在學習過程中特別喜歡莫扎特歌劇中的詠嘆調(Aria),尤其是劇中 Soubrette (侍女女高音) 這個聲音類型。因此決定以莫扎特與達•彭特三部曲—《費加羅婚禮》、《唐喬望尼》、《女人皆如此》之 Soubrette 角色詮釋,並且將其作爲聲樂畢業音樂會的曲目。希望藉此機會更了解並適當地詮釋劇中 Soubrette 的音樂表現。
本研究內容與範圍針對莫扎特與達•彭特的三部曲—《費加羅婚禮》、《唐喬望尼》、《女人皆如此》中的 Soubrette 角色做背景研究(包括劇作家創作背景、歌劇時代背景、當時社會背景等)。包括角色在劇中功能、詠嘆調樂曲分析及角色的詮釋等。
莫扎特其他歌劇中的 Soubrette 不在本研究範圍内。
本研究也會包括歌詞段落含義分析、樂段分析、樂曲情緒脈絡分析以及個人詮釋備註。在寫這篇研究報告的時候我更加瞭解到莫扎特與達•彭特合作的這三部歌劇裡的 Soubrette 角色的設計為何,也讓我對這些曲子有更深一層的理解及詮釋。

While attending the vocal lessons, I was deeply drawn to Arias in Mozart's operas,
especially arias genre of the Soubrette. After discussing with the vocal instructor, I decided to
conduct an interpretation study about the Soubrette in Mozart and Da Ponte's trilogy, which
include the operas "The Marriage of Figaro," "Don Giovanni," and "Cosi Fan Tutte." These
songs will also be the repertoire of my Vocal Recital. I hope through this opportunity, I can
have a better understanding and interpretation regarding the musical performance of Soubrette.
This study aims to research on the role of Soubrette in Mozart and Da Ponte's trilogy:
"The Marriage of Figaro," "Don Giovanni," and "Cosi Fan Tutte." The study includes the
background story and role function of Soubrette in the opera, analysis of aria form, and the
interpretation of arias. Soubrette of other operas is excluded from this study.
This study also analyzes the meaning of lyric passages, musical segments, the emotional
context of the music, and the notes of personal interpretation. It was through this research that
I learned more about the character of Soubrette in the three operas that Mozart and Da Ponte
collaboratively produced, and it also gave me a deeper understanding about the interpretation
of these arias.

目錄 i
表次目錄 ii
第一章、緒論 1
第一節、研究動機 1
第二節、研究方法 1
第三節、研究內容與範圍 1
第四節、名詞解釋 2
第二章、文獻探討 5
第一節、Women in the Mozart –Da Ponte Trilogy 5
第二節、《唐喬望尼》中男性角色之性格分析—以唐喬望尼與雷波列羅為例 6
第三節、以上兩篇文獻參考價值歸納結果 9
第三章、作曲家莫扎特與作詞家達彭特 11
第一節、作曲家莫札特 11
第二節、作詞家達•彭特 14
第四章、樂曲分析與詮釋報告 17
第一節、《女人皆如此》 17
第二節、《唐喬望尼》 28
第三節、《費加羅婚禮》 37
第五章、結論 49
參考文獻 51
附錄(譜例) 52

中文資料
梁榛庭(2008)。《唐喬望尼》中男性角色之性格分析—以唐喬望尼與雷波列羅為例。藝術研究學報, 1(1), 1-11
潘柏伶(2011) 。《飛燕掌中舞》之賞析與角色詮釋。藝術欣賞,7(1) ,42-44

外語資料
Brown, B.A. (1995). W.A. Mozart Così fan tutte. New York, NY: Cambridge University Press.
Cassie Warthen (2019). Women in the Mozart-Da Ponte Trilogy. Georgia Southern University.
Steptoe, A. (1988). The Mozart-Da Ponte operas. Oxford: Oxford University Press.

網路資料
Chelseabmanning(2014.) HISTORY OF THE SOUBRETTE, LIGHT AND LYRIC SOPRANO

https://chelseabmanning.wordpress.com/2014/06/06/history-of-the-soubrett-light-and-lyric-soprano/

Howard, L. (2016). The Marriage of Figaro – Susanna – A Model of Strong Women in

Mozart's operas. http://www.utahopera.org/backstage/2016/04/the-marriage-of-figaro-susanna-amodel-of-strong-women-in-mozarts-operas/

Sharon, A. (1997). Oh Susanna: The Wise Women of Mozart. Retrieved from https://wwwe.openu.ac.il/geninfor/openletter/ol20/12-13.pdf
Soubrette. Retrieved April 20, 2021, from URL https://www.collinsdictionary.com/dictionary/english/soubrette
Soubrette. Retrieved April 20, 2021, from URL https://www.dictionary.com/browse/soubrette
Soubrette. Retrieved April 20, 2021, from URL https://en.wikipedia.org/wiki/Soubrette
Soubrette. Retrieved April 20, 2021, from URL https://cdict.net/q/Soubrette