A Brief Analysis Of Ensemble Music Interpretation In Opera

An excellent opera not only has numerous beautiful arias but also many amazing ensemble excerpts.The ensemble music cannot be considered as just a green leaf to a red flower.It is not just an auxiliary character.Sometimes,it can wonderfully turn out as a special scene,the most brilliant part in a specific scene,and the most exuberant "red flower".During many years of vocal music study,especially considerable practices on the stage,I am charmed by "ensemble music" greatly and realize its importance profoundly.The great ensemble performance is not only an effective extension of self-role play,but also a glorious display of the indispensable level of synergy between you and me in the "big creation" of the entire opera.The performance of ensemble music can not only enhance self-characterization abilities and singing skills,but improve the musical accomplishment and comprehensive quality as well in the long run.It will be of great benefit to the future growth of singers.Learning how to interpret the ensemble music in operas is not only of theoretical significance for inquiry,but also of practical value for performers who study and engage in opera singing.In this research,the origin and development of ensemble music in operas are traced,and the types and artistic expressions of ensemble music in operas are analyzed.This study reveals the theoretical and practical values of researching ensemble music in operas.In particular,this study draws on the "field investigation" methodology in combination with my own stage performances..Taking the opera Turandot as an example,this paper analyzes the musical features of the images of Turandot,Calaf,the old emperor and three envoys,especially the ensemble music of three envoys,Calaf and the old emperor,revealing how a composer applies the form of the ensemble music to portray characters with different personalities,and how a vocalist grasps the expression of their roles accurately while cooperating with each other and conducting the "ensemble" performance so that they can collaborate to complete the creation of an opera together in intense conflicts and "dialogical" singing sections.