音樂(lè)歌劇外文翻譯--莫扎特的《唐喬瓦尼》和對(duì)完全自由的邀請(qǐng)（節(jié)選）

1、<p>　　2000英文單詞，10500英文字符，中文3600字</p><p>　　文獻(xiàn)出處：Casey T G. Mozart's "Don Giovanni" and the Invitation to Full Freedom[J]. New Blackfriars, 2007, 88(1015):288–299.</p><p>　　Moza

2、rt’s Don Giovanni and the Invitation to Full Freedom</p><p>　　Thomas G. Casey SJ</p><p><b>　　Abstract</b></p><p>　　Mozart’s operatic masterpiece Don Giovanni raises pivo

3、tal questions about freedom and society: should freedom be without constraints? Is absolute freedom possible? In certain key ways these concerns of Mozart’s culture resonate with issues that preoccupy us today. Com- pose

4、d in 1787, during the final years of the liberal regime introduced by the Habsburg emperor Joseph II, the opera reflects the shadow side of his “enlightened” reforms. The serial seducer Don Giovanni repre- sents a libert

5、y that</p><p>　　Keywords：Mozart, opera, freedom, marriage, Trinity.</p><p>　　Introduction</p><p>　　Wolfgang Amadeus Mozart may have been born over 250 years ago, but his music is so

6、 magical and fresh that it sounds like it was composed only yesterday. Christian thinkers have been glowing in their praise of him. In his pseudonymous work Either-Or the great Lutheran philosopher Søren Kierkegaard

7、 announced that with Don Giovanni Mozart had definitively entered the ranks of the immortals; to mark the 200th anniversary of Mozart’s birth, the Swiss Reformed theologian Karl Barth gave a special lect</p><p

8、>　　But it is not only Mozart’s music that is perennially fresh; many of the issues that surface in his operas are also abidingly relevant. Mozart’s opera Don Giovanni tunes into a surprisingly contemporary problem: fr

9、eedom without control. In the process of telling the archetypal Don Juan story, the opera raises pivotal questions about individual freedom in society. What happens when liberty becomes libertinism? Is absolute freedom f

10、easible? Should freedom include constraints? Is the rejection of m</p><p>　　However, the joyous expanse and unabashed freedom of the music suggest that a fulfilling answer can be found, and that true liberty

11、 is possible. It goes without saying that the medium of music of itself cannot articulate this harmonious vision of freedom, since it is without words. Thus towards the end of this article I will allow myself the poetica

12、l license to articulate a conception of freedom that finds its harmony in the community of the Trinity. It is too much to claim that Mozart is sugges</p><p>　　A society like our own</p><p>　　It

13、is not surprising that the opera confronts difficult issues related to freedom since they were also major questions in Mozart’s culture. Mozart composed Don Giovanni in 1787, during the final years of the reign of Joseph

14、 II, the eighteenth-century Habsburg emperor who occupied the throne from 1765 to 1790. For the first 15 years of his reign, Joseph had been kept in check by the watchful eye of his mother Maria Theresa. Although Joseph

15、was co-regent, it was Maria Theresa who always had the la</p><p>　　Although the Habsburg Empire was also known as the Holy Roman Empire, the French philosopher Voltaire (1694-1778) famously declared that it

16、 was neither Holy, nor Roman, nor an Empire. Voltaire, regarded by many of his contemporaries as the epitome of Enlightenment thought, saw himself as a champion of freedom, which he held to be hampered by religious faith

17、. Joseph II admired Voltaire’s thought, and was intent on making the vision of the Enlightenment a reality in his empire. The Enlightenment </p><p>　　By the time Don Giovanni premiered in October of 1787 in

18、Prague, the darker side effects of this new liberalism were already giving cause for alarm. Certain social observers noted with concern that sexual license was rife in Europe. Mozart’s opera, centered on a sexually promi

19、scuous and charmingly manipulative nobleman, gave artistic expression to this rising sense of anxiety. The Italian librettist Lorenzo Da Ponte, who penned the lyrics of Don Giovanni, had an abundance of amorous adventure

20、s i</p><p>　　A Curious Opera</p><p>　　There is something decidedly unexpected at the heart of this brilliant opera of Mozart. Although it is a story of revenge, the avengers are not the heroes.

21、 In fact their appeal fades in comparison with the bright and devilish charm of the protagonist Don Giovanni, after whom the opera is named. He is not a hero in the conventional sense of the word. Instead he is a shamele

22、ss cad who is surprisingly cast as the alluring protagonist. The spotlight is always on this reckless aristocrat, even when h</p><p>　　This opera in two acts is a dramma giocosa, and as this Italian expressi

23、on suggests, it is composed of both “dramma” - serious and even tragic aspects, as well as the “giocosa” - light-hearted and comic elements. The opening overture already conveys both facets. It starts in the key of D min

24、or, weighed down by a sense of foreboding, before giving way to the cheerier key of D major, and tripping merrily along to the sound of a light and vivacious melody.</p><p>　　As Act I and the action of the

25、 opera begins, Leporello, the manser- vant of Don Giovanni, is standing outside the house of the Commendatore, keeping watch on behalf of his master, the nobleman Don Giovanni. Meanwhile the masked Don Giovanni is inside

26、, attempt- ing to seduce the Commendatore’s daughter, Donna Anna. Her cries awaken her father, and the Commendatore challenges Don Giovanni to a duel, but is mortally wounded by a thrust of Don Giovanni’s sword. Don Giov

27、anni, in the company of Lepore</p><p>　　Don Giovanni immediately moves on to a new adventure when he catches the scent of a veiled woman. To his horror, it turns out to be Donna Elvira, a previous conquest o

28、f his. He flees, and leaves Leporello to explain things. Leporello puts Donna Elvira’s betrayal “in context”, explaining that she is neither the first nor the last woman to be seduced by Don Giovanni. Leporello proceeds

29、to sing the famous “Catalogue Aria”, in which he reveals to Donna Elvira the exhaustive list of his master’s amor</p><p>　　Barely has Donna Elvira vowed to have her revenge on the man that dumped her than th

30、is man is once again entangling himself in a new amorous adventure: Don Giovanni sets about seducing a poor girl called Zerlina who is about to get married to her fiance´ Masetto. As the Don is on the point of havin

31、g his way with Zerlina, Donna Elvira arrives and escorts the na¨?ve girl away to safety. Later, Donna Elvira, Donna Anna and Don Ottavio join forces. They arrive masked at a lavish party thrown by Don </p>&l

32、t;p>　　莫扎特的《唐·喬瓦尼》和對(duì)完全自由的邀請(qǐng)</p><p>　　Thomas G. Casey SJ</p><p><b>　　摘要</b></p><p>　　莫扎特的歌劇杰作《唐·喬瓦尼》提出了關(guān)于自由和社會(huì)的關(guān)鍵問(wèn)題:自由是否應(yīng)該不受限制？絕對(duì)自由可能嗎？在某些關(guān)鍵的方面，莫扎特文化的這些關(guān)注與我們今

33、天所關(guān)注的問(wèn)題產(chǎn)生共鳴。這部歌劇于1787年由哈布斯堡皇帝約瑟夫二世引入自由主義政權(quán)的最后幾年上演，反映了他“開(kāi)明”改革的陰暗面。系列誘惑者唐喬瓦尼代表了一種墮落為自由主義的自由。喬瓦尼想不惜一切代價(jià)保留的自由，只是沒(méi)有身體約束的自由。在當(dāng)代世界，許多人渴望一種同樣類似的自由:他們拒絕外部權(quán)威的支配，順從地服從本能的驅(qū)使。基督教邀請(qǐng)人們?cè)趷?ài)中超越自我。婚姻是永久奉獻(xiàn)的典范，與唐·喬瓦尼自私的消費(fèi)和草率處置女性形成鮮明對(duì)比。莫扎

34、特歌劇的歌詞和情節(jié)雖然沒(méi)有喚起三位一體，但其作品的音樂(lè)完美的在揭露的前夕起舞，開(kāi)啟了三位一體愛(ài)情自由的解放之謎。關(guān)鍵詞:莫扎特，歌劇，自由，婚姻，三位一體。</p><p><b>　　簡(jiǎn)介</b></p><p>　　沃爾夫?qū)?#183;阿瑪多伊斯·莫扎特可能出生于250多年前，但他的音樂(lè)是如此神奇和新鮮，聽(tīng)起來(lái)就像是昨天創(chuàng)作的。基督教思想家們對(duì)他的贊美

35、之情溢于言表。偉大的路德哲學(xué)家克爾凱郭爾宣布，莫扎特的《唐·喬瓦尼》已明確進(jìn)入不朽的行列；為了紀(jì)念莫扎特誕辰200周年，瑞士改革派神學(xué)家卡爾·巴爾特于1956年發(fā)表了一篇關(guān)于奧地利作曲家巨大自由的專題演講。羅馬天主教思想家們也稱贊他:漢斯·烏爾斯·馮·巴爾塔薩熟記莫扎特的所有作品，偶爾還會(huì)坐在鋼琴前彈奏唐·喬瓦尼( Don Giovanni )，讓巴塞爾的學(xué)生們激動(dòng)不已；迪特里

36、希·馮·希爾德布蘭德稱贊莫扎特調(diào)和明顯對(duì)立的非凡能力，他的藝術(shù)非常的優(yōu)雅，以及貫穿他的音樂(lè)天才；顧昂寫(xiě)了一部熱情洋溢的神學(xué)著作《莫扎特:超越的痕跡》：教皇本尼迪克特十六世，他本人是一位成就卓著的鋼琴家，他最喜歡的作曲家是莫扎特，他談到了他的光輝音樂(lè)的非凡深度，這種音樂(lè)有足夠的勇氣來(lái)遏制存在的悲劇。</p><p>　　但不僅僅莫扎特的音樂(lè)是永遠(yuǎn)新鮮的，他的歌劇中出現(xiàn)的許多問(wèn)題也與此息息相關(guān)。莫

37、扎特的歌劇《唐·喬瓦尼》的旋律進(jìn)入了一個(gè)令人驚訝的當(dāng)代問(wèn)題:自由不受控制。在講述唐璜故事原型的過(guò)程中，歌劇提出了關(guān)于社會(huì)個(gè)體自由的關(guān)鍵問(wèn)題。當(dāng)自由變得自由主義時(shí)會(huì)發(fā)生什么？絕對(duì)自由可行嗎？自由應(yīng)該包括限制嗎？拒絕已婚的愛(ài)情是通往自由的道路嗎？這些問(wèn)題是在一部超越歌詞界限的音樂(lè)杰作的框架內(nèi)提出的?！短?#183;喬瓦尼》的歌詞是洛倫佐·達(dá)龐特寫(xiě)的，他無(wú)疑是一位天才的意大利歌詞作者，但他的語(yǔ)言天賦與莫扎特的音樂(lè)天才相比相

38、形見(jiàn)絀。《唐·喬瓦尼》的歌詞并沒(méi)有對(duì)其迷人的情節(jié)提出的問(wèn)題提供令人滿意的答案。</p><p>　　然而，音樂(lè)的歡樂(lè)和不加掩飾的自由表明，一個(gè)令人滿意的答案是可以找到的，真正的自由是可能的。不言而喻，音樂(lè)媒介本身無(wú)法表達(dá)這種和諧的自由觀，因?yàn)樗鼪](méi)有語(yǔ)言。因此，在這篇文章的結(jié)尾，我將允許我自己的詩(shī)歌許可，闡明一個(gè)自由的概念，在三位一體的共同體中找到它的和諧。莫扎特在他的音樂(lè)中提出了這一特定的概念，但可以斷

39、言的是他的音樂(lè)所體現(xiàn)的統(tǒng)一和連貫的自由并不敵視三位一體的自由觀；事實(shí)上，它從根本上對(duì)它開(kāi)放。</p><p><b>　　像我們這樣的社會(huì)</b></p><p>　　這并不奇怪，歌劇面臨著與自由有關(guān)的困難問(wèn)題，因?yàn)樗鼈円彩悄匚幕械闹饕獑?wèn)題。1787年，莫扎特在約瑟夫二世統(tǒng)治的最后幾年創(chuàng)作了《唐·喬瓦尼》，約瑟夫二世是18世紀(jì)哈布斯堡皇帝，1765年至

40、1790年期間繼承了王位。約瑟夫在位的頭15年里，母親瑪麗亞·特雷莎一直密切注視著他。雖然約瑟夫是聯(lián)合攝政王，但在重大決策中總是瑪麗亞·特雷莎說(shuō)了算。1780年，這位意志堅(jiān)強(qiáng)的女族長(zhǎng)去世后，她雄心勃勃的兒子在接下來(lái)的十年里完全掌控了這個(gè)龐大而龐大的帝國(guó)。哈布斯堡帝國(guó)的總部設(shè)在奧地利，但包括匈牙利和許多當(dāng)代歐洲國(guó)家的一部分，如德國(guó)、意大利、比利時(shí)、塞爾維亞、克羅地亞、羅馬尼亞、波蘭和烏克蘭。</p>&l

41、t;p>　　雖然哈布斯堡帝國(guó)也被稱為神圣羅馬帝國(guó)，但法國(guó)哲學(xué)家伏爾泰( 1694 - 1778 )卻以宣稱它既不是神圣羅馬帝國(guó)，也不是帝國(guó)而著稱。伏爾泰被許多同時(shí)代的人視為啟蒙思想的縮影，他認(rèn)為自己是自由的捍衛(wèi)者，他認(rèn)為自由受到宗教信仰的阻礙。約瑟夫二世欽佩伏爾泰的思想，并致力于使啟蒙運(yùn)動(dòng)的愿景在他的帝國(guó)成為現(xiàn)實(shí)。啟蒙運(yùn)動(dòng)提倡了一種有問(wèn)題的自由，把自由等同于從傳統(tǒng)中解放出來(lái)和從權(quán)威中異化出來(lái)。啟蒙思想家甚至在不存在迷信的地方也看到

42、了迷信。他們對(duì)任何超出理性范圍的事物的否定使他們對(duì)教會(huì)產(chǎn)生了懷疑。事實(shí)上，他們常常把教會(huì)和國(guó)家的權(quán)威視為自由的障礙和個(gè)人發(fā)展的障礙。約瑟夫二世本身并不反對(duì)宗教，但他致力于把宗教和其他一切事物置于理性的統(tǒng)治之下。一方面，這導(dǎo)致開(kāi)明的政策，例如猶太人社區(qū)的狀況顯著改善，各基督教教派的禮拜自由，以及結(jié)束被稱為農(nóng)奴的虛擬奴役形式。另一方面，它導(dǎo)致了對(duì)與約瑟合理性模式不協(xié)調(diào)的任何事物的倉(cāng)促和考慮不周的改革。例如，約瑟夫把權(quán)力集中在維也納，從而削弱

43、了地方當(dāng)局的權(quán)力；他壓制了修道院，因?yàn)樗鼈儧](méi)有“實(shí)用”價(jià)值；他把德語(yǔ)作為帝國(guó)的官方語(yǔ)言。在1780年代，他的其他雄心勃勃和激進(jìn)的改革包括廢</p><p>　　1787年10月唐·喬瓦尼在布拉格首演時(shí)，這種新自由主義的黑暗副作用已經(jīng)引起人們的警覺(jué)。一些社會(huì)觀察員關(guān)切地注意到，性的容許問(wèn)題在歐洲很普遍。莫扎特的歌劇以一個(gè)性濫交和好指使人的貴族為中心，藝術(shù)地表達(dá)了這種日益高漲的焦慮感。意大利唱詞家洛倫佐&#

44、183;達(dá)蓬特寫(xiě)了《唐·喬瓦尼》的歌詞，他在自己的生活中有著豐富的愛(ài)情冒險(xiǎn)，可以借鑒。似乎這還不足以給歌劇增添情趣，達(dá)蓬特還可以借用比他更色情的人：他的親密朋友，臭名昭著的賈科莫卡薩諾瓦。</p><p><b>　　A.奇特的歌劇</b></p><p>　　莫扎特這出精彩的歌劇有一個(gè)明顯意想不到的核心。雖然這是一個(gè)復(fù)仇的故事，復(fù)仇者不是英雄。事實(shí)上，與主

45、角唐·喬瓦尼( Don Giovanni )的明亮而邪惡的魅力相比，他們的吸引力逐漸減弱，這部歌劇就是以他的名字命名的，他不是傳統(tǒng)意義上的英雄。相反，他是一個(gè)卑鄙的無(wú)恥者，他出人意料地扮演著迷人的主角。即使他本人也在后臺(tái)，聚光燈總是放在這位魯莽的貴族身上，每個(gè)人和每件事都圍繞著他。</p><p>　　這出歌劇分為兩幕，一幕是德拉瑪喬科莎，正如這個(gè)意大利人的表達(dá)所暗示那樣，它既包括“德拉瑪”——嚴(yán)肅甚至

46、悲劇的一面，也包括“喬科莎”——輕松和滑稽的一面。開(kāi)場(chǎng)序曲已經(jīng)傳達(dá)了這兩個(gè)方面。它從D小調(diào)的開(kāi)始，在一種不祥的預(yù)感下受到壓制，然后以D大調(diào)快速地跳到輕快活潑的旋律聲中。</p><p>　　當(dāng)?shù)谝荒缓透鑴〉男袆?dòng)開(kāi)始時(shí)，唐·喬瓦尼的男主人萊波雷洛站在卡門大托的房子外面，代表他的主人，貴族唐·喬瓦尼監(jiān)視著。與此同時(shí)，戴著面具的唐·喬萬(wàn)尼進(jìn)來(lái)了，試圖誘騙卡門大托的女兒唐娜·安娜。

47、 她的哭聲喚醒了她的父親，卡門大托向唐·喬瓦尼發(fā)起了決斗，但被唐·喬瓦尼的一劍刺死了。唐喬瓦尼，在萊波雷洛的陪伴下，設(shè)法逃脫而沒(méi)有被認(rèn)出。唐娜安娜的未婚夫唐·奧塔維奧在唐·喬瓦尼離開(kāi)后到達(dá)，發(fā)誓要找到并懲罰罪犯。</p><p>　　唐喬瓦尼聞到一個(gè)戴面紗的女人的氣味，馬上就開(kāi)始了新的冒險(xiǎn)。令他恐怖的是，原來(lái)是唐娜·埃爾維拉，一個(gè)先前征服他的人。他逃跑了，離開(kāi)萊波

48、雷洛去解釋事情。萊波雷洛把唐娜埃爾維拉的背叛放在“上下文”中，解釋說(shuō)她不是第一個(gè)也不是最后一個(gè)被唐喬瓦尼誘惑的女人。萊波雷洛開(kāi)始唱著名的“Catalog Aria”，在其中他向唐娜埃爾維拉揭示了他主人的征服的女性詳盡名單。這些女性來(lái)自歐洲的各個(gè)角落: 640名意大利女性，231名德國(guó)女性，100名法國(guó)女性，只有91名土耳其女性，但在他的祖國(guó)西班牙取得了驚人的成功，有1 003名女性屈服于他的魅力。歐洲總計(jì)2 065人。這數(shù)量之多使啟蒙思

49、想所青睞的對(duì)現(xiàn)實(shí)的數(shù)學(xué)和定量方法感到有趣。唐喬瓦尼毫無(wú)批判地接受了這種觀點(diǎn)。他把這些女人當(dāng)作物品來(lái)使用，當(dāng)作戰(zhàn)利品來(lái)標(biāo)記。對(duì)他們獨(dú)特的身份或獨(dú)特的生活史不感興趣。萊波雷洛解釋說(shuō)，對(duì)他的主人來(lái)說(shuō)，這些女人是可以互換的。唐·喬瓦尼同樣滿足于掠奪窮人和富人，老老少少，富有和貧窮的，盡管他補(bǔ)充說(shuō)，唐·喬瓦尼對(duì)腐蝕《喬瓦尼原則》的“年輕的初學(xué)者”懷有特殊的偏好。萊波雷洛為他的主人驕傲和詼諧的吹噓幾乎掩蓋了唐喬瓦尼的性剝削踐踏了

50、這些婦女</p><p>　　唐娜·埃爾維拉剛剛發(fā)誓要報(bào)復(fù)那個(gè)甩了她的男人，這個(gè)男人又一次卷入了一場(chǎng)新的愛(ài)情冒險(xiǎn)。唐·喬瓦尼開(kāi)始勾引一個(gè)叫澤琳娜的貧窮女孩，她即將嫁給她的未婚夫馬塞托。當(dāng)老頭子快要和澤莉娜走上正軌時(shí)，唐娜·埃爾維拉來(lái)到這里，把娜芙姑娘護(hù)送到安全的地方。后來(lái)，唐娜·埃爾維拉、唐娜·安娜和唐·奧塔維奧聯(lián)合起來(lái)。他們戴著面具來(lái)到唐·喬

51、瓦尼舉辦的一個(gè)盛大宴會(huì)上。在進(jìn)入他的城堡之前，他們祈禱，請(qǐng)求天堂的保護(hù)和唐娜安娜的父親的謀殺復(fù)仇。一種舞蹈很快就開(kāi)始了，這是為歌劇創(chuàng)作的最復(fù)雜的舞蹈之一，因?yàn)槟赝瑫r(shí)使用了三個(gè)不同的管弦樂(lè)隊(duì)。其中兩個(gè)在舞臺(tái)上，每個(gè)以不同的節(jié)奏演奏，而第三個(gè)在坑中演奏。不知何故，一切都和諧了。唐喬瓦尼再次吸引了澤莉娜，以自己的節(jié)奏與她跳舞，而其他派對(duì)嘉賓遵循不同的拍號(hào)。但唐喬瓦尼不能永遠(yuǎn)支配節(jié)奏；澤莉娜的尖叫聲驚動(dòng)了其他客人，當(dāng)唐·喬瓦尼追上