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目标片段但他的歌剧大多数是用意大利语写成的。因为奥地利听众和当时整个欧洲他们最渴望的其实是意大利风格。接下来我想首先来讨论莫扎特对于歌剧的改革，首先是莫扎特对于正歌剧的改革，在意大利正歌剧中，莫扎特看到的是过度僵硬的角色，角色的姿态，过度繁复的凡时涌叹，调少量的重唱，以及几乎没有合唱。他遵循了我之前在如何鉴赏歌剧里面已经提到，但是现在无法鉴于时间，当然也是鉴于我对莫扎特的偏爱而无法展开的克鲁克的改革方向，
来源片段Varesco created some problems as he expected frequent scene changes, which were not desired by Mozart, whose desire was, instead, to keep the drama moving forward, unquote. Whatever flaws there are in the libretto, Mozart's E Domineo is, as previously observed, generally considered the greatest opera seria ever written. That's because the tiresome and predictable rituals of traditional opera seria are almost entirely swept away in E Domineo, thanks to Mozart's incredible dramatic momentum.
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First we'll do a brief overview of how opera developed all the way up until Mozart's time. We'll talk about all the different styles that appeared and faded away, or that appeared and held on, even up until today.
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所以话说回莫扎特要讨论莫扎特如何以一己之力重塑古典歌剧审美？我们要先讨论莫扎特和古典时代的关系，然后我会再讨论莫扎特给曾经被意大利垄断的古典歌剧注入了怎样的德意志灵魂，
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This was a group of artists and intellectuals who met in Florence at the court of Count Giovanni de Bardi. One of their main focuses was on the revival of Greek drama. But of course, we still don't know exactly how Greek plays were performed when they were first written, and the Florentine Camerata didn't really know either. But relying on the research of some of the foremost Greek scholars of the time, the Camerata found that Greek drama was usually sung, not spoken. This discovery led to the invention, or reinvention I guess, of the retitutivo, a device that became ubiquitous throughout the opera world all the way through the time of Mozart.
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如果说1637年威尼斯公共歌剧院的建立，让意大利语成为欧洲歌剧的母语。那么1791年的摩迪第一次让德语也在古典歌剧中举起了自己的旗帜。这场改变之所以震撼，是因为在此之前，德语歌剧是没有文化土壤的。歌剧诞生于意大利文艺复兴后期的贵族人文社群，他的语言美学声线题材歌唱技巧从蒙特威尔蒂到斯卡拉的歌剧院都被牢牢定型。在这个拉丁意大利传统内部在18世纪欧洲社会的等级秩序中，意大利语是歌剧的贵族语言。
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It caused a sensation in the Czech capital, and Mozart never lost his affection for the city that welcomed him so warmly, even essentially dedicating his symphony to the city. Let's talk about the music now, and we have to start with the overture.
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莫扎特以一己之力把原本被视为通俗娱乐的德语歌唱剧，推到了和意大利正歌剧同等的艺术高度。莫扎特本人极其热爱这部作品，他几乎每天晚上都会去剧院观看演出，他享受观众的反应，几乎不亚于享受作品本身。
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In fact, because the opera was so long, the Emperor didn't like that some of the numbers were on-chord at the premiere, so he decreed, quote, to prevent the excessive duration of operas without however prejudicing the fame often sought by opera singers from the repetition of vocal pieces, I deem the enclosed notice to the public that no piece for more than a single voice is to be repeated to be the most reasonable expedient. The opera had its greatest success in Prague in 1786. It caused a sensation in the Czech capital, and Mozart never lost his affection for the city that welcomed him so warmly, even essentially dedicating his symphony to the city. Let's talk about the music now, and we have to start with the overture. The overture to the marriage of Figaro is rightly one of the most famous overtures around, even though it doesn't use one note from the rest of the opera. There are no hints of arias to come, no illusions anywhere, just pure energy coiled into a four minute ball of fun.
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真实的情感温度和不可回避的内在矛盾音乐不再是人物行动之后的抒情。总结，而是成为了人物内心正在发声之事。本身在这里，德语第一次不再只是日常俗语。而在莫扎特的旋律中，第一次获得了贵族的气质哲学的深度与神秘的光辉德语歌唱剧这个曾经被视为乡村通俗娱乐的题材。第一次被举到了和意大利正歌剧并肩的高度，这不只是体材的胜利，而是审美维度被整体抬升的结果。
S2：2 个窗口回退
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Carl Theodore was, as he should have been, powerfully impressed with Mozart, the teacher, composer, and performer. But to Mozart's bitter disappointment, he was not offered a job there in Mannheim, forcing him ultimately to continue his job search in Paris. What Mozart did not know at the time was that Carl Theodore was about to be promoted to combined Elector of the Rhine Palatinate and Bavaria, and was consequently preparing to relocate his court to the Bavarian capital of Munich.
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莫扎特的人物不仅仅展现他们的美德，也展现他们的恶习和缺陷，并且从中揭露出深层的人类情感。当时在18世纪，音乐家主要依靠贵族和皇室的赞助生活。莫扎特和同为音乐神童的姐姐纳奈尔一起旅行。他们在奥地利、英国、法国、荷兰的宫廷演出。然而，在老家萨尔斯堡，他觉得自己在大主教的统治下受到压迫，因此离开萨尔斯堡前往维也纳有关莫扎特的生平。我已经在我为何如此喜爱？莫扎特这期播客里详细讨论过了。
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That's because the tiresome and predictable rituals of traditional opera seria are almost entirely swept away in E Domineo, thanks to Mozart's incredible dramatic momentum. At the same time, Mozart's music invests his characters with an emotional depth, dramatic substance, and individuality that entirely transcends their archetypes. In E Domineo, Mozart's operatic compositional technique, his skills as a melodist and harmonist and dramatist, reached a point beyond even that of his greatest living contemporary, Josef Haydn. Munich.
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接下来我想首先来讨论莫扎特对于歌剧的改革，首先是莫扎特对于正歌剧的改革，在意大利正歌剧中，莫扎特看到的是过度僵硬的角色，角色的姿态，过度繁复的凡时涌叹，调少量的重唱，以及几乎没有合唱。他遵循了我之前在如何鉴赏歌剧里面已经提到，但是现在无法鉴于时间，当然也是鉴于我对莫扎特的偏爱而无法展开的克鲁克的改革方向，莫扎特在自己的歌剧中追求更加深刻的完整性，通过加强涌叙调和涌叹调的融合，采用伴奏涌叙调，