瓦格纳歌剧《汤豪塞》中的辩证式戏剧手法及其实现

The Dialectical Drama Technique and Its Realization in Wagner's Tnnhauser

瓦格纳于19世纪40年代创作的《汤豪塞》并非成熟的"乐剧"作品,但正如瓦格纳自己所讲,这部作品预示着他在创作上迈出了重要的步伐,在瓦格纳的诸多作品中亦占据独特的地位,为此后瓦格纳成熟时期的诸多作品的创作奠定了理论与实践基础。在音乐上,不论是主导动机的运用、过渡连接的写作,抑或是和声与配器色彩的成熟运用与探究,皆在《汤豪塞》中有所预示。而在戏剧方面,如戏剧性与人物刻画方面,《汤豪塞》从某种程度上较瓦格纳之前的歌剧更为复杂,这部歌剧更是预示了之后《指环》与《帕西法尔》的创作。作为戏剧大师的瓦格纳在这部歌剧中强化了剧中个别人物本身与不同人物之间的对立统一,极大地采用了辩证式的戏剧手法,加强了全剧的戏剧张力。对于演唱者而言,分析剧中的戏剧冲突及其音乐表现,是理解与演唱《汤豪塞》各角色的关键与前提。

Tainnhauser, as an immature composition by Wagner in the early 1840s, is not a typical representative mu- sic drama. While, this romantic opera also indicates his important development in composing, as himself said in let- ters. It owns a special position in all his works. All those famous composing techniques, like leitmotif, transition, harmony and even orchestration, have signals inside. For singers, like the famous Wagnerian Sopranos, Wagner＇s ear- lier works, like Ta nnhauser, and be familiar to its theatrical conflicts and the musical expression, are a good start.