理查·施特劳斯《最后四首歌》的“花唱”版本研究

A Study on Melisma Version of Richard Strauss's Vier letzte Lieder

"花唱"(melisma)是声乐曲中独具特色的唱段。在德国作曲家理查·施特劳斯(RichardStauss,1864-1949)《最后四首歌》(Vier Letzte Lieder)这部为女高音与大型编制的管弦乐队而作的作品中的"花唱"是浪漫主义晚期的杰作之一。文章论述了"花唱"的定义,对《最后四首歌》中"花唱"的瑞士女高音歌唱家莉萨·德拉·卡萨(Lisa della Casa,1919-)于1953年录制的版本、德国女高音歌唱家伊丽莎白.施瓦茨科普夫(Elisabeth Schwarzkopf,1915-2006)于1954年录制的版本、美国女高音歌唱家琪瑞.斯图?(Cheryl Studer,1955-)于1994年录制的三个版的气息问题、音乐的理解与处理、遵循原作的风格及意境等方面分析与比较进行了分析,得出其处理方式、表达诗与音乐所蕴涵的内在情感等问题。

Melisma is an unique technique in vocal pieces. Vier letzte lieder of Richard Strauss for Soprano and Orchestra was one of the master piece during Late Romantic period. The definition of Melisma is argued in this article. Furthermore, the issues of breathing and understanding and dealing to the music is compared and analized between Swiss Soprano Lisa della Casa in 1953＇s version, German Soprano Elisabeth Schwarzkopf in 1954＇s version and American Soprano Cheryl Studer in 1994＇s version in this article. Therefore, the way of dealing the piece, the expression of the poem and emotion of the music got its way.