参考了当时的文本、学术界研究、人物传记等各种材料，讲述了歌剧诞生及发展的历史，考察了歌剧传播中的音乐与戏剧手段，以及相关的社会、政治、文化背景。

传统歌剧在现代化的世界遇到了诸多问题，传统经典剧目广泛传播，新歌剧的创作在锐减，但歌剧仍具有强大的生命力，以其经久不衰的感染力给观众以身体上、情感上、智识上的震撼，这是其他任何艺术形式都无法代替的。

前言及致谢

第一章引言

第二章歌剧的首个百年

第三章正歌剧

第四章纪律

第五章喜歌剧和莫扎特音乐之美

第六章1800年之前的唱与说

第七章德国问题

第八章罗西尼与转变

第九章男高音日渐成熟

第十章青年威尔第

第十一章大歌剧

第十二章青年瓦格纳

第十三章喜歌剧，一座熔炉

第十四章晚年的瓦格纳

第十五章中晚年的威尔第

第十六章现实主义与喧嚣

第十七章转折点

第十八章现代

第十九章说白

第二十章森林中只有我们

注释

卡罗琳·阿巴特（Carolyn Abbate）

美国音乐学家，哈佛大学“凯瑟琳和保罗·布滕维瑟”校级教授，被《哈佛公报》（Harvard Gazette）誉为“当今世界上成就空前、受到无数赞誉的音乐历史学家之一”，研究领域包括歌剧、音乐哲学、电影及声音研究等，著有《未唱出的声音》（Unsung Voices）、《追寻歌剧》（In Search of Opera）等，其著作被翻译成多种文字。她还作为剧院的编剧和导演，活跃于学术界之外。

罗杰·帕克（Roger Parker）

英国音乐学家，伦敦国王学院“瑟斯顿·达尔特”音乐学教授、英国国家学术院院士、瑞典皇家音乐学院成员，曾获“朱塞佩·威尔第奖”“古根海姆学者奖”及英国皇家音乐协会“登特奖章”等；研究领域主要集中在歌剧上，特别是19世纪意大利歌剧。他是盖塔诺·多尼采蒂歌剧获得普遍认可的修订本的主编，参与了多尼采蒂多部歌剧演出的编排；著有《莱奥诺拉的最后一幕》（Leonora's Last Act）、《再造歌曲》（Remaking the Song）等；主编了《牛津图解歌剧史》（The Oxford Illustrated History of Opera）。他还是《剑桥歌剧杂志》（Cambridge Opera Journal）的联合创刊主编。

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Opera communicates in strange, unpredictable ways; it appeals to something beyond the narrow cognitive dimension.

These are the most elementary differences between recitative'and arla as we see them from the libretto; but embedded within such dif. terence are important distinctions having to do with content. The most basic is that recitative is the place for narative, informal dialogue, stage action: moments in which the plot moves forward. The aria, on the other hand, is a static mode. It is fundamentally about contemplation and through contemplation the communication of mood to the audi ences it is what the poets call 'musing'.

Wagner was the first theatre producer to call for complete darkness in the auditor- lum; and in his writings on pertormance he stressed again and again that spectators should be drawn overwhelmingly into the fictional world on stage, losing their anchor in reality. The introduction of electric lighting in theatres in the last decades of the nineteenth century finally allowed this darkness to be achieved. …… Another Wagnerian innovation aiding this sense of absorption was taking the orchestra out of public view, indeed dispatching many of the noisier instruments to a largely beneath the stage. Other composers took up Wagners innovations enthusiastically.

Another disquieting surprise Is that, while we now celebrate Monteverdis Orfeo as the earliest great opera, it remained almost completely unknown for the first 300 or so years of its existence. True, it was published in I6o9, and again in I6I5 but after a few revivals it passed into obscurity and was not performed again (or even much discussed)until the late nineteenth century. Its eleva tion soon after that, as the Ur-s, me best from the Florentine crucible tells us much about changing opera aesthetics over historical time.

Monteverdi spanned the two worlds: in venerable old age he produced several operas for Venice, only two of which now survive The Return of Ulysses 1640, the Coronation of Poppea,1643)A wave of opera composers working for Venetian theatres were formed by the new style. Francesco Cavalli(1602-76)and Antonio Cesti(1623-69 stand out in this new order: both were popular, prolific and- the new acid test-commanded the highest fees for new works(Cavalli was also significant for his sojourn, in I660-62, at the court of Louis XIV, where he played a role in the export of Yalian opera to France).

The third country to open its doors to opera was England, but here (as in France)a strong tradition of spoken theatre ensured that entirely sung drama was slow to gain acceptance: the English retained a notably ambiguous position towards opera, in particular its more flamboyant manifestations. However, the Jacobean period (i603-25)saw a great flowering of the court masque, an intermedio-like extravaganza mixing song, dance and elaborate scenery, often loosely based on some allegri cal subject. Many of these were granted added literary respectability by the involvement of the great playwright Ben Jonson, who in the preface to one masque, Lovers Made Men (I617), wrote that the masque was sung after the Italian manner, stile recitativo, which suggests that developments in Italy were already h...

书籍介绍

为什么几个世纪以来，歌剧使观众为之深深着迷？著名音乐学家卡罗琳·阿巴特、罗杰·帕克将起自1600年前后歌剧出现到21世纪初这四百多年的歌剧史娓娓道来，并回答了这一问题。书中涉及罗西尼、瓦格纳、威尔第、普契尼等歌剧大家的作品，为读者呈现一场无与伦比的艺术盛宴。

但本书并非单纯地解读作品。为了让更多普通读者了解歌剧这门艺术，两位作者参考了当时的文本、学术界研究、人物传记等各种材料，讲述了歌剧诞生及发展的历史，考察了歌剧传播中的音乐与戏剧手段，以及相关的社会、政治、文化背景。

传统歌剧在现代化的世界遇到了诸多问题，传统经典剧目广泛传播，新歌剧的创作在锐减，但歌剧仍具有强大的生命力，以其经久不衰的感染力给观众以身体上、情感上、智识上的震撼，这是其他任何艺术形式都无法代替的。