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歌剧中大量的咏叹调、宣叙调、重唱作品往往以人物塑造为目的,以声音塑造为手段,共同推进戏剧情境的发展。好的歌剧演员一定是声音造型、人物塑造双重结合,但过去的咏叹调教学大多忽略了歌剧的文本解读、人物塑造讲解,仅仅从演唱技巧上进行教学,造成了只有声音效果、缺乏人物形象的情况。下面笔者拟通过对歌剧《卡门》中卡门和米凯拉两个人物形象的分析,对咏叹调教学进行深入研究。歌剧《卡门》中卡门与米凯拉
Aria of a large number of operas, recitatives and selections often take portraits as objects and sound as a means to jointly promote the development of drama situations. A good opera actress must be a combination of sound modeling and character shaping. However, most of the aria teaching in the past overlooked the interpretation of the text of the opera and the explanation of figure-building. Teaching from the singing skill alone resulted in the situation with sound effect and lack of characters . Below I intend to analyze the image of the two characters Carmen and Michelangelo in the opera “Carmen” to conduct an in-depth study on aria teaching. Carmen and Michelangelo in the opera Carmen