“人声交响曲”——瓦格纳歌剧《帕西法尔》中的合唱

"Vocal Symphony"-The Chorus of Wagner's Opera "Parsifal"

合唱是瓦格纳歌剧中重要的表现手段,其不仅展现出完美的音响效果,也与戏剧内容紧密相连。在瓦格纳的歌剧《帕西法尔》中,作曲家在多个场景中使用了合唱,其中最为重要的是圣殿场景以及魔法花园场景。在歌剧第一幕和第三幕的圣殿场景中,瓦格纳设计了多种合唱音色,如骑士、少年、男童的音色,表现歌剧中圣殿仪式的神秘以及骑士与救世主神秘的精神交流。在歌剧第二幕的魔法花园中,作曲家创作了12个声部的鲜花少女合唱,并且通过声部的写作,展现了合唱交响化的手法,不仅丰富了歌剧的音乐内容,也始终紧密联系歌剧的戏剧内涵。总之,瓦格纳通过合唱音色的独特设计以及错落有致的声部创作,充分展现出"人声交响曲"的合唱创作特点。

Chorus, an important expression approach in Wagner＇s opera, not only displays a perfect sound effect, but also connects closely with the drama content. In his opera ＂Parsifal＂, Wagner applies chorus in many scenes, especially in the temple scene as well as the Magic Garden. In the temple scenes of Act One and Act Three, Wag- ner designs such various chorus timbres as knight, teenager and boy to express the mystery of temple ceremony as well as the mysterious, spiritual communication be- tween the knight and the Savior. In the Magic Garden scene of Act Two, the com- poser creates the flower girls＇ chorus consisting of twelve voices and displays the choral symphonic approach through his voice writing. This method enriches the music content and closely connects with the drama essence as well. In short, through the peculiar chorus timbre design and well-proportioned voice writing, Wagner fully displays the chorus creating feature of＂vocal symphony＂.