"Mozart Abduction" 指的是奧地利音樂家沃夫岡·阿瑪迪斯·莫札特（Wolfgang Amadeus Mozart）於1782年創作的著名德語歌劇——《後宮誘逃》（德語：Die Entführung aus dem Serail，英文常譯為 The Abduction from the Seraglio）。 [1, 2]
這部作品在莫札特的創作生涯與西方音樂史上都具有極為重要的地位，以下為您詳細解析其背景、劇情與音樂特色：
1. 故事劇情簡介
2. 歷史與創作背景
3. 音樂特色
- 土耳其禁衛軍音樂（Janissary Music）： 為了營造土耳其後宮的異國氛圍，莫札特在樂團中加入了大量當時傳統西方管弦樂團少見的打擊樂器，如大鼓、鈸、三角鐵與短笛，音樂風格充滿活力、節奏強烈。 [1]
- 高難度的花腔女高音： 女主角康斯坦斯在劇中的著名詠嘆調《多種痛苦》（Martern aller Arten）極為考驗技巧，包含大量高難度的音域跳躍與長篇幅的花腔技巧，至今仍是女高音的終極挑戰之一。
如果您想進一步了解，需要我為您推薦劇中的經典詠嘆調，或是提供特定角色的音樂性格分析嗎？
https://www.youtube.com/watch?time_continue=145&v=HhiVuIRw4tM
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https://www.youtube.com/watch?v=Krs7PqhcZX8
Text[edit]
The original text, derived from the Dies irae sequence, is as follows:
| Pie Jesu Domine, Dona eis requiem. (×2) | Pious Lord Jesus, Give them rest. |
| Pie Jesu Domine, Dona eis requiem sempiternam. | Pious Lord Jesus, Give them everlasting rest. |
Pie is the vocative of the word pius ("pious", "dutiful to one's parent or God").[3] "Jesu" (Iesu in Latin) is the vocative of Jesus/Iesus.[4]Requiem is the accusative of requies ("rest"), sometimes mistranslated as "peace", although that would be pacem, as in Dona nobis pacem ("Give us peace").
Andrew Lloyd Webber's Requiem[edit]
Andrew Lloyd Webber, in his Requiem, combined the text of the Pie Jesu with that of the version of the Agnus Dei formerly appointed to be used at Requiem Masses:
| Pie Jesu, (×4) Qui tollis peccata mundi, Dona eis requiem. (×2) | Pious Jesus, Who takes away the sins of the world, Give them rest. |
| Agnus Dei, (×4) Qui tollis peccata mundi, Dona eis requiem, (×2) Sempiternam (×2) Requiem. | Lamb of God, Who takes away the sins of the world, Give them rest, Everlasting Rest. |
One of the most beautiful treble solos of all time.
No, YOU'RE crying.
No, YOU'RE crying.
1782年7月16日 《後宮誘逃》首演
《後宮誘逃》在維也納舊的城堡劇院上演，莫札特對這部歌劇滿懷信心：「哦，我將會大獲成功！」莫札特的預測沒錯，這齣歌劇大受歡迎，也給莫札特帶來豐厚收入，據說是他在薩爾茲堡年收入的三倍。如此風光，正是對薩爾茲堡大主教最甜蜜的報復，至少，當時看來是如此。
這部歌劇融入了當時最流行的土耳其元素，以營救一對落入土耳其人之手的貴族女性和女僕為主題。當女主角康絲坦采被拘禁在總督的後宮，不知何時能獲救，此時只有近乎盲目的對愛情的堅貞支持著她。這種盲目也是康絲坦采的抉擇與勇敢。從現實的角度來看，她的堅持不僅沒有意義，而且危險。在自由被剝奪的情形下，她的命運是受人擺布的。然而，康絲坦采卻表現了對死亡有如殉道者一般的不懼、甚至歡迎。
聽一聽《後宮誘逃》，再來看一看貝多芬的《費黛里奧》，你會發現，意思是「恆久」的康絲坦采與意為「信實」的費黛里奧，是一對姊妹花。
https://www.youtube.com/watch?v=0thkRe05JZ8
《後宮誘逃》在維也納舊的城堡劇院上演，莫札特對這部歌劇滿懷信心：「哦，我將會大獲成功！」莫札特的預測沒錯，這齣歌劇大受歡迎，也給莫札特帶來豐厚收入，據說是他在薩爾茲堡年收入的三倍。如此風光，正是對薩爾茲堡大主教最甜蜜的報復，至少，當時看來是如此。
這部歌劇融入了當時最流行的土耳其元素，以營救一對落入土耳其人之手的貴族女性和女僕為主題。當女主角康絲坦采被拘禁在總督的後宮，不知何時能獲救，此時只有近乎盲目的對愛情的堅貞支持著她。這種盲目也是康絲坦采的抉擇與勇敢。從現實的角度來看，她的堅持不僅沒有意義，而且危險。在自由被剝奪的情形下，她的命運是受人擺布的。然而，康絲坦采卻表現了對死亡有如殉道者一般的不懼、甚至歡迎。
聽一聽《後宮誘逃》，再來看一看貝多芬的《費黛里奧》，你會發現，意思是「恆久」的康絲坦采與意為「信實」的費黛里奧，是一對姊妹花。
https://www.youtube.com/watch?v=0thkRe05JZ8
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http://www.npr.org/2007/03/30/9146854/mozarts-the-abduction-from-the-seraglio
Mozart's 'The Abduction from the Seraglio'
From the Salzburg Festival
March 30, 200712:00 PM ET
Laura Aikin and Charles Castronovo star as Konstanze and Belmonte in The Abduction from the Seraglio, from Salzburg.Photo: Forster
Who's Who?
Laura Aikin ................ Konstanze
Charles Castronovo ...... Belmonte
Valentina Farcas ........... Blonde
Dietmar Kerschbaum ....... Pedrillo
Franz Hawlata ............. Osmin
Ivor Bolton ............. conductor
More about the performers...
Mozart at the Movies
Mozart's Abduction plays a pivotal role in the award-winning film Amadeus:
The Emperor tells Mozart that his ?Abduction? has ?too many notes!?
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Mozart explains ?The Abduction? to the Emperor and his musical minions.
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The Story of the Opera
The Story of Act 1
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The Story of Act 2
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The Story of Act 3
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The Hit Single
Many operas contain hit tunes that take on a life of their own. In Mozart's Abduction it's Konstanze defying her brutal captor in the flamboyant aria Martern aller Arten.
Salzburg Festival on World of Opera -- 'The Abduction from the Seraglio'
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A Golden Oldie! The legendary Miliza Korjus sings 'Martern' in 1934.
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"Too many notes. Just cut a few and it will be perfect." You may remember those "cutting" words which the tin-eared Emperor presented to Mozart in the movie Amadeus. Reportedly, Joseph II actually did offer that opinion in response to Mozart's The Abduction from the Seraglio, the opera he commissioned from the 26-year-old composer in 1782.
What Mozart put on the stage for the Emperor was indeed something new, as the Emperor conceded. The poet Goethe said that Abduction "knocked everything else sideways."
Anything Turkish was in style at the time, and true to the trend, Mozart sets Abduction in a Turkish harem and flavors the music with extra percussion, evoking the military Janissary bands of Turkey (especially in the rollicking overture).
But Abduction was far more than just trendy and Turkish. The depth of Mozart's music was constantly increasing during this period. In letters to his father he wrote about trying to capture the very heartbeats of emotion in his characters.
Abduction is the crazy story of two men rescuing their lovers from a Pasha's harem, but the way Mozart blends high comedy with touching tragedy signals his new maturity as an opera composer.
The Act II quartet, sung by the two principal couples, surely impressed those first audiences, and it still impresses today. It's almost a miniature opera within itself, beginning and ending with the joy of the lovers' reconciliation, yet with a melancholic middle section in which the music palpably expresses the personal doubts swirling within the characters' outward happiness.
Like Mozart's final opera, The Magic Flute, The Abduction from the Seraglio is written in the German Singspiel style, featuring dialogue that is not sung but spoken. Various amounts of dialogue are used (even altered or updated) depending on the production.
This production of Mozart's Abduction comes from the 2006 Salzburg Festival, the annual arts and music spectacle set in the composer's hometown of Salzburg, Austria. It's performed in the newly renovated hall that now bears the name "Haus fur Mozart."
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Fidelio - Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Fidelio
Fidelio Op. 72, is a German opera with spoken dialogue by Ludwig van Beethoven, his only opera. The German libretto was originally prepared by Joseph ...Fidelio, Op.72 (Beethoven, Ludwig van) - IMSLP/Petrucci Music Library
imslp.org/wiki/Fidelio,_Op.72_(Beethoven,_Ludwig_van)
Mar 28, 2016 - According to Altmann's notes to the Eulenburg edition full score (ca.1920?), Farrenc released this with a German and French text, the latter by ...Beethoven "Fidelio - complete" Roma 1996 - YouTube
https://www.youtube.com/watch?v=PPZXKQXukoE
Mar 7, 2013 - Uploaded by Addiobelpassato
"Fidelio" Opera in two acts, op 72 by Ludwig van Beethoven Don Fernando...........
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