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原文

Jean-Philippe Rameau. Zais. Urtext. Sheet Music. Opera. OPERA. Jean-Philippe Rameau.

译文

让 - 菲利普·拉莫. Zais. Urtext. 乐谱. 歌剧. OPERA. 让 - 菲利普·拉莫.

原文

Zaïs was Rameau’s first opera which was entirely devoted to “la féerie”, the enchanted world of myth from the Middle East with its spirits and fantastic creatures. It was first performed on 29 February 1748 at the Paris Opera and was much praised for its expressive power, elegance and variety of its music as well as for the charm of its ballet. Although the libretto by Louis de Cahusac was criticised, the delightful work proved very popular. it was revived in 1761 and 1769 and for more than two decades received over 100 performances. Like most of Rameau’s operas, “Zaïs” was extensively revised during the composer’s lifetime and afterwards. Revisions already began during the first rehearsals and continued until the first performance. The composer and the librettist Cahusac finally used the Easter period in 1748 to work on those revisions. as well as structural changes and musical substitutions, these included some substantial additions to vocal and instrumental movements. The version which was performed after Easter is more convincing, both musically and dramatically. In contrast, the revivals of 1761 and 1769 – the first after Cahusac’s death, the second after Rameau’s – contained drastic cuts including the entire prologue. For the new volume in the “Opera Omnia Rameau” the version from Easter 1748 has been chosen as the primary source. For performances, a choice can be made between this and the original version. a series of insertions links all the passages with another.

译文

Zaïs was Rameau’s first opera which was entirely devoted to “la féerie”, the enchanted world of myth from the Middle East with its spirits and fantastic creatures. 这是第一次进行的1748年2月29日在巴黎歌剧院，并大大称赞其表现力，优雅和它的各种音乐，以及其芭蕾的魅力. 虽然剧本由路易·德·Cahusac被批评，令人愉快的工作证明非常受欢迎. 这是恢复在1761年和1769以及收到超过百场演出超过二十年. 像极了拉莫的歌剧，“Zaïs”进行了广泛的作曲​​家的一生，后来在修改. 修订已经在第一排练开始，一直持续到了第一场演出. 作曲家和歌词作者Cahusac最终使用在1748年复活节期间工作在这些修订. 以及结构的变化和音乐的替换，其中包括一些实质性的补充，声乐和器乐的动作. 这是复活节后所执行的版本更有说服力，无论是音乐，并显着. 相比之下，1761年和1769年的复兴 - Cahusac去世后的第一个，之后拉摩的第二个 - 包含大幅削减在内的整个序幕. 在“歌剧的Omnia拉莫”从复活节1748版本的新卷已被选定为主要来源. 对于表演，选择可以在此与原始版本之间进行. 一系列插入的连接所有与另一个通道.