The Shaping Of "Minor Characters" In Puccini’s Operas And A Study Of The Singing Styles

Under the influence of European nationalism in the late Romantic period,the creative perspective of Italian opera stood out from the traditional Opera Seria system,and instead focusing on portraying the essence of humanity and the real situation of civilian life.Puccini,as a pioneer in opera creation during this period,focused his works on the emotions of the "Underclass Characters",using story themes which close to life and ordinary people to create a stronger emotional resonance among the audience.He inherited the excellent tradition of Italian opera and integrated revolutionary composition techniques such as nationalism,neoclassicism,and expressionism from other European composition styles into his own opera.With unique musical techniques,he expressed the essence of humanity and the lives of middle and lower class people,and expressed the opera style with the image of "Underclass Characters " as the main creative representation.It highlights the composer’s unique creative pursuit and aesthetic awareness of the era in which they live.The main theme of this article is to extract the role types of " Underclass Characters " in the representative operas of Puccini’s works.Through consulting letters,relevant literature,and some authoritative interpreters of Puccini’s operas’ first-hand audio and video materials,an open and faithful perspective is used to elaborate on the process of the creation,shaping,and performance of "Underclass Characters" in his operas,employing music performance theory and other related theories.Meanwhile,with the assistance of self-developed "DIVA" spectral analysis software and "dynamics envelope" measurement,as well as other music visualization measurement methods such as "Vmus.net," the elements,rules,and inherent consistency of the shaping of " Underclass Characters " are analyzed objectively and realistically in a multidimensional and three-dimensional way,presenting their characteristics and connotations in historical development.The different performance styles of " Underclass Characters " in Puccini’s operas are demonstrated,and a more historically conscious and aesthetically conscious perspective for performing Puccini’s opera works is advocated,with practical significance and theoretical value.This study is divided into the following parts:Firstly,in the introduction,the literature on the research background and current situation is reviewed and summarized,the feasibility and research value of this study are proposed,and the research questions,related concepts,and research domain are defined.Scientific explanations are also given for the methods and software used in the research.Secondly,the historical background,cultural trends,and aesthetic demands that gave rise to the "Underclass Characters" characters in Puccini’s operas are discussed,further demonstrating the inevitability of their creation and the inherent relationship between their singing and performance.The typical types of "Underclass Characters" characters in Puccini’s operas are summarized: wanderers on the fringes of society,powerless strugglers under the shadow of authority,and sacrifices in special historical contexts.Thirdly,the operas 《La bohème》《Tosca》 and 《Madama Butterfly》are selected as representative examples of the typical "Underclass Characters" characters,and based on performance theory,the singing expression of different "Underclass Characters" characters in melody,lyrics,scene,and character portrayal are analyzed to expound their social images and status.Different styles of singing for different character types are condensed using various musical visualization techniques.Finally,a comprehensive analysis is carried out on the singing recordings of singers from different periods from a historical development perspective,including comparison,induction,and verification.By analyzing historical imagination and interpretation,trait and style changes,and theoretical and objective scientific measurements,singers can clearly hear the historical prototypes and see the regularity and connotation of their changes,making singing practice and teaching more theoretical and visually based.