十九世紀初,由於德國音樂家卡爾‧馬利亞‧封‧韋伯(Carl Maria von Weber, 1786~1826)歌劇作品《魔彈射手》(Der Freischütz)的誕生,正式將德國「說唱劇」(Singspiel)定位,使這個劇種在歌劇作品中有一個專屬名詞,在義大利歌劇與法國歌劇普遍盛行之下,在歐洲還能佔有一席之地。 本研究探討《魔彈射手》劇中,阿嘉特與安倩兩角四首詠唱調演唱的詮釋。兩位都是年輕女孩,但是性格卻相異,相對聲音的表現亦不同。阿嘉特是溫柔婉約,以聲音詮釋為主,音色要溫柔、成穩內斂,適合抒情女高音來詮釋;安倩是俏皮活潑,音色要明亮透徹,適合介於花腔與輕抒情女高音詮釋。此外,為了突顯安倩活潑的性格,歌手需加上適度的俏皮演技;同樣地,飾演阿嘉特的歌手時,也須有端莊賢淑的演技。兩個角色四首詠唱調的演唱技巧也有不同之處,演唱阿嘉特須收斂聲音,演唱安倩以明亮的嗓音為主。
In early 19th century, due to Der Freischütz, an opera work, composed by German musician, Carl Maria von Weber (1786~1826)was performed, Singspiel officially became the terminologies of all German operas. When even Italian operas and French operas were widespread popular with audience, Singspiel took a place in Europe. The study mainly focuses on the discussion of the characters in Der Freischütz, Agathe and Ännchen whose performance in interpretation of representation. In Der Freischütz, both of them are young girls, they, however, possess different dispositions, and their presentations of singing are also dissimilar. Agathe is described being gentle and graceful. The execution of timbre about her characters must be tender with restrain. It is suitable for a lyric soprano to interpret; nevertheless, Ännchen is defined being cute and outgoing, the timbre to her figures is inquired clean and resonant, thus, it is properly for a coloratura or a light lyric soprano. In addition, in order to standing out the features of Ännchen, the performer needs to act in singing. Equally, the presenter of Agathe also acts in singing matching the character. Neither are the interpretive skills of two characters discovered the similarities. When presenting the features of Agathe, the way of interpretation about her must be disapped. Ännchen primarily must be interpreted with brightly singing.