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                      莫扎特之旅-文化交流-音乐历史上的今天                    
                     
 
 
                   
                     

                   
                     
 
 

 
 

                                         田润德 编译 文/图 2020-03-14  18:36

 
 
 
 
 

 
 
 
 
 

 
 
 
 
 
 
  阿瑟·苏利文(Arthur Sullivan  1842-1900      
         
  吉尔伯特和苏利文的轻歌剧《彭赞斯的海盗》片段      
 

【Simon Butteriss】Major-General's Song 【轻歌剧】

     
  William Gilbert与Arthur Sullivan轻歌剧the Pirate of Penzance(彭赞斯的海盗)中脍炙人口的片段      
  吉尔伯特和苏利文的歌剧《日本天皇》      
 
     
  音乐历史上的今天
1885年3月14日,吉尔伯特(Gilbert)和苏利文(Sullivan)合作创作的歌剧《日本天皇》(Mikado) 在萨伏伊上演。演出持续了两年,尽管日本大使试图以种族歧视和宣扬性虐待为由请求停演。
    我拽住他的猪尾巴辫,
    他双膝跪地,
    战栗颤抖,
    咯咯哒哒地发出声响,
    我咯咯笑着拔出匕首!
    噢!我永远不会忘记这哭声
    和他的尖叫......

《日本天皇》(又叫《蒂蒂普之城》是一部喜剧歌剧,分为两幕,音乐由阿瑟·苏利文(Arthur Sullivan)创作,剧本由w·s·吉尔伯特(W. S. Gilbert)创作,这是他们十四部歌剧合作中的第九部。它于1885年3月14日在伦敦开幕,在萨伏伊剧院上演了672场演出,这是音乐剧史上第二长的演出,也是当时所有戏剧中最长的演出之一。据估计,到1885年底,在欧洲和美国,至少有150家公司在制作这部歌剧。

《日本天皇》创作之时,自19世纪50年代中期日本向西方开放以来,伦敦人对日本的一切都充满了热情。在小歌剧首演的时候,人群涌向伦敦骑士桥地区的日本乡村展览;这个重建的村庄有来自日本的男男女女,他们展示了他们的手艺和生活方式。在参观展览的过程中,吉尔伯特从他的剧本的一些最后细节中获得了灵感;他甚至雇了一个在那里遇到的日本女人来指导演员们正确的日本风格、扇子的使用和化妆。著名的风景画家Hawes Craven为这部歌剧提供了更多的现实主义元素,他以前所未有的现实主义著称。

正如《吉尔伯特与苏利文正典》(Gilbert and Sullivan canon)的大部分著作一样,《米卡多》(Mikado)对当代英国社会也有尖锐的评论。例如,吉尔伯特让角色Pooh-Bah成为一个负责所有事情(包括对自己的抱怨)的政府官员,就像一个英国小镇上的杰出人物一样。同样,情节的中心——一部以挑逗罪判处死刑的法律——可以被看作是对当时英国过时法律的评论。
音乐也做得很巧妙。在他的开场咏叹调中(“A Wand’ring Minstrel I”),浪漫的男主角南基波(Nanki-Poo)宣称自己能够唱出任何情绪下的歌曲,从民风民俗到军事风格再到航海风格,而苏利文将随后的每一段歌词都改编成了适合自己性格的音乐。后来,在另外三个男性角色的三重唱中(“我太骄傲了”),沙利文为每个人创作了自己的旋律。这些是单独呈现,然后结合成一个复杂的对位,回忆起约翰塞巴斯蒂安巴赫的掌握。《米卡多》可能是一个轻松滑稽的故事,但苏利文认为没有理由不反映出严肃的工艺水平,这也是为什么吉尔伯特和苏利文的轻歌剧超越了竞争对手的标准,也是为什么他们的作品仍然受欢迎的部分原因。

阿瑟·苏利文爵士(Arthur Sullivan 1842年5月13日出生于英国伦敦,卒于1900年11月22日,伦敦),作曲家,与w·s·吉尔伯特(W.S. Gilbert)一起,创作出了独特的英国风格的轻歌剧。吉尔伯特的讽刺和语言的独创性与苏利文经久不衰的旋律感、足智多谋的音乐才能和拙劣的模仿感相得益彰,这一独特的合作关系赢得了长久的国际赞誉。
沙利文的父亲是爱尔兰音乐家,后来成为皇家军事学院的乐队指挥;他母亲是意大利后裔。他加入了皇家礼拜堂的唱诗班,后来在伦敦皇家音乐学院获得了门德尔松奖学金,师从w·斯特恩代尔·贝内特爵士和约翰·戈斯爵士。他继续在莱比锡音乐学院学习。
1861年,他成为伦敦圣迈克尔的风琴师,次年,他的《暴风雨》在水晶宫获得了巨大的成功。接着是他的凯尼尔沃思康塔塔(1864);在考文特花园创作的芭蕾舞剧《美丽的魔法师》(L’ile tee)(苏利文曾在那里当过一段时间的风琴手);交响乐和大提琴协奏曲;《悼念》和《歌剧序曲》;和许多歌曲。
苏利文的第一部喜剧歌剧是以弗朗西斯·考利·伯纳德爵士的《考克斯和盒子》(1867年)为背景的。同年,伯纳德还创作了一部轻歌剧《禁酒品》(Contrabandista),剧本也是伯纳德创作的。《赛斯比斯》(1871年)是苏利文与吉尔伯特合作的第一部作品,在欢乐剧院上演时收效甚微。1875年,正是理查德·多伊利·卡特,当时皇家剧院的经理,将两人再次撮合在一起;其结果是陪审团审判,这最初是作为奥芬巴赫轻歌剧的余音;它一炮而红,持续了一年多。

今日视频:1、吉尔伯特和苏利文的轻歌剧《彭赞斯的海盗》片段;2、梅根·韦斯顿演唱《彭赞斯的海盗》中的《可怜的魔杖》; 3、亚瑟·苏利文维多利亚和梅里英格兰-组曲

今日音频:吉尔伯特和苏利文的歌剧《日本天皇》

 
 
 
 
 
  Today in the history of music
On March 14, 1885, the Gilbert and Sullivan opera Mikado opened at savoy.The show continued for two years, despite an attempt by the Japanese ambassador to have the show suspended for racism and promoting sexual abuse.
I grabbed his pigtail,
On his knees,
Trembling and trembling,
Clucking and clucking,
I giggled and pulled out the dagger!
Oh!I'll never forget the crying
And his screams...
 

The Mikado; or, The Town of Titipu is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. S. Gilbert, their ninth of fourteen operatic collaborations. It opened on 14 March 1885, in London, where it ran at the Savoy Theatre for 672 performances, the second-longest run for any work of musical theatre and one of the longest runs of any theatre piece up to that time. By the end of 1885, it was estimated that, in Europe and America, at least 150 companies were producing the opera.


Alternative Titles: “The Mikado; or, The Town of Titipu”
 The Mikado, in full The Mikado; or, The Town of Titipu, operetta in two acts by W.S. Gilbert (libretto) and Sir Arthur Sullivan (music) that premiered at the Savoy Theatre in London on March 14, 1885. The work was a triumph from the beginning. Its initial production ran for 672 performances, and within a year some 150 other companies were performing the operetta in England and the United States. One of its best-known numbers is Ko-Ko’s song “I’ve Got a Little List,” for which directors through a century and beyond have made a point of changing phrases to build in contemporary cultural references to those who “never would be missed.”

As in much of the Gilbert and Sullivan canon, there is sharp commentary in The Mikado upon contemporary English society. For example, Gilbert makes the character Pooh-Bah a government official in charge of everything (including complaints about himself), as a prominent man in a small English town might actually be. Similarly, the pivot of the plot—a law that condemns a man to death for the crime of flirting—can be seen as a comment on the outdated laws lingering in England at the time.

The music too is cleverly wrought. In his entrance aria (“A Wand’ring Minstrel I”) Nanki-Poo, the romantic leading man, declares himself capable of offering a song in any mood, from folksy to martial to nautical, and Sullivan set each of the subsequent verses to music of suitable character. Later, in a trio for three other male characters (“I Am So Proud”), Sullivan gave each man his own melody. These are presented separately, then combined into an intricate counterpoint that recalls the mastery of Johann Sebastian Bach. The Mikado may be a light and comic tale, but Sullivan saw no reason why the music could not reflect a serious level of craft, which is part of what raised Gilbert and Sullivan operettas above the standard of their competition and why their work remains popular.
Arthur Sullivan, in full Sir Arthur Seymour Sullivan, (born May 13, 1842, London, England—died November 22, 1900, London), composer who, with W.S. Gilbert, established the distinctive English form of the operetta. Gilbert’s satire and verbal ingenuity were matched so well by Sullivan’s unfailing melodiousness, resourceful musicianship, and sense of parody that the works of this unique partnership won lasting international acclaim.
 
 Sullivan was the son of an Irish musician who became bandmaster at the Royal Military College; his mother was of Italian descent. He joined the choir of the Chapel Royal and later held the Mendelssohn Scholarship at the Royal Academy of Music, London, where he studied under Sir W. Sterndale Bennett and Sir John Goss. He continued his studies at the Leipzig Conservatory.
 
 In 1861 he became organist of St. Michael’s, London, and in the following year his music to The Tempest achieved great success at the Crystal Palace. Then followed his Kenilworth cantata (1864); a ballet, L’Île enchantée, produced at Covent Garden (where Sullivan was organist for a time); a symphony and a cello concerto; the In Memoriam and the Overtura di Ballo overtures; and numerous songs.
 
 Sullivan’s first comic opera was his setting of Sir Francis Cowley Burnand’s Cox and Box (1867). An operetta, the Contrabandista, also on a libretto by Burnand, was produced in the same year. Thespis (1871), the first work in which Sullivan collaborated with Gilbert, met with little success when produced at the Gaiety Theatre. It was Richard D’Oyly Carte, then manager of the Royalty Theatre, who brought the two men together again in 1875; the result was Trial by Jury, which was originally put on as an afterpiece to an Offenbach operetta; it won instant popularity and ran for more than a year.

 

 
 
 
   
  阿瑟·苏利文(Arthur Sullivan )歌剧《日本天皇》剧照      
 
     
       
  w·s·吉尔伯特(W.s. gilberti)      
 
威廉·施文克·吉尔伯特爵士是英国剧作家、剧作家、诗人和插画家,最著名的是他与作曲家阿瑟·苏利文的合作,创作了14部喜剧歌剧。其中最著名的有H.M.S. Pinafore、《彭赞斯的海盗》和音乐剧历史上最常演出的作品之一《米卡多》。一个多世纪以来,吉尔伯特、苏利文和他们的制作人理查德·多伊利·卡特(Richard D’oyly Carte)创办的多伊利·卡特歌剧公司(D’oyly Carte Opera company)在英国和海外常年演出,为这些作品的流行提供了支持。这些萨伏伊歌剧仍然经常在英语世界和其他地方演出。

吉尔伯特(1836年11月18日生于英国伦敦,1911年5月29日卒于英国米德尔塞克斯郡哈罗威尔德),英国剧作家、幽默作家,以与阿瑟·苏利文合作创作喜剧歌剧而闻名。吉尔伯特开始写押韵的对偶句、双关语和滑稽的时代;他早期的作品表现出一种奢侈作家常有的滑稽。但他抛弃了这种风格,发展出一种真正巧妙的风格来嘲弄当代的行为。他的许多最初的目标不再是时下流行的前拉斐尔派美学家的耐心;妇女教育(艾达公主);维多利亚时代关于康沃尔海盗的戏剧(彭赞斯的海盗);乔利杰克·塔的长期戏剧风尚(h·m·s·皮纳弗);浮夸的情节剧(鲁迪戈尔)但是吉尔伯特的滑稽表演是如此的好,它创造了自己的真理。作为一名剧作家,吉尔伯特之所以杰出,不仅因为他处理文字并将其塑造成音乐形态的天赋,还因为通过他的文字,他为作曲家提供了嘲弄音乐传统的机会。吉尔伯特早年的抱负是当一名律师,1861年的一笔遗产使他得以离开公职追求这一职业。他于1863年11月获得律师资格。然而,1861年,他开始为Fun杂志创作喜剧诗歌,他自己配了插图,并在Bab上签名。这些作品后来被收集为巴布民谣(1869年),接着是更多的巴布民谣(1873年);这两个集合,包含了许多后来的歌剧的胚芽,与萨伏伊德之歌(1898年)合为一卷。吉尔伯特的戏剧生涯始于一位剧作家托马斯·威廉·罗伯逊推荐他为能在两周内写出一首欢快的圣诞乐曲的人。吉尔伯特立即写信给杜尔卡马拉;或者,《小鸭子和大庸医》获得了商业上的成功,随之而来的还有其他的委托。

吉尔伯特为戏剧舞台写了几部流行的滑稽短剧:《甜心》(1874年)、《订婚》(1877年)、《罗森克兰茨与吉尔登斯特恩》(1891年)。他还为其他作曲家创作了剧本;他的最后一部歌剧《堕落的仙女》的音乐;或者,《邪恶的世界》(1909)是爱德华·格曼写的。他的最后一出戏《流氓》于1911年上演。1907年,吉尔伯特被封为爵士。他死于心脏病突发,起因是在他的乡间别墅里,他在抢救一名溺水的妇女时抢救了她。

     
W.s. gilbert
Sir William schwink gilbert was an English playwright, playwright, poet and illustrator, most notably with the composer Arthur Sullivan, who wrote 14 comic operas.Among the most famous are H.M.S. Pinafore, the pirates of penzance, and micado, one of the most frequently performed productions in musical history.For more than a century, the D 'oyly Carte Opera company, founded by gilbert and Sullivan and their producer, Richard D 'oyly Carte, has supported their popularity by performing year-round in Britain and abroad.These savoy operas are still often performed in the english-speaking world and elsewhere.

W. S. Gilbert
Librettist
W. S. Gilbert
Sir William Schwenck Gilbert was an English dramatist, librettist, poet and illustrator best known for his collaboration with composer Arthur Sullivan, which produced fourteen comic operas. The most famous of these include H.M.S. Pinafore, The Pirates of Penzance and one of the most frequently performed works in the history of musical theatre, The Mikado. The popularity of these works was supported for over a century by year-round performances of them, in Britain and abroad, by the repertory company that Gilbert, Sullivan and their producer Richard D'Oyly Carte founded, the D'Oyly Carte Opera Company. These Savoy operas are still frequently performed in the English-speaking world and beyond.

W.S. Gilbert, in full Sir William Schwenck Gilbert, (born November 18, 1836, London, England—died May 29, 1911, Harrow Weald, Middlesex, England), English playwright and humorist best known for his collaboration with Arthur Sullivan in comic operas.

Gilbert began to write in an age of rhymed couplets, puns, and travesty; his early work exhibits the facetiousness common to writers of extravaganza. But he turned away from this style and developed a genuinely artful style burlesquing contemporary behaviour. Many of his original targets are no longer topical—Pre-Raphaelite aesthetes in Patience; women’s education (Princess Ida); Victorian plays about Cornish pirates (The Pirates of Penzance); the long theatrical vogue of the “jolly jack tar” (H.M.S. Pinafore); bombastic melodrama (Ruddigore)—but Gilbert’s burlesque is so good that it creates its own truth. As a librettist, Gilbert is outstanding not only because of his gift for handling words and casting them in musical shapes but also because through his words he offered the composer opportunities for burlesquing musical conventions.

Gilbert’s early ambition was for a legal career, and a legacy in 1861 enabled him to leave the civil service to pursue it. He was called to the bar in November 1863. In 1861, however, he had begun to contribute comic verse to Fun, illustrated by himself and signed “Bab.” These pieces were later collected as The Bab Ballads (1869), followed by More Bab Ballads (1873); the two collections, containing the germ of many of the later operas, were united in a volume with Songs of a Savoyard (1898).

Gilbert’s dramatic career began when a playwright, Thomas William Robertson, recommended him as someone who could produce a bright Christmas piece in only two weeks. Gilbert promptly wrote Dulcamara; or, The Little Duck and the Great Quack, a commercial success, and other commissions followed.

Gilbert wrote several popular burlesques for the dramatic stage: Sweethearts (1874), Engaged (1877), and Rosencrantz and Guildenstern (1891). He also created librettos for other composers; the music for his last opera, Fallen Fairies; or, The Wicked World (1909), was by Edward German. His last play, The Hooligan, was performed in 1911. Gilbert, who was knighted in 1907, died of a heart attack brought on by rescuing a woman from drowning in a lake on his country estate.

     
 
       
  1870年,吉尔伯特遇到了苏利文,并于次年开始合作。泰斯庇斯;《诸神老去》(1871年第一部)和《陪审团审判》(1875年)是一部杰出的独幕剧,之后是理查德·多伊利·卡特的四部作品:《魔法师》(1877年)、《皮纳弗》(1878年)、《彭赞斯的海盗》(1879年,纽约);1880年,伦敦),还有耐心;或者,《班索恩的新娘》(1881)。1881年,卡特建造了萨沃伊剧院,用于制作合作伙伴的作品,他们的作品被统称为“萨沃伊歌剧”;他们包括Iolanthe;或者,贵族与仙女(1882),艾达公主;或者,《金宝城堡》(1884年),《米卡多》(Mikado);或者,Titipu镇(1885年),Ruddigore;还有《女巫的诅咒》(1887年)、《侍卫长》(1888年)和《船夫》(1889年)。然而,到了这个时候,这对搭档之间的关系变得紧张起来,部分原因是 苏利文的目标比喜剧歌剧更高,也因为吉尔伯特在财务问题上的嫉妒和小气。两人关系破裂,直到1893年再度合作,产生了Utopia Limited和后来的the Grand Duke(1896)。      
  In 1870 Gilbert met Sullivan, and they started working together the following year. Thespis; or, The Gods Grown Old (first performance 1871) and Trial by Jury (1875), a brilliant one-act piece, were followed by four productions staged by Richard D’Oyly Carte: The Sorcerer (1877), H.M.S. Pinafore (1878), The Pirates of Penzance (1879, New York; 1880, London), and Patience; or, Bunthorne’s Bride (1881). Carte built the Savoy Theatre in 1881 for productions of the partners’ work, and their works collectively became known as the “Savoy Operas”; they included Iolanthe; or, The Peer and the Peri (1882), Princess Ida; or, Castle Adamant (1884), The Mikado; or, The Town of Titipu (1885), Ruddigore; or, The Witch’s Curse (1887), The Yeomen of the Guard (1888), and The Gondoliers (1889). By this time, however, relations between the partners had become strained, partly because Sullivan aimed higher than comic opera and because Gilbert was plagued by a jealous and petty nature when it came to financial matters. A rupture occurred, and the two were estranged until 1893, when they again collaborated, producing Utopia Limited and later The Grand Duke (1896).      
   
  阿瑟·苏利文(Arthur Sullivan )歌剧《日本天皇》剧照      
       
  阿瑟·苏利文(Arthur Sullivan )歌剧《日本天皇》剧照      
 
 
     
       
  1885年,吉尔伯特和苏利文创作的《日本天皇》(The Mikado, c. 1885)的海报上出现了“南基浦”这个人物。戏剧海报收藏/国会图书馆,华盛顿特区。var 1766)
 
     
  The character of Nanki-Poo is pictured on a poster advertising Gilbert and Sullivan's The Mikado, c. 1885.
Theatrical Poster Collection/Library of Congress, Washington, D.C. (Digital file no. var 1766)
     
 
   
  苏格兰歌手杜沃德·莱利(DurwardLely)在1887年W.S.的米卡多演出中担任南基-蒲。 吉尔伯特和阿瑟·苏利文爵士。 印刷收藏家/文物图片      
  Scottish singer Durward Lely as Nanki-Poo in an 1887 performance of The Mikado by W.S. Gilbert and Sir Arthur Sullivan.
The Print Collector/Heritage-Images
     
         
 

阿瑟·苏利文(Arthur Sullivan )歌剧《日本天皇》剧照

     
         
  梅根·韦斯顿演唱《彭赞斯的海盗》中的《可怜的魔杖》      
  Megan Weston sings Poor Wand'ring One from The Pirates of Penzance      
  歌手: Megan Weston
曲名: Poor Wand'ring One
流派: 轻歌剧 (喜剧)
简介补充: 作曲者:Arthur Sullivan 1842-1900
作词者:W.S. Gilbert 1836-1911
原上传者:AthenaWebDesign
原介绍:Megan Weston sings Mabel's aria Poor Wand'ring One from Gilbert & Sullivan's The Pirates of Penzance with Benjamin Robinson as Frederic, April 2010.
     
         
  亚瑟·苏利文维多利亚和梅里英格兰-组曲      
 

Queen Victoria's Playlist

     
  启蒙时代的管弦乐队
亚当•菲舍尔导体
斯蒂芬的脚腕,钢琴
亚历桑德罗·费舍尔,男高音
程序
亚瑟·苏利文/维多利亚和梅里英格兰-组曲
门德尔松:G小调第一钢琴协奏曲
萨克森-科堡和哥达的阿尔伯特王子
格鲁斯aus der Ferne;Standchen;Gruss一个den Bruder;来自威廉迈斯特;Lebewohl (Wanderlied)
门德尔松/ A小调第三交响曲,《苏格兰》
     
  Orchestra of the Age of Enlightenment
Ádám Fischer, conductor
Stephen Hough, piano
Alessandro Fisher, tenor
Program
Arthur Sullivan / Victoria and Merrie England – suite
Felix Mendelssohn / Piano Concerto No 1 in G minor
Prince Albert of Saxe-Coburg and Gotha Songs
Gruss aus der Ferne; Ständchen; Gruss an den Bruder; Aus Wilhelm Meister; Lebewohl (Wanderlied)
Felix Mendelssohn / Symphony No. 3 in A minor, 'Scottish'
     
 
 
 
     
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