摘要
歌劇的發展初期，僅依人聲演唱音域，做男女性之高低音色粗略區分。男中音之不高不低獨特尷尬音域，與頗富人性化之音色特質，卻曾普遍被作曲家忽視、而淪為早期歌劇中之次要角色。直到貝里尼之歌劇「清教徒」中，首度出現具雄偉陽剛之氣質、音色濃郁之戲劇男中音要角，爾後才逐漸發展定形，成為今日歌劇男中音、豐富多樣化之音色類型、與刻骨銘心的強烈戲劇個性特徵。 本文為筆者在2008年1月4日，於國立花蓮教育大學音樂廳、所舉辦之「夜樂星吟歌劇選粹音樂會」演唱詮釋專題報告。運用文獻統整、音色分析、角色研究，與樂曲詮釋等方法。針對全球主要歌劇院之代表性循環歌劇作品，做歌劇男中音之聲樂音色、角色個性、戲劇特質，以及獨唱音樂會策展之綜合研究。
並列摘要
In the early days, the characters of operas were roughly divided by vocal ranges, such as tenor, bass, soprano and alto. Although common, the baritone was somewhat ignored by the majority of important composers and, in general, surfaced only in supporting roles. It was not until Bellini's opera I Puritani that the baritone, for the first time, had the chance to fully show his capability and his unique, abundant music properties. This article is based on the author's recital summary report: Under the Star Light: Selections of Famous Opera Melodies at the National Hualien Education University on January 4, 2008. Through literature research, music analysis, character studies, and comparisons with famous opera theatres and performers, the unique performing art world of the baritone will be reviewed and summarized.