Franco Corelli 翻译

来源：百度知道 编辑：UC知道 时间：2024/06/10 07:20:06
The thrill of Franco Corelli

As I once wrote in the Dutch Music Magazine Luister, one may compare opera with religion. Both have believers in various Gods, and using only Christianity as an example, there is a striking parallel between BC and AD. The watershed year in opera is 1837, when Gilbert Louis Duprez gave the world 'Il Do di petto' – the high C from the chest. Ever since, tenors have reigned in the operas of Donizetti, Verdi and Puccini. However, along with their enhanced status, their worries also increased. Ever since Duprez, it was 'all or nothing', especially for the rare breed of dramatic tenors in Italian opera, of whom only a handful have truly succeeded in the last 170 years. After Duprez, perhaps only Francesco Tamagno, Giovanni Zenatello, Giacomo Lauri-Volpi, Mario del Monaco and Franco Corelli whose throne has been vacant since he gave up the stage in 1975 (except for some brief returns in 1976 and 1981).

弗朗科•科菜里的魅力

您可以将歌剧与宗教类比，我曾经就在荷兰音乐杂志《Luister》（荷兰语，意为listen，听）上发表文章阐述过这一点。比如说，与对宗教一样，关于歌剧人们也会有各种不同的信仰。再举个例子，仅就基督教来说，其公元前后明显对比的两个历史时期分野就与歌剧的发展史有惊人相似之处。对于歌剧，这个历史性的转折点是1837年。就在这一年，Gilbert Louis Duprez（吉尔伯特•路易斯•迪普雷）为世界唱出了'Il Do di petto'--意大利语意为胸腔共鸣唱出的饱满高音C。从那以后，男高音在Donizetti（多尼采蒂）, Verdi（威尔第） 和 Puccini（普契尼）的歌剧中就一直占据领衔地位。然而，随着其地位的上升，男高音们的忧虑也日渐增加。Duprez（迪普雷）之后，男高音演员们面对的就是一种“一将功成万骨枯”的局面。特别是意大利歌剧稀有的戏剧男高音，在过去的170年间，他们中只有极少数取得了真正的成功。Duprez（迪普雷）之后的时代，成功的戏剧男高音可能就只有Francesco Tamagno（弗朗西斯科•塔玛诺），Giovanni Zenatello（塞纳泰罗）, Giacomo Lauri-Volpi（恰科莫•劳里-沃尔比）, Mario del Monaco（马里奥•德尔•莫纳科）这几位了。而自Franco Corelli（佛朗科•科莱里）在1975年退出舞台后（其1976年和1981年曾简短复出），最佳戏剧男高音的宝座就一直空缺着。

ps.楼上的朋友注解真的很详细，我就不赘言了。

The thrill of Franco Corelli

As I once wrote in the Dutch Music Magazine Luister, one may compare opera with religion. Both have believers in various Gods, and using only Christianity as an example, there is a striking parallel