2010-0518(二)舒曼20歌劇Genoveva(德作曲家Karl Goldmark生日)＠古典啟示錄【On Air】

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2010-0518(二)舒曼20歌劇Genoveva(德作曲家Karl Goldmark生日)

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台中古典音樂台FM97.7【古典啟示錄】線上收聽

http://www.family977.com.tw/Reprogress_00.asp?strDay=20100518

第一段節目（長度26分鐘）

OS1：（各位愛樂的朋友晚安，這裡是FM97.7古典音樂台，我是您的愛樂老友歐頭，歡迎您收聽5月18日的「古典啟示錄」，今天的壽星名人是GOLDMARK，剛才您聽的就是他的作品。接下來我們再來聽一首他的曲子。

18, 1830 GOLDMARK, Karl

Karl Goldmark - Wikipedia, the free encyclopedia

Karl Goldmark- Bio, Albums, Pictures – Naxos Classical Music.

博客來音樂館>郭德馬克第一號小提琴協奏曲、布魯赫第二號小提琴協奏曲 ...

卡爾·戈德馬克- 維基百科，自由的百科全書

音樂1@@曲名：「a小調第一號小提琴協奏曲，作品28」第二樂章/ -6'18"【CD-TK2】

**作曲家：高德馬克Goldmark

**演奏者：胡乃元/小提琴，Gerard Schwarz指揮西雅圖交響

**唱片公司：Delos

**CD編號：DE 3156

**專輯名稱：高德馬克「第一號小提琴協奏曲」、布魯赫「第二號小提琴協奏曲」

OS2：禮拜二「時空DoReMe」單元，2010年上半年是舒曼專題，今晚進行舒曼20歌劇Genoveva，讓歐頭跟您一起乘著音樂的翅膀翱翔世界、穿梭時空。

先前集中於寫作鋼琴曲與歌曲的舒曼，在1847年夏天
轉去寫作了幾曲室內樂，同年動筆寫作歌劇《金諾維瓦》﹝Genoveva﹞，但是他實在缺乏戲劇才能，這劇也就註定失敗的命運。

1847年開始寫歌劇[珍諾費義(Genoveva)]直到1850年完成。舒曼這唯一歌劇作品，可以說失敗告終，主要原因是對戲劇和舞台表演缺乏基本認識，及德國歌劇當時在歐洲樂壇亦非主流。但可幸他在創作這歌劇之前，靈感湧現，所寫成的前奏曲卻寫得十分傳神成為歌劇最受歡迎的部份，屬他同類作品中的傑作，直至今天仍是一般管弦樂團的保留曲目之一。

故事和「奧賽羅」相若，寫一個騎士的夫人格諾弗娃（這歌劇以她為名），受陷害被誤會與人通姦，差點喪命並蒙不白之冤，但與前劇不同是含冤得雪，喜劇收場。華格納出任德萊斯頓宮廷劇院指揮時，研究過這作品，並從專家的角度建議舒曼作些必的要的修改，但不獲接納，華格納愛莫能助！

音樂2@@曲名：「序曲」選自歌劇「吉諾薇瓦GENOVEVA，作品81」/ -8'07"【CD1-TK1】

**作曲家：舒曼

**演奏者：德汪凡德瓦特Deon van der Walt (男高音)、吉爾弗利Rodney Gilfry、威特瑪Oliver Widmer、Thomas Quasthoff夸斯托夫(男低音)、羅絲琪莎克Ruth Ziesak (女高音)、禮波夫斯克Marjana Lipovsek (女低音)，Nikolaus Harnoncourt, 指揮歐洲室內樂團Chamber Orchestra of Europe

**唱片公司：Teldec

**CD編號：0630-13144-2

**專輯名稱：舒曼歌劇「吉諾薇瓦」

OS3：舒曼唯一的歌劇《格諾費瓦》Genoveva，1850年6月25日在萊比錫的首次演出看來大致是一個慘敗，復興歌劇的嘗試依然難以繼續，沒有成功。令我們感到欣慰的是作品的序曲，繼《曼弗雷德》以後，這首序曲可以說是舒曼這一類型作品中最高層次的作品。在1847年他開始著手歌劇創作之前，他以突然爆發的激情寫了這首序曲，這是一個激動人心的、能產生美好效果的樂章，因此這首序曲一直保留在音樂會節目單中。
歌劇《格諾費瓦》的失敗，有另一些原因。對於生活在萊比錫和德勒斯登的作曲家舒曼來說，這兩個城市的歌劇活動興旺，很難抵抗歌劇的迷人誘惑，這正如二十年前，維也納對舒伯特來說，也是這樣。就這方面而言，這兩位作曲家都是不幸的，或許由於同樣的原因：對戲劇缺乏基本的認識，對舞臺表演沒有必要的評估，以及在那個時期，德國歌劇也處於令人困惑的局勢之中。
《格諾費瓦》是一部四幕歌劇，據蒂克和赫伯爾原著改編，其歌劇劇本主題取自赫貝爾（Hebbel）的戲劇，他與詩人羅伯特·萊尼克（Robert Reinick）合作，把他自己寫進作品。華格納正在德勒斯登宮廷劇院任指揮，他曾建議舒曼對歌劇《格諾費瓦》作必要的修改，而舒曼堅決拒絕任何意見和建議。華格納是正確的，雖然他的意見還是努力保全那個劇本，那個荒謬的主題並拙劣地改編的劇本仿佛與韋伯同樣不幸的《歐麗安特》（Euryanthe）的故事聯繫。緩慢的引子，給人女主角寂寞的獨白場面的印象，這引子在嘗試著表現動機，它在緊接著的表演中獲得了一些意義。
這是一個華格納式的動機——歌劇《羅恩格林》、《崔斯坦與伊索爾德》和《帕西法爾》—認識到這兩位元藝術見解不同，似乎被深淵分隔開同時代藝術家，在他們創作的藝術源泉中有共同之處時是很有趣的連接，這或許是韋伯，在這首《序曲》的快板中，它仿彿潛藏於情節背後。“以熱情的衝動”—這是速度指示—樂章有條不紊地形成了，表現出的一些主題在歌劇中將變得有價值，最明顯的新鮮動機是用狩獵號角表現出來的。這裏，像舒曼所有的同類作品一樣，他保持了古典主義形式的完整，與故事幸福的結局相一致，喜氣洋洋的結束句結束了這首序曲。作為一個附加的優點，《格諾費瓦》的序曲超過了色彩豐富、清晰平靜的管弦樂風格的作品。
[ 本帖最後由五月花開如雲於 2007-3-17 14:13 編輯 ]

資料來源，http://www.pianohl.com/bbs/thread-4850-1-1.html

音樂3-1@@曲名：「二重唱」選自歌劇「吉諾薇瓦GENOVEVA，作品81」第一幕/ -2'25"【CD1-TK4】

音樂3-2@@曲名：「終曲」選自歌劇「吉諾薇瓦GENOVEVA，作品81」第一幕/ -8'09"【CD1-TK8】

**作曲家：舒曼

**唱片公司：Teldec

**CD編號：0630-13144-2

**專輯名稱：舒曼歌劇「吉諾薇瓦」【廣告1】

第二段節目（長度26分鐘）

OS4：這裡是FM97.7古典音樂台歡迎回到【古典啟示錄】禮拜二「時空DoReMe」下半段的時間，我是OTTO繼續來聽舒曼20歌劇Genoveva。

Genoveva - Wikipedia, the free encyclopedia

Genoveva (Op. 81) is an opera in four acts by Robert Schumann in the genre of German Romanticism with a libretto by Robert Reinick and the composer. The only opera Schumann ever wrote, it received its first performance on 25 June 1850 at the Stadttheater in Leipzig, with the composer conducting. It received only three performances during the premiere, and the negative criticism it received in the press played a decisive role in Schumann's decision to not write a second opera.

Genoveva has never won a large popular audience, but it continues to be revived at regular intervals throughout the world and has been recorded several times.

The Bielefeld Opera rediscovered Genoveva in 1995 in the first staged production worldwide in over 70 years. Conducted by Geoffrey Moull and directed by Katja Czellnik, the opera was given 8 notable performances. Opera magazine of London wrote that "it is possible to say from the impression created by Geoffrey Moull´s vigorous conducting that Schumann´s theatre music is more plausible, more tense and more exciting than has so far been conceded.".^[1] The North American premiere, in a concert performance at Emmanuel Church in Boston on April 2, 2005, ended with a standing ovation.

音樂4@@曲名：「合唱」選自歌劇「吉諾薇瓦GENOVEVA，作品81」第二幕/ -8'15"【CD1-TK9】

**作曲家：舒曼

**唱片公司：Teldec

**CD編號：0630-13144-2

**專輯名稱：舒曼歌劇「吉諾薇瓦」

OS5： History of composition

Schumann expressed the desire to write an opera as early as 1842, and was fascinated by the possibilities of operas based on traditional German legends. His notebooks from this period show that, among others, Schumann considered the stories of the Nibelungen, Lohengrin and Till Eulenspiegel to be good candidates for settings in German opera.

Schumann began work on Genoveva toward the end of a period of intense depression. In the early 1840s, discouraged both by the greater public esteem enjoyed by his wife, Clara Schumann, a leading pianist as well as a composer with a high-profile career as a touring virtuoso, and by the fact that he was not offered the directorship of the Leipzig Gewandhaus, Schumann's depression intensified. In 1844, he and Clara moved to Dresden, where his depression eventually moderated and he began work on a number of compositions, including Genoveva.

While in Dresden, Schumann encountered Wagner, whose discouraging comments on Schumann's libretto for Genoveva strained relations between the two composers. For his part, however, Schumann came to admire the dramatic impact of Wagner's operas, and the influence of Wagner's music worked its way into the score for Genoveva. Indeed, some of the musical techniques used in the opera, such as the fluid through-composed music (i.e. there are no recitatives) and lack of purely virtuosic vocal moments, are Schumann's personal interpretations and adaptations of Wagner's compositional methods.

Although the then recently-constructed Dresden Semperoper house declined to stage Genoveva, much to Schumann's fury, he eventually secured a staging at the Leipzig Stadttheater in 1850, where the opera received its premiere on June 25.

Genoveva is based on the story of Genevieve of Brabant, a medieval legend set in the 8th century that is reputedly based on the 13th century life of Marie of Brabant, wife of Louis II, Duke of Bavaria. The story gained in popularity during the first half of the 17th century, primarily in Germany through various theatrical settings. Two of the settings from this period, Ludwig Tieck's play Leben und Tod der heiligen Genoveva (Life and Death of Saint Genoveva) and Friedrich Hebbel's play Genoveva, served as the basis for the opera's libretto.

The plot of the opera has several similarities with Wagner's Lohengrin, which was composed during the same period as Schuman was writing Genoveva.

音樂5@@曲名：「詠嘆調」選自歌劇「吉諾薇瓦GENOVEVA，作品81」第二幕/ -3'23"【CD1-TK12】

**作曲家：舒曼

**唱片公司：Teldec

**CD編號：0630-13144-2

**專輯名稱：舒曼歌劇「吉諾薇瓦」

OS6：Synopsis

[edit] Act 1

The opera begins with Hidulfus, Bishop of Trier, summoning Brabant's Christian knights to join Charles Martel's crusade against a feared Saracen conquest of Europe. Siegfried, Count of Brabante, answers the call. In preparing to leave for war, he entrusts his wife, Genoveva, to his young servant, Golo.

[edit] Act 2

Despite Golo's overwhelming desire for her, Genoveva persistently rejects his advances. Infuriated by these rejections, Golo seeks revenge against Genoveva by staging a trap to discredit her. One night, Golo sneaks Drago, an old steward, into Genoveva's bedroom to fake an adulterous affair that is then witnessed by other servants, brought to the scene by Golo. In their rage, the servants kill Drago and Genoveva is imprisoned for adultery.

[edit] Act 3

Word of this imagined infidelity gets back to Siegfried, who then commands Golo to put Genoveva to death. Drago's ghost appears in front of Margaretha and tells her that if she does not reveal the truth, she will die.

[edit] Act 4

As two armed men are dispatched to kill Genoveva, her life is saved through the intervention of a mute, deaf boy. Siegfried then discovers Golo's treachery and restores his wife's honour.

音樂6@@曲名：「終曲」選自歌劇「吉諾薇瓦GENOVEVA，作品81」第三幕/ -6'02"【CD2-TK3】

**作曲家：舒曼