论文摘要：本文以威尔第的《茶花女》二幕一场薇奥列塔与老热尔芒的大段重唱为中心，分别选择三个演出版本进行对比研究。除了说明笔者本人对于威尔第《茶花女》本身的理解之外，将对比重点放在三个演出版本中饰演薇奥列塔与老热尔芒两个人物的六位演员的对比上，由表演和声音处理两个方面入手，具体说明几位演员的特点，他（她）们的优胜之处与不足，并在此基础上阐述笔者本人从中获得的启示和教益。
关键词 威尔第 茶花女 演唱版本 情感表现 音色变化
威尔第的三幕歌剧《茶花女》（LaTraviata）根据小仲马同名小说改编而成，于1853年在威尼斯凤凰剧院首演。虽然首演遭到失败，但随后不久就迎来了全世界的赞誉，至今仍是世界各大歌剧院最受欢迎的歌剧之一，难怪小仲马要说：五十年后，也许谁也记不起我的小说《茶花女》了，但威尔第却使它成为不朽。这部作品是威尔第以当代生活为题材的歌剧之一，“Traviata”一词在意大利文中的涵义为一个堕落的女人或失足者，但整部歌剧却充满了对薇奥列塔的同情与怜悯，表达了女主人公身处当时社会环境下的无奈。
这部歌剧是我看过的歌剧中最喜欢的一部。无论原著、歌剧脚本还是音乐，我认为都无可挑剔。我曾在学校参与过《茶花女》的排演工作，这期间使我真正地了解和感受了这部经典的作品。它的每一段旋律都是那样的动人，充满浪漫主义音乐的时代气息。我最喜欢其中的一个经典片段是二幕一场中薇奥列塔（Violetta）与老热尔芒（Gemont）的二重唱部分。剧情为老热尔芒振振有辞，逼迫薇奥列塔离开阿尔弗莱德（Alfred）。
记得我曾看过的一本书上评论到，也许除了威尔第（Verdi），再没有第二位作曲家敢如此大胆地将这段对话作为刻画人物内心情感的的核心唱段。在威尔第笔下，这不是一场普通的对话，而是以一场真爱与伪善的心灵交锋。在老热尔芒伪善言辞的步步紧逼下，薇奥列塔最后不得不对自己下达死刑判决，放弃了自己的真爱。在音乐上，作曲家调动多种表现手段，把薇奥列塔与老热尔芒紧张、激烈的心灵交锋与情感冲突表现得跌宕起伏、淋漓尽致。其中，老热尔芒诉说自己女儿不幸，恳求薇奥列塔放弃对阿尔弗莱德的爱的唱段，抑扬顿挫、娓娓动情，然而却终难掩饰他居高临下、一副说教者的伪善面孔。老热尔芒的老谋深算与薇奥列塔急促、冲动的回应形成鲜明的对比。薇奥列塔全身心地为自己辩解，她绝望地、高声地发出痛苦的呼喊。然而，当她意识到她的爱情在现实中已不可能实现时，她终于用爱情主题的小调变体痛苦地表达了她的放弃。这是一首离别之歌，是为她自己而唱的哀歌，与老热尔芒的断断续续的回应完全不同。威尔第认为这首二重唱是他写出的最好的唱段，它改变了已往的表达方式，把人们习以为常的行板-小块板的顺序加以颠倒。在力量悬殊的斗争之后，紧接着薇奥列塔用降E大调的行板，平静地唱出自己的让步，这段流着眼泪唱出的离别断肠之歌，也许是全剧最让人心碎的唱段。她由一个气若游丝地持续在小字二组的降b音上的“Ah!……”开始，继而从小字二组的降b音滑落到小字二组的g音，进入咏叹调。这段音乐所饱含的矛盾和痛苦，如同死神张开的网，迷雾一般地笼罩着听众的心，让人感受到难以名状的痛苦。
根据论文题目要求，我为这一段重唱找到了三个演唱版本。第一个版本是由Franco Zeffirelli导演，James Levine指挥，Teresa Stratas ，Plácido Domingo，Cornell MacNeil领衔主演，于1983年上映的歌剧电影。第二个版本是由Georg Solti指挥，Angela Gheorghiu, Frank Lopardo, Leo Nucci领衔主演，于1994 年在伦敦柯文特花园皇家歌剧院的演出录像。第三个版本是由James Conlon指挥，Renée Fleming, Rolando Villazón, Renato Bruson领衔主演，于2006年攝自洛杉矶歌剧院的茶花女演出。这三个版本都非常优秀，都是近二三十年排演的歌剧中值得珍藏的版本。
对比三个版本，我认为1983年电影版中Teresa Stratas饰演的薇奥列塔可能是三个版本中最贴合人物角色的。本身就有肺疾的Teresa Stratas唱起薇奥蕾塔无比契合，虽然没有让人过瘾的充沛的美声，但是她的演唱却是与情节背景异常吻合的。由Cornell MacNeil饰演的老热尔芒，在角色处理上也是非常成功的，Cornell MacNeil用他那华丽的男中音音色及贴切的表演，赋予老热尔芒这个角色无比的生命力。此版本是用电影的拍摄手法拍摄的一部电影歌剧，这种电影形式可以展现许多在舞台上所不能表达出来的东西，比如薇奥列塔对阿尔弗莱德的思念以及最后对两人爱情的回味等。在演员表演上也因为镜头的剪接可以做得比舞台演出更为突出和细致。总的来看，此版本是各个方面都完成得非常细致和妥帖的一版，尤其在人物塑造上，更是无可挑剔。当然，电影版本有它的长处，也有它不足的地方，例如场景画面的转换，有时会造成对演员歌唱和表演效果的冲淡。我们选择的这个长的二重唱段，另外两个演唱版本都是18分半钟，而这个电影版本则是14分半钟，演员歌唱表演的时间有所缩减。1994年伦敦柯文特花园皇家歌剧院Georg Solti指挥的演出版本：Georg Solti作为以指挥歌剧闻名的指挥大家到晚年才首度指挥《茶花女》，实在耐人寻味。这个1994年12月在柯文特皇家歌剧院的演出实况，Georg Solti很幸运地有Angela Gheorghiu来演他的薇奥列塔。Georg Solti的音乐修养深厚，指挥经验丰富，使他挥起棒来得心应手。Leo Nucci声音厚度不够，不过表达一个沧桑的老者倒还贴切。这个版本的亮点主要集中在Angela Gheorghiu身上。Angela Gheorghiu的人物塑造及扮相上相对Teresa Stratas显得缺少薇奥列塔应有的风尘味道，多了几分贵族公主的气息。Leo Nucci相对于Cornell MacNeil似乎也少了些稳重的气质。2006年摄自洛杉矶歌剧院的演出版本，首推饰演茶花女的美国女高音Renée Fleming唱作俱佳的演出，她把剧中薇奥列塔贪恋物质生活和为爱情牺牲自己的奋力挣扎饰演得非常传神。她在这部歌剧中的演唱倍受称赞，许多长年支持她的歌迷也都承认，這是她演唱生涯中最为成功的一次，不但为薇奥列塔一角带进新的生命，且成功地掌握了威尔第女主角的演唱风格。这次演出中的老热尔芒一角，原本敲定由俄国知名男低音Dmitri hvorostovsky出场，但他临時退出，改由老將Renato Bruson上阵。此角无疑是已年届七十岁的Renato Bruson之招牌戏，三十年前他与Renata Scotto、Alfredo Kraus Trujillo的演唱就已经是经典，而这次演出更让人惊讶于其歌艺之历久弥新。这次演出的制作采用的是G. Agostinucci的古裝设计和布景，华丽考究而价值不菲的服饰，衬托片中主角的唱腔和演技，让整场演出成为最值得保存的《茶花女》演出版本之一。洛杉矶时报赞美Renée Fleming在本剧中出色的演出：“薇奥列塔近來已经成为Renée Fleming的招牌角色，她不仅唱得极其投入，演得也极其投入，高音温暖而灿烂，声音线条卻是那么的举重若轻，让其他歌手望尘莫及。”然而，以我个人的审美观点来看，Fleming的演唱，似乎稍显不够内在、深沉，缺少一些这个角色所应具有的悲剧气质。
在就三个演出版本从总的方面做过比较之后，下面就演员演唱的速度、音量、音色以及唱腔处理进行更为具体的比较。先从三位女歌唱家对薇奥列塔的诠释说起，速度对于演唱的诠释具有首当其冲的作用，演唱者往往会随着音乐表现及歌词的变化而调整演唱的速度，以加强整体的艺术表現。虽然三位女歌唱家的演唱速度比较接近，但更细致的一些速度处理还是有一些不同的。83年电影版的节奏最为紧凑，速度也最快，音乐的流动性也比较好。94年版的速度稍慢些，变化也较多。06年版的速度最慢，可能与Renée Fleming的演唱能力及肺活量有关，她将每一个乐句都唱得较缓慢，又不让人感觉吃力。在音量变化上，三位女歌唱家都表现得很有张力。83年版和94年版在强弱处理上差不多，但Angela Gheorghiu的处理比Teresa Stratas更夸张，表现力也更丰富。Angela Gheorghiu用强音充分表达出情感上的纠结与挣扎，用弱音表达出最后的无奈与绝望。Renée Fleming相对于前两人，弱处理用得更多，这样更便于表达内心的活动。然而在音色及唱腔处理上，三位歌唱家确有很大的不同，Teresa Stratas相对其他两人声音略显单薄，高音也没有其他两人辉煌，但她的声音也很饱满并且共鸣很好，声音富有弹性和穿透力，音乐处理也很细致、完美。Angela Gheorghiu善于利用长呼吸將长线条乐句表现出來，音色清新、明亮，音色柔和、甜美，给人一种高雅的审美享受，虽然Angela Gheorghiu身体纤细以致共鸣稍有不足，但她却能够利用歌唱技巧来补其不足。我认为Renée Fleming的演唱功力是三人之首，她的声音饱满、浑厚，又不失透明感，非常具有戏剧穿透力。音乐处理上也许由于多年的爵士乐演唱，形成她独具个性的演唱风格，音乐色彩丰富，明暗对比鲜明，真实、令人感动且记忆恒久。
三位男歌唱家对老热尔芒角色在速度、音量、音色及唱腔处理的诠释上也有所不同。首先在速度上，Leo Nucci要稍快些，但在总体上与Cornell MacNeil的处理很接近，流动性都很好，速度对比也很丰富。Renato Bruson的速度相对较慢，可能因为经验丰富的原因，Renato Bruson把整段音乐的速度做更大的延伸，更显示出老热尔芒的沉着、冷静及绝对的权威感。音量上Leo Nucci始终较强，表现出当仁不让的感觉，Cornell MacNeil在后半段音量上相对放柔和了些，以表现出对薇奥列塔的同情和怜悯。Renato Bruson演唱经验丰富，在音量上变化较多，把老热尔芒的复杂心理变化表现得更为细致。在音色及唱腔处理上，三人差别较大。Cornell MacNeil的声音非常淳厚，但似乎透明度比不上Renato Bruson。三人中Leo Nucci的声音相对单薄一些，但是音乐处理很丰富，音色变化也较多，可以弥补他在声音上的不足。Renato Bruson的音色最为动人，但似乎高音没有其他二人轻松，但这并不是年龄在他声音上留下的痕迹，相反通过岁月的积累使他的声音更为淳厚，宛如一坛陈年的好酒，醇香醉人。
演员表演上的对比：在表演上我将这个长的唱段划分为三个阶段，第一段为从开始到薇奥列塔得知老热尔芒的苦衷之前双方的表现；第二段为薇奥列塔虽然得知老热尔芒的苦衷，但还不能接受他的建议，她在为自己的爱情做最后的挣扎；第三段为薇奥列塔不得不接受老热尔芒的建议，并为自己下达爱情的死刑判决而痛苦绝望。在第一段中，1983年版本的开场是最为激烈的，充满了火药味，Cornell MacNeil一出场就带着一种极其强硬的态度去命令薇奥列塔，从眼神中表达了他对薇奥列塔的鄙夷和愤怒之意。Teresa Stratas饰演的薇奥列塔性格极其刚强，她并没有因为老热尔芒的强硬态度而感到恐惧，反而也以同样的态度去回应老热尔芒。1994年的版本次之，但也给人一种即将开展一场针锋相对的斗争的感觉。Leo Nucci饰演的老热尔芒眼神中除了对薇奥列塔的愤怒，还多了一份对薇奥列塔身份的不屑。Angela Gheorghiu饰演的薇奥列塔性格也比较刚强，虽然她在极力维护自己的尊严，但从她的表演中仍可看到一丝她对老热尔芒的恐惧。相对于前两版，2006年的版本就显得柔和一些，Renato Bruson饰演的老热尔芒显得非常绅士，虽然内心对薇奥列塔非常气愤，但表面上有意识地去克制自己，然而又不失威严。而Renée Fleming饰演的薇奥列塔就显得相对柔弱，她塑造的薇奥列塔在开场时显得没有前两位歌唱家那么理直气壮。在第二段中，83年版由于是以电影手法拍摄的，所以在描写老热尔芒诉说他女儿的唱段中有情景的插入，表达得更为细致，Cornell MacNeil饰演的老热尔芒态度的转变是三版中最大的，当他得知薇奥列塔变卖了所有的家产来继续和阿尔弗莱德的生活时，从对话的言语和表情上对薇奥列塔的高尚情操及对爱情的坚定态度表现出了同情。Teresa Stratas饰演的薇奥列塔从性格的演绎上最为贴切，在表现她恳求老热尔芒不要抢走她的爱情，并向他表示如没有阿尔弗莱德她将会失去生命中最后的一丝希望时，她的眼神里透露出来的是无比恐惧的复杂情感。94年版和06年版因为是舞台现场表演，所以没有电影版上的那些剧情上的场景处理，完全靠演员的演唱来表达剧情的发展。Leo Nucci饰演的老热尔芒态度上转变不大，虽说看到薇奥列塔的表现他内心里也有些许触动，但很快就被召回儿子的急切心情所取代，对薇奥列塔仍然保持强硬的态度。Renato Bruson饰演的老热尔芒始终保持着他的那份威严，和那种传统中产阶级绅士的傲慢姿态。几位女高音演员，Renée Fleming在表演处理上似乎更加自如，没有因为演唱而限制住表演，歌唱与表演都很投入，与老热尔芒的交流也较多。Angela Gheorghiu相对其他两位演员，表演上稍显生硬，虽然她的表演也很投入，想极力表现出绝望之情，但她与老热尔芒的交流较少，更多地沉浸在自己的表演之中。第三段Cornell MacNeil饰演的老热尔芒在和薇奥列塔讲述他所谓的道理时，表现得很平静，似乎他说的一切都是事实，以一个对人生有丰富阅历的老者身份来教育薇奥列塔。Leo Nucci则在严肃诉说的同时，在眼神中透露出一丝狡猾。Renato Bruson的表演也更多地是以一位老者的身份来劝告薇奥列塔。Teresa Stratas饰演的薇奥列塔在感情上的变化比较丰富，从倾听、到吃惊，到渐渐绝望处理得很到位。Angela Gheorghiu饰演的薇奥列塔似乎听不进去老热尔芒讲的道理，更多地沉浸在自己的悲伤情绪之中，内心挣扎的表现也稍显单一。Renée Fleming的表演就非常富有张力，她完全表现出挣扎和彻底绝望的心情，最后也把那种“只能如此”的无奈感觉表达得令人痛彻心扉。
通过以上三个版本的详细比对与赏析，我体会到很多东西。首先，从演唱上来看，改变了我以往对舞台演唱的部分观念，以前我无论在练习或是舞台表演时，都过多地考虑演唱方法和演唱技巧而忽略情感上的投入，但在详细进行本次的对比研究后，我感受到了每一位歌唱家在舞台表演时对戏剧及人物上的倾情投入，声音完全没有限制住表演，反而对表演起到推波助澜的作用。另外，几位歌唱家的演唱方法也对我影响很大，虽然几位歌唱家在声部及音色上相差很大，但演唱方法都是非常相似且非常科学的。我从这些歌唱家的演唱中体会最深的就是气息运用的重要性，只有气息的运用灵活、自如、到位，才能使歌唱和表演到达理想的境界，进入自由驰骋的天地。然而，在演唱技巧达到一定高度时，想要在艺术道路上走得更长远，让自己的演唱生涯更辉煌，良好的音乐素养对于歌者来说是不可或缺的拐杖。研究这三个版本演唱后，给我最深切的感触就是这些歌唱家都拥有各自细腻而有独到的音乐处理及表现。我想这些都是与他们平时的音乐素养与生活经验的积淀紧密相连。因此，我也要在不断完善自己演唱技巧的同时，丰富自己的音乐修养，广泛汲取各类音乐的精华。还有，从表演上来看，我体会到每位歌唱家都是全身心地融入到所表演的角色当中，把表演深化到舞台生活的每一个细节，这样的表演是极富张力且容易深入人心的。所以，在以后的表演中，我也会努力让自己不断深入角色，注意细节表演，加强自己的表演实力，做一名将歌唱和表演完美结合的优秀歌剧演员。
一部能使人感动的歌剧，除了动人的旋律及故事內容外，更需要一批能将歌剧诠释得深刻而细致的歌唱家，通过本篇论文对威尔第歌剧《茶花女》三个不同演唱版本的分析和对比，让我更深切地体会到了这一点。在写作本篇论文的过程中，学习到了很多以前不曾留意过的知识，并且也更细致地审视了自己在音乐表演和文化艺术修养上的不足，希望能够借此研究及探讨，来弥补自己的不足，在声乐与歌剧演唱的道路上不断前行。
参考文献：
[德]Wolfgang Willaschek著，《50经典歌剧》50 Klassiker Oper（黄冰源译），世纪出版集团上海人民出版社2005年1月版，第116页《茶花女》
古斯塔夫．科贝著，《西洋歌剧故事全集》（张洪岛译），人民音乐出版社1983年版
邵义强著，《歌剧赏析》，河北教育出版社2004年1月第一版，第257页至第269页《茶花女》
吴祖强主编，《歌剧经典》，（台北）世界文物出版社2000年5月版，第26分册
[美]Grout.D，Palisca.C.V著，《西方音乐史》A History of Western Music,人民音乐出版社1996年1月北京第一版，第663页至第667页
[英]Peter Southwell-Sander著，《威尔第》Verdi.G，江苏人民出版社1999年9月第一版
缪天瑞主编，《音乐百科辞典》，人民音乐出版社1998年10月北京第一版，第85页及第618页
Ricard Taruskin著,The Oxford History of Western Music，Oxford University Press2005年版，Volume3第563页至615页
Giuseppe Verdi作曲，Francesco Maria Piave写作脚本，歌剧《茶花女》La Traviata钢琴伴奏谱，Hal.Leonaro Corporation出版
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La Traviata, despite the failure when it was first performed in Venice in 1853, has become Verdi’s most successful work. With its immense popularity worldwide, it is a staple of the standard operatic repertoire. The title "La Traviata" means literally The Woman Who Strayed, or perhaps more figuratively, The Fallen One. Nevertheless, as heroine of the play, Violetta Valéry is depicted with full compassion, sympathy and pity.
In this three-act opera, the extended duet between Violetta and Giorgio Germont, father of Alfredo Germont, in Act 2, Scene 1, is an episode with tremendous dramatic intensity. In this duet, Giorgio Germont pleads with Violetta to break off her relationship with his son for the sake of his family, since he reveals that Violetta’s relationship with Alfredo has threatened his daughter’s engagement because of Violetta's reputation.
In this essay, I would like to conduct an extended comparison and contrast of the renderings of the two roles played by six performers. I choose this duet because I used to participate in the performance of this opera myself and I found the duet a truly classic piece. By examining the duet in terms of performance and vocal treatment, I expect to reveal different characteristics of those different actors and actresses and to highlight their respective strengths and weaknesses. Finally, I would like to indicate the inspirations I have been able to draw from their performance and how I have been influenced by their examples.
Verdi is perhaps the only composer who is bold enough to use this long dialogue for a penetrating portrayal of the internal lives of the characters. In this duet, two souls come into a fierce confrontation, one of true love and one of hyprocricy. The composer fully dramatized their intense emotional conflicts. When narrating the mishap of her daughter in order to urge Violetta to forsake her love, Germont’s singing is cadenced and touching, but condescending and lecturing. In contrast to Germont’s sophistication, Violetta’s responses are short, precipitious, and impulsive. Despite her vehement defense for herself, Violetta gives up her love for Alfredo in despair when she realizes the futility of that love, in a love motif presented in a variation in minor.
Verdi hislef belived that this was the best duet he had composed. He reversed the conventional andante-allegretto pattern. In what is perhaps the most heart-breaking part, Violetta sings her concession in utter peace, in andante in E flat major. She starts with “Ah!…” in a note ofb2 flat and changes to g2, and then goes into an aria, agonizingly enchanting, keeping the audience totally enthralled.
For this duet, the three recordings I have chosen are as following. The first is a movie version presented in 1983, directed by Franco Zeffirelli and conducted by James Levine, starring Teresa Stratas, Plácido Domingo, and Cornell MacNeil. The second is conducted by Georg Solti, featuring Angela Gheorghiu, Frank Lopardo, and Leo Nucci, presented in 1994 at London Covunit Garden Royal Opera House. The third is conducted by James Conlon, featuring Renée Fleming, Rolando Villazón, and Renato Bruson, presented in 2006 at Los Angeles Opera.
Among the three versions, I believe that, in the 1983 movie version, Violetta acted by Teresa Stratas is perhaps the closest to the character. Teresa Stratas, who was suffering from the lung ailments, sang in a voice that accorded perfectly with the plot. The role Germont played by Cornell MacNeil is also very successful, with Cornell MacNeil’s splendid baritone and appropriate acting, giving much vitality to the role. This movie version demonstrates many advantages over the stage version by presenting what the stage versions are unable to present, like Violetta’s reminiscences of her love for Alfredo. The performance details of the actors and actress are better highlighted and the characterization was superb. The weaknesses of this movie version is that the frequent changes of the scenes tends to undermine the effect of the characters’ singing and performance, and the time for singing and acting is reduced from 18 minutes to 14 minutes.
The Georg Solti Version: As a reputed opera conductor, Solti conducted La Traviata in his old age, with a high level of maturity. In the live recording, Georg Solti was most lucky in having Angela Gheorghiu to play the role of Violetta. With Solti’s superb musical cultivation and rich experience of conducting, the music was magnificent. As for Leo Nucci, despite his insufficient thickness of voice, he is quite fitting to play the role of an old man who has experienced vicissitudes. Angela Gheorghiu is definitely the highlight of this version, although her characterization and appearance, as compared with Teresa Stratas, make Violetta not so much a fallen woman as an aristocratic princess. Likewise, Leo Nucci seems to lack the kind of gravity of Cornell MacNeil.
The Los Angeles Version: The American soprano Renée Fleming was impeccable both in her singing and acting, vividly projecting a Violetta indulging in physical enjoyment but caught up in the futile struggle for love, infusing a new life into the role. Germont was played by the 70-year old Renato Bruson. As early as 30 years ago, he acted the role (together with Renata Scotto and Alfredo Kraus Trujillo) and his performance was already a classic. In his 2006 performance, we cannot help being impressed by his long-lasting strength. The expertise of singing and acting of the two characters make the performance one of the most treasured editions of La Traviata. Los Angeles Times praised Renée Fleming for her devoted performance and her warm and splendid voice. However, as far as my own aesthetic judgment is concerned, Fleming’s singing somehow seems to lack some inner profound qualities, such as the tragic temperament unique to this role.
After this general comparison and contrast of the three versions, I would like to offer a more detailed study of the performances of the actors and actresses in terms of tempo, volume, timbre, and the rendering of the pattern of vocalization. My study will begin with three singers’ interpretation of the role of Violetta. Tempo is undoubtedly a primary factor in defining how one interprets the music. A singer tends to modulate his or her tempo of singing according to musical expressiveness and the changes in lyrics so as to enhance the overall artistic expression. Although the three sopranos are quite similar in their control of the tempo, some subtle differences can still be revealed. The 1983 movie version is most quick-paced, with excellent musical fluidity. In the 1994 version, the tempo is a little bit slower, with quite a few variations. Among the three, the 2006 version is the slowest, which may be related to Renée Fleming’s singing skills and lung capacity. She handles each phrase with ease but without giving the impression that she was struggling with difficulty.
With regard to the variations in volume, the three singers all demonstrate significant tension. The 83 edition and the 94 edition are very similar in the handing of the intensity, but Angela Gheorghiu’s handling seems to be more exaggerated than Teresa Stratas’, hence more expressive. Angela Gheorghiu uses strong notes to express the emotional entanglement and struggle and uses the weak notes to show final resignation and despair. Renée Fleming applies more weak handlings to allow for ample representation of the tortured internal life. In terms of the treatment of timbre and tonality, the three singers display considerable differences. Among all the three sopranos, Teresa Stratas’ voice seems comparatively thin, not so splendid in the high pitch. However, her voice is rich and resonant, with resilience and penetration, exquisite and perfect in musical treatment. Angela Gheorghiu is more adept at using long breaths to sing the long-lined phrases, with lucid and bright timbre, her voice soft and mellifluous, giving the audience an elegant aesthetic enjoyment. I believe that Renée Fleming is the best of the three, her voice exuberant, vigorous, transparent, and dramatically penetrating. Due to her many years of jazz singing, she formed her own distinctive style, her music colorful, with sharp contrasts between bright and dark registers, real, touching and memorable.
In handling the role of Germont, three make singers exhibit appreciable differences in their individual interpretations of the tempo, volume, timbre, and tonality. In terms of tempo, Leo Nucci seems somewhat quick, but in general quite close to the way Cornell MacNeil handles it, with remarkable fluidity and sufficient contrasts. Renato Bruson’s tempo is comparatively slow. Being an experienced singer, Renato Bruson extends the entire section of the music into greater length to convey Germont’s composure, cold-mindedness, and the sense of absolute authority. In volume, Leo Nucci remains consistently high to indicate self-assertiveness. Cornell MacNeil lowers the volume in the second half of the section into a softer tone to express his pity and sympathy for Violetta. With richer experiences, Renato Bruson shows more variations in the control of volume, giving full ventilation to subtle and complicated psychological changes. In rendering timbre and tonality, three singers differ considerably. Cornell MacNeil’s voice is very mellifluous and thick, but not as transparent as that of Renato Bruson. Of the three, Leo Nucci’s voice seems relatively thin, but sufficiently varied in musical treatment and in timbre modulations to offset the weaknesses in his voice. Renato Bruson has the most touching timbre, but seems unable to rise to the high pitch as easily as the other two. Nevertheless, his voice is enriched by the passage of time, leaving the audience in lingering intoxication.
In the following paragraphs, I would make further comparative studies in terms of the performing style of the actors and actresses. The entire duet will be divided into three parts. The first ranges from the very beginning of the duet to Germont’s pleading with Violetta to leave his son for the sake of his young daughter, who is about to marry a respectable man. The second ranges from Violetta’s knowledge of Germont’s request to her rejection of his request in an attempt to launch what is perhaps her last struggle for safeguard her love for Alfredo. The last consists of Violetta’s resignation and forced acceptance of Germont’s suggestion and relinquishing her love in total despair and agony.
In the first part, the opening in the 1983 edition is most intense and fierce. Cornell MacNeil begins with a strong command that Violetta leave Alfredo, his eyes filled with deep contempt and disdain for Violetta. On the other hand, Teresa Stratas presents a strong-willed Violetta, undaunted by the tough Germont and reacting with equal toughness. In the 1994 edition, the intensity is somehow lessened, but still hinting at the impending of an tit-for-tat confrontation. Germont as acted by Leo Nucci holds Violetta in both contempt and anger. Angela Gheorghiu projects Violetta as also quite firm and unyielding, but while trying her best to defend her own dignity, she cannot help feeling a certain degree of fear of Germont. Compared with the first two versions, the 2006 edition is more softened and measured, Renato Bruson presents Germont as quite a gentleman who, despite indignation inside his heart, manages to control himself consciously, at least on the surface without losing his authoritativeness. As presented by Renée Fleming, Violetta seems comparatively weak and frail, giving signs of diffidence in her singing from the very beginning.
As for the second part, the 1983 movie edition inserts some flashback scenes while Germont tells the story about his daughter so that more detailed and close expressiveness is achieved. Cornell MacNeil presents a Germont whose attitudes undergo the most dramatic changes among all the three versions. When he learns that Violetta sells all her own property to maintain the luxury life with Alfredo, he shows much sympathy for Violetta out of his appreciation of the latter’s nobility and adamancy to true love, both in his facial expression and in the language of the dialogue. Teresa Stratas offers the most appropriate interpretation of Violetta’s character—when she pleads with Germont not to deprive her of her love and tells him that her life would be totally meaningless without Alfredo, the expressions in her eyes are those of great fear and despair. On the other hand, as the 1994 version and 2006 version are all stage versions, the development of the plot depends entirely on the formance of the actors and actress. Germont played by Leo Nucci does not manifest significant changes in his attitudes. Although he is a little bit touched by Violetta’s selflessness, his sympathy for her is soon replaced by his eager desire to get his son away from Violtta. Therefore, he is still very hard on Violetta. As played by Renato Bruson, Germont consistently maintains his awesome authoritativeness and dignity, as well as the arrogance of a conventional middle-class gentleman. As for the sopranos, Renée Fleming’s handling of her role is characterized by great ease, her singing and performance do not interfere with each other, allowing her to be very devoted in both and have considerable exchanges with Germont. Comparatively speaking, Angela Gheorghiu’s performance is somehow rigid. Although she is also much engrossed in her performance, with special efforts to highlight the air of despair and pain, her communications with Germont are quite limited and she is pretty much involved in her own acting.
As we proceed onto the third part, we can find that what Cornell MacNeil presents is a very calm Germont, reasoning with Violetta as if everything is well-established facts. He tries to lecture Violetta in his capacity as a man of the world, taking everything for granted. In Leo Nucci’s performance, we can discover a sense of shrewdness and cunning in his eyes when he offers his moral lessons. On the other hand, Renato Bruson presents a good-willed old man offering advices and admonitions. In handling the role of Violetta, Teresa Stratas demonstrates rich emotional fluctuations ranging from attentive listening, to feeling immensely surprised, and finally sinking into complete despair. She gives perfect treatment to every detail. However, Violetta as played by Angela Gheorghiu seems not quite receptive to the remonstrations by Germont and much indulges in her own grief, her internal emotional conflicts are not given full rendering. Renée Fleming, on the other hand, presents a performance characterized by great tension, giving full ventilation to a heart tortured by agonizing struggles and utter despair. It is simply heartbreaking to witness her giving up in total resignation.
By undertaking this detailed analysis of the three classical versions, I have been able to derive much useful things that can contribute to my own performance. First of all, in terms of singing skills, I have come to modify some of my previous notions about stage performance. I used to focus too much on specific vocal methods and skills, either during my practices or formal stage performances, without paying sufficient attention to emotional commitment. Through this detailed study of the advantages and weaknesses of different performers, I realize that full emotional involvement and devotion to the drama itself and to characterization is essential for each actor or actress on the stage. Instead of imposing restrictions on the acting, a good treatment of the voice would help bring the entire performance to a climax. In addition, the methods of singing of those three sopranos can also produce important influence on my own singing. Although they have considerable differences in their voice parts and in timbre, their methods of singing are quite similar and are all very scientific. The most important experiences I can draw from their examples is the importance of the use of breath. Only through a flexible, spontaneous, and well-controlled use of the breaths can the singer attain a high level of excellence in both singing and acting at which one’s talents can be brought into free and full play.
However, when one reaches a comparatively high level of vocal skills, an excellent cultivation in music is indispensable to an artist if one is to accomplish a splendid artistic career. As my foregoing research has revealed, all the singers under discussion possess their own exquisite and unique ways of handling the music and presenting their roles according to their profound interpretations. I am most impressed by their professional qualities and I believe this is closely related to their cultivation of superb musical qualities in their daily life and to the continuous accumulation of their life experiences. Therefore, as far as I am concerned, I should keep enriching my own musical cultivation while perfecting my skills of singing. I should learn from different schools and assimilate what is best from different genres of music. Moreover, in terms of acting, I believe that each singer has entered into complete union with the role he or she is acting and has taken every single detail of the stage performance most seriously. This has made their acting full of tension and the roles that they play indelibly memorable. For me, in my future performance, I will endeavor to delve truly deep into each role I am to play, giving full attention to each detail of the performance, strengthen my comprehensive artistic qualities, and become an accomplished opera actress who can bring singing and acting into perfect combination.
In order for an opera to move the audience, fascinating plot and touching melodies alone are far from enough. It needs a number of first-rate singers to bring it alive through their in-depth and wonderful interpretations. By carrying out this comparative and contrastive study of three different renderings of Verdi’s La Traviata, I have become more aware than ever of the crucial role of human factors in bringing an opera into complete success. By writing this essay, I have learned many things that I tend to overlook in the past and have come to notice the shortcomings that are inherent in my musical expression and artistic cultivation. It is my hope that this study and my proposed program at your prestigious institution can serve as a new beginning of an artistic journey that will lead to significant improvements in my operatic skills and, ultimately, in my career development.
References and Bibliography
1. Wolfgang Willaschek, 50 Klassiker Oper
Chinese translation by Huang Bingyuan, Millennium Publishing Group, Shanghai Publishing House, 2005 Edition, Page 116, La Traviata
2. Gustav Kobbe, The Complete Opera Book
Chinese translation by Zhang Hongdao, People’s Music Publishing House, 1983
3. Shao Yuqiang, Enjoyment of Western Operas, Hebei Educational Press, First Edition, January 2004, Page 257 to 269, La Traviata
4. Wu Zhuqiang (Editor-in-Chief), Opera Classics, (Taipei), World Relics Press, May 2000 Edition, Vol. 26
5. Grout. D，Palisca. C. V, A History of Western Music,
People’s Music Publishing House, First Edition, Beijing, January 1996, Page 663 to 667
6. Peter Southwell-Sander, Verdi. G，
Jiangsu People’s Publishing House, First Edition, September 1999
7. Miu Tianrui (Editor-in-Chief), Encyclopedia of Music,
People’s Music Publishing House, First Edition, Beijing, October 1998, Page 585 to 618
8. Ricard Taruskin, The Oxford History of Western Music，Oxford University Press, 2005，Volume 3, Page 563 to 615
9. La traviata, composed by Giuseppe Verdi and set to an Italian libretto by Francesco Maria Piave
Musical Score for Piano Accompaniment, Hal. Leonaro Corporation
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