在意大利歌剧创作中,咏叹调已作为一种重要的艺术形式被保留了下来,深受人们的喜爱。普契尼创作的男高音咏叹调更是因其优美动听的旋律、朴实亲切的内容、复杂多变的戏剧情节和真挚动人的情感而在歌剧的百花园中绽放异彩。本文以普契尼创作的歌剧《玛侬·莱斯科》中格里欧三首男高音咏叹调作为研究对象,分别从呼气的控制、音色的调节和声区的统一三个技术难点加以研究,有其鲜明的代表性。 In Italian opera, aria has been preserved as an important art form and is deeply loved by the people. Puccini’s creation of tenor aria is because of its beautiful melodies, simple and cordial content, complex and varied drama plot and sincere emotions in the opera blooming garden. In this paper, three pieces of the tenor aria of Grieu in the opera “Manon Lesko” written by Puccini are taken as the research object, respectively from the control of exhalation, the adjustment of timbre and the unification of three parts Research, has its distinctive representative.