文档介绍：新疆师范大学
硕士学位论文
法国歌剧《卡门》和《桑松与达莉拉》中女中音咏叹调的读音
及演唱
姓名:赵园园
申请学位级别:硕士
专业:音乐学
指导教师:王蕾
2009-06-08
中文摘要
十九世纪法国成为欧洲音乐文化的中心,在歌剧创作的舞台上,作曲家比
才和圣-桑有着非常重要的历史地位,而《卡门》和《桑松与达莉拉》则是他们
各自的代表性歌剧作品,同时是为数不多的以女中音为主要角色的歌剧作品。
剧中的女主人公卡门和达莉拉,也成为女中音的经典人物形象。而剧中卡门和
达莉拉的几首咏叹调因其旋律优美、风格特异、人物性格突出,也成为女中音
演唱曲库中必不可少的曲目。
文章以歌剧《卡门》和《桑松与达莉拉》中几首女中音咏叹调为范例,从
语音和演唱两个方面进行分析。使演唱者了解法语语音的一般规则,掌握歌唱
中法语的发音特点;在演唱剧中几首咏叹调时能够把握唱段中的演唱风格及要
点,并明确其中的歌唱技术难点及解决方法。为演唱者生动刻画人物形象、准
确诠释歌剧作品提供一些语音知识和歌唱技巧;也为声乐教学尤其是法语歌曲
演唱方面,提供一些可供参考的理论依据。
文章共分为五个部分:第一部分,绪论。第二部分,主要介绍了十九世纪
法国歌剧的发展概况、女中音声部的形成与发展以及十九世纪的女中音歌唱艺
术。第三部分,以歌剧《卡门》和《桑松与达莉拉》中几首女中音咏叹调的歌
词为例,说明歌唱发音与口语发音的异同。第四部分,对歌剧《卡门》和《桑
松与达莉拉》中几首女中音咏叹调的具体演唱分析。第五部分,结语。

关键词:法国歌剧;卡门;桑松与达莉拉;女中音咏叹调;法语语音;演唱
I
Abstract
In the 19th century, France became the center of European musical center, and on
the opera stage, composers es Bizet and Saint-Sans both had very important
historical status, and Carmen and Samson and Dalila are respectively their
representation of opera works. At the same time, they are the few of opera works that
takes mezzo-soprano as the main role. The heroines, Carmen and Dalila have e
the classical characters. In the opera, the several arias of Carmen and Dalila have
e the essential repertoire in the song library for the mezzo-soprano because of
their beautiful tune, specific style and prominent characters.
This paper takes several mezzo-soprano arias in Carmen and Samson and Dalila as
a case study and makes an analysis from both pronunciation and singing in order to
make the singer know the general rules of French pronunciation, master the
characteristics of French pronunciation in singing, grasp the singing style and points
of the arias and make clear the technical difficulty in singing and find solutions to it.
It provides pronunciation knowledge and singing skills for singers to portray vivid
artistic images and interpret accurate opera works. In addition, it also provides some
valuable theoretical conte