Opera is fundamentally about singing, communicating story through song. Historically, composers (and critics) have found a range of ways in which employing music qua music enhances operatic expression – hence the longevity of Orpheus as ur-operatic narrative, as a story about a singer and the power of song (indeed, of music itself ), in which the musical impact of song resonates simultaneously within the story and in the opera house. Indeed, in this context singing’s enactment as performance for an audience on stage can challenge the very boundaries of the stage, breaking the fourth wall by reaching out directly to communicate to the audience as they become one with the intended fictive audience, bypassing the story even while continuing to function within it. In general, Verdi criticism has not dwelt on Orphic moments of singing about song. Yet Il trovatore – as one of Verdi’s operas with an undeniably broad influence across the nineteenth century and beyond – is first and foremost an opera about a singer, the power of song and remembered voices. Crucially, I believe that Trovatore’s focus on singing helps to highlight a transition, a historic evolution in operatic style that expands ways to exploit the vocal utterance – the aria, ‘song’ – as a powerful emotional sign, a marker of a new kind of theatrical ‘realism’ (that has nothing to do with ‘realistic’ narrative content), in which the singer and the singing is what is ‘real’ – that is, capable of direct impact within the opera house, helping audiences to connect what is unfolding on stage with their own experience. Not coincidentally, Trovatore plays a double role: as an opera about singing, it also became one of the nineteenth century’s quintessential repertory operas. And it is the growing emphasis on repeated operatic performance that further helped to establish our experience of singers as both individuals and simultaneously embodiments of a vocal type. Arguably, the focus not just on self-conscious song (music as music), but also

中文翻译：

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从奥菲斯到歌剧–在威尔第的《歌剧》中唱歌威尔第，《歌剧》（莱奥诺拉），《歌唱家》第一幕

歌剧从根本上讲就是唱歌，通过歌声交流故事。从历史上看，作曲家（和评论家）发现了多种方法来运用音乐来增强歌剧的表达力-因此，奥菲斯（Orpheus）的长寿作为一种歌剧叙事，作为一个关于歌手和歌曲（实际上是音乐）力量的故事本身），歌曲的音乐影响力在故事中和歌剧院中同时产生共鸣。的确，在这种情况下，歌唱作为观众在舞台上的表演可能会挑战舞台的界限，通过直接与观众沟通以达到与虚拟观众的目的，打破了第四道墙，甚至绕开了故事同时继续在其中发挥作用。总的来说，威尔第的批评并没有停留在歌唱歌曲的Orphic时刻。然而，伊尔·特罗瓦托雷（Il trovatore）是威尔第的一部歌剧，在整个19世纪乃至整个世纪都具有不可否认的广泛影响力，它首先是一部关于歌手，歌曲的力量和记忆力的歌剧。至关重要的是，我相信Trovatore对歌唱的关注有助于突显过渡，这是歌剧风格的历史性演变，它扩展了利用声音作为一种有力的情感信号（一种新的标志）的咏叹调“歌曲”的方式。戏剧性的“现实主义”（与“现实主义”的叙事内容无关），其中歌手和歌唱才是“真实”，即能够直接在歌剧院内部产生影响，帮助观众将真实的事物联系起来以自己的经验在舞台上展现。并非巧合的是，Trovatore扮演着双重角色：作为歌唱的歌剧，它也成为19世纪最典型的话剧之一。越来越多的人对重复的歌剧表演越来越重视，这进一步帮助我们建立了歌手既是个人又是声乐类型的经验。可以说，不仅关注自我意识的歌曲（音乐即音乐），还应关注