莱哈尔和他的轻歌剧

弗朗茨·莱哈尔（1870-1948）是20世纪上半叶最重要的轻歌剧作曲家，他出生于匈牙利一个乐队指挥家庭，成名于维也纳，后来在柏林也获得极高声望。莱哈尔十五岁进入布拉格艺术学校，后来加入乐团并成为当时最年轻的乐队指挥。1902年1月，莱哈尔为梅特涅王子的舞会专门创作的《金银圆舞曲》获得了巨大成功。从军队中退役后，他被普拉特剧院聘为指挥，之后又被著名的维也纳剧院(Theater an der Wien，本意是“维也纳（老城）旁边的剧院”，贝多芬诸多交响乐作品都在此首演)聘为乐长，相当于今天的音乐总监一职。任职期间他于1902年12月创作了首部轻歌剧《维也纳的妇人》。由于该剧是为对手卡尔剧院创作，导致他被迫离职，这反而让他有机会专心从事创作。此后三部轻歌剧先后问世，到1905年12月，他的轻歌剧《风流寡妇》首演举得空前成功，奠定了他在轻歌剧创作领域的地位。到1914年第一次世界大战爆发前，他还完成了《卢森堡公爵》(1909)，《吉普赛人的爱情》(1910)和《爱娃》(1911)。

此后几年莱哈尔的创作进入了一段沉寂期。1921年，奥地利男高音理查德·陶伯 (1891 - 1948)在萨尔茨堡因为主演《吉普赛的爱情》而声誉鹊起，这再度激发了莱哈尔的创作灵感，之后的十年多里他为陶伯度身定做了六部轻歌剧，包括《帕格尼尼》(1925)，《弗雷德里克》(1928)，《微笑的国度》(1929), 《人世间真美》（1931），《朱迪塔》(1934)等，这些作品熔歌曲、二重唱和纯管弦乐于一炉，被称为“陶伯之歌（Tauber-Lied）”，至此他的舞台作品已经超过了三十部。这些后期的轻歌剧故事感伤，叙事手法老套，而莱哈尔都安排了悲剧性的结局，这是以往的维也纳轻歌剧所不具备的。三幕轻歌剧《微笑的国度》就是他在这一时期的收获，该剧由莱纳与贺札根据作曲家本人1923年创作的旧作《黄色茄克》重新撰写脚本，于1929年10月10日在柏林梅特罗波尔剧院首演。

莱哈尔的音乐具有让人过耳难忘的旋律，超越了当时的轻歌剧和音乐剧。他总能够驾轻就熟地写出维也纳圆舞曲，而他的管弦乐配器更是具有鲜明的个人印记，他还善于在音乐中采用本地元素，甚至在同一部剧中运用了不同的管弦乐效果,他在《微笑的国度》第一幕中营造的维也纳情调就和之后两幕中的中国韵味大异其趣，非常富有效果。

Franz Lehár and His Operettas

Generally considered the most significant operetta composer of the first half of the twentieth century, Franz Lehár was Hungarian born, though his greatest successes were achieved first in Vienna and latterly in Berlin. Son of a bandmaster, the young Lehár entered Prague Conservatoire at the age of fifteen, later joining an orchestra and becoming its youngest bandmaster at the time. It was the great success of Lehár’s waltz Gold und Silber (Gold and Silver), composed for Prince Metternich’s eponymous opera ball in January 1902. On leaving military service he was first employed as a conductor at the Prater in that summer, followed by employment as a Kapellmeister at the Theater an der Wien in the autumn. Around this time he composed his first serious operetta Wiener Frauen for the rival Carltheater in December 1902, the news of which forced his resignation from his conducting position. Now Lehár had the opportunity and independence to pursue a full-time composing career. Three further operettas followed before the appearance of Die lustige Witwe (The Merry Widow) in December 1905. Further operettas before the outbreak of the First World War in August 1914 followed, Der Graf von Luxemburg (The Count of Luxembourg) (1909), Zigeunerliebe (Gypsy Love) (1910) and Eva (1911).

After the highly popular Austrian tenor Richard Tauber (1891- 1948) appeared in a Salzburg production of Gypsy Love in 1921, Lehár then composed six further operettas over the ensuing decade for the unique voice of Tauber. These would include songs, duets and ensembles but also what became known affectionately as the ‘Tauber-Lied’. These operettas included Paganini (1925), Der Zarewitsch (1926), Friederike (1928), Das Land des Lächelns (The Land of Smiles, 1929), Schön ist der Welt (1931) and Giuditta (1934). The subject matter and story-line for these works may have appeared rather sentimental, but Lehár was astute enough to create unhappy endings in some of these works, something which hitherto had not occurred in Viennese operetta.

When one examines any Lehár score it is immediately evident that the composer was a superb creator of melodies, something that is certainly far from the norm in the world of operetta and musicals of that time. His use of the Viennese waltz is always obvious, but it is the skill in his orchestration, something he alone always undertook, that is very much his own. He was also adept at employing local atmospheric coloring in his scores. For example, notice the differing orchestral effects he employs in the first act of The Land of Smiles, set in Vienna, as against that of China in the two remaining two acts. It is most effective.

《微笑的国度》剧情介绍

序曲这是取用轻歌剧中登场的部分旋律串连而成的，酝酿出即将展现的幻想戏剧气氛。

第一幕，维也纳李希登费斯伯爵府沙龙

为了庆贺李希登费斯伯爵千金丽莎在骑马竞赛获得优胜，在这大厅中举行舞会。接受众人的祝福后，丽莎就唱出《承蒙各位夸奖》，接着又生动地表示《若是稍许轻微的心动》，说这种心动在舞会中即可碰到，但要得到真正的爱情并不容易。众人也跟着丽莎的歌声应和着。

　　在舞厅里最引人瞩目的是，丽莎青梅竹马的朋友波登斯坦伯爵葛斯达夫中尉，以及他的骑兵伙伴们。葛斯达夫对丽莎说，今晚他是来求婚而来的。丽莎问对方是谁，葛斯达夫就纳闷地反问：“难道你不了解我的心意?”丽莎听了惊讶地说：“是我吗?”接着丽莎说：“我虽然喜欢你，我只当你是最好的朋友，请不要伤害感情。”这是两人的一段二重唱。她说自己迷恋的其实是中国大使苏冲。

　　苏冲送来的佛像摆放在大厅的角落里，丽莎走过来痴痴地注视着佛像。不久，丽莎和大家都向餐厅走去，当众人离去后中国大使苏冲来到了。

　　在宽敞冷清的大厅中，孤零零的苏冲，就站在自己赠送的佛像前，唱出对丽莎的思恋之情。也唱出了他的困扰：“丽莎对他的兴趣是否只是由于异国情调?”这时苏冲唱出了剧中著名的咏叹调《总是面露微笑》。

　　苏冲来到后，丽莎马上从餐厅走出来，于是两人就唱出二重唱《两人来一块儿品茶》。在歌声中，丽莎情不自禁地表露出对东方的向往以及对这位外交官的敬仰。这时客人们纷纷上场，女士们争相询问关于中国的故事，苏冲唱起《用苹果做的花环》来回答人们的提问，用歌声描述着东方女性的妩媚——这是全剧中最优美动人的唱段。这时公使馆送来中国的电文，通知苏冲已被任命为丞相，需立即回国，丽莎恳求苏冲把她一起带走。苏冲很矛盾，因为他想到丽莎踏上陌生的国土后可能会水土不服，这会给丽莎带来困扰，他委惋地劝她打消此意。但见到丽莎含泪表白，苏冲自己也对她难舍难分，于是他最后答应把丽莎带回中国。苏冲和丽莎就亲密地手拉手，以二重唱的方式唱出《用苹果的花环》，紧紧拥抱在一起。

第二幕 中国北京苏冲丞相宫殿大厅

　　在充满中国色调的短小前奏曲之后，伯父张给苏冲带来黄色上衣，他唱起《黄色上衣移交典礼》和《中国式芭蕾舞》，在嘈杂的合唱中，回到北京后的苏冲和丽莎幸福地一齐唱出：《谁使我们陷入迷人的爱情中》。丽莎退场后，伯父张带着几位贵族来访，恭贺苏冲荣升为丞相。不料在这时候，穿着欧式轻便运动装的妹妹美(Mi)闯了进来，她是来邀请丽莎去打网球的。看到这种打扮后，保守的伯父就勃然大怒。尽管这样，美还是载歌载舞地唱出《在蓝色的五重塔中》。使得伯父张哀叹说打从丽莎来到后，中国的妇道就破环殆尽了，并严厉催促苏冲必须按中国习惯，迎娶四位妻妾。

　　其实在很早以前，伯父就曾屡次提醒他这件事。可是除丽莎外不想再娶妻的苏冲，一直试图在这种场合把话题引开，设法摆脱伯父的压力。不过今天他似乎已经无法再反对了，无奈之下只好答应伯父在今晚和四位姑娘举行婚礼。

　　此时被任命为奥地利驻华大使的就是葛斯达夫·波登斯坦伯爵。他虽然已看透丽莎爱的是苏冲，但他担心丽莎的生活，就主动请求到中国来当大使。巧的是，他对苏冲的妹妹美也产生了爱意，他们深情唱出二重唱《我的爱、你的爱》。

　　可是在交谈之间，葛斯达夫却意外得知今晚苏冲又要举行婚礼的清息，于是把此事告诉刚走进来的丽莎。丽莎听了又惊又气地质问苏冲，苏冲对她说明，此项婚礼只是遵重传统的一种形式而已，然后唱出著名的歌曲《你是我心中的一切》，他强调自己的爱非常坚定。

　　可是丽莎怎么也无法接受这样的做法，她非常生气地叫喊自己被出卖了。苏冲也激动地说，在中国，如果主人不中意自己的妻子，就可以让他她人头落地，说完转身离去。丽莎受到沉重打击后希望破灭，葛斯达夫正好来到这里，丽莎对他哭诉《如果能再看一次故乡》，盼望着能再看一看故乡的家和老树。

　　尽管丽莎狂喊着《简直像野兽!》，可是苏冲不顾丽莎的面子，和四位新娘一起举行了中式婚礼。这时丽莎和苏冲之间感情的裂痕已经无法弥补，苏冲满怀悲怆唱起《你曾是我心的一切》。

第三幕 苏冲宫殿的后宫

　　在《幸福之梦的故事》前奏后幕启。因为苏冲担心她会逃亡，所以把丽莎软禁在后宫里，丽莎只能靠着观看宫女的歌舞来消磨时间。古斯塔夫在美米的引导下打算把丽莎救出，送回维也纳。这样一来，美和葛斯达夫就得分手，可是两人却隐藏住内心的悲伤，唱出愉快的二重唱《吉格、吉格》随后由美充满哀伤地唱出《我的爱、你的爱》。

由于太监通风报信，苏冲已经掌握了这一出逃计划，在他们逃亡的当口把三个人全部逮捕。丽莎垦求苏冲让她回国，这又唤醒苏冲对她的爱。苏冲终于解开捆绑丽莎的绳子，委托葛斯达夫把她安然送回奥地利，然后他把美叫到身边，安慰她说：“亲爱的妹妹，这就是悲痛的命运”。苏冲和妹妹目望着丽莎和葛斯达夫渐渐远去，忍住内心的失落感再度唱起《总是面露微笑》, 苏冲告诉妹妹，即便是悲伤时刻也要笑对生活。

Franz Lehár: Das Land des Lächelns (The Land of Smiles)

Synopsis

Act I

The opening scene of the Act 1 is in the villa of the Field Marshal Lieutenant Count Lichtenfels. To the left are two comfortable arm chairs, to the right a piano. It is evening and an elegant company has gathered. A general drinks the health of the Count’s daughter, Lisa. They are joined by Count Gustav von Pottenstein, a lieutenant of Dragoons, carrying a bouquet. Lisa enters, thinking the company for their congratulations. Yet she is impatient with the frivolity of these occasions, with flirtation but no true love. The others echo her sentiments. Count Gustav, Grustl, is her true admirer, and seeks to engage her attention, but she has other things on her mind. They sing together, both aware that this is not the first or the last time that matters should be so. They remain good friends. Just then, Chinese Prince Sou-Chong is ushered in by a servant. He is in love with Lisa, but hides his feelings, hiding his heart-ache under his smiles. Lisa greets him, and they are now alone together, but problems of understanding arise, not helped byu the fact that he does not drink wine. They agree to drink tea together, and their love becomes evident. Lisa thanks him for his compliment. Joined by other girls, Sou-Chong exlains the gentler way of Chinese courtship. Then an emissary from the Chinese embassy announces that Sou-Chong has been recalled to China as Prime Minister. The Count warns his daughter not to take any foolish step, as China and Europe are like fire and water, heaven and hell. When Sou-Chong and Lisa are along once more, she fondly recalls a melody she has heard from him, but makes clear that they belong in different worlds. He is to return to China, but Lisa resolves to go with him, even to the end of the world. Sou-Chong repeats his earlier song of courtship, telling how he would lay a garland of apple-blossom at her feet in a moonlit April night. They embrace and kiss.

Act II

The new scene is a hall of Prince Sou-Chong’s palace, where dignitaries’ await the Prince. A ceremonial march is heard approaching, with priests, soldiers, sailors, mandarins, bringing the ceremonial yellow jacket. An officer calls out a command, Sou-Chong is summoned to receive the yellow jacket, bestowed by the Emperor. Lisa is now living with Sou-Chong. He assumes her that she is queen in his house, but customs in China are clearly different. Sou-Chong, though, only has eyes for Lisa, his lotus-blossom, and they sing of their love. Sou-Chong’s sister Mi takes a realistic view of matter. She sings of the differences and of Chinese traditions that hide their true feelings and desires. Grustl has followed Lisa to China, and has struck up a relationship with Mi. He declares that originally all people were alike, but later became different, as Mi agrees. Yet both love the same. Sou-Chong’s Uncle Tschang has told his nephew that he should follow tradition and take four wives, but he is unwilling to do so. His whole heart is Lisa’s, his finest song for her, his only love. Lisa realizes that all is over and that she must really take four wives. He will not let her leave, and she asks by what right he keeps her there. In China, though, she is at the mercy of her master. He gives orders that she shall not be allowed to leave, and now forbids her to leave. Her love for him has turned to hate, but alone he is distraught at what he has done. Sou-Chong recalls his love for her.

Act III

It is a week later. In the women’s quarters of Sou-Chong’s palace, Lisa lies on a divan, surrounded by salve-girls who seek to entertain her. Grustl and Mi appear on the site. Grustl and Mi sing of the respective delights of China and Vienna. He has devised a plan of escape for Lisa, but Mi regrets his departure; she loves him and will never forget him. Lisa’s attempted escape with Grustl through a Buddhist temple is thwarted by Sou-Chong, who bars their way. She demands that he let her go. It is the same sun that shines on Europe that she finds so hot and dry, and she longs for her own country. Sou-Chong understands and agrees, telling Grustl to escort her home. As she goes, she turns once more, and seeing Mi quietly weeping gently tries to comfort her. Sou-Chong tells his sister not to grieve but to follow his example, and the teaching of the Buddha, hiding sorrow behind a smile.