오펜바흐 오페라 〈Les Contes d'Hoffmann〉 세 여성 인물의 음악적 특징과 가창 연구 = A Study on the Musical Characteristics and Vocal Interpretation of the Three Female Characters in Offenbach’s Opera Les Contes d’Hoffmann

다국어 초록 (Multilingual Abstract)

This dissertation investigates the musical characteristics, vocal techniques, and dramatic functions of the three female characters—Olympia, Antonia and Giulietta—in Jacques Offenbach’s opera Les Contes d’Hoffmann, a representative work of French Romantic opera that integrates literature, drama, and music. These three characters symbolize different aspects of Hoffmann’s idealized and imagined love, and each role reveals distinct musical styles, vocal requirements, and expressive functions. This study aims to clarify the artistic construction of these roles through a systematic analysis of both musical structure and vocal performance practice.
The introduction outlines the purpose and necessity of the study through a critical review of previous research. Existing scholarship has largely focused on the literary sources of the opera and the narrative interpretation of the characters, while comprehensive analytical research on the musical features and vocal techniques of the three female roles remains limited. This research gap provides the foundation for the present study.
Chapter Two situates Les Contes d’Hoffmann within the historical and cultural context of nineteenth-century French opera by examining major operatic genres of the period, Offenbach’s compositional background, and the circumstances surrounding the opera’s creation. Chapter Three offers a detailed analysis of the musical writing and dramatic construction of Olympia, Antonia, and Giulietta through close readings of the score and libretto. This chapter focuses on melody, rhythm, harmony, form, and orchestration as primary elements that shape each character’s artistic identity. Chapter Four examines the vocal techniques required for each role from a technical and pedagogical perspective, demonstrating how Offenbach employs three contrasting soprano types to embody the opera’s central themes. Chapter Five further explores Hoffmann’s emotional relationships with the three women and analyzes their corresponding musical representations to deepen the interpretive understanding of the work.
The conclusion synthesizes the analytical findings in relation to the opera’s dramatic structure, the stylistic differentiation of the three female characters, and their respective vocal demands. This dissertation is expected to contribute both theoretical insight and practical guidance to the fields of opera studies and vocal performance, offering valuable interpretive and performance-oriented references for singers and researchers engaging with these distinct and stylistically diverse roles.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 연구의 필요성 및 목적 1
• 2. 연구 방법 3
• 3. 선행 연구 4
• Ⅱ. 이론적 배경 9
• 1. 19세기 프랑스 오페라 9
• 2. 작곡자 오펜바흐 15
• 3. 오페라『호프만의 이야기』작품 개요 16
• Ⅲ. 세 여성 인물의 음악적 특징 분석 31
• 1. 올림피아의 주요 아리아 분석-《Les oiseaux dans la charmille》 31
• 2. 안토니아의 주요 아리아 분석-《Elle a fui, la tourterelle》 42
• 3. 줄리에타의 주요 곡 분석—《Belle nuit, ô nuit d’amour》 53
• IV. 세 여성 인물의 가창 표현 분석 63
• 1. 올림피아 주요 아리아《Les oiseaux dans la charmille》의 가창 표현 분석 63
• 2. 안토니아 주요 아리아《Elle a fui, la tourterelle》의 가창 표현 분석 72
• 3. 줄리에타 주요 곡《Belle nuit, ô nuit d’amour》의 가창 표현 분석 81
• Ⅴ. 호프만과 세 여성 인물의 음악적 표현 88
• 1. 올림피아와 호프만의 사랑 표현 분석 88
• 2. 안토니아와 호프만의 사랑 모티브 분석 105
• 3. 줄리에타와 호프만의 사랑 음향적 특징 125
• 4. 세 여성의 가창적 특징과 표현의 차이점 144
• Ⅵ. 결론 및 제언 148
• <참고문헌> 150
• 부록 154