![歌剧史 - [美]卡罗琳·阿巴特](https://static.book345.com/covers/s/9787514618860.jpg)
书籍介绍
这不是一本让人读得轻松的歌剧入门书——很多读者坦言它"真的难读"，48小时磨出来的感觉。但正因如此，它的价值反而清晰：它不满足于罗列罗西尼、瓦格纳、威尔第、普契尼的作品清单，而是追问歌剧为何能跨越四百年仍让观众着迷。书中揭示了那些此刻仍在影响我们看歌剧的细节：瓦格纳如何第一次要求观众席陷入黑暗、把乐池沉入台下，让人彻底"沉进"舞台的幻象；宣叙调推进情节、咏叹调静止沉思的分工；甚至蒙泰韦尔第的《奥菲欧》曾三百年无人问津的冷遇。它把歌剧放回社会、政治、文化的现场，考察它如何从佛罗伦萨走向威尼斯、法国、英格兰。适合那些已听懂流行、摇滚，却想真正"认个门"、愿意为理解付出耐心的读者；若你只想要轻松的知识快餐，它或许会让你失望。
作者简介
卡罗琳·阿巴特（Carolyn Abbate）
美国音乐学家，哈佛大学“凯瑟琳和保罗·布滕维瑟”校级教授，被《哈佛公报》（Harvard Gazette）誉为“当今世界上成就空前、受到无数赞誉的音乐历史学家之一”，研究领域包括歌剧、音乐哲学、电影及声音研究等，著有《未唱出的声音》（Unsung Voices）、《追寻歌剧》（In Search of Opera）等，其著作被翻译成多种文字。她还作为剧院的编剧和导演，活跃于学术界之外。
罗杰·帕克（Roger Parker）
英国音乐学家，伦敦国王学院“瑟斯顿·达尔特”音乐学教授、英国国家学术院院士、瑞典皇家音乐学院成员，曾获“朱塞佩·威尔第奖”“古根海姆学者奖”及英国皇家音乐协会“登特奖章”等；研究领域主要集中在歌剧上，特别是19世纪意大利歌剧。他是盖塔诺·多尼采蒂歌剧获得普遍认可的修订本的主编，参与了多尼采蒂多部歌剧演出的编排；著有《莱奥诺拉的最后一幕》（Leonora's Last Act）、《再造歌曲》（Remaking the Song）等；主编了《牛津图解歌剧史》（The Oxford Illustrated History of Opera）。他还是《剑桥歌剧杂志》（Cambridge Opera Journal）的联合创刊主编。
AI导读
核心看点
- 梳理四百年歌剧发展脉络
- 结合社会文化背景深度解析
- 涵盖罗西尼瓦格纳等大师作品
读者共识
- 原书内容详实但翻译质量堪忧
- 适合有一定基础的读者深入研读
- 信息量大但阅读门槛较高较累
精彩摘录
- "Opera communicates in strange, unpredictable ways; it appeals to something beyond the narrow cognitive dimension."
- "These are the most elementary differences between recitative'and arla as we see them from the libretto; but embedded within such dif. terence are important distinctions having to do with content. The most basic is that recitative is the place for narative, informal dialogue, stage action: moments in"
- "Wagner was the first theatre producer to call for complete darkness in the auditor- lum; and in his writings on pertormance he stressed again and again that spectators should be drawn overwhelmingly into the fictional world on stage, losing their anchor in reality. The introduction of electric light"
- "Another disquieting surprise Is that, while we now celebrate Monteverdis Orfeo as the earliest great opera, it remained almost completely unknown for the first 300 or so years of its existence. True, it was published in I6o9, and again in I6I5 but after a few revivals it passed into obscurity and wa"
- "Monteverdi spanned the two worlds: in venerable old age he produced several operas for Venice, only two of which now survive The Return of Ulysses 1640, the Coronation of Poppea,1643)A wave of opera composers working for Venetian theatres were formed by the new style. Francesco Cavalli(1602-76)and A"
- "The third country to open its doors to opera was England, but here (as in France)a strong tradition of spoken theatre ensured that entirely sung drama was slow to gain acceptance: the English retained a notably ambiguous position towards opera, in particular its more flamboyant manifestations. Howev"
- "By the end of its first century, opera had established roots across and then outside Italy: in France, England, various parts of the German spea king lands and central Europe, and in Spain. In most places it assumed an indigenous form to suit the new terrain. Although its devel- opment in the early "
- "The existence of this new professional class had at least one important social ramification: for perhaps the hrst time in history, working women were paid as much as or sometimes more than men for doing an equivalent task. It was possible for women to become independent and wealthy by means of their"
目录
用户评论
最近一年才有冲动了解歌剧，看了阿依达很喜欢，瓦格纳什么的不知道书里有没，入了～
是怎么做到这么厚的书随便翻一页都是废话的。
不单纯是一本理论书，专业讲解和歌剧剧情穿插，不知不觉就沉浸到剧情里了
目前为止看过的完整歌剧时候《歌剧魅影》和《汉密尔顿》，这样看歌剧史就很累，总之先认个门吧，等以后了解更多了再来看一遍，但是真的难看啊，不是评价的难看，是真的读的好辛苦啊，拉了48小时磨的感觉
文笔优美，可读性很强，但某些剧目名称显然没有使用当下通用的译名，比如《拉美莫尔的露琪亚》被译作《拉美莫尔的露契娅》、《法斯塔夫》被译作《法尔斯塔夫》、《命运之力》被译作《命运的力量》等。
P416-417，人名前后不一致，Alberich写成阿尔贝里希和阿尔布里希。
P422，一处年代写错，1972应为1872。
或者对歌剧入门者来说，写的有点乱…..翻译上还有改进的空间。
引言部分就值回一半票价，思路太清楚了。
信息量很大。
原版写得很详细，按时间顺序很清楚而且配有很好的图片，但翻译不太行
综述所用，历时研究进行历史定位
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