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莫扎特創作的歌劇,從其幼年創作的模仿性的小型歌劇到羽翼豐滿之作,共計22部,風格多樣。其中三部在創作中途被放棄,直至莫扎特死後多年才上演。其風格成熟後所創作的歌劇都是世界各地歌劇院連演不衰的經典之作。[1]
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莫扎特自幼就極為善於從新接觸的曲風中採擷對於自己創作有所助益的部分[2]。在1778年致其父的信中,他寫道:「如您所知,我從任意一種風格的作品中都能多多少少收穫些東西。」[3]他在學習、完善和轉化方面的天賦令他總能實現新的突破[2]。他早期的歌劇一直依循着正歌劇、喜歌劇以及歌唱劇的傳統。而在風格成熟後,他運用他豐厚的創造力充實了上述這些體裁。[1] 在《唐·喬望尼》中,他實現了正歌劇和喜歌劇的融合:安娜女士這個角色體現了正歌劇的特色,萊波雷洛(Leporello )和澤琳娜(Zerlina)體現了喜歌劇的特色,而埃爾維拉女士則同時體現了二者的特點[1]。
Ideas and characterisations introduced in the early works were subsequently developed and refined. For example, Mozart's later operas feature a series of memorable, strongly drawn female characters, in particular the so-called "Viennese soubrettes" who, in opera writer Charles Osborne's phrase, "contrive to combine not true instinct".[4] Music writer and analyst Gottfried Kraus has remarked that all these women were present, as prototypes, in the earlier operas; Bastienne (1768), and Sandrina (La finta giardiniera, 1774) are precedents for the later Constanze and Pamina, while Sandrina's foil Serpetta is the forerunner of Blonde, Susanna, Zerlina and Despina.[5]
Mozart's texts came from a variety of sources, and the early operas were often adaptations of existing works.[6] The first librettist chosen by Mozart himself appears to have been Giambattista Varesco, for Idomeneo in 1781.[7] Five years later, he began his most enduring collaboration, with Lorenzo Da Ponte, his "true phoenix".[8] The once widely held theory that Da Ponte was the librettist for the discarded Lo sposo deluso of 1783 has now been generally rejected.[9] Mozart felt that, as the composer, he should have considerable input into the content of the libretto, so that it would best serve the music. Musicologist Charles Rosen writes, "it is possible that Da Ponte understood the dramatic necessities of Mozart's style without prompting; but before his association with da Ponte, Mozart had already bullied several librettists into giving him the dramatically shaped ensembles he loved."[10][11]