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艾克托尔·柏辽兹（Hector Louis Berlioz 1803－1869） |
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[中字]【柏辽兹】特洛伊人 Les Troyens (莱文指挥) |
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卡珊德拉 (Cassandra): Jessye
Norman，特洛伊国王普里阿摩斯的女儿，女先知，次女高音 |
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Cassandra: Jessye Norman, the
daughter of King Priam of Troy and a prophetess, a mezzo-soprano. Aeneas: Plácido Domingo, a Trojan hero and the son of Venus and Anchises, a tenor. Dido: Tatiana Troyanos, the Queen of Carthage. Coroebus: Allan Monk, Cassandra's fiancé, a baritone. Priam: John Macurdy, the King of Troy, a bass. Narbal: Paul Plishka, the Minister of Carthage, a bass. Hecuba: Barbara Conrad, the wife of Priam, a mezzo-soprano. Berlioz's "The Trojans" was based on his adaptation of the epic poem "The Aeneid" by the ancient Roman poet Virgil. His creation was greatly influenced by Liszt's lover, Princess Wittgenstein. It is said that Princess Wittgenstein, in an attempt to urge Berlioz to complete this opera, used a provocative method, stating that he wouldn't see her until he finished it. This opera consists of five acts. Due to its excessive length, the opera house was unable to perform it at that time, and Berlioz could only divide it into two parts: the first part is "The Fall of Troy", also known as "The Horse Sacrifice", consisting of two acts, with the characters in the play being roughly the same as those in Homer's epic poem "The Iliad"; the second part is the remaining three acts, named "The Trojans in Carthage". Before his death, Berlioz did not see the complete performance of the opera. On November 4, 1863, the Paris Opera House only performed the second part, with some cuts. This performance by the Metropolitan Opera was complete and divided the entire opera into three acts: The first act in the video corresponds to the original first and second acts, namely "The Fall of Troy"; the second act (upper part) corresponds to the original third act, namely "The Trojans in Carthage", the first act of the second part; the second act (lower part) corresponds to the original fourth act, namely "The Trojans in Carthage", the second act of the second part; the third act in the video corresponds to the original fifth act, namely "The Trojans in Carthage", the third act of the second part. |
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音乐历史上的今天 1863年11月4日，在听了柏辽兹《特洛伊人》（Les Trayens)的一部分后，乔治·比才向一个激烈的质问者、名叫谢里（Cheri）的指挥家提出决斗。
艾克托尔·柏辽兹（Hector Louis Berlioz，1803年12月11日—1869年3月8日）是19世纪上半叶法国音乐最伟大的代表者、作曲家、指挥家兼音乐评论家。1803年12月11日他出生在法国南部小城科特·圣安德列。从来没有想到要让孩子以音乐为专业的父亲是当地一位有名的医生，对柏辽兹自幼就已显露的音乐才能根本就不屑一顾。作为虔诚教徒的母亲，虽然注意到了孩子的音乐天赋，但她认为搞音乐是有罪的，这种偏见最终没有能使柏辽兹尽早接受音乐教育。因此，尽管柏辽兹热爱音乐，但在17岁之前，却从未接受过正规的音乐教育。第一次参加圣餐仪式时，教堂唱诗班歌唱的一首赞美诗，在他心里留下了第一个生动美好的印象，在他面前展现出一个“爱与感情的新世界”。 |
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一场由艺术批评引发的个人荣誉决斗 ——比才和谢里的决斗起因 |
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作曲家乔治·比才和指挥谢里的决斗，是一个非常精彩且富有戏剧性的音乐史轶事，它完美地体现了19世纪法国音乐界尖锐的审美分歧和艺术家们强烈的个性。 一、 直接原因：一场由艺术批评引发的个人荣誉决斗 根据记载，事件经过大致如下： 1. 场合：大概在1863年底或1864年初，乔治·比才在一次私人或半公开的场合，演奏了赫克托·柏辽兹的歌剧《特洛伊人》的钢琴缩编谱（或其中的选段）。《特洛伊人》是柏辽兹倾注心血的宏篇巨制，但当时并未被完整上演，公众知之甚少。 2. 冲突：在场的指挥家谢里（全名是亨利·谢里 ）对比才演奏和推崇的柏辽兹音乐感到极度不满和不解。 3. 侮辱：谢里用激烈、轻蔑的言辞抨击了柏辽兹的音乐。他很可能使用了诸如“嘈杂”、“混乱”、“缺乏旋律”、“根本不是音乐”等在当时保守派评论家中常见的论调。关键在于，他的言辞不仅针对音乐本身，更可能触及了比才的艺术品味和判断力，构成了人身侮辱。 4. 决斗：年轻气盛的比才（当时约25岁）视柏辽兹为偶像和精神导师，他无法容忍谢里对自己偶像杰作的亵渎，以及对自己艺术鉴赏力的质疑。为了捍卫柏辽兹的荣誉，也为了捍卫自己的艺术尊严，他向谢里提出了决斗。 结果：据记载，这场决斗最终以“和解”告终，双方可能没有真正开枪或导致伤亡。在当时欧洲（尤其是法国）的绅士文化中，决斗的提出本身就是挽回荣誉的关键一步，是否真正进行到流血那一步反而不是最重要的。 二、 深层起因：跨越时代的审美战争与艺术传承 这场看似冲动的个人冲突，背后是19世纪法国乐坛深刻的意识形态裂痕。 1. 柏辽兹的“异端”地位与比才的“知音”之情 柏辽兹的困境：柏辽兹是法国浪漫主义的先驱，但他的音乐在当时是极其前卫和具有颠覆性的。他打破了古典主义的均衡与形式，追求文学的叙事性、管弦乐色彩的极致和情感的狂暴表达。对习惯了意大利甜美歌剧和温雅法国歌剧的听众来说，柏辽兹的音乐是“未来”的，甚至是“怪异”的。他的《特洛伊人》规模宏大，和声大胆，叙事复杂，在当时遭到了主流剧院和许多评论家的冷遇与嘲笑。 比才的认同：年轻的比才恰恰是少数能理解并崇拜柏辽兹的人。他看到了柏辽兹音乐中澎湃的激情、恢弘的想象力和革命性的管弦乐技法。比才自己的音乐也深受柏辽兹影响，尤其在管弦乐配器上，追求清晰、色彩丰富和戏剧性。因此，捍卫柏辽兹，就是捍卫比自己所信奉的艺术未来。 2. “德意志因素”与法国民族乐派的焦虑 瓦格纳的阴影：19世纪中后期，理查德·瓦格纳的音乐和理论开始席卷欧洲，对法国音乐形成了巨大冲击。柏辽兹的音乐因其复杂性和交响性，常被保守派与瓦格纳的“未来音乐”归为一类，被视为对法国音乐“清晰、典雅、自然”传统的威胁。 寻找法国之路：法国音乐界当时正陷入一种文化焦虑：如何在意大利美声传统和强大的德国交响乐传统之间，找到法国自己的道路？谢里可能代表了这样一种观点：柏辽兹的道路是“德国化”的、晦涩的，不是法国音乐应该走的方向。而比才则相信，柏辽兹的道路恰恰是法国音乐实现现代化和伟大性的必经之路。这场决斗，可以说是关于“法国音乐未来应向何处去”的微型战争。 3. 艺术家的尊严与“为艺术而战”的浪漫主义精神 荣誉准则：在19世纪的欧洲，决斗是绅士之间解决名誉纠纷的终极手段。对于艺术家而言，他们的艺术信仰和品味是其人格与荣誉的核心组成部分。攻击其艺术偶像，无异于攻击其本人。 · 浪漫主义的激情：那个时代的艺术家普遍崇尚激情、天才和不为世俗所容的悲剧英雄。比才的行为充满了浪漫主义的色彩——为了一个不被理解的天才（柏辽兹），不惜以生命为赌注，向庸俗的权威（指挥家谢里）发起挑战。这是一种极具象征意义的姿态，宣告了自己“为艺术而生，为艺术而死”的决心。 比才为柏辽兹《特洛伊人》向谢里提出决斗，其直接原因是指挥家谢里对柏辽兹音乐的激烈贬损，触犯了比才的艺术信仰和个人尊严。 而其深层起因则是一场关于音乐审美、民族身份和艺术传承的宏大斗争：是前卫与保守之间的冲突（柏辽兹的革新 vs. 传统歌剧的守旧）。是“知音”与“俗众”之间的冲突（比才作为理解者 vs. 谢里作为不解者）。是法国音乐身份认同的冲突（是坚守旧有风格，还是拥抱交响化和戏剧性的新道路）。 因此，这绝不仅仅是一次音乐家之间的口角，而是一个时代的艺术战争在一个瞬间的浓缩与爆发。它揭示了比才作为一位伟大作曲家，在成长初期所持有的坚定艺术立场和炽热情感，也预示了他未来在《卡门》中将要展现的那种不妥协的戏剧真实性与音乐力量。——莫扎特之旅 |
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乔治·比才（Georges
Bizet，1838年10月25日－1875年6月3日），法国作曲家，出生于巴黎，父亲为声乐教师，母亲为钢琴家。4岁学习音乐，未满10岁进入巴黎音乐学院，师从马蒙泰尔、古诺和阿莱维，1857年获罗马作曲大奖并赴罗马深造三年。代表作包括歌剧《卡门》《采珠人》及戏剧配乐《阿莱城的姑娘》，音乐融合民族元素、交响化手法与法国喜歌剧传统，创造了十九世纪法国歌剧的最高成就
[1] [5-6]。 1863年完成首部歌剧《采珠人》。1870年普法战争期间加入国民自卫军，后定居塞纳河畔布日瓦勒创作。1872年为话剧《阿莱城的姑娘》配乐，音乐改编为管弦乐组曲。1875年歌剧《卡门》在巴黎喜歌剧院首演反响不佳，三个月后因心脏病逝世于结婚纪念日当天。该剧五年后复演成为全球上演率最高歌剧之一，剧中采用西班牙风格舞曲及分节歌形式 [1] [3-4]。其他作品包括歌剧《唐普罗科皮奥》、管弦乐组曲《儿童游戏》及49首艺术歌曲 |
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| Georges Bizet (October 25, 1838 - June 3, 1875) was a French composer. He was born in Paris, where his father was a vocal teacher and his mother was a pianist. He began learning music at the age of four and entered the Paris Conservatory of Music at the age of ten, studying under Maumontel, Gounod, and Allévi. In 1857, he won the Rome Composition Prize and spent three years studying in Rome. His representative works include the operas "Carmen" and "The Pearl Fishers", as well as the musical score for the drama "The Girls of Alésia". His music combines elements of folk music, symphonic techniques, and the French comic opera tradition, creating the highest achievement of French opera in the 19th century [1] [5-6]. In 1863, he completed his first opera "The Pearl Fishers". During the Franco-Prussian War in 1870, he joined the National Self-Defense Army and later settled in Bouillaverre on the Seine River for composition. In 1872, he composed the music for the drama "The Girls of Alésia", which was adapted into an orchestral suite. In 1875, the opera "Carmen" premiered at the Opéra Comique in Paris with poor reception. Three months later, he died on his wedding anniversary due to heart disease. Five years later, the play was revived and became one of the most frequently performed operas worldwide, with Spanish-style dance music and sectional songs used in the play [1] [3-4]. Other works include the opera "Don Procopio", the orchestral suite "Children's Games", and 49 art songs. | ||||||||||||||||||
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| 艾克托尔·柏辽兹（Hector Louis Berlioz 1803－1869） | ||||||||||||||||||
| A personal honor duel triggered by art criticism - The origin of the duel between Bizet and Cherrier | ||||||||||||||||||
| The duel between composer Georges Bizet and conductor Henri Schir was a very exciting and dramatic anecdote in the history of music. It perfectly demonstrated the sharp aesthetic differences in the French music scene of the 19th century and the strong individuality of the artists. 1. Direct cause: A personal honor duel triggered by art criticism According to the records, the event went roughly as follows: 1. Venue: Around the end of 1863 or the beginning of 1864, Georges Bizet performed a piano reduction of Hector Berlioz's opera "The Trojans" (or a selection from it) in a private or semi-public setting. "The Trojans" was Berlioz's monumental work that he had devoted himself to, but it had not been fully staged at that time and was little known to the public. 2. Conflict: The conductor Henri Schir (full name was Henry Schir) was extremely dissatisfied and puzzled by the music of Berlioz that Bizet was playing and praising. 3. Insult: Schir used intense and contemptuous words to criticize Berlioz's music. He probably used common arguments in conservative critics' circles at that time, such as "noisy", "chaotic", "lacking melody", "not music at all". The key point was that his words not only targeted the music itself, but also might have touched on Bizet's artistic taste and judgment, constituting a personal insult. 4. Duel: The young and impetuous Bizet (about 25 years old at that time) regarded Berlioz as his idol and spiritual mentor. He could not tolerate Schir's desecration of his idol's masterpiece and the questioning of his artistic judgment. To defend Berlioz's honor and also to defend his own artistic dignity, he proposed a duel to Schir. The result: According to the records, this duel ended with "reconciliation", and it is likely that neither side actually fired a shot or caused any casualties. In the gentleman culture of Europe (especially France) at that time, the proposal of a duel was itself a crucial step to restore honor, and whether it actually went to the point of bloodshed was not the most important thing. 2. Deep underlying cause: The aesthetic war and artistic inheritance across eras This seemingly impulsive personal conflict was behind the profound ideological rift in the French music scene of the 19th century. 1. Berlioz's "heretical" status and Bizet's "mentor" feelings Berlioz's predicament: Berlioz was a pioneer of French Romanticism, but his music was extremely avant-garde and revolutionary at that time. He broke the balance and form of classicism and pursued the narrative nature, the extreme color of orchestral music, and the passionate expression of emotions. For listeners accustomed to Italian sweet operas and gentle French operas, Berlioz's music was "the future" and even "weird". His "The Trojans" was large-scale, bold in harmony, and complex in narrative, and was met with the cold reception and ridicule from mainstream theaters and many critics at that time. Bizet's recognition: Young Bizet was precisely the few who could understand and worship Berlioz. He saw the澎湃 passion， the magnificent imagination， and the revolutionary orchestral techniques in Berlioz's music. Bizet's own music was also deeply influenced by Berlioz， especially in orchestral arrangement， pursuing clarity， rich colors， and drama. Therefore， defending Berlioz was defending the future of the art he believed in. 2. "Germanic influence" and the anxiety of the French national school of music Wagner's shadow： In the mid-to-late 19th century， Richard Wagner's music and theories began to sweep Europe， causing a huge impact on French music. Berlioz's music， due to its complexity and symphonic nature， was often classified by conservatives and Wagner's "future music" as one category， regarded as a threat to the traditional "clear， elegant， and natural" French music. The search for French identity： At that time， the French music scene was in a cultural anxiety： How to find France's own path between the Italian bel canto tradition and the powerful German symphonic tradition？ Cherri might represent the view that Berlioz's path was "Germanized" and obscure, not the direction that French music should take. While Bizet believed that Berlioz's path was precisely the necessary path for French music to achieve modernization and greatness. This duel can be regarded as a miniature war about "where French music should go in the future". 3. The dignity of the artist and the romantic spirit of "fighting for art" The code of honor: In 19th-century Europe, duels were the ultimate means for gentlemen to resolve disputes over reputation. For artists, their artistic beliefs and tastes were the core components of their personality and honor. Attacking their artistic idols was equivalent to attacking the person themselves. · Romantic passion: Artists of that era generally admired passion, genius, and tragic heroes who were not accepted by the mundane world. Bizet's actions were full of romantic colors - for an ununderstood genius (Berlioz), he was willing to bet his life to challenge the vulgar authority (Conductor Cherri). This was a highly symbolic gesture, announcing his determination to "be born for art and die for art". Bizet proposed a duel to Cherri for Berlioz's "The Trojans", and the direct reason was the conductor Cherri's fierce criticism of Berlioz's music, which violated Bizet's artistic beliefs and personal dignity. And its deeper cause was a grand struggle about musical aesthetics, national identity, and artistic inheritance: the conflict between avant-garde and conservatism (Berlioz's innovation vs. the conservatism of traditional opera). The conflict between "the connoisseur" and "the common people" (Bizet as the interpreter vs. Cherri as the incomer). The conflict over the identity of French music (whether to adhere to the old style or embrace the new path of symphonicization and drama). Therefore, this was not merely a quarrel between musicians, but a concentrated and explosive moment of the artistic war of an era. It revealed Bizet's firm artistic stance and passionate feelings as a great composer in his early growth, and also foreshadowed the kind of uncompromising dramatic authenticity and musical power that he would display in "Carmen" in the future. -- Mozart's Journey. | ||||||||||||||||||
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| 艾克托尔·柏辽兹（Hector Louis Berlioz ）特洛伊人的唱片 | ||||||||||||||||||
| Hector Louis Berlioz's recording of the Trojans | ||||||||||||||||||
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| 艾克托尔·柏辽兹（Hector Louis Berlioz ）特洛伊人的唱片 | ||||||||||||||||||
| Hector Louis Berlioz's recording of the Trojans | ||||||||||||||||||
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| 赫克托·贝尔里奥（1803 - 1869），法国作曲家——赫克托·贝尔里奥的肖像画以及歌剧《特洛伊人》的插图，由阿尔弗雷德·格雷文（1827 - 1892）绘制，创作于 1863 年。 | ||||||||||||||||||
| Hector Berlioz (1803-1869) compositeur francais - Caricature of Hector Berlioz and the opera "Les Troyens " illustration by Alfred Grevin (1827-1892) 1863 | ||||||||||||||||||
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| 芝加哥抒情歌剧院的广播节目将于周六下午 1 点播出，届时将呈现赫克托·贝尔里奥斯的《特洛伊人》这部宏大的歌剧作品。由安德鲁·戴维斯指挥，这部史诗般的罗马故事讲述了埃涅阿斯从特洛伊逃离的经历，以及他在旅途中的（有时是悲惨的）遭遇。 | ||||||||||||||||||
| The Lyric Opera of Chicago Broadcasts return on Saturday at 1 pm, with the grand operatic spectacle that is Hector Berlioz’s Les Troyens. Sir Andrew Davis conducts the epic Roman tale of Énée, the flight from Troy, and his (sometimes) tragic encounters during the journey. | ||||||||||||||||||
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| 旧金山歌剧院版柏辽兹《格罗伊人》 | ||||||||||||||||||
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来自旧金山歌剧院的官方网站： 旧金山歌剧院为您呈现特洛伊的悲惨衰落、两位伟大领袖之间炽热的爱情以及命运的紧迫牵引，这是柏辽兹宏伟杰作《特洛伊人》的一部分——这是法国大型歌剧对瓦格纳《尼伯龙根的指环》的回应。 前音乐总监唐纳德·伦尼克斯在 2011 年成功指挥了《尼伯龙根的指环》系列演出，此次他将回归并执棒这部充满深情旋律、色彩斑斓、令人热血沸腾的乐章。大卫·麦克维卡尔以其极具视觉冲击力的新制作“一场重大事件”（《卫报》，伦敦）呈现这部作品，将故事背景设定在 19 世纪中期。世界级演员阵容中的主演包括不幸的恋人迪多和埃涅阿斯，这位“声乐华丽且极具魅力”的苏珊·格雷厄姆和布莱恩·希梅尔，他们“以激情洋溢且自信的表现演绎了英雄角色”（《纽约时报》）。而“具有音乐智慧且声乐出色的”安娜·卡特琳娜·安东尼卡（《纽约时报》）与迈克尔·马滕斯轮流饰演预言家卡珊德拉这一戏剧性角色。 |
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From the SFO’s
webpage: The San Franciso Opera Ensemble brings you the tragic fall of Troy, the passionate love of two great leaders, the urgent pull of destiny as part of Berlioz’s visionary masterpiece The Trojans—French grand opera's answer to Wagner's Ring. Former Music Director Donald Runnicles, who masterfully conducted the Ring cycle in 2011, returns to lead this intensely lyrical, colorfully orchestrated, viscerally exciting score. David McVicar’s visually striking new production, “a major event” (The Guardian, London), moves the action to the mid-19th century. The world-class cast stars, as the ill-fated lovers Dido and Aeneas, the “vocally sumptuous and alluring” Susan Graham and Bryan Hymel, who gives “an impassioned and confident performance of a heroic role” (The New York Times). The “musically intelligent and vocally splendid” Anna Caterina Antonacci (The New York Times) alternates with Michaela Martens to take on the dramatic role of the prophetess Cassandra. |
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| 伦敦皇家歌剧院演出 柏辽兹《特洛伊人》 | ||||||||||||||||||
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选角；配角；角色选定 皇家歌剧院合唱团与管弦乐团 安东尼奥·帕帕诺（指挥） 布莱恩·希梅尔（男高音） 埃娃-玛丽亚·韦斯特布鲁克（女高音） 安娜·卡特琳娜·安东尼卡（女中音） 罗伯特·劳埃德（男低音）程序 《特洛伊人》 由赫克托·贝尔里奥兹创作的五幕歌剧（1803 - 1869 年） 剧本由赫克托·贝尔里奥兹根据维吉尔的《埃涅阿斯纪》改编 于 1863 年 11 月 4 日在巴黎的利克里特剧院首次上演 录音：2012 年 7 月 5 日 - 伦敦皇家歌剧院 导演：弗朗索瓦·鲁西隆 时长：04 分 16 秒 |
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Casting Royal Opera Chorus & Orchestra Antonio Pappano (Conductor) Bryan Hymel (Tenor) Eva-Maria Westbroek (Soprano) Anna Caterina Antonacci (Mezzo-soprano) Robert Lloyd (Bass) Program Les Troyens Opéra in five acts by Hector Berlioz (1803 - 1869) Libretto by Hector Berlioz after Virgil's 'Aeneid' First performance in Paris, Théâtre Lyrique, 4 November 1863 Recording: July 5 2012 - Royal Opera House | London Director: Francois Roussillon Duration: 04:16 |
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| 这是《科文特花园版贝里奥兹歌剧《特洛伊人》》中的一个场景：狄多（布兰奇·特波姆饰）在剧的后半部分向她的臣民们说道：“特洛伊人在卡西托。” | ||||||||||||||||||
| A SCENE FROM THE COVENT GARDEN PRODUCTION OF BERLIOZ’ OPERA “THE TROJANS” : DIDO (BLANCHE THEBOM) ADDRESSES HER PEOPLE IN THE SECOND HALF , “THE TROJANS AT CARTHAGE." | ||||||||||||||||||
| 1957 年在科文特花园上演的《特洛伊人》由拉斐尔·库贝利克指挥。该剧使用英语演唱，剧本由 E. J. 丹特创作。这次演出在 1958 年也进行了复排，它是柏辽兹史诗歌剧历史上的一个里程碑事件。它“不仅首次在英国展现了这部歌剧的辉煌，还激发了更广泛的兴趣，这种兴趣在 1969 年柏辽兹逝世一百周年时达到了顶峰。今年出版了大卫·凯恩斯的经典版《回忆录》译本，首次出版了休·麦克唐纳在新柏辽兹版中编排的《特洛伊人》全谱曲，还有苏格兰歌剧和科文特花园歌剧院对该歌剧的演出，这是该作品首次完整呈现（一部是英语版，另一部是法语版）。”（伊恩·坎普，《柏辽兹：特洛伊人》，1988 年，第 17 页。） 本页重现了 1957 年《特洛伊人》演出的同期图片报道，该报道见于 1957 年 6 月 8 日《伦敦新闻画报》第 957 页，我们馆藏有一份该刊的副本。关于 1957 年的演出，请参见恩斯特·纽曼在此网站上的评论。 | ||||||||||||||||||
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The 1957
performances of The Trojans at Covent Garden were conducted by Rafael
Kubelik. They were sung in English; the text was by E. J. Dent. This
production, revived also in 1958, was a landmark event in the history of
Berlioz’s epic opera. It “not only revealed the splendour of the opera
for the first time [in Britain] but stimulated a wider interest, which
was to reach a climax in 1969, the centenary of Berlioz’s death. This
year saw the publication of David Cairns’ classic translation of the
Memoirs, the publication, for the first time, of the full score of Les
Troyens in Hugh Macdonald’s edition for the recently launched New
Berlioz Edition, and the Scottish Opera and Covent Garden productions of
the opera, which presented the work complete for the first time (the one
in English, the other in French).” (Ian Kemp, Berlioz: Les Troyens,
1988, p. 17.) This page reconstructs a contemporary pictorial report of the 1957 production of The Trojans which appeared on page 957 of The Illustrated London News of 8 June 1957, a copy of which is in our collection. On the 1957 production see the review by Ernest Newman on this site. |
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| 这些照片展示了赫克托·贝尔里奥斯所创作的歌剧《特洛伊人》的主要演出片段。皇家歌剧院已宣布将于 6 月 6 日、11 日、14 日、20 日、29 日以及 7 月 2 日、8 日和 11 日举行这场演出。贝尔里奥斯的这部歌剧作品堪称其最杰出的作品之一，但其历史颇为坎坷。其首次完整演出直到 1890 年才举行，而此时距离贝尔里奥斯去世已经过去了 21 年。这部作品篇幅较长，但不如瓦格纳的某些作品那么长，且舞台呈现颇具难度。1897 年在利物浦以音乐会形式进行了演出，1950 年在牛津以缩减版形式进行了演出。该剧分为“特洛伊沦陷”和“特洛伊人在迦太基”两部分；这两部分有时会分开上演。对于科文特花园的演出，将使用邓特教授的英译本；演出由约翰·吉尔古德爵士执导，这是他首次执导歌剧作品。指挥是拉斐尔·库贝利克先生，布景和服装由马里亚诺·安德鲁先生设计。舞蹈编排由皇家芭蕾舞团的梅里尔·埃文斯小姐负责。所有演出均于下午 3 点开始，持续约 4 个半小时。 | ||||||||||||||||||
| These
photographs are of the major production of the opera “The
Trojans,” by Hector Berlioz, which the Royal Opera House
announced for June 6, 11, 14, 20, 29 and July 2, 8 and 11. This
greatest of Berlioz’ operatic works had an unlucky history, and
the first full performance was not given until 1890, twenty-one
years after Berlioz’ death. It is a long work, though not as
long as several of Wagner’s, and is difficult to stage. It was
performed in concert form at Liverpool in 1897 and in reduced
form at Oxford in 1950. It falls into two parts, “Fall of Troy”
and “The Trojans at Carthage” ; and these parts are sometimes
performed separately. For the Covent Garden production, the
English translation by Professor Dent is being used ; and the
production is by Sir John Gielgud, this being his first operatic
production. The conductor is Mr. Rafael Kubelik, and the scenery
and costumes have been designed by Mr. Mariano Andreu. The
choreography is by Miss Meriel Evans of the Royal Ballet. The
performances all begin at 3 p.m. and last approximately 4 1/2
hours. These photographs are of the major production of the opera “The Trojans,” by Hector Berlioz, which the Royal Opera House announced for June 6, 11, 14, 20, 29 and July 2, 8 and 11. This greatest of Berlioz’ operatic works had an unlucky history, and the first full performance was not given until 1890, twenty-one years after Berlioz’ death. It is a long work, though not as long as several of Wagner’s, and is difficult to stage. It was performed in concert form at Liverpool in 1897 and in reduced form at Oxford in 1950. It falls into two parts, “Fall of Troy” and “The Trojans at Carthage” ; and these parts are sometimes performed separately. For the Covent Garden production, the English translation by Professor Dent is being used ; and the production is by Sir John Gielgud, this being his first operatic production. The conductor is Mr. Rafael Kubelik, and the scenery and costumes have been designed by Mr. Mariano Andreu. The choreography is by Miss Meriel Evans of the Royal Ballet. The performances all begin at 3 p.m. and last approximately 4 1/2 hours. |
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柏辽兹的《特洛伊人》——来自大都会歌剧院 |
古典音乐播放平台 Slideshow: Berlioz's Les |
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| Berlioz's "The Trojans" - From the Metropolitan Opera | Classical Music Streaming Platform Slideshow: Berlioz's Les | ||||||||||||||||||
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| 柏辽兹 | 一封写给安托尼·德沙姆斯的亲笔信，内容涉及歌剧《特洛伊人》，创作于 1864 年 | ||||||||||||||||||
| BERLIOZ | autograph letter signed to Antoni Deschamps, about the opera "Les Troyens", 1864 | ||||||||||||||||||
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| 安东·雷哈——柏辽兹的老师 | ||||||||||||||||||
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法国作曲家、音乐理论家、音乐教育家 安东·雷哈（德语：Anton Reicha，捷克语：Antonín Rejcha，1770年2月26日－1836年5月28日），法籍波西米亚作曲家、音乐理论家、音乐教育家，代表作品包括《36首赋格》《降B大调五重奏 Op.91 No.5》。 雷哈出生于布拉格，10岁随大提琴家叔叔约瑟夫·雷哈学习音乐。1785年移居波恩，在选帝侯宫廷乐队担任小提琴手时结识贝多芬。1794年前往汉堡教授作曲，1799年转居巴黎尝试歌剧创作未果，1801年赴维也纳师从萨列里与阿尔布雷希茨贝格。1818年定居巴黎后任巴黎音乐学院对位法教授，培养出李斯特、柏辽兹等学生。创作涵盖交响曲、木管五重奏及钢琴曲，撰写音乐理论著作 。 雷哈少年时便显现出非凡的音乐才能，他的叔叔约瑟夫·雷哈是一位大提琴家，也是他的音乐启蒙老师。1785年雷哈全家搬到波恩，在那里他结识了贝多芬。1799年他移居巴黎，1801年到维也纳。法军占领维也纳后，他再次迁居巴黎，并担任巴黎音乐学院的教授。 雷哈的作品很多，涉及当时的各种体裁。他擅于采用对位法，特别擅长室内乐的写作。但是他的作品显得不够自然，学院气息较重。他的音乐被演奏的较多的是管乐作品。 雷哈也是重要的音乐理论家，写有很多理论著作。 十余首交响曲，大量各种体裁的室内乐（包括24首管乐五重奏），钢琴曲《36首赋格》《变奏的艺术》。 |
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安东·雷哈的生涯之路起初宛如一个关于一个渴望知识、却在家中得不到理解的少年的冒险故事。他离家出走，只为追寻心中的求知渴望。他先是去了克拉托夫的贫困区，然后跟着舅舅约瑟夫·雷奇前往瓦勒斯坦，在那里他开始在贵族教堂担任乐师，并在波恩的珠宝商教堂继续从事乐师工作，最终得以进入巴黎的音乐学院深造，并获得了荣誉军团勋章以及加入美术学院的资格。之后他又多次离开并返回（维也纳、汉堡、利普索克——在布拉格只停留了一小段时间——最后又回到维也纳），直到他在巴黎的音乐学院找到了一份专业工作，获得了教授职位，并加入了荣誉军团，还成为了美术学院的成员。关于这些离家和归家的经历，雷奇的生平记录并未提及，但这些经历却反映了那个时代的社会关系。 1810 年，雷哈（当时已在巴黎生活了两年）与其他十人一起被要求在规定的出国旅行期限内出国，他们面临着这样的要求：“若在一年内未主动向国王陛下所属的高级行政当局报告，否则将依据第 27 条移民许可证规定进行处理”。雷哈没有履行这一要求，而在拿破仑统治时期的政治动荡期间，他也无需这样做。他在巴黎一直生活到去世，于 1829 年获得了法国公民身份。 普兰内赫的生平传记是在他去世后一年由雅克-奥古斯特·德拉伊尔撰写的（《普兰内赫传记：音乐家、作曲家与理论家》1837年），此后又有其他撰稿人和词典编纂者借鉴了他的作品——比如安东宁·赫尼利卡在1914年《音乐评论》杂志上的第一篇关于普兰内赫的文章中就引用了其中的内容。关于普兰内赫，总是有撰稿人和专门研究特定问题（尤其是理论问题）的作者关注他的作品。在后来的时期里，法国音乐学家兼作曲家莫里斯·埃马纽埃尔为他撰写了专著（1937年）；该书出版后，捷克的撰稿人希望能让他完成关于普兰内赫的未竟之作，但过了好几年情况才有所改变。至于我们所知的关于普兰内赫的情况，作曲家本人的自传体《回忆录》发挥了重要作用，该书由捷里·维斯洛齐尔于1970年出版（第一版）；奥格·肖托洛娃也据此撰写了专著（1977年第一版）。如今，有捷克语版的普兰内赫理论著作系列问世，还有学位论文，还有新的普兰内赫音乐作品的录音。 |
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| 安东·雷哈——柏辽兹的老师室内乐作品，包括三重奏和五重奏 | ||||||||||||||||||
| Anton Reha - Berlioz's teacher's chamber music works, including trios and quintets | ||||||||||||||||||
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Today in the
history of music November 3, 1363, at the age of 63, the composer, diplomat, and missionary Guillaume de Machaut said to his "dearest love" Peronnelle: "As long as you speak, this old body of mine is willing to do anything in the world for you. Your stunning beauty and exquisite sweetness are like a magnet attracting iron, and they attract me and my heart... My sweetest sweetheart! I will present to you the 11 ballads you have seen, which were composed especially for you." Guillaume de Machaut (1300-1377) was the most important figure in the new art music of France. Machaut was born in the Champagne region of northern France and received religious education. At the age of 20, he served as a minister to the King of Bohemia, and later, with his talent, entered the French court to serve the King of France. In his later years, he held the position of a priest and died in a monastic life. Machaut was not only a musician but was also known as a poet at that time, and he enjoyed a reputation in literary history. Machaut had very complete records of his poetry and music creation, and he was the first musician in Western music history whose works were fully preserved. Machaut's musical works covered almost all important musical genres of the 14th century, including motets, masses, and a large number of secular songs. He summarized a series of achievements of French late medieval music and became a model of a musician of his era. Motet Composition Since Vitelius, in the 14th century, motets regained the use of Latin lyrics, which were often relatively serious, with content such as moral piety and praise. In terms of music, they were more magnificent and powerful than the 13th-century motets, and were often used in ceremonial occasions. Machaut inherited and developed the tradition of early motet composition and wrote 23 motets, mainly in three voices, with the continuo part often performed by instruments and the upper two voices sung by human voices. Unlike Vitelius's motets, Machaut used French lyrics more often (there were 17 French motets). In terms of composition techniques, Machaut highly valued the application of equal-rhythm techniques and extended them to all the voices above, exploring more complex rhythm techniques more freely and flexibly. Machaut's last three Latin motets written in his later years were composed during the Hundred Years' War, and the content was for the prayer for peace. These motets inherited the achievements of early 14th-century motets and added a new "contratenor" (the lower continuo voice), replacing the usual three-part texture with a four-part texture. The new contratenor had no lyrics and was not placed in the high voice but was in the same pitch range as the continuo voice and had similar rhythms to the continuo voice, often forming voice interludes with the continuo voice to create rich harmonic effects, supporting the two vocal parts with lyrics above. Mass Composition The Mass originated from the Mass ceremony in religious worship. The Mass in worship was divided into variable special Masses and unchanging regular Masses according to occasions and seasons. Later, people combined the five unchanging regular Masses into a set (the Mercy Ode, the Glory Ode, the Creed, the Hymn of Saints, and the Lamb Ode) and gradually separated them from worship, forming the genre of Mass. Machaut wrote only one Mass, titled "Messe de Nostre Dame", although it still served the function of worship, it was of great historical significance for the formation of the artistic genre of Mass. Machaut's contribution to the Mass was that he first unified the various sections of the regular Mass for a unified conception. The characteristics of "Messe de Nostre Dame" were: a large scale, using a rare four-part texture at that time; each movement had obvious contrasts, but the sections were internally connected in musical materials; In addition, Maixois also applied various complex rhythm techniques (such as equal rhythm) from the liturgical songs to the composition of the Mass. Secular songs Maixois's religious works only accounted for a small portion of his entire works. The majority were secular works, among which secular songs were an important part of his creation. Maixois's secular songs included some monophonic songs, such as most of the lègades he composed, and 25 virelais, all of which were monophonic songs. These songs inherited the tradition of the northern troubadours of France, but developed in terms of the complexity of rhythm. The most influential aspect of Maixois's song composition was the secular polyphonic songs. Until Maixois's time, secular songs were mostly limited to monophonic music. Maixois used secular songs in polyphonic composition and made this simple form of polyphonic songs reach a very refined and perfect level. The polyphonic songs of Maixois demonstrated many characteristics of the new art period, such as highlighting the status of the second beat, paying more attention to the third and sixth tones in harmony, and having a fine and flexible melody. In his composition, Maixois particularly emphasized the exploration of the expressiveness of the songs. He believed that music and poetry could only have an infectious power when they originated from the heart. Musicians should pay special attention to the expression role of the high-pitched melody. The continuous voices in Maixois's song composition were mostly freely created melodies. In songs with more than two voices, he often used "corresponding continuous voices", which formed the harmonic basis with the continuous voices and supported the upper high-pitched melody voice (cantus). At the end of the 14th century, this style of voice combination became the standard form of secular polyphonic songs. Maixois's polyphonic songs were mainly represented in three "fixed forms" of 14th-century French poetry and music: virelais, rondeaux, and ballades. They were all some fixed-form poetic genres, and the content of the poetry was mostly "courtly love" themes. The structural characteristics of the poetry determined the form structure of the music. The structural characteristics of virelais were started by a refrain (A), followed by three stanzas (bba), forming the Abba structure, and ending with A. The simplest form of rondeau was composed of eight short poems, and the music consisted of two sections, still with the refrain constantly repeating. Unlike virelais, the refrain could be composed of two sections, and the typical form was A B a A a b A B (capital letters indicating the refrain). Maixois wrote 21 rondeaux, in which he poured in highly complex writing techniques. Near the end of the 14th century, rondeaux showed more complex forms and became the most notable genre among the three formal forms. Ballade was an important genre in Maixois's song creation, and he composed 42 ballades with music. The lyrics of the ballades usually had three stanzas, each with seven or eight lines of poetry, and the last line or two of each stanza was the same, thus forming repetitive refrains, which were mostly summaries of the theme of this stanza. The melody of the ballades was divided into two parts, with the structure of AB. The first and second lines of each stanza were in the A melody, the third and fourth lines repeated the A, and the remaining lines were in the B part melody. Maixois's ballades had different styles of two to four voices, and the typical situation was male solo singing with two lower voices playing instruments, when there were two singing voices and each voice had different lyrics, it was called a double ballade. Today's video: 1. Guillaume de Machaut - I Am What I Am (14th-century rondeau); 2. The Earliest Polyphonic Mass [Guillaume de Machaut] "Virgin Mary Mass" and Other Medieval Works; 3. [Medieval Music] Guillaume de Machaut's Music and Poetry Art. |
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柏辽兹 特洛伊人 科隆歌剧院 现代演绎 |
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| Berlioz - "The Trojans" - Colón Opera House - Modern Interpretation | ||||||||||||||||||
电影《特洛伊》 |
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