声乐教学中对咏叹调不同演唱版本的比较分析——以《挂满了柔软的幕帐》为例

A Comparative Analysis of Different Singing Versions of Aria in Vocal Music Teaching——Taking In quelle trine morbide as an Example

本文选取著名歌唱家卡拉斯、泰巴尔迪两位的演唱版本,对普契尼歌剧《玛侬·莱斯科》的第二幕咏叹调《挂满了柔软的幕帐》进行比较分析。研究的主要内容包括曲式结构与角色的关联、音乐细部处理、两位歌唱家的演唱版本介绍等方面。为了形象直观地体现出两位歌唱家的演唱差异,特别是音色、速度、演唱处理等方面的差异,笔者制作了两首作品的声波与频谱图进行深入对比。结合现阶段对该作品的理解、演唱和自我艺术实践的体验,笔者结合声乐教学中女高音在演唱歌剧咏叹调时的一些方法和经验,力图更准确地把握此类咏叹调的风格,以供演唱者在今后的演唱中加以运用,以期提高自身的演唱能力和艺术鉴赏能力。

In this paper the singing versions of the famous singers Callas and Tebaldi are selected,and a comparative analysis is made on their singing of aria In quelle trine morbide in the second act of Puccini's opera Manon Lescaut.The main content of the study includes the relationship between musical structure and characters,the processing of music details,and the introduction of the singing versions of the two singers.In order to vividly and intuitively show the differences in singing between the two singers,especially in terms of timbre,speed,and singing details,the sound waves and frequency spectra of the two works are made for an in-depth comparison.Besides,on the basis of the current understanding of the work and singing performance and the author’s own singing practice,and in combination with some methods and experience of soprano in singing opera aria in vocal music teaching,this paper attempts to have a more accurate command of the style of such aria,aiming to provide reference for singers in their future singing,and help improve their singing and artistic perception.