1个问答2018-12-11 13:07:46
费加罗的婚礼》是莫扎特歌剧中的一部杰作,也是他后期创作的几部经典剧作之一。在这部歌剧 中,音乐语言具有了新的通俗性与个性化的特点,以音乐对人物进行了惟妙惟肖的刻画,剧中每个主要人物都有他自己的咏叹调或抒情小曲,重唱也是该作品中的一个闪光点。
《费加罗的婚礼》的乐谱,莫扎特 10
1个问答2019-01-10 19:00:15
大哥,那是歌剧啊,那么多唱段想搜集全了很难啊...... 而且你要的莫非是总谱?去乐团问问有没有吧,反正是很不好找的. 我只有一些改编的钢琴曲.不全,相对于总谱来说也很不清晰...... http://myscore.org/showarticle.asp?id=1059 这个,再不要去做情郎的钢琴改编版
求莫扎特 - 费加罗的婚礼.mp3资源
1个问答2019-01-04 13:07:24
1个问答2018-12-19 17:13:32
咏叹调很美,剧情略狗血……我找到的版本是阿巴多指挥的不是这个= =
3个问答2019-01-04 05:13:17
费加罗的婚礼是歌剧的名字 《费加罗的婚礼》序曲是这部歌剧的序曲 后宫诱逃同 歌剧费加罗的婚礼和后宫诱逃都是莫扎特的作品
7个问答2019-01-11 18:34:24
1个问答2019-01-17 05:24:04
1个问答2019-01-08 09:56:19
Le nozze di Figaro, ossia la folle giornata (The Marriage of Figaro, or the Day of Madness), K. 492, is an opera buffa ic opera) by Wolfgang Amadeus Mozart, with Italian libretto by Lorenzo Da Ponte, based on a stageedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro (1784).Although the play by Beaumarchais was at first banned in Vienna because of its satire of the aristocracy, considered dangerous in the decade before the French Revolution, the opera became one of Mozart's most sessful works. The overture is especially famous and is often played as a concert piece. The musical material of the overture is not used later in the work, aside from two brief phrases during the Count's part in the terzetto Cosa sento! in act 1.CompositionThe opera was the first of three collaborations between Mozart and Da Ponte; their later collaborations were Don Giovanni and Così fan tutte. It was Mozart who originally selected Beaumarchais' play and brought it to Da Ponte, who turned it into a libretto in six weeks, rewriting it in poetic Italian and removing all of the original's political references. In particular, Da Ponte replaced Figaro's climactic speech against inherited nobility with an equally angry aria against unfaithful wives. Contrary to the popular myth, the libretto was approved by the Emperor, Joseph II, before any music was written by Mozart.The Imperial Italian operapany paid Mozart 450 florins for the work; this was three times his (low) salary for a year, when he had worked as a court musician in Salzburg (Solomon 1995). Da Ponte was paid 200 florins.Emperor Joseph II was indirectly responsible for preserving this magnificent opera score for posterity. Joseph II was looking for an opera to be produced at the imperial court. Mozart's work was one of the works under consideration, along with several others by contemporaryposers. With the scant sess Mozart had received to that point, he reportedly swore that if his work was passed over, he would toss the entire score into the fire.Musical styleIn spite of all the sorrow, anxiety, and anger the characters experience, only one number is in a minor key: Barbarina's brief aria L'ho perduta at the beginning of act 4, where she mourns the loss of the pin and worries about what her master will say when she fails to deliver it, is written in F minor. Other than this the entire opera is set in major keys. Mozart uses the sound of two horns playing together to represent cuckoldry, in the Act 4 aria Aprite un po quelli'ochi. Verdi later used the same device in Ford's aria in Falstaff. Critical discussion Lorenzo Da Ponte wrote a preface to the first published version of the libretto, in which he boldly claimed that he and Mozart had created a new form of music drama:"In spite … of every effort … to be brief, the opera will not be one of the shortest to have appeared on our stage, for which we hope sufficient excuse will be found in the variety of threads from which the action of this play [i.e. Beaumarchais's] is woven, the vastness and grandeur of the same, the multiplicity of the musical numbers that had to be made in order not to leave the actors too long unemployed, to diminish the vexation and monotony of long recitatives, and to express with varied colours the various emotions that ur, but above all in our desire to offer as it were a new kind of spectacle to a public of so refined a taste and understanding." Charles Rosen (in The Classical Style) proposes to take Da Ponte's words quite seriously, noting the "richness of the ensemble writing", which carries forward the action in a far more dramatic way than recitatives would. Rosen also suggests that the musical language of the classical style was adapted by Mozart to convey the drama: many sections of the opera musically resemble sonata form; by movement through a sequence of keys, they build up and resolve musical tension, providing a natural musical reflection of the drama. As Rosen says:"The synthesis of eleratingplexity and symmetrical resolution which was at the heart of Mozart's style enabled him to find a musical equivalent for the great stage works which were his dramatic models. The Marriage of Figaro in Mozart's version is the dramatic equal, and in many respects the superior, of Beaumarchais's work."希望帮到你啦~
1个问答2018-12-16 19:03:30
第一张不是全剧,是精选 第二三张应该是全剧 如果比较起来的话,第二张更好一些,虽然是1955年的录音,音效却好的很。演唱歌手也都是当时唱莫扎特歌剧的最好人选。主要角色中尤已唱伯爵夫人的Della Casa,唱苏珊娜的Gueden,唱费加罗的Siepi和唱凯鲁比诺的Danco最好,余者即使是小角色如唱玛卡琳那的Rossel-Majdan,唱巴西里奥的Dickie也很是不错!第三张虽然也都是大腕,但比起上面的一张则稍逊,主要人物中Schwarzkopf的伯爵夫人给人的感觉有点冲,较之先前在卡拉扬版中的诠释差了许多。Moffo的苏珊娜尚可,Taddei的费加罗则不如Siepi。而且这一版有删节。 因此建议选择第二张。
1个问答2019-01-17 16:13:08
  莫扎特的歌剧《费加罗的婚礼》序曲   莫扎特罕见的创作天才令人叹服,他在短短的一生(1756—1791)里,其创作几乎涉及了音乐的所有领域,而歌剧是他最为喜爱和擅长的体裁之一。莫扎特的管弦乐作品中,除去交响曲以外,歌剧序曲也同样焕发出异彩。我们在这里,暂不谈他那些著名的交响曲,先介绍一下他的歌剧《费加罗的婚礼》的序曲。   西方歌剧的“序曲”,常常作为音乐会演奏的管弦乐曲目,脱离开歌剧(有时是为话剧、舞剧配乐的前奏,则离开话剧、舞剧)而独立演出,莫扎特的几部歌剧序曲,都以这种方式,而为人们所熟知,比如《费加罗的婚礼》序曲、《唐璜》序曲等。   到十九世纪,“序曲”不仅专为歌剧所有,而且成了一种音乐体裁,得到更广泛的运用,作曲家们根据某个文学题材、人物,或是为某个节日庆典创作音乐,常常就命以“序曲”之名。下面让我们进入本题,莫扎特的歌剧序曲,还不象十九世纪威柏的序曲那样,所用的材料和歌剧中的音乐材料紧密相关,可以说序曲的归属性并不强,而且有时会出现这个歌剧的序曲,搬到另一个歌剧前面去当序曲使用的情况,这个现象在莫扎特的创作中有,到罗西尼(十九世纪意大利歌剧作曲家)那里更是常见。尽管如此,莫扎特在为歌剧创作序曲的时候,仍非常注意使序曲与歌剧之间,保持情绪和气氛的一致。   《费加罗的婚礼》序曲作为以独立面貌出现的“序曲”,有着鲜明而完整的轮廓,虽然没有引用歌剧中的具体材料,但它和歌剧在精神气质上极为相通。大家都知道,《费加罗的婚礼》歌剧脚本,取自法国十八世纪作家博马舍的同名剧作,莫扎特选中它做歌剧题材,是很有胆识的。因为将仆人费加罗的机智、豪爽与主人——伯爵大人的轻浮、愚蠢相对照,这在当时的社会政治环境中,是极为敏感的,难怪奥地利的皇帝禁演这部戏剧。当然,让莫扎特感觉兴趣的,主要还是剧中人物多种多样、丰富多采的个性,他们之间错综复杂的关系。莫扎特为《费加罗的婚礼》创作的音乐,着意于原作中的喜剧性和抒情性,尤其是通过每幕终场的大型重唱,将音乐表现戏剧性冲突的潜力,发挥得淋漓尽致。歌剧序曲的含意要简单得多,但完全符合歌剧的寓意,《费加罗的婚礼》所具有的外在的节奏动力和内含的明朗与乐观,在它那欢快、紧凑的音流中充分地体现出来。   序曲采用奏鸣曲式。呈示部的主部主题由两个部分组成,它们彼此不是偶数的对称的乐句,前一半由弦乐组加大管奏出,奇数(7小节)的,用休止符隔断的,一点一点扩展的乐句(1+2+4),象一个捉摸不透、魔术般涨大的音乐小精灵,飞旋而来。后一半,在经过4小节的过渡后,引出了乐队全奏的明快而肯定的旋律。   连接部开始于一个快速下行的音型,并加以模仿,然后用主部主题的材料,逐渐完成由主部主调(d大调)向副部的属调(a大调)的过渡。   副部主题的音乐也不是单一的,前一个材料是多变的节奏间型、出乎意料的强弱变换。   后一支旋律则是重复向上的冲力,突然变换的调性,这多种因素,被组织得如此巧妙、俏皮而灵逸,让人拍案叫绝。   结束部出现一个轻快优美的旋律,使活泼而富于动感的副部有一个稳定的结尾。   这首序曲的展开部仅以一个简短的过渡段来替代,然后就很快地进入了再现部,我们上面所介绍的所有主题,在再现部里,统一到主调性上重复了一遍。最后,全曲在旋风般的速度中结束。这首泼辣、幽默、生动、一气呵成的序曲,就这样把歌剧的喜剧气氛烘托出来,序曲一完,幕布拉开,费加罗和他的未婚妻苏珊娜在婚礼前夕的种种趣事就此开始。   莫扎特的《费加罗的婚礼》的序曲音乐,极其精炼而富于效果,它成为二百年来最著名的管弦乐曲文献之一,是不足为奇的。
5个问答2018-12-11 03:22:30
全剧最著名的咏叹调有以下四个唱段: 费加罗的咏叹调--再不要去做情郎(Non piu andrai, farfallone amoroso); 男仆凯鲁比诺的咏叹调--你们可知道什么是爱情?(Voi che Sapete che cosa amor); 罗西娜的咏叹调--何处寻觅那美妙的好时光?(Dove sono i bei momenti); 罗西娜与苏珊娜的二重唱--微风轻轻吹拂的时光(Che Soave zefiretto)。
1个问答2018-12-16 12:16:00
其实挺可悲的,她深知伯爵和苏珊娜的暧昧关系,也知道让费加罗结婚的真实原因,虽然身为贵族,所以她其实挺想追求一段真实的爱情,《amor,qualche ristoro》这首咏叹调体现出来的
6个问答2019-01-08 17:48:23
当然是第二个.... 不过这么经典的作品建议还是购买CD
2个问答2019-01-14 05:28:47
莫扎特的《费加罗婚礼》中,费加罗到底是个怎样的人?请分析其人物形象及性格(200字左右) 30
1个问答2019-01-02 18:57:57
男仆费加罗是正直聪明,他每次做事情将要成功的时候,都会有人阻拦他,但是他一点都没有灰心,而是坦诚的面对和纠正,而且总能把那些心图不轨的人绳之与法. 我也是不是很熟悉这个人的性格和特征.
1个问答2019-01-17 12:59:52
首先,《费加罗的婚礼》作于《唐·乔万尼》之前... 而《唐·乔万尼》最后一幕时,唐·乔万尼正在餐厅吃饭,听着各种音乐,都是当时很流行的歌剧的段子,而其中就有《费加罗的婚礼》的这一段... 因此这根本算不上自我抄袭...而是一种剧情设计... 不过稍微早一点的作曲家重复使用素材还是比较普遍的...比如莫扎特的一首木管五重奏几乎和一首弦乐五重奏一模一样...再比如罗西尼的《英国女王伊丽莎白》和《塞维利亚的理发师》的序曲就是一个...女主的咏叹也是大同小异... 最后我以为把Don Giovanni译作唐璜是不甚恰当的...虽然二者没什么本质区别...但还是尊重原作的叫法的好...
2个问答2019-01-11 20:38:36
基本 旋律上都是由比较简单的音阶、和弦组成的,非常考察基本功。但是速度非常快,达到了260,所以那些像音阶琶音等等基本功要非常熟练(主要是D大调和A大调)。另外,由于曲子的情绪非常富于变化,所以要及时调整强弱,基本前两遍的单音节都是弱拍,多音节都是强拍;到后来连续八分音符的时候就开始一直是强拍,而且要一气呵成,就这样



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