馬斯奈歌劇《瑪儂》二首女高音詠唱調之分析與詮釋

十九世紀初期，法國大革命之後，拿破崙三世統治下的法國，相對於歐陸其他國家，提供比較穩定的環境，於是法國歌劇因而興盛起來，而巴黎可說是歐洲歌劇活動的首都。法國歌劇在十九世紀初期同時發展出兩種不同類型的歌劇，一種是大歌劇，另一種則是喜歌劇，直至十九世紀後半，則發展出抒情歌劇，《瑪儂》是抒情歌劇的代表。《瑪儂》的劇本以原著小說家普萊沃修士於1731年完成《一個貴族的回憶錄》之第七冊《騎士葛利歐和瑪儂•蕾斯考的真實故事》為腳本，由梅雅克和吉爾改編成劇本。主角瑪儂性格多變，極具戲劇性，馬斯奈譜寫的音樂甜美且細膩。歌劇中的兩首瑪儂詠唱調分析與詮釋，筆者主要以小節數、調性、拍號、速度、法文歌詞、中文翻譯、音樂分析及樂曲詮釋做成研究。第一首詠唱調〈再見了，我們的小桌子〉(Adieu, notre petite table)，主要的動機是運用許多同音反覆的寫作，旋律中帶有朗誦調氛圍。第二首詠唱調〈我去到任何地方〉(Je marche sur tous les chemins)分為三部分，第一部分是朗誦調風格，第二部分展現瑪儂對自己的魅力露出驕傲的自信，第三部分為兩拍的嘉禾舞曲，表達出優雅迷人的風格。這兩首詠唱調在戲劇表現上張力十足，音樂甜美動人，且成功地烘托出瑪儂鮮明的個性。

關鍵字

馬斯奈,瑪儂,普萊沃修士,法國歌劇,抒情歌劇

並列摘要

After the French Revolution in the early nineteenth century, France which under Napoleon III's reign provided a more stable environment compared to other European countries. This made the French opera thus flourished, and Paris was regarded as the capital of the opera activities in Europe. In the early nineteenth century, the French opera developed two different types at the same time: one is grand opera and the other is opera comique. Lyric opera was not developed until the late nineteenth century, and ‘Manon’ was considered as a representative work of lyric opera. The script of Manon was based on an original novel ‘Histoire du Chevalier des Grieux et de Manon Lescaut’, the seventh volume of ‘Mémoires et aventures d’un homme de qualité qui s’est retiré du monde’, which was completed in 1731 by Prévost and then was adapted for a libretto by Meilhac and Gille. The heroine Manon has a fickle and dramatic character, and the music which Massenet composed is full of sweetness and delicacy. In this thesis, I explore two arias from Manon through bar number, tonality, time signature, tempo, French lyric, Chinese translation, music analysis and interpretation. The first aria ‘Adieu, notre petite table’ is written by many repeated notes as a main motive, and the melody blended with recitative atmosphere. The second aria ‘Je marche sur tous les chemins’ is divided into three parts: the first part is recitative style, the second part presents how confident Manon is proud of his charm, and the third part is Gavotte in two beats that expresses an elegant style. These two arias exhibited dramatic tension and the music is so sweet that it brought out Manon’s distinct personality.