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維基百科，自由的百科全書
1791年9月30日《魔笛》首演海報

莫扎特創作的歌劇，從其幼年創作的模仿性的小型歌劇到羽翼豐滿之作，共計22部，風格多樣。其中三部在創作中途被放棄，直至莫扎特死後多年才上演。其風格成熟後所創作的歌劇都是世界各地歌劇院連演不衰的經典之作。[1]

莫扎特自幼就極為善於從新接觸的曲風中採擷對於自己創作有所助益的部分[2]。在1778年致其父的信中，他寫道：「如您所知，我從任意一種風格的作品中都能多多少少收穫些東西。」[3]他在學習、完善和轉化方面的天賦令他總能實現新的突破[2]。他早期的歌劇一直依循著正歌劇、喜歌劇以及歌唱劇的傳統。而在風格成熟後，他運用他豐厚的創造力充實了上述這些體裁。[1] 在《唐·喬望尼》中，他實現了正歌劇和喜歌劇的融合：安娜女士這個角色體現了正歌劇的特色，萊波雷洛（Leporello ）和澤琳娜（Zerlina）體現了喜歌劇的特色，而埃爾維拉女士則同時體現了二者的特點[1]。

Ideas and characterisations introduced in the early works were subsequently developed and refined. For example, Mozart's later operas feature a series of memorable, strongly drawn female characters, in particular the so-called "Viennese soubrettes" who, in opera writer Charles Osborne's phrase, "contrive to combine not true instinct".[4] Music writer and analyst Gottfried Kraus has remarked that all these women were present, as prototypes, in the earlier operas; Bastienne (1768), and Sandrina (La finta giardiniera, 1774) are precedents for the later Constanze and Pamina, while Sandrina's foil Serpetta is the forerunner of Blonde, Susanna, Zerlina and Despina.[5]

Mozart's texts came from a variety of sources, and the early operas were often adaptations of existing works.[6] The first librettist chosen by Mozart himself appears to have been Giambattista Varesco, for Idomeneo in 1781.[7] Five years later, he began his most enduring collaboration, with Lorenzo Da Ponte, his "true phoenix".[8] The once widely held theory that Da Ponte was the librettist for the discarded Lo sposo deluso of 1783 has now been generally rejected.[9] Mozart felt that, as the composer, he should have considerable input into the content of the libretto, so that it would best serve the music. Musicologist Charles Rosen writes, "it is possible that Da Ponte understood the dramatic necessities of Mozart's style without prompting; but before his association with da Ponte, Mozart had already bullied several librettists into giving him the dramatically shaped ensembles he loved."[10][11]

列表的編排

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1780年左右的莫扎特

作品納入基準

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所有被公認為莫扎特創作的音樂戲劇作品都被列於表中。這裡「音樂戲劇作品」指在舞台上由歌手分角色依據戲劇編排演出的劇作。而部分文獻中將這些音樂戲劇作品進行更為細緻的分類。這導致莫扎特早期創作的宗教題材歌唱劇《第一戒的義務》並不被認為是歌劇而被認為是清唱劇[註 1]。

順序

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這個列表是以創作時間順序列出。而其中《善意的謊言》（La finta semplice）和《牧羊人和牧羊女》（Bastien und Bastienne）創作時間的先後不能確定[註 2]。《埃及王泰馬莫斯》（Thamos, König in Ägypten）在兩段時間完成。較早的時期始於1773年，而列表中以其完成的年份1779年將其列出。《魔笛》（Die Zauberflöte ）和《提圖斯的仁慈》（La clemenza di Tito）是在同一時期創作的。而莫扎特先動筆《魔笛》，但因皇帝委託的《提圖斯的仁慈》被擱置一段時間[12]。這導致後者先被完成並進行了首演。在列表中它被列在《魔笛》之前，儘管它的克歇爾目錄編號較為靠後。

歌劇列表

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克歇爾編號[註 3] 創作年份 標題 唱詞語言 類型[註 4] 詞作者[註 5] 人聲部分安排[註 6] 首演情況[註 7]
K.35 1767 Die Schuldigkeit des ersten Gebots [13]
中譯：第一戒的義務
總譜 		德語 宗教題材歌唱劇 Ignaz von Weiser[14] 3位女高音，2位男高音 1767年3月12日於薩爾茨堡主教宮
K.38 1767 Apollo et Hyacinthus
中譯：阿波羅與希亞欽杜斯
總譜 		拉丁語 拉丁文本配樂[15] 魯非諾·韋德爾依據奧維德所著《變形記》改編 2位女高音，2位女低音，1位男高音，2位男低音，合唱[16] Great Hall, University of Salzburg, 13 May 1767
K.50[17] 1768 Bastien und Bastienne
中譯：牧羊人與牧羊女
總譜 		德語 單幕歌唱劇 F. W. Weiskern and J. H. Muller[18] 1位女高音，1位男高音，1位男低音 First confirmed performance: Architektenhaus, Berlin, 2 October 1890. Unconfirmed performance: Vienna, October 1768, in the garden of Dr Franz Mesmer.[19]
K.51[20] 1768 La finta semplice
中譯：善意的謊言
總譜 		義大利語 三幕喜歌劇 Marco Coltellini, after Carlo Goldoni 2位女高音, 1位女低音（或次女高音），2位男高音，2位男低音[21] Archbishop's Palace, Salzburg, 1 May 1769
K.87[22] 1770 Mitridate, re di Ponto
中譯：本都王米特拉達梯
總譜 		義大利語 三幕正歌劇 Vittorio Amedeo Cigna-Santi, after an 義大利語 translation of Jean Racine's Mithridate by Giuseppe Parini 4位女高音，1位女低音，2位男高音[23] Teatro Regio Ducal, Milan, 26 December 1770
K.111 1771 Ascanio in Alba
中譯：阿斯卡尼斯在艾爾巴
總譜 		義大利語 兩幕節慶劇（英語：Festa teatrale）[24] Giuseppe Parini 4位女高音，1位男高音，合唱[25] Teatro Regio Ducal, Milan, 17 October 1771
K.126 1772 Il sogno di Scipione
中譯：希皮奧內的夢
總譜 		義大利語 Azione teatrale, or Serenata drammatica, in one act Metastasio, after Cicero 3位女高音，3位男高音，合唱 Archbishop's residence, Salzburg, probably 1 May 1772[26]
K.135 1772 Lucio Silla
中譯：盧基奧·蘇拉
總譜 		義大利語 Dramma per musica in three acts Giovanni de Gamerra, revised by Metastasio 4位女高音，2位男高音，合唱[27] Teatro Regio Ducal, Milan, 26 December 1772
K.196 1774 La finta giardiniera

中譯：假女園丁
總譜

義大利語 三幕詼諧劇[28] Probably Giuseppe Petrosellini（義大利語：Giuseppe Petrosellini）[29] 4位女高音，2位男高音，1位男低音，合唱[30] Redoutensaal, Munich, 13 January 1775
K.208 1775 Il re pastore
中譯：牧羊王
總譜 		義大利語 Serenata in two acts Metastasio, amended by Giambattista Varesco[31] 3位女高音，2位男高音[32] Archbishop's Palace, Salzburg, 23 April 1775
K.345[33] 1773 and 1779 Thamos, König in Ägypten
中譯：埃及王泰馬莫斯
總譜 		德語 合唱es and entr'actes for a heroic drama Tobias Philipp von Gebler 合唱和4位獨唱：女高音、女低音、男高音、男低音各1位 Kärntnertor Theatre, Vienna 4 April 1774 (two 合唱es); first complete performance Salzburg, 1779–80
K.344[34] 1779 Zaide
中譯：扎伊德
總譜 		德語 歌唱劇（未完成） Johann Andreas Schachtner, after Voltaire 1位女高音，2位男高音，2位男低音，4位男高音的小型合唱，1位念白角色 莫扎特生前未公演。1866年1月27日於法蘭克福（具體地點未知）
K.366 1780–81 Idomeneo
中譯：依多美尼歐
總譜 		義大利語 Dramma per musica in three acts Giambattista Varesco, after Antoine Danchet 3位女高音，1位次女高音，4位男高音，1位男中音，2位男低音，合唱 [35] 1781年1月29日於慕尼黑的宮廷劇院（現屈維利埃劇院（英語：Cuvilliés Theatre））
K.384 1782 Die Entführung aus dem Serail
中譯：後宮誘逃
總譜 		德語 三幕歌唱劇 Gottlieb Stephanie, based on text by Christoph Friedrich Bretzner 2位女高音，2位男高音，1位男低音，2位念白角色[36] 1782年7月16日於維也納的城堡劇院
K.422 1784 L'oca del Cairo
中譯：開羅的鵝
總譜 		義大利語 Dramma per musica (incomplete) in three acts Giambattista Varesco （依據演出情況而定）4位女高音，2位男高音，2位男低音，合唱 Theatre du Fantaisies-Parisiennes, Paris, 6 June 1867. Not performed in Mozart's lifetime.
K.430[37] 1784 Lo sposo deluso
中譯：受騙的新郎
總譜 		義大利語 兩幕喜歌劇（未完成） Unknown. The libretto was once attributed to [[洛倫佐·達·彭特] [38] but possibly may have been by Giuseppe Petrosellini.[9][39] （依據演出情況而定）3位女高音，2位男高音，2位男低音 莫扎特生前未公演。1Theatre du Fantaisies-Parisiennes, Paris, 6 June 1867.[40] Not performed in Mozart's lifetime.
K.486 1786 Der Schauspieldirektor
中譯：劇院總經理
總譜 		德語 Comedy with music in one act Gottlieb Stephanie 2位女高音，1位男高音，1位男低音，6位念白角色 1786年2月7日於維也納的美泉宮
K.492 1786 Le nozze di Figaro
中譯：費加羅的婚禮
總譜 		義大利語 四幕喜歌劇 洛倫佐·達·彭特依據博馬舍原著改編 3位女高音，2位次女高音，2位男高音，1位男中音，3位男低音，合唱[41] 1786年5月1日於維也納的城堡劇院
K.527 1787 Don Giovanni[42]
中譯：唐·喬望尼
總譜 		義大利語 兩幕詼諧劇 洛倫佐·達·彭特依據提索·德·莫里納原著改編 3位女高音，1位男高音，1位男中音，3位男低音，合唱 1787年10月29日於布拉格的莊園劇院（英語：Estates Theatre）[43]
K.588 1790 Così fan tutte
中譯：女人皆如此 [44]
總譜 		義大利語 兩幕詼諧劇 洛倫佐·達·彭特 3位女高音，1位男高音，1位男中音，1位男低音，合唱 1790年1月26日於維也納的城堡劇院
K.592a 1790 Der Stein der Weisen
中譯：魔石
[註 8] 		德語 兩幕歌唱劇 Emanuel Schikaneder 3位女高音，2位男高音，2位男中音，1位男低音，1位念白角色 1790年9月11日於維也納的維登劇院（英語：Theater auf der Wieden）
K.621 1791 La clemenza di Tito
中譯：提圖斯的仁慈
總譜 		義大利語 兩幕正歌劇 Metastasio, revised by Caterino Mazzolà 2位女高音，2位次女高音，1位男高音，1位男低音，合唱[45] 1791年9月6日於布拉格的莊園劇院
K.620 1791 Die Zauberflöte
中譯：魔笛
總譜 		德語 兩幕歌唱劇 Emanuel Schikaneder 6位女高音，2位次女高音，1位女低音，4位男高音，1位男中音，4位男低音，合唱 1791年9月30日於維也納的維登劇院

注釋

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  1. ^ Kenyon begins his guide to the operas with Apollo et Hyacinthus (p. 287); Cairns more or less dismisses Die Schuldigkeit (p. 24), seemingly following the view of Edward J. Dent, quoted by Osborne, p. 27. Grove, also, does not list Die Schuldigkeit as an opera.然而，奧斯本作出 However, as Osborne makes clear, the libretto contains stage directions which suggest that the work was acted, not merely sung, and it is formally described as a "geistliches Singspiel" (sacred play with music), not as an oratorio.詳見Osborne, p. 26
  2. ^ 兩部劇都創作於1768年。《善意的謊言》的首演延至1779年的5月才進行，而《牧羊人和牧羊女》可能在1768的10月即已演出過。不過不排除《善意的謊言》先被創作出來的可能性。詳見Osborne, pp. 37–38,45
  3. ^ 克歇爾編號指由路德維希·里特爾·馮·克歇爾所編纂的按時間順序排列的莫扎特作品目錄克歇爾目錄中的編號。這部目錄1862年發行初版，而後幾經修訂，最近的一次是在1964年。
  4. ^ 除非特別指明，有關信息來自於《新版莫扎特全集（英語：Neue Mozart-Ausgabe）》（Neue Mozart-Ausgabe)。
  5. ^ 除非特別指明，有關信息來自於奧斯本（Osborne）所編的《莫扎特歌劇全集》（The Complete Operas of Mozart)。有關這本書的信息詳見參考資料的內文引用來源
  6. ^ 有關信息來自於奧斯本（Osborne）所編的《莫扎特歌劇全集》（The Complete Operas of Mozart)。
  7. ^ 除非特別指明，有關信息來自於奧斯本（Osborne）所編的《莫扎特歌劇全集》（The Complete Operas of Mozart)。
  8. ^ Pasticcio, co-composed with Johann Baptist Henneberg, Franz Xaver Gerl, Benedikt Schack and Emmanuel Schikaneder

參考資料

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內文注引

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  1. ^ 1.0 1.1 1.2 Kenyon, pp. 283–85
  2. ^ 2.0 2.1 Cairns, p. 11
  3. ^ Cairns, p. 17
  4. ^ Osborne, pp. 191–92
  5. ^ Kenyon, p. 302
  6. ^ For example, Metastasio's text for Il re pastore had been written in 1751 and had been set to music before. Kenyon, p. 303
  7. ^ Kenyon, p. 308
  8. ^ From a letter to his father, circa 1774, quoted in Holden, p. xv
  9. ^ 9.0 9.1 According to some recent scholarship, the unknown Italian poet responsible for the text is more likely to have been Giuseppe Petrosellini, who initially prepared it for Domenico Cimarosa’s opera Le donne rivali, 1780. Dell'Antonio, pp. 404–405 and 415
  10. ^ Rosen 1997, p. 155
  11. ^ For two instances in which Mozart coaxed his librettists into reshaping their work, see Die Entführung aus dem Serail (which quotes Mozart's correspondence on this point) and Giambattista Varesco.
  12. ^ Osborne, p. 300
  13. ^ 莫扎特只完成了這部劇的第一部分，第二部分由米歇爾·海頓創作，第三部分則由Part II is by Michael Haydn, Part III by Anton Cajetan Adlgasser. Osborne, p. 16
  14. ^ Weiser is the most likely of several possible authors of the text. See Osborne, pp. 24–25
  15. ^ Kenyon's description, p. 288, is "Music for a Latin drama"
  16. ^ Premiered with an all-male cast, the 女高音 and 女低音 parts being sung by boy choristers. Osborne, p. 32
  17. ^ 1964 revised to K. 46b. Köchel's Catalog of Mozart's Works. ClassicalNet. 2008 [16 July 2008]. 
  18. ^ The text was derived from a French parody, Les amours de Bastien et Bastienne, a work by Jean-Jacques Rousseau: Le Devin du Village, 1752. Kenyon, p. 291
  19. ^ Dr Franz Anton Mesmer was the founder of the form of hypnotherapy known as "mesmerism". Batta, p. 343
  20. ^ 1964 revised to K. 46a. Köchel's Catalog of Mozart's Works. ClassicalNet. 2008 [16 July 2008]. 
  21. ^ The contr女低音 or mezzo role was created by Maria Anna Braunhofer, who had sung a 女高音 role in the first performance of Die Schuldigkeit. Osborne, pp. 13 & 35
  22. ^ 1964 revised to K. 74a. Köchel's Catalog of Mozart's Works. ClassicalNet. 2008 [16 July 2008]. 
  23. ^ The 女高音 roles of Sifare and Arbate, and the 女低音 role of Farnace, were written for castrati. Osborne, p. 59
  24. ^ In 義大利語 this translates to festa teatrale (Kenyon, p. 294). Osborne, p. 63, calls it a "pastoral opera".
  25. ^ The 女高音 roles of Ascanio and Fauno were written for castrati. Osborne, p. 69
  26. ^ Details of first performance are obscure. Osborne gives dates "29 April or 1 May", Kenyon, p. 296 says: "There is no record it was actually performed in 1772"
  27. ^ The 女高音 role of Cecilio was written for a castrato. Osborne, p. 86
  28. ^ Mozart prepared a 歌唱劇 version, Die verstellte Gärtnerin, produced in Augsburg on 1 May 1780. The 德語 version, now known as Die Gärtnerin aus Liebe, has remained popular. Kenyon, pp. 300–01, Osborne, p. 97
  29. ^ The libretto was formerly credited to Raniero de'Calzabigi, revised by Marco Coltellini, but is now credited to Petrosellini. Kenyon, p. 300
  30. ^ The 女高音 role of Ramiro was written for a castrato.
  31. ^ Kenyon, p. 303
  32. ^ The 女高音 role of Aminta was written for castrato. Osborne, p. 105
  33. ^ 1964 revised to K. 336a. Köchel's Catalog of Mozart's Works. ClassicalNet. 2008 [16 July 2008]. 
  34. ^ 1964 revised to K. 336b. Köchel's Catalog of Mozart's Works. ClassicalNet. 2008 [16 July 2008]. 
  35. ^ The role of Idamante, originally written for castrato, was rewritten by Mozart as a 男高音 role in 1786. (Osborne, p. 155) Also, the role of Arbace is sometimes sung by a 男高音
  36. ^ One speaking role, that of a sailor, is absent from most modern productions
  37. ^ 1964 revised to K. 424a. Köchel's Catalog of Mozart's Works. ClassicalNet. 2008 [16 July 2008]. 
  38. ^ Osborne, pp. 208–09
  39. ^ Sadie, p. 415
  40. ^ According to Osborne, p. 207
  41. ^ The 女高音 mezzo singers include the two servant-girls, either two 女高音s or one 女高音 and one mezzo, who sing the duet "Amanti, costanti" in the Act III Finale. Osborne, p. 251
  42. ^ The full name of the opera is Il dissoluto punito, ossia Il Don Giovanni, but as Kenyon (p. 326) states: "It is fruitless to argue against the habits of opera houses around the world".
  43. ^ For the Vienna premiere, six months later, certain changes were introduced, mainly to accommodate the ranges of a different group of singers. Modern performances generally conflate the Prague and Vienna productions. Osborne, p. 268
  44. ^ This is an approximate translation from the 義大利語. Cairns (p. 177) gives: "That is what all women do". The subtitle, La scola degli amanti, is more easily translatable as "The School for lovers". Cairns, p. 176, Osborne, p. 281
  45. ^ One 次女高音 role, depicting the male character Annio, was originally a castrato and is now done by mezzos. The role of Sesto (Sextus) was originally written by Mozart for a 男高音 before he found out it had been assigned to a mezzo castrato.

文中引用來源

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其他資料來源

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  • Dent, Edward J. Mozart's Operas: A Critical Study. Oxford: OUP. 1973. ISBN 0-19-284001-0. 
  • Gutman, Robert W. Mozart: A Cultural Biography. London: Secker and Warburg. 2000. ISBN 0-304-31135-9. 
  • Heartz, Daniel (ed.). Mozart's Operas. Berkeley: University of California Press. 1990. ISBN 0-520-07872-1. 
  • Mann, William. The Operas of Mozart. London: Cassell. 1986. ISBN 0-304-31135-9. 
  • Newman, Ernest. More Opera Nights. London: Putnam. 1954. 
  • Robbins, Landon, H. C. 1791: Mozart's Last Year. London: Fontana. 1990. ISBN 0-00-654324-3. 
  • Steptoe, Andrew. The Mozart–Da Ponte Operas. Oxford: OUP. 1988. ISBN 0-19-816221-9. 
  • Till, Nicholas. Mozart and the Enlightenment. London: Faber and Faber. 1993. ISBN 0-571-17042-0. 

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