中国歌剧史上的三次高潮引发的思考

Thoughts Derived from the Three Highlights of the History of Chinese Operas

中国歌剧从1920年诞生至今,已有无数作品问世,但堪称里程碑式的作品当数《白毛女》《江姐》《原野》。这三部作品分别创作于不同的历史时期,每部作品都带有鲜明的时代特色,它们都曾产生过巨大的影响,是受广大观众喜爱的歌剧作品。 《白毛女》于1945年由贺敬之、丁毅执笔,马可、张鲁、瞿维等人共同创作完成。1948年5月首演于延安中央学校礼堂。该剧系根据流传于晋察冀选区的一个民间传说故事而写成的。 《江姐》由阎肃编剧,羊鸣、姜春阳、金砂作曲。1964年由中国人民解放军空政歌舞团首次在北京上演,取得了极大的成功。剧本的主要素材来源于长篇小说《红岩》,这部小说曾在社会上产生了巨大的影响,小说的情节、人物深为广大人民所熟悉,所以在这部小说基础上改编过来的歌剧,从剧本内容上本身是颇受欢迎的。《江姐》突破了《白毛女》"话剧加唱"的固有模式,在民族歌剧宣叙调的写作上给予了更多的探索,并为以后民族歌剧的发展开拓了更加广泛的道路。《原野》由万方编剧,金湘作曲,根据我国剧作家曹禺名著改编创作而成。在音乐创作中,作曲家较多地使用宣叙调的形式,较我国以往歌剧创作有所突破,作曲家采用多调性思维与旋律片段相结合的原则,使宣叙调在不同调性的游移中进行纵向的叠置和横向的延展,同时注意了音?

Since the birth of Chinese operas in 1920,numerous operas have been created,but only three of them can be described as milestone works:The White-hair Girl,Jiang Jie and The Savage Land. These three works were created in different historical periods,each of them with distinctive features of its times. They evoked great influence over the times and are still a-mong the most favourite operas of the general public. The White-hair Girl,written by He Jingzhi and Ding Yi,music composed by Ma Ke,Zhang Lu and Qu Wei in 1945,was premiered in Yan'an in Hay 1948. The plot was based on a folk legend popular in Northern China.Jiang Jie,with its libretto written by Yan Su,and music composed by Yang Ming,Jiang Chunyang and Jin Sha,was premiered in Beijing in 1964 by PLA Air Force Song and Dance Ensemble, and made a great success. The major source of the scenario comes from the novel Hongyan which once created tremendous impacts in the society. The content of the play,therefore, transcribed from the novel,is familiar to the masses. Jiang Jie broke through the original mode of 'drama plus songs'in The White-hair Girl and made more explorations in the composition of recitatives in Chinese operas, and opened up a broader way for the future development of operas in the nation.The Savage Land,with its libretto written by Wan Fang,and music composed by Jin Xiang,was a transcription of a drama by Chinese dramatist Cao Yu. In comparison to earlier opera compositions in China,the composer achieved a breakthrough by using more recitative forms. He adopted the principle of combining multi-tonality and melody fragments,allowing the recitatives to move between different tonalities for vertical overlapping and horizontal extension. Moreover,he paid attention to the relation between music and language by taking over the rhyming narration in traditional Chinese operas, recitation of classic poetry and forms of ballad-sing music, so as to endow the recitatives with more Chinese characteristics and diversity. The author also integrated various techniques in the music of the opera,such as microtones,occasional music and divided depiction,which contribute to the more theatrical ways of expression in the music. In terms of chorus,the author boldly adopted various voice parts and tonalities.