| 单词 | 歌剧 |
| 释义 | 〔Gigli〕Italian operatic tenor who gained worldwide fame for his beautiful voice and was widely considered the successor to Enrico Caruso.吉里，班尼亚米诺：意大利歌剧男高音，以其优美的嗓音享誉世界，广为大家所认知是恩瑞柯，卡罗素的接班人〔Glazunov〕Russian composer who studied under Rimski-Korsakov, with whom he completed Borodin's operaPrince Igor (1890). He also wrote eight symphonies and many chamber works. 格拉祖诺夫，亚历山大·康斯坦蒂诺维奇：(1865-1936) 俄国作曲家，曾师从于里姆斯基·科萨科夫，并与其合作完成了博罗金的歌剧《伊戈尔王子》 （1890年）。他还写了八首交响乐曲和许多室内音乐作品 〔Brecht〕German poet and playwright who developed "epic drama,” a style that relies on the audience's reflective detachment rather than the production's atmosphere and action. His works includeThe Threepenny Opera (1928) and The Caucasian Chalk Circle (1948). 布莱希特，贝托尔特：(1898-1956) 德国诗人和戏剧家，发展“史诗戏剧”，他的作品系依靠观众的批判分析的反应而非作品的气氛和情节的风格。其作品包括《三分钱歌剧》 （1928年）和 《高加索灰阑记》 （1948年） 〔ritornello〕An instrumental interlude in early 17th-century opera.间奏曲：17世纪早期歌剧中用乐器演奏的间奏〔operetta〕A theatrical production that has many of the musical elements of opera but is lighter and more popular in subject and style and contains spoken dialogue. Also called light opera 轻歌剧：一种歌剧性的、具有许多音乐成分的戏剧性作品，它轻快活泼，而且在主题和风格方面更加通俗，其中包含口语 也作 light opera〔Pergolesi〕Italian composer who wrote the comic operaThe Maid as Mistress (1733). 佩尔戈莱西，乔瓦尼·巴蒂斯特：(1710-1736) 意大利作曲家，写了幽默歌剧《作情妇的女人》 （1733年） 〔Horne〕American operatic soprano who became a principal performer at the Metropolitan Opera in New York City after her debut there as Adalgisa inNorma (1970). 霍恩，玛丽琳：(生于 1934) 美国歌剧女高音歌手，她于1970年首次登台时，出演《诺玛》 中的阿达尔吉萨一角，此后就成为纽约大都会歌剧院的主要演员 〔Borodin〕Russian composer and chemist whose musical works were based on Russian folk themes and include the operaPrince Igor, unfinished at his death. 伯罗丁，亚历山大·波尔菲里耶维奇：(1833-1887) 俄国作曲家和化学家，其音乐作品以俄罗斯民俗题材为基础，包括至死未完成的歌剧《伊戈尔王子》 〔Price〕American operatic soprano who performed with the New York Metropolitan Opera (1961-1985), earning greatest praise for her roles in Verdi's operas.普里斯，（玛丽）莱昂黛：(生于 1927) 美国歌剧女高音，1961至1985年期间在纽约大都会歌剧团中表演，她在威尔第歌剧中扮演的角色深受赞赏〔Rossini〕Italian composer whose numerous operas includeThe Barber of Seville (1816) and William Tell (1829). 罗西尼，吉奥奇诺·安东尼奥：(1792-1868) 意大利作曲家，其歌剧颇多，如《塞维尔的理发师》 （1816年）和 《威廉·泰尔》 （1829年）等 〔Beethoven〕German composer. The greatest composer of his day, he began to lose his hearing in 1801 and was deaf by 1819. His music, which formed a transition from classical to romantic composition, includes 9 symphonies, 5 piano concertos, a violin concerto, 32 piano sonatas, several other sonatas, 2 Masses, and an opera.贝多芬，路德维希·范：(1770-1827) 德国作曲家，是他那个时代最伟大的作曲家。1801年他开始失去听力，到1819年完全耷了。他的音乐有了从经典到浪漫作品的转变，包括9个交响乐、5个钢琴协奏曲、一个小提琴协奏曲、32个钢琴奏鸣曲和几个其它奏鸣曲、2部弥撒曲及一部歌剧〔revival〕A new presentation of an old play, movie, opera, ballet, or similar vehicle.复兴，重新流行：旧的戏剧、电影、歌剧、芭蕾或类似媒介物的新出现〔Puccini〕Italian operatic composer whose works includeLa Bohème (1896) and Madame Butterfly (1904). 普奇尼，贾科莫：(1858-1924) 意大利歌剧作家，其作品包括《波希米亚》 （1896年）和 《蝴蝶夫人》 （1904年）等 〔Callas〕American coloratura soprano known for her dramatic intensity. Among her notable operatic roles was Bellini'sNorma. 卡拉斯，玛丽亚·梅涅吉尼：(1923-1977) 美国特色女高音歌唱家，以其特异的吸引力而闻名。她著名的歌剧角色是贝利尼的《诺尔玛》 〔Scarlatti〕Italian composer who influenced the development of modern opera. His sonDomenico (1685-1757), a harpsichordist, wrote numerous works for the instrument. 斯卡拉蒂，亚历山德罗：(1660-1725) 影响现代歌剧发展的意大利作曲家，他的儿子都美尼哥 (1685-1757年）是一名古钢琴家，并写了大量钢琴曲 〔Strauss〕German composer known chiefly for his symphonic poems, such asDon Quixote (1897), and his operas, including Salome (1905). 施特劳斯，理查德：(1864-1949) 德国作曲家，主要以他的交响诗，如《堂吉诃德》 (1897年）和他的歌剧包括 《莎乐美》 (1905年）而著名 〔classical〕Of or relating to music in the educated European tradition, such as symphony and opera, as opposed to popular or folk music.高雅音乐的，古典音乐的：欧洲有教养的上层社会传统的音乐的，如交响乐和歌剧，其对立于流行音乐或民间音乐〔Nielsen〕Danish composer whose polytonal and contrapuntal works include several symphonies, the operaSaul and David (1903), and chamber works. 尼尔森，卡尔·奥古斯特：(1865-1931) 丹麦作曲家，其多调性及对位法的作品包括几部交响乐，歌剧《扫罗和大卫》 （1903年）和一些室内作品 〔operagoer〕One who frequently attends operas.观剧者：经常观看歌剧的人〔Melba〕Australian soprano primarily with London's Covent Garden (1889-1926) and the Metropolitan Opera in New York City (1893-1911).梅尔巴，奈烈：(1861-1931) 澳大利亚花腔女高音歌唱家，主要在伦敦的科文特加登歌剧院（1889-1926年）及纽约的大都会剧院（1893-1911年）演唱歌剧〔Sessions〕American composer. An influential promoter of 20th-century music, he wrote polyphonic symphonies, instrumental works, and operas, such asMontezuma (1962). 塞森斯，罗杰·亨廷顿：(1896-1985) 美国作曲家。对20世纪音乐有影响的促进者，他写作了复调交响乐、器乐作品以及歌剧，如《马泰祖玛》 （1962年） 〔fantasia〕A medley of familiar themes, with variations and interludes.集成曲：歌剧咏叹调或通俗小曲的杂烩〔Lifar〕Russian dancer and choreographer who was premier danseur and ballet master of the Paris Opéra Ballet (1929-1944).利法尔，谢尔盖：(1905-1986) 俄罗斯舞蹈家、舞蹈编导，曾是巴黎歌剧芭蕾舞团的男主角和芭蕾舞教练〔legend〕The wordslegend and legendary have come to be used in recent years to refer to any person or achievement whose fame promises to be particularly enduring, even if its renown is created more by the media than by oral tradition.Strictly speaking,there is nothinglegendary about the accomplishments of a major-league baseball star or the voice of a famous opera singer, since their accomplishments are documented in an extensive public record.But this new usage is common journalistic hyperboleand in such contexts is acceptable to 55 percent of the Usage Panel.近些年来，legend 和 legendary 这两个词已逐渐被用来指有希望成为享有持久名声的人物或成就， 即使它的名声是通过大众传媒炒作而不是人们口碑而取得的。从严格意义上说，对于棒球联合总会的棒球明星所取得的成绩或者一位著名的歌剧歌唱家的声音来说，根本就没有什么事情可以说是“传奇的” ， 因为他们的成就广为人知。但是，这种新用法是一种很常见的新闻夸张手法。用法委员会中55%的人认为可以在这种上下文中使用〔Nordica〕American operatic soprano. Noted for her Wagnerian roles, she was the first American opera singer to be acclaimed by European critics.诺迪克，莉琏：(1857-1914) 美国歌剧女高音歌唱家，因其瓦格纳风格的角色而闻名，她是第一位受到欧洲评论家好评的美国歌剧歌唱家〔Schwarzkopf〕German soprano. The foremost female interpreter of lieder of her time, she is also known for her performances in the operas of Strauss and Mozart.史瓦兹柯夫，唐·依莉萨白：德国女高音。她是她那个时代抒情曲首席女解析者，同时也因其在斯特劳斯和莫扎特歌剧中的表演而闻名〔Thomas〕French composer noted for his operas, particularlyMignon (1866). 托马斯，安布罗埃斯：(1811-1896) 法国作曲家，尤以歌剧《密哥诺恩》 （1866年）闻名 〔audience〕The tenor expanded his audience by recording popular songs as well as opera.那个男高音除歌剧外还录制了流行歌曲，赢得了他的追随者〔Milhaud〕French composer who experimented with polytonality and jazz styles. His works include the operaThe Lost Sheep (1910) and the ballet Moïse (1940). 米约，大流士：(1892-1974) 法国作曲家，曾对多调性及爵士乐风格有所尝试。其作品有歌剧《迷失的羊》 （1910年）及芭蕾舞剧 《创世纪》 （1940年） 〔Melchior〕Danish-born American operatic tenor noted for his Wagnerian roles, especially with the Metropolitan Opera in New York City (1926-1950).梅尔基奥尔，劳利兹·勒布雷切特·霍摩尔：(1890-1973) 丹麦裔美国男高音歌剧演唱家，善演瓦格纳歌剧中之角色，主要在纽约大都会歌剧院演唱(1926-1950年）〔opera〕Italian [work, opera] 意大利语 [职业，歌剧] 〔Meyerbeer〕German composer of French operas, notablyLes Huguenots (1836). 梅耶贝尔，贾科莫：(1791-1864) 德国法语歌剧作曲家，主要作有《胡格诺派教徒》 （1836年） 〔Weill〕German-born composer who collaborated with Bertolt Brecht onThe Rise and Fall of the City of Mahagonny (1927) and The Threepenny Opera (1928). 魏尔，库尔特：(1900-1950) 生于德国的作曲家，他与贝托尔特·布莱希特合作写了《马哈冈尼城的兴亡》 （1927年）与 《三分钱歌剧》 （1928年） 〔scena〕An extended operatic vocal composition for one or more voices consisting of a recitative and arias or an aria.咏叹调：一种歌剧声乐作品的延伸，由一种或多种声音组成的一种朗诵调和咏叹调或一种咏叹调〔Wagner〕German composer known especially for his romantic operas, often based on Germanic legends. Among his works areTannhäuser (1845) and the tetralogy Der Ring des Nibelungen (1853-1874). 瓦格纳，理查德：(1813-1883) 德国作曲家，尤以其浪漫歌剧著名，常以德国的传说为其作品基础。作品包括《唐怀瑟》 （1845年）和四幕歌剧 《尼伯龙根的指环》 （1853-1874年） 〔Sousa〕American bandmaster and composer who wrote comic operas and marches such asStars and Stripes Forever (1897). 苏泽，约翰·菲利普：(1854-1932) 美国乐队指挥和作曲家。他创作了大量喜剧歌剧及进行曲，后者如《星条旗永远飘扬》 （1897年） 〔oversubscribe〕The opera season was oversubscribed.这场歌剧的票已被超额订购一空〔Verdi〕Italian composer of operas, includingLa Traviata (1853), Aïda (1871), and Otello (1887). He is credited with raising Italian opera to its fullest artistic form. 威尔地，朱森珀：(1813-1901) 意大利歌剧作曲家，其作品包括有《吟游诗人》 （1853年）、 《阿依达》 （1871年）和 《奥赛罗》 （1887年）。他因把意大利歌剧推到最完美的艺术形式而著名 〔opera〕opera stars; an opera libretto.歌剧名星，歌剧的歌词〔arioso〕A declamatory style used in opera and oratorio, similar to recitative but having greater melodic variation.咏叙调：一种用在歌剧和（宗教）清唱剧中的朗诵风格，类似于背诵，但在旋律上大不相同 |
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