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Gabrielė Kupšytė

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Gabrielė Kupšytė LIETUVOS MUZIKOS IR TEATRO AKADEMIJA MUZIKOS FAKULTETAS DAINAVIMO KATEDRA GABRIELĖ KUPŠYTĖ JULES MASSENET OPERA „WERTHER“: CHARLOTTE’S VAIDMUO IR JO INTERPRETACIJOS Jules Massenet opera “Werther”. A character study of Charlotte MAGISTRO BAIGIAMASIS RAŠTO DARBAS Darbo vadovė – doc. dr. Tamara Vainauskienė Vilnius 2018 SUMMARY Gabrielė Kupšytė Jules Massenet opera “Werther”: A CHARACTER STUDY OF CHARLOTTE The role of Charlotte in his opera to this day is recognized as one of the most challenging and difficult roles in the repertoire of a mezzo soprano. Detailed analysis of her character will aid in understanding and preparing not only this, but also other roles of XIXth century France operas. The object of the thesis: the character of Charlotte in J.Massenet’s opera “Werther”. The aim of the thesis: to analyze the character of Charlotte and her musical characterization in the dramaturgic and musical context of the opera. Problematic question of the thesis: does Charlotte from J.Massenet’s opera is leading role? The objectives of the thesis: To introduce the structure, dramaturgy and musical style of “Werther”; To analyze Charlotte’s musical and vocal characteristics; To study and compare Charlotte’s arias and its audio/video recordings; to clarify J.Massenet vocal style; Methods used in the research: analysis of specialized literature, reviews, opera scores, audio/video recordings, personal experience of the author of thesis. The first part of the thesis addresses various aspects of J.Massenet’s “Werther” drame lyrique tendencies. Special attention is given to the opera dramatic adaptation of J.Goethe’s novel The Sorrows of Young Werther. J.Massenet’s vocal style is also presented. The second part of the thesis analyzes the role of Charlotte and her extensive letter scene and arietta after in the opera. It has been proven that with the help of various musical means the composer makes her the central character of the story. Her letter scene Qui maur- rait dit la place acts as one of the most important dramaturgic pinnacles in the opera. This aria is a mix of main music ideas, themes, intonations and harmonies, and it conveys the main idea of the opera – the transformation of one’s soul and heart through love. Special attention is given to the bond between poetic and musical text, and it is explained that even though the aria contains virtuosic melodies, every twist and turn of the vocal line acts as a mean for de- veloping the character. Furthermore, various vocal challenges that every singer faces when preparing the role of Charlotte are discussed. In addition, an overview of the most prominent audio recordings of the two arias from XXth and XXIst century singers is presented. Therefore, the opera and the letter scene of Charlotte are extraordinary pieces of drama lyrique. This opera has been attracting the attention of the most well known opera theatres in the world. TURINYS ĮVADAS………………………………………………………………………….…………3 1. J.MASSENET OPERA „WERTHER”………………………..………..5 1.1. Operos sukūrimo istorija………………………………………………………….8 1.2. Operos libreto literatūros šaltinis Johanno Wolfgango von Goethės „Die Leiden des jungen Werther”…………………………………………………………………..…..10 1.3. Operos „Werther” struktūra ir dramaturgija……………………………..………14 1.4. Operos vokalinio stiliaus ypatumai…………………………….………………..17 2. J.MASSENET OPEROS DRAMATURGIJOS, CHARLOTTE’S VAIDMENS IR JOS INTERPRETACIJŲ ANALIZĖ……….….…………20 2.1. Operos dramaturginė analizė……………………………………..…………..…21 2.2. Vaidmens muzikinė ir vokalinė analizė…………………………………………28 2.2.1. Charlottės laiško scena: „Werther!Qui m'aurait dit la place”…………….…..35 2.2.2. Arija „Va! laisse couler mes larmes”………………………………….………41 2.3. Ryškiausios vaidmens interpretacijos……………………………………….…..42 IŠVADOS………………………………………………………………………..…..49 LITERATŪROS SĄRAŠAS……….……………………………………………..…50 ŠALTINIŲ SĄRAŠAS………………………………………………………………52 PRIEDAI…………………………………………………………………………….54 *2 ĮVADAS Temos aktualumas ir naujumas. Jules Massenet opera „Werther” u+ima reik"ming, viet, XIXa. operos +anro raidoje. Jo operos - vienos +ymiausi- lyrin!s operos pavyzd+i-. Pasirinktas buitinis, prastuomen!s gyvenimo siu+etas, vaizduojantis nesupoetintus jausmus - i"ry"kina Pranc$z- muzikos nat$ralizmo bruo+us. Charlott!s vaidmuo operoje „Werther” iki "iol i"lieka vienu sud!tingiausi-, jausmin- giausi- ir tragi"kiausi- mecosoprano repertuare. Jules Massenet vokalinis stilius, tapo tikru i""$kiu daininink!ms. Darbo autor!, pati ruo"ia Charlott!s vaidmen., tod!l "is baigiamojo meno projekto ra"to darbas, pad!s dar labiau .sigilinti . persona+, ir tai l!m! temos pasirinkim,. Taip pat, temos pasirinkim, .takojo ribotas specializuotos literat$ros lietuvi- kalba kiekis, tiek apie Jules Massenet operas, tiek apie oper, „Werther”. Pasirinktu analizei Charlott!s vaidmeniu, darbo autor! sieka atkreipti d!mes. vien, emocingiausi-, reikalaujan/i- auk"to meistri"kumo muzikos literat$ros pavyzd+i- operos istorijoje. Detali arij- ir vaidmens analiz! autorei ir kitiems dainininkams, pad!s rengiant Charlott!s vaidmen.. Tyrimo objektas. Charlott!s vaidmuo, J.Massenet operoje „Werther”. Tyrimo tikslas. #vairiais po+i$riais i"analizuoti Charlott!s vaidmen. ir jo interpretacijas J.Massenet operoje „Werther”. Probleminis klausimas. Ar operoje ,,Werther”, vedantis persona+as yra Charlott!? Tyrimo uždaviniai: • aptarti operos suk$rimo istorij,, libreto "altin., strukt$r, ir dramaturgij,; • i"ai"kinti J.Massenet vokalinio stiliaus ypatumus; • i"nagrin!ti Charlott!s vaidmen. muzikiniu, vokaliniu bei dramaturginiu po+i$riais; • aptarti ry"kiausias vaidmens interpretacijas. Tyrimo metodai: • audio ir video .ra"- analiz!; • istorinis metodas; • literat$ros ir "altini- nagrin!jimas; • lyginamoji analiz!; • klavyro analiz!; *3 Literatūros apžvalga. Ra"ant ". darb,, autor! r!m!si specializuota literat$ra angl-, pranc$z- kalbomis ir straipsniais apie Jules Massenet k$ryb, ir jo operas: Samson J. The Cambridge History of Nineteenth-Century Music (UK, 2001), Steen M. Straipsnis: More Great Operas, (2016), Huebner S. Massenet and Wagner: Bridling the Influence (UK Cambridge Opera Journal Vol. 5, No. 3, 1993), Huebner S. French Opera at the Fin de Siècle: Wagnerism, Nationalism and Style (UK, 2004), Sondrup S. Wertherism and Die Leiden des jungen Werther, European Romanticism: Literary Cross - currents, Modes, and Models (USA, 1990). Kiti informaciniai "altiniai yra: Youtube, operos libretas, internetiniai straipsniai (In Focus. Jules Massenet, Werther.; Milnes R. Werther, 2002m.; Met Operas. Musical Highlight Werther). Darbo struktūra. '. magistro baigiam,j. darb, sudaro .vadas, du skyriai, kurie dalomi . poskyrius. Pirmajame ap+velgiama ir i"analizuojama J.Massenet opera „Werther”: suk$rimo istorija, analizuojamas operos libreto literat$ros "altinis (J.Goeth!s „Die Leiden des jungen Werther”), ap+velgiama operos strukt$ra ir dramaturgija, bei aptariami operos vokaliniai ypatumai; antrajame - operos dramaturgin! analiz!, pateikiama Charlott!s vaidmens charakteristika ir detali jos arij- analiz! bei i"nagrin!tos ry"kiausios intrepretacijos. Darbo pabaigoje pateikiamos i"vados, literat$ros bei "altini- s,ra"ai ir 3 priedai: Charlott!s dviej- arij- natos ir operos ,,Werther’’ orkestro sud!ties vizualinis paveiksliukas. *4 1. J.MASSENET OPERA „WERTHER” Apie 1850m, "alia did+iojo „grand opéra“ +anro, kuriam b$dinga monumentalumas, istorinis herojinis siu+etas, didel!s masin!s choro ir orkestro partijos, auk"t- dorovini- bei visuomenini- ideal- siekis, dramati"kas b$ties suvokimas, - susiformuoja dar viena pranc$z- operos r$"is – lyrin! opera, kurios centre – meil!s drama.1 Tai buvo puiki atsvara to meto grandiozin!ms vokie/io G.Meyerbeerio operoms: Les Huguenots (1836), L'Africaine (1864) ir Le prophète (1849). Lyrin!je operoje, pagrindinis d!mesys skiriamas lyrinei tematikai, meil!s dramoms. Kaip ir komi"kosios operos, jos +avesio ir patrauklumo esm! yra melodija. Muzikos i"rai"kingumas kyla i" chromatizm-, netradicinio ritmo (9/8 arba 12/8), ilg-, lyrini- melodij- ir „"velni-” kadencij-. Siu+eto pagrind, sudaro romantin! drama ar fantazija, o apimtis didesn! nei komi"kosios operos, ta/iau ma+esn! nei tipi"kos did+iosios operos.2 Dramaturgijos ir muzikin!s i"rai"kos prasme, pranc$z- lyrin! opera buvo prie"inyb! did+iajai operai. Anot muzikologo V.Gerulai/io, lyrin!je operoje „did+iausias d!mesys skiriamas paprastiems bendra+mogi"kiems pergyvenimams, naudojamos buitin!s muzikos intonacijos ir ritmai, siekiama veiksmo vieningumo, naudojami leitmotyvai. Dominuoja lyrin!, paprasta muzikin! kalba. Vyrauja arijozin!, romansin! melodika, dainingas re/itatyvas, dainos, "okio, mar"o +anrai.”3 'i- oper- libretams da+nai pasirenkami +ym$s klasikin!s literat$ros siu+etai, meil!s dramos i"keliamos auk"/iau visuomenini- bei filosofini- id!j-. Dauguma "i- oper- pastat! Pary+iuje .kurtas „Theatre lyrique” teatras. Pirmoji "io +anro opera buvo Charles Gounod (1818-1893) Faust (1859), pirmiausiai pastatyta kaip opéra comique (su kalbamaisiais dialogais), o v!liau autoriaus perkurta lyrin!s operos stiliaus melodijomis su re/itatyvais. Antroji kompozitoriaus opera - Roméo et Juliette (1865), bei kit- kompozitori-: Georges Bizet (1838-1875) - Les pêcheurs de perles (1863), Ambroise Thomas (1811-1896) - Mignon (1866) ir Hamlet (1868), Jules Massenet (1842-1912) - Manon (1884) ir Werther (1886). 1 Tauragis A.,Ulien! E. Opera/Muzikos enciklopedija, t. 3.Vilnius: Lietuvos muzikos ir teatro akademija, mokslo ir enciklopedij- leidybos institutas 2007, p.25. 2 Longyear R. Nineteenth-Century Romanticism in Music.Second edition. USA:
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