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1791年9月30日《魔笛》首演海报

莫扎特创作的歌剧从其幼年创作的模仿性的小型歌剧到其羽翼丰满之作，共计22部，风格多样。其中三部在创作中途被放弃，直至莫扎特死后多年才上演。其风格成熟后所创作的歌剧都是世界各地歌剧院连演不衰的经典之作。[1]

莫扎特自幼就极为善于从新接触的曲风中采撷对于自己创作有所助益的部分[2]。在1778年致其父的信中，他写道：“如您所知，我从任意一种风格的作品中都能多多少少收获些东西。”[3]他在学习、完善和转化方面的天赋令他总能实现新的突破[2]。他早期的歌剧一直依循着正歌剧、喜歌剧以及歌唱剧的传统。而在风格成熟后，他运用他丰厚的创造力充实了上述这些体裁。[1] 在《唐·乔望尼》中，他实现了正歌剧和喜歌剧的融合：安娜女士这个角色体现了正歌剧的特色，莱波雷洛（Leporello ）和泽琳娜（Zerlina）体现了喜歌剧的特色，而埃尔维拉女士则同时体现了二者的特点[1]。

Ideas and characterisations introduced in the early works were subsequently developed and refined. For example, Mozart's later operas feature a series of memorable, strongly drawn female characters, in particular the so-called "Viennese soubrettes" who, in opera writer Charles Osborne's phrase, "contrive to combine not true instinct".[4] Music writer and analyst Gottfried Kraus has remarked that all these women were present, as prototypes, in the earlier operas; Bastienne (1768), and Sandrina (La finta giardiniera, 1774) are precedents for the later Constanze and Pamina, while Sandrina's foil Serpetta is the forerunner of Blonde, Susanna, Zerlina and Despina.[5]

Mozart's texts came from a variety of sources, and the early operas were often adaptations of existing works.[6] The first librettist chosen by Mozart himself appears to have been Giambattista Varesco, for Idomeneo in 1781.[7] Five years later, he began his most enduring collaboration, with Lorenzo Da Ponte, his "true phoenix".[8] The once widely held theory that Da Ponte was the librettist for the discarded Lo sposo deluso of 1783 has now been generally rejected.[9] Mozart felt that, as the composer, he should have considerable input into the content of the libretto, so that it would best serve the music. Musicologist Charles Rosen writes, "it is possible that Da Ponte understood the dramatic necessities of Mozart's style without prompting; but before his association with da Ponte, Mozart had already bullied several librettists into giving him the dramatically shaped ensembles he loved."[10][11]

列表的编排

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1780年左右的莫扎特

作品纳入基准

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所有被公认为莫扎特创作的音乐戏剧作品都被列于表中。这里“音乐戏剧作品”指在舞台上由歌手分角色依据戏剧编排演出的剧作。而部分文献中将这些音乐戏剧作品进行更为细致的分类。这导致莫扎特早期创作的宗教题材歌唱剧《第一戒的义务》并不被认为是歌剧而被认为是清唱剧[註 1]。

顺序

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这个列表是以创作时间顺序列出。而其中《善意的谎言》（La finta semplice）和《牧羊人和牧羊女》（Bastien und Bastienne）创作时间的先后不能确定[註 2]。《埃及王泰馬莫斯》（Thamos, König in Ägypten）在两段时间完成。较早的时期始于1773年，而列表中以其完成的年份1779年将其列出。《魔笛》（Die Zauberflöte ）和《提图斯的仁慈》（La clemenza di Tito）是在同一时期创作的。而莫扎特先动笔《魔笛》，但因皇帝委托的《提图斯的仁慈》被搁置一段时间[12]。这导致后者先被完成并进行了首演。在列表中它被列在《魔笛》之前，尽管它的克歇尔目录编号较为靠后。

歌剧列表

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克歇尔编号[註 3] 创作年份 标题 唱词语言 类型[註 4] 词作者[註 5] 人声部分安排[註 6] 首演情况[註 7]
K.35 1767 Die Schuldigkeit des ersten Gebots [13]
中译：第一戒的义务
总谱 		德语 宗教题材歌唱剧 Ignaz von Weiser[14] 3位女高音，2位男高音 Archbishop's Palace, Salzburg, 12 March 1767
K.38 1767 Apollo et Hyacinthus
中译：阿波羅與希亞欽杜斯
总谱 		拉丁语 拉丁文本配乐[15] Rufinus Widl, after Ovid's Metamorphoses 2位女高音，2位女低音，1位男高音，2位男低音，合唱[16] Great Hall, University of Salzburg, 13 May 1767
K.50[17] 1768 Bastien und Bastienne
中译：牧羊人與牧羊女
总谱 		德语 单幕歌唱剧 F. W. Weiskern and J. H. Muller[18] 1位女高音，1位男高音，1位男低音 First confirmed performance: Architektenhaus, Berlin, 2 October 1890. Unconfirmed performance: Vienna, October 1768, in the garden of Dr Franz Mesmer.[19]
K.51[20] 1768 La finta semplice
中译：善意的謊言
总谱 		意大利语 三幕喜歌剧 Marco Coltellini, after Carlo Goldoni 2位女高音, 1位女低音（或次女高音），2位男高音，2位男低音[21] Archbishop's Palace, Salzburg, 1 May 1769
K.87[22] 1770 Mitridate, re di Ponto
中译：本都王米特拉达梯
总谱 		意大利语 三幕正歌剧 Vittorio Amedeo Cigna-Santi, after an 意大利语 translation of Jean Racine's Mithridate by Giuseppe Parini 4位女高音，1位女低音，2位男高音[23] Teatro Regio Ducal, Milan, 26 December 1770
K.111 1771 Ascanio in Alba
中译：阿斯卡尼斯在艾爾巴
总谱 		意大利语 两幕节庆剧（英语：Festa teatrale）[24] Giuseppe Parini 4位女高音，1位男高音，合唱[25] Teatro Regio Ducal, Milan, 17 October 1771
K.126 1772 Il sogno di Scipione
中译：希皮奧內的夢
总谱 		意大利语 Azione teatrale, or Serenata drammatica, in one act Metastasio, after Cicero 3位女高音，3位男高音，合唱 Archbishop's residence, Salzburg, probably 1 May 1772[26]
K.135 1772 Lucio Silla
中译：卢基奧·苏拉
总谱 		意大利语 Dramma per musica in three acts Giovanni de Gamerra, revised by Metastasio 4位女高音，2位男高音，合唱[27] Teatro Regio Ducal, Milan, 26 December 1772
K.196 1774 La finta giardiniera

中译：假女園丁
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意大利语 三幕诙谐剧[28] Probably Giuseppe Petrosellini（義大利語：Giuseppe Petrosellini）[29] 4位女高音，2位男高音，1位男低音，合唱[30] Redoutensaal, Munich, 13 January 1775
K.208 1775 Il re pastore
中译：牧羊王
总谱 		意大利语 Serenata in two acts Metastasio, amended by Giambattista Varesco[31] 3位女高音，2位男高音[32] Archbishop's Palace, Salzburg, 23 April 1775
K.345[33] 1773 and 1779 Thamos, König in Ägypten
中译：埃及王泰馬莫斯
总谱 		德语 合唱es and entr'actes for a heroic drama Tobias Philipp von Gebler 合唱和4位独唱：女高音、女低音、男高音、男低音各1位 Kärntnertor Theatre, Vienna 4 April 1774 (two 合唱es); first complete performance Salzburg, 1779–80
K.344[34] 1779 Zaide
中译：扎伊德
总谱 		德语 歌唱剧（未完成） Johann Andreas Schachtner, after Voltaire 1位女高音，2位男高音，2位男低音，4位男高音的小型合唱，1位念白角色 Frankfurt (location unrecorded), 27 January 1866. Not performed during Mozart's lifetime.
K.366 1780–81 Idomeneo
中译：依多美尼歐
总谱 		意大利语 Dramma per musica in three acts Giambattista Varesco, after Antoine Danchet 3位女高音，1位次女高音，4位男高音，1位男中音，2位男低音，合唱 [35] Court Theatre (now Cuvilliés Theatre), Munich, 29 January 1781
K.384 1782 Die Entführung aus dem Serail
中译：后宫诱逃
总谱 		德语 三幕歌唱剧 Gottlieb Stephanie, based on text by Christoph Friedrich Bretzner 2位女高音，2位男高音，1位男低音，2位念白角色[36] Burgtheater, Vienna, 16 July 1782
K.422 1784 L'oca del Cairo
中译：開羅的鵝
总谱 		意大利语 Dramma per musica (incomplete) in three acts Giambattista Varesco （依据演出情况而定）4位女高音，2位男高音，2位男低音，合唱 Theatre du Fantaisies-Parisiennes, Paris, 6 June 1867. Not performed in Mozart's lifetime.
K.430[37] 1784 Lo sposo deluso
中译：受騙的新郎
总谱 		意大利语 两幕喜歌剧（未完成） Unknown. The libretto was once attributed to Lorenzo Da Ponte [38] but possibly may have been by Giuseppe Petrosellini.[9][39] （依据演出情况而定）3位女高音，2位男高音，2位男低音 Theatre du Fantaisies-Parisiennes, Paris, 6 June 1867.[40] Not performed in Mozart's lifetime.
K.486 1786 Der Schauspieldirektor
中译：劇院總經理
总谱 		德语 Comedy with music in one act Gottlieb Stephanie 2位女高音，1位男高音，1位男低音，6位念白角色 Schönbrunn Palace, Vienna, 7 February 1786
K.492 1786 Le nozze di Figaro
中译：费加罗的婚礼
总谱 		意大利语 四幕喜歌剧 Lorenzo da Ponte, after Pierre Beaumarchais 3位女高音，2位次女高音，2位男高音，1位男中音，3位男低音，合唱[41] Burgtheater, Vienna, 1 May 1786
K.527 1787 Don Giovanni[42]
中译：唐·乔望尼
总谱 		意大利语 两幕诙谐剧 Lorenzo Da Ponte after Tirso de Molina 3位女高音，1位男高音，1位男中音，3位男低音，合唱 Estates Theatre, Prague (also known as Nationaltheater and Tyl theatre), 29 October 1787[43]
K.588 1790 Così fan tutte
中译：女人皆如此 [44]
总谱 		意大利语 两幕诙谐剧 Lorenzo Da Ponte 3位女高音，1位男高音，1位男中音，1位男低音，合唱 Burgtheater, Vienna, 26 January 1790
K.592a 1790 Der Stein der Weisen
中译：魔石
[註 8] 		德语 两幕歌唱剧 Emanuel Schikaneder 3位女高音，2位男高音，2位男中音，1位男低音，1位念白角色 Theater auf der Wieden, Vienna, 11 September 1790
K.621 1791 La clemenza di Tito
中译：提图斯的仁慈
总谱 		意大利语 两幕正歌剧 Metastasio, revised by Caterino Mazzolà 2位女高音，2位次女高音，1位男高音，1位男低音，合唱[45] Estates Theatre, Prague, 6 September 1791
K.620 1791 Die Zauberflöte
中译：魔笛
总谱 		德语 两幕歌唱剧 Emanuel Schikaneder 6位女高音，2位次女高音，1位女低音，4位男高音，1位男中音，4位男低音，合唱 Theater auf der Wieden, Vienna, 30 September 1791

注释

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  1. ^ Kenyon begins his guide to the operas with Apollo et Hyacinthus (p. 287); Cairns more or less dismisses Die Schuldigkeit (p. 24), seemingly following the view of Edward J. Dent, quoted by Osborne, p. 27. Grove, also, does not list Die Schuldigkeit as an opera.然而，奥斯本作出 However, as Osborne makes clear, the libretto contains stage directions which suggest that the work was acted, not merely sung, and it is formally described as a "geistliches Singspiel" (sacred play with music), not as an oratorio.详见Osborne, p. 26
  2. ^ 两部剧都创作于1768年。《善意的谎言》的首演延至1779年的5月才进行，而《牧羊人和牧羊女》可能在1768的10月即已演出过。不过不排除《善意的谎言》先被创作出来的可能性。详见Osborne, pp. 37–38,45
  3. ^ 克歇尔编号指由路德维希·里特尔·冯·克歇尔所编纂的按时间顺序排列的莫扎特作品目录克歇尔目录中的编号。这部目录1862年发行初版，而后几经修订，最近的一次是在1964年。
  4. ^ 除非特别指明，有关信息来自于《新版莫扎特全集（英语：Neue Mozart-Ausgabe）》（Neue Mozart-Ausgabe)。
  5. ^ 除非特别指明，有关信息来自于奥斯本（Osborne）所编的《莫扎特歌剧全集》（The Complete Operas of Mozart)。有关这本书的信息详见参考资料的内文引用来源
  6. ^ 有关信息来自于奥斯本（Osborne）所编的《莫扎特歌剧全集》（The Complete Operas of Mozart)。
  7. ^ 除非特别指明，有关信息来自于奥斯本（Osborne）所编的《莫扎特歌剧全集》（The Complete Operas of Mozart)。
  8. ^ Pasticcio, co-composed with Johann Baptist Henneberg, Franz Xaver Gerl, Benedikt Schack and Emmanuel Schikaneder

参考资料

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内文注引

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  1. ^ 1.0 1.1 1.2 Kenyon, pp. 283–85
  2. ^ 2.0 2.1 Cairns, p. 11
  3. ^ Cairns, p. 17
  4. ^ Osborne, pp. 191–92
  5. ^ Kenyon, p. 302
  6. ^ For example, Metastasio's text for Il re pastore had been written in 1751 and had been set to music before. Kenyon, p. 303
  7. ^ Kenyon, p. 308
  8. ^ From a letter to his father, circa 1774, quoted in Holden, p. xv
  9. ^ 9.0 9.1 According to some recent scholarship, the unknown Italian poet responsible for the text is more likely to have been Giuseppe Petrosellini, who initially prepared it for Domenico Cimarosa’s opera Le donne rivali, 1780. Dell'Antonio, pp. 404–405 and 415
  10. ^ Rosen 1997, p. 155
  11. ^ For two instances in which Mozart coaxed his librettists into reshaping their work, see Die Entführung aus dem Serail (which quotes Mozart's correspondence on this point) and Giambattista Varesco.
  12. ^ Osborne, p. 300
  13. ^ 莫扎特只完成了这部剧的第一部分，第二部分由米歇尔·海顿创作，第三部分则由Part II is by Michael Haydn, Part III by Anton Cajetan Adlgasser. Osborne, p. 16
  14. ^ Weiser is the most likely of several possible authors of the text. See Osborne, pp. 24–25
  15. ^ Kenyon's description, p. 288, is "Music for a Latin drama"
  16. ^ Premiered with an all-male cast, the 女高音 and 女低音 parts being sung by boy choristers. Osborne, p. 32
  17. ^ 1964 revised to K. 46b. Köchel's Catalog of Mozart's Works. ClassicalNet. 2008 [16 July 2008]. 
  18. ^ The text was derived from a French parody, Les amours de Bastien et Bastienne, a work by Jean-Jacques Rousseau: Le Devin du Village, 1752. Kenyon, p. 291
  19. ^ Dr Franz Anton Mesmer was the founder of the form of hypnotherapy known as "mesmerism". Batta, p. 343
  20. ^ 1964 revised to K. 46a. Köchel's Catalog of Mozart's Works. ClassicalNet. 2008 [16 July 2008]. 
  21. ^ The contr女低音 or mezzo role was created by Maria Anna Braunhofer, who had sung a 女高音 role in the first performance of Die Schuldigkeit. Osborne, pp. 13 & 35
  22. ^ 1964 revised to K. 74a. Köchel's Catalog of Mozart's Works. ClassicalNet. 2008 [16 July 2008]. 
  23. ^ The 女高音 roles of Sifare and Arbate, and the 女低音 role of Farnace, were written for castrati. Osborne, p. 59
  24. ^ In 意大利语 this translates to festa teatrale (Kenyon, p. 294). Osborne, p. 63, calls it a "pastoral opera".
  25. ^ The 女高音 roles of Ascanio and Fauno were written for castrati. Osborne, p. 69
  26. ^ Details of first performance are obscure. Osborne gives dates "29 April or 1 May", Kenyon, p. 296 says: "There is no record it was actually performed in 1772"
  27. ^ The 女高音 role of Cecilio was written for a castrato. Osborne, p. 86
  28. ^ Mozart prepared a 歌唱剧 version, Die verstellte Gärtnerin, produced in Augsburg on 1 May 1780. The 德语 version, now known as Die Gärtnerin aus Liebe, has remained popular. Kenyon, pp. 300–01, Osborne, p. 97
  29. ^ The libretto was formerly credited to Raniero de'Calzabigi, revised by Marco Coltellini, but is now credited to Petrosellini. Kenyon, p. 300
  30. ^ The 女高音 role of Ramiro was written for a castrato.
  31. ^ Kenyon, p. 303
  32. ^ The 女高音 role of Aminta was written for castrato. Osborne, p. 105
  33. ^ 1964 revised to K. 336a. Köchel's Catalog of Mozart's Works. ClassicalNet. 2008 [16 July 2008]. 
  34. ^ 1964 revised to K. 336b. Köchel's Catalog of Mozart's Works. ClassicalNet. 2008 [16 July 2008]. 
  35. ^ The role of Idamante, originally written for castrato, was rewritten by Mozart as a 男高音 role in 1786. (Osborne, p. 155) Also, the role of Arbace is sometimes sung by a 男高音
  36. ^ One speaking role, that of a sailor, is absent from most modern productions
  37. ^ 1964 revised to K. 424a. Köchel's Catalog of Mozart's Works. ClassicalNet. 2008 [16 July 2008]. 
  38. ^ Osborne, pp. 208–09
  39. ^ Sadie, p. 415
  40. ^ According to Osborne, p. 207
  41. ^ The 女高音 mezzo singers include the two servant-girls, either two 女高音s or one 女高音 and one mezzo, who sing the duet "Amanti, costanti" in the Act III Finale. Osborne, p. 251
  42. ^ The full name of the opera is Il dissoluto punito, ossia Il Don Giovanni, but as Kenyon (p. 326) states: "It is fruitless to argue against the habits of opera houses around the world".
  43. ^ For the Vienna premiere, six months later, certain changes were introduced, mainly to accommodate the ranges of a different group of singers. Modern performances generally conflate the Prague and Vienna productions. Osborne, p. 268
  44. ^ This is an approximate translation from the 意大利语. Cairns (p. 177) gives: "That is what all women do". The subtitle, La scola degli amanti, is more easily translatable as "The School for lovers". Cairns, p. 176, Osborne, p. 281
  45. ^ One 次女高音 role, depicting the male character Annio, was originally a castrato and is now done by mezzos. The role of Sesto (Sextus) was originally written by Mozart for a 男高音 before he found out it had been assigned to a mezzo castrato.

文中引用来源

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其他资料来源

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  • Dent, Edward J. Mozart's Operas: A Critical Study. Oxford: OUP. 1973. ISBN 0-19-284001-0. 
  • Gutman, Robert W. Mozart: A Cultural Biography. London: Secker and Warburg. 2000. ISBN 0-304-31135-9. 
  • Heartz, Daniel (ed.). Mozart's Operas. Berkeley: University of California Press. 1990. ISBN 0-520-07872-1. 
  • Mann, William. The Operas of Mozart. London: Cassell. 1986. ISBN 0-304-31135-9. 
  • Newman, Ernest. More Opera Nights. London: Putnam. 1954. 
  • Robbins, Landon, H. C. 1791: Mozart's Last Year. London: Fontana. 1990. ISBN 0-00-654324-3. 
  • Steptoe, Andrew. The Mozart–Da Ponte Operas. Oxford: OUP. 1988. ISBN 0-19-816221-9. 
  • Till, Nicholas. Mozart and the Enlightenment. London: Faber and Faber. 1993. ISBN 0-571-17042-0. 

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