莫札特歌劇《冒牌女園丁》中桑德琳娜五首詠嘆調之分析與研究

Abstract

古典時期作曲家莫札特自1781年的莊歌劇《伊多梅尼歐》起邁向創作成熟期，但早在其1775年的喜歌劇《冒牌女園丁》（或譯《偽裝女園丁》）中，就已經展現了他自歌劇發源地義大利學習回來後，以劇作家郭東尼改革之詼諧劇劇本寫作的成果，此作品中的人物形象及音樂元素也出現在後來莫札特維也納成熟時期的歌劇作品中。 筆者挑選出《冒牌女園丁》中女高音桑德琳娜的五首詠嘆調作為研究與詮釋的主題。本論文共分為六章，第一章為緒論；第二章從十七、十八世紀的歌劇發展討論劇種如何影響作曲家在歌劇上的寫作；第三章則聚焦於莫札特生平與歌劇作品；第四章從文本與音樂上分析桑德琳娜的角色塑造；第五章為樂曲分析與詮釋；第六章為結語，期望藉由本論文對此部作品的研究，可以更認識莫札特青年時期的作品特色，了解一位偉大作曲家成長至成熟的軌跡。

As a notable composer of the classical period, Wolfgang Amadeus Mozart is a master of all of musical genres. The closely tied libretto and music writing is especially prominent in the opera of his mature period. The experience of traveling around Europe in his youth nurtured his musical styles in the opera La Finta Giardiniera, composed in 1774 for Münich carnival. This opera is the fruit of the previous Italy journey, showed the operatic style of the time and what he had learned in the birthplace of opera. Despite the uneven quality of his early works, there is still great value that can be found in his manuscripts. In this document, I will discuss five Sandrina's arias from La Finta Giardiniera. The discussion will cover the background of the history of the opera in the 17th and 18th century, and the focus will be on how young Mozart turned his love to the theater into operatic works with the help from his father Leopold Mozart. The following two chapters will analyze the libretto and the music of Sandrina’s character. The aims of this study are to enhance the understanding of Mozart's early musical style , and to learn more about the path from a prodigy to a masterful composer of all time.