十八世紀後期維也納在約瑟夫二世的執政下，音樂活動欣欣向榮，其中義大利喜歌劇是當時的重要劇種。莫札特在維也納期間與劇院詩人達彭特合作過三齣義大利喜歌劇，其中最後一齣是一七九○年的《女人皆如此》。
《女人皆如此》中重唱的數量多於詠嘆調，是一七八三至一七九一年間維也納所上演的義大利喜歌劇中，重唱比例最高的作品。因此本文以此劇的重唱為研究對象，試圖探究其中不同角色的音樂刻劃，以及樂曲結構所隱含的戲劇意涵。除緒論與結論外，本文共分三個章節，第一章以一七八三至一七九一年間維也納所上演的劇目與當代義大利喜歌劇的社會意義為基礎，勾勒岀莫札特三齣義大利喜歌劇的創作背景。第二章針對劇本的來源與其角色結構所受假面喜劇團的影響逐一探討，以期對於兩條主要劇情脈絡的岀處、六名角色性格的歷史源流、以及達彭特集各家大成的創作手法有一清楚的認知。第三章則深入剖析重唱的音樂內涵，探討莫札特如何以迥異的音樂語言與多變的樂曲結構，賦予劇中角色鮮活的意像與旺盛的生命力。
十九世紀的評論家對《女人皆如此》苛刻的態度，使得此劇被歷史埋沒將近一世紀，但隨著道德觀的逐漸開放，《女人皆如此》也重新為世人所接受，而莫札特在其為數眾多的重唱中所展現的豐富創意，以及敏銳深刻的戲劇洞察力，可說是十八世紀後期義大利喜歌劇的最高成就。

Under the leadership of the King Joseph II, various musical activities were flourishing in Vienna during the late 18th century. Among all, the opera buffa was one of the major forms of musical performances. During the stay in Vienna, Mozart and Theater Poet Da Ponte composed three opere buffe together, and the last one was Così fan tutte composed in 1790.
Among all the opere buffe performed in Vienna from 1783 to 1791, the ratio of ensembles to arias in Così fan tutte was the highest. Therefore, the purpose of this thesis is to study the ensembles in this work, analyze the musical characterization of all characters, and carefully examine the dramatic meaning from the musical structure. In this thesis, there are three chapters except the preface and conclusion. The first chapter introduces the opere buffe performed in Vienna from 1783 to 1791 and describes its social meaning at the time, which provides the background as Mozart composed his opere buffe. The second chapter discusses the origin of the libretto and the influence of the Commedia dell'arte to the characteristic structure. This chapter therefore expresses its ideas more distinctly about two origins of the major play, the historical basis of six characters’ temperaments, and Da Ponte’s inductive composition technique. In addition, the third chapter further probes the musical intention of the ensembles in Così fan tutte. Furnishing characters in this play with vivid portraits and energetic vitality, Mozart composed this opera by innovative music language and various structure.
Così fan tutte was harshly disparaged by critics in 19th century and being neglected for almost one century. Nevertheless, it was being highly recognized as moral standard was gradually dropped. It is fairly stated that Così fan tutte is a major achievement of opera buffa in late 18th century for Mozart’s overflowing creativity in composing ensembles as well as his keen penetration for drama.

目 錄

緒論 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••1


第一章 莫札特三齣成熟期義大利喜歌劇的社會背景 ••••••••••••••••••12
第一節 一七八○年代義大利喜歌劇在維也納的演出概況 ••••••••••••••••13
第二節 義大利喜歌劇的劇情與其社會意義 •••••••••••••••••••••••••••••••••••••21
第三節 莫札特維也納時期的義大利喜歌劇 •••••••••••••••••••••••••••••••••••••30


第二章 《女人皆如此》的劇本及角色 ••••••••••••••••••••••••••••••••••••••••••••37
第一節 劇本來源 •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••38
第二節 角色結構 •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••48


第三章 《女人皆如此》重唱的戲劇內涵 ••••••••••••••••••••••••••••••••••••••••55
第一節 重唱中的角色刻劃 •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••56
第二節 小型重唱：二重唱與三重唱 •••••••••••••••••••••••••••••••••••••••••••••••••75
第三節 大型重唱：四重唱以上 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••90
第四節 終曲 •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••97


第四章 結論 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••113


參考書目 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••121

參考書目


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幼獅翻譯中心 《盧梭時代的南歐》，《世界文明史》第三十一冊。 台
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吳祖強主編 《女人皆如此》，《歌劇經典》第二十二冊。 台北市：世
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Hampson, Norman. 《啟蒙運動》。李豐斌譯。 台北市：聯經出版社，
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樂 譜

Mozart, Wolfgang Amadeus. Così fan tutte. Ed. Georg Schünemann and
Kurt Soldan. New York: Dover Publications, 1983.