G.Verdi 오페라 아리아의 음악적 특징에 대한 비교연구 : 초기·중기·후기 작품을 중심으로 = A Comparative Study on the Musical Characteristics of G.Verdi's Opera Arias : Focusing on Early, Middle, and Late Works

다국어 초록 (Multilingual Abstract)

In conclusion, through this study, we have investigated the historical background of Romantic music that served as Verdi's musical foundation, the definition and characteristics of Romantic music, Verdi's life and the creative philosophy of the Romantic artist, the aesthetic changes in the late Romantic period, the influence of Romantic music on Verdi's works, the chronological division and characteristics of Verdi's works, his librettists, and the musical characteristics of his representative works and arias from each period.
Prior to this research, there have been numerous studies on the operas and arias used in this paper, and in most cases, sufficient data were available regarding the representative works and arias by period.
In this thesis, we examined the musical characteristics of Verdi's works by period through representative pieces, focusing on a performance practice (performer's perspective) approach to help performers correctly and accurately grasp the composer's intentions and achieve appropriate expression when performing these pieces.
In the early works, the influence of composers from the preceding Bel Canto era was evident, characterized by melody-centric progression, simple melodies and harmony, clear rhythm, long melodic lines, and high-level vocal technique (bravura). We also confirmed that many works were produced to inspire the spirit of nationalism, aiming to restore Italian autonomy from Austrian oppression. These facts were observed in the aria analyzed from the opera Nabucco. Furthermore, the use of the Bi parte Aria allowed us to confirm the dramatic unity and the sophisticated vocal technique that progressed from recitative to aria to cabaletta, focusing on the portrayal of character, emotion, and psychological depth.
In the middle works, by moving away from conventional patriotic themes and utilizing pure literary or historical subjects for libretti, Verdi achieved a higher level of artistry compared to his early output. Compared to the early works, the recitative became more engaging, and we confirmed the successful integration of lyrical melody and brilliant orchestration. These facts were verified through the analysis of the aria from the opera Rigoletto.
The late works, influenced by Richard Wagner, exhibited the characteristic of continuous, uninterrupted musical flow, abandoning the traditional number-opera composition style. Moreover, the orchestra, which previously served mainly as vocal accompaniment, became more refined and richer, undertaking a role akin to a character in the drama by creating atmosphere and driving the dramatic progression. The varied instrumental configuration and rich, colorful orchestration resulted in a symphonic effect. These facts were examined through the analysis of the aria from the opera Otello.
An additional finding was that Verdi carefully selected singers based on their vocal timbre to match the personality of the characters, deeply exploring the complex and subtle psychology of human beings rather than merely portraying simple heroes or villains. Consequently, the importance of lower-register singers, such as baritones and basses, grew, and their role in expressing internal conflict and profound emotions became crucial. Furthermore, the prominence of ensembles and choruses also increased.
Verdi's final work, the comic opera Falstaff (1893), his only comic opera, uses a Shakespearean play as its libretto, brimming with wit and humor, evident in the Italian dialogue, the acting, and even the orchestration. In line with the nature of Opera Buffa, the importance of the aria is not emphasized, but the recitative and aria are well integrated, making the musical flow smooth and the dramatic content effectively delivered. The final grand fugue, set to the text "Tutto nel mondo è burla" (Everything in the world is a jest), perfectly conveys the philosophical meaning he gained throughout his life. We confirmed that through Falstaff, Verdi successfully expanded his genre range from tragedy to comedy.
Late Verdi prioritized the role of functional harmony. The clear, bright harmonic flow and the use of traditional functional harmony lend his arias intense dramatic immersion and appeal, reflecting typical Classical characteristics. Simultaneously, we observed that Verdi creatively challenged traditional harmony.
In the application of harmony, Verdi's late works further emphasize the roles of the perfect cadence and the half cadence. There are fundamentally two types of cadences in Verdi's works: one that ends the piece on a strong beat, and another that repeats the ending in response to the melodic line of the preceding section. He valued the responsive relationship between musical paragraphs and the use of triadic chords, expressing passion and drama through his unique musical function. We also noted that Verdi was very strict in his use of transitions (passaggio), codas, and concluding phrases.
Furthermore, Verdi's Romantic lyricism and realistic character portrayal are the main characteristics of his operas, influencing the verismo opera of the late Romantic era. We also found that Verdi used the baritone not merely as a male character but as a crucial dramatic device to convey acute psychological conflict, rich emotional expression, and significant social/political roles. Through the comparative study in this thesis, we explored how Verdi utilized the baritone in an innovative and creative manner in his operas.
While engaging with numerous studies and materials on opera and arias for this thesis, I recognized that theoretical and analytical aspects, though essential to music, have been extensively studied and emphasized. I took a step further, approaching the subject from a performance practice perspective for effective and scholarly performance on the actual stage, basing my research on my own direct experience as a performer. I hope this study will be of some assistance to those who perform the arias mentioned herein.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 연구의 필요성과 목적 1
• 2. 연구 범위 및 방법 4
• Ⅱ. 본론 5
• 1. 낭만주의 음악 5
• 1) 역사적 배경 5
• 2) 낭만주의 음악의 정의와 그 특징 6
• 3) 낭만주의 예술가의 창작사상 8
• 4) 낭만주의 후기 미학적인 변화 9
• 5) 낭만주의 음악이 베르디 작품에 미친 영향 10
• 2. 베르디 작품의 시대구분과 그 특징 12
• 1) 베르디 초기 작품의 특징 13
• 2) 베르디 중기 작품의 특징 16
• 3) 베르디 후기 작품의 특징 20
• 3. 베르디의 시대별 대표작품 연구 및 아리아 분석 25
• 1) 오페라 <나부코> 中 4막 "Dio di Giuda!" 25
• (1) 작품설명 25
• (2) 등장인물 설명 27
• (3) 줄거리 28
• (4) 가사 해석 31
• (5) 음악 분석 34
• 2) 오페라 <리골레토> 中 2막 "Cortigiani, vil razza dannata" 47
• (1) 작품설명 47
• (2) 등장인물 설명 49
• (3) 줄거리 49
• (4) 가사 해석 51
• (5) 음악 분석 53
• 3) 오페라 <오텔로> 中 2막 "Credo in un Dio crudel" 66
• (1) 작품설명 66
• (2) 등장인물 설명 68
• (3) 줄거리 68
• (4) 가사 해석 70
• (5) 음악 분석 71
• Ⅲ. 결론 81
• Ⅳ. 참고문헌 84
• Ⅴ. ABSTRACT 88