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作为一种源自意大利,盛行于欧美各国的综合性艺术,歌剧历经四百年传承与发展,不断汲取声乐艺术与器乐艺术的最新成果,结合歌剧表演者精湛的技艺,已然成为了西方艺术殿堂中独树一帜、具有广泛群众基础的音乐艺术样式。尤其是《浮士德》《乡村骑士》《卡门》《图兰多》《阿依达》《茶花女》《弄臣》《托斯卡》《奥赛罗》《蝴蝶夫人》《艺术家的生涯》等世界经典歌剧剧目更是脍炙人口、家喻户晓。而中国民族歌剧的发展则与一百余年中国屈辱、苦难、动荡的近现代史密不可分,更与五四新文化运动知识阶层探求新思想、新文化引发的“知识之春”有关。然而,西洋歌剧在与中国戏曲的文化对撞中,并没能得到中国劳苦大众的认可,曲高和寡的咏叹调、陌生化的语
As a comprehensive art originated in Italy and popular in Europe and the United States, the opera has passed through four hundred years of inheritance and development, constantly absorbing the latest achievements in vocal music and instrumental music, and combining the superb skills of opera performers, has become the hall of western art In the unique, with a wide range of popular music style art. In particular, “Faust” “Village Knight” “Carmen” “Turandot” “Aida” “Camellia” “Jester” “Tosca” “Othello” “Madame Butterfly” “Artist’s career” Such as the world’s classic opera repertoire is well-known, well-known. However, the development of Chinese national opera is closely related to the modern history of humiliation, misery and turmoil in more than a hundred years in China. It is also related to the intellectual search for new ideas and new cultures triggered by the intellectual class of the May Fourth New Culture Movement . However, in the cultural clashes with western operas, the Western operas failed to win the approval of the working-hard people in China, the highbrow arias, the unfamiliar words