育才学习网1.歌剧的英语歌剧
在英格兰，歌剧被视为17世纪吉格喜剧（jig）的延续。
吉格喜剧一般是戏剧终结后的短笑剧，内容往往语带讽刺，搬弄是非，主要是附有根据当时流行曲调改编而成的配乐的对白组成。而到了18世纪，英格兰则是抒情歌剧（ballad opera）的天下。
与此同时，法式面具歌舞剧（masque）也在英国宫廷站稳阵脚，而且愈趋豪华，而且布景仿真度也愈来愈高。而伊尼高·钟斯（Inigo Jones）为这种歌舞剧的舞台设计堪称经典，而且成为英国舞台作品的设计典范达三个世纪之久。
而本·庄逊1617年的面具歌舞剧《情人造就成人（Lovers Made Men）》则曾被人形容为“整套意式风格的面具歌舞剧，满口宣叙调（stilo recitativo）”。而在共和时期，政府强行关闭戏院，导致英语歌剧无法发展。
但在1656年，桂冠诗人、剧作家威廉·达文南特爵士（Sir William Davenant）纵然在没有演出戏剧牌照之下，仍然以“叙事音乐（recitative music）”之名，成功推出歌剧《罗德岛之围（The Siege of Rhodes）》，并邀得当时英国顶尖的作曲家，如亨利·罗斯（Henry Lawes）、亨利·库克（Henry Cooke）、马修·洛克（Matthew Locke）、查理·科曼（Charles Coleman）和乔治·哈德逊（George Hudson）等负责作曲和配乐。达文南特继而在1658年和1659年推出歌剧《西班牙人在秘鲁的暴行纪实（The Cruelty of the Spaniards in Peru）》和《法兰西斯·德雷克爵士的故事（The History of Sir Francis Drake）》，且因题材为批评西班牙而备受护国公奥利弗·克伦威尔的推崇。
1660年王政复辟，英国再次为外国作曲家打开大门，尤其是法国作曲家。1673年，剧作家扥马斯·沙德威尔（Thomas Shadwell）成功把两年前莫里哀和让-巴普蒂斯特·吕利的芭蕾喜歌剧《赛姬（Psyche）》，改编上演。
同年达文南特爵士在马修·洛克等人的帮助，首次配乐演出了莎翁名剧《暴风雨（The Tempest）》。1683年左右，约翰·博罗（John Blow）的《维纳斯和阿多尼斯（Venus and Adonis）》被视为第一部真正的英语歌剧。
然而在博罗之后，亨利·珀赛尔（Henry Purcell）成为更为著名的歌剧作家。他虽有红遍一时《蒂朵和埃涅阿斯》（Dido and Aeneas, 1689），但不少珀氏佳作乃“半歌剧（semi-opera）”，即是在戏剧中加入的音乐和面具歌舞场景，如珀赛尔的《仙界王后》（The Fairy-Queen, 1692），可以作为莎翁喜剧《仲夏夜之梦》所作的戏剧音乐。
而往往戏剧的主角不会在音乐场景中出现，因此珀赛尔等作曲家为能以歌曲交代主线剧情。虽然如此，但珀赛尔和他的合伙人约翰·德莱敦（John Dryden）一直想在英国推动正歌剧的发展，但珀赛尔的早逝，导致这一希望幻灭。
珀赛尔之后，英国歌剧坛可谓是意大利式歌剧的殖民地，韩德尔的意式正歌剧称霸了数十年的伦敦歌剧市场，而本土作曲家，如托马斯·阿恩（Thomas Arne）和约翰·腓特烈·拉普（John Frederick Lampe）和麦克·巴夫（Michael Balfe）都是依照意大利的风格写自己歌剧。情况一直持续，18和19世纪依然如是，各大意大利歌剧名家，以及风行欧陆的莫扎特、贝多芬和梅耶贝尔的名作一直霸占伦敦的音乐舞台。
不过与此同时，新兴的歌剧形式，如约翰·基（John Gay）的《乞丐的歌剧》（1728），滑稽歌舞剧（musical burlesque）、欧陆轻歌剧、特别是吉尔伯特与沙利文的萨沃伊歌剧，一度冲击了歌剧舞台的传统。虽然沙利文声称他的轻歌剧，应该算英语歌剧学派的一部分，当他们也承认，他们创作的其中一个目的，便是要赶走19世纪风行英国，纵使翻译奇差的法式轻歌剧。
或因如此，苏利文只曾写了一出大歌剧《艾凡赫（Ivanhoe）》。但他们的作品《皇家卫队》（The Yeomen of the Guard）则曾被《每日邮报》形容为第一部真正的英语歌剧。
20世纪，英语歌剧渐渐摆脱义式风格的影响，尤其是雷夫·佛汉·威廉斯和本杰明·布里顿的作品至今仍是各大歌剧院的保留剧目。而与此同时，美国的作曲家，如伦纳德·伯恩斯坦、乔治·格什温等人，也开始英语歌剧的创作，并加入流行音乐的元素。
时至今日，仍有有不少当代作曲家在谱写歌剧，如英国的托马斯·阿迪斯（Thomas Adès）、哈里森·比特威素（Harrison Birtwistle）、麦可·尼曼（Michael Nyman）和美国的菲利浦·格拉斯及约翰·亚当斯。
2.戏剧用英语怎么说
1、opera
读音：英 [ˈɒprə]，美 [ˈɑːprə]
释义：
(1)n. 戏剧；歌剧；歌剧院；歌剧团
(2)n. 人名；（意）奥佩拉
例句：The audience applauded wildly at the end of the opera.
观众在歌剧结束时狂热地鼓掌喝彩。
2、script
读音：英[skrɪpt]，美[skrɪpt]
释义：
(1)n. 剧本；广播（或讲话等）稿；笔迹；字母表
(2)v. 为电影（或戏剧等）写剧本
例句：Jenny's writing a film script.
珍妮在写一个电影剧本。
3、theatre
读音：英[ˈθɪətə（r）]，美[ˈθiːətər]
释义：n. 戏院；剧场；露天剧场；戏剧；演出；上演
例句：If we went to the theatre it was a very big event.
我们要是去看场戏，那可是件大事。
4、play
读音：英[pleɪ]，美[pleɪ]
释义：
(1)v. 玩耍；游戏；玩乐；假扮；捉弄
(2)n. 游戏；玩耍；娱乐；戏剧；剧本；比赛；比赛中的表现
例句：They played in the little garden.
他们在小花园里玩耍。
5、drama
读音：英[ˈdrɑːmə]，美[ˈdrɑːmə]
释义：
n. 戏；剧；戏剧艺术；戏剧；戏剧性事件
例句：He acted in radio dramas.
他在广播剧中扮演角色。
3.音乐英文怎么写
Music 音乐
英 [ˈmju:zɪk]美 [ˈmjuzɪk]
musicn.音乐；乐曲；乐谱；乐队
例句：
1.我不懂音乐。
I have no ear for music.
2.他的音乐把爵士乐的节奏和古典乐的形式结合在了一起。
His music fused the rhythms of jazz with classical forms.
3.他那个时期的音乐将爵士乐的韵律和古典音乐的形式融合在了一起。
His music of that period fused the rhythms of Jazz with classical forms
4.伯恩斯坦创作的乐曲涉及了从交响乐到音乐剧等音乐的各个方面。
Bernstein's compositions spanned all aspects of music, from symphonies to musicals.
5.她喜欢舞蹈、戏剧和音乐。
She loves dance, drama and music
6.我对流行音乐一无所知。
I know nothing about pop music.
7.音乐响起来了，给市场增添了一份快乐和生机。
Music rang out adding to the gaiety and life of the market.
扩展资料：
常见的music种类以及英文写法：
1、节奏蓝调R&B╱Rhythm & Blues（节奏布鲁斯、节奏怨曲）
20世纪末从蓝调中独立出来，成为一种独立音乐风格。融合爵士乐，黑人福音音乐和蓝调音乐，也有说唱。
2、摇滚Rock & Roll╱Rock music
标签：美国冲击性的，精神性的，“反音乐的” 主要类型：Heavy Metal（ 重金属 ）Alternative Metal（另类金属）Black Metal（黑金属）Indie Rock（独立摇滚）Industrial Metal（工业金属）Agricultural Metal（农业金属）Post-Grunge（后车库）
Progressive Metal（前卫金属）Death Metal/Black Metal（死亡/黑色金属）Gothic Metal（哥特金属）Punk（朋克）Acid Rock（酸性摇滚）Blues-Rock（蓝调摇滚）Anarchist Punk（无政府主义朋克）
Britpop（英伦摇滚）Celtic Rock（凯尔特摇滚）Glam Rock（华丽摇滚）Punk Revival（复兴朋克）Visual Rock（视觉系摇滚）Rockabilly（山地摇滚）Art Rock（艺术摇滚Emo（情绪硬核）其中重金属摇滚Heavy Metal是现代摇滚乐极具代表性的分支。
3、嘻哈Hip-Hop----说唱Rap
标签：美国 黑人音乐 节奏性的街头文化事实上Rap和电子音乐都属于HIP-HOP文化。当代Rap也混合了一些R&B。
Rap：电子舞曲，本是Disc jockey--本是一种职业（即打碟者），现已成为一种独立音乐风格。
参考资料：百度百科_music
4.歌剧用什么语言写的
首先，你得了解图兰朵这部歌剧的作者是谁，他就是意大利著名作曲家普契尼。这部歌剧是根据童话剧改编的歌剧。图兰朵的故事始见于17世纪波斯无名氏的东方故事集《一千零一夜》《图兰朵》，意大利剧作家卡罗·哥兹于1762年把它写成剧本。之后德国诗人席勒在歌兹剧本上翻译并加以改编的图兰朵是其名作。该剧本最著名的改编版本是由普契尼于1924年作曲的同名歌剧。普契尼在世时未能完成全剧的创作。在普契尼去世后，他的学生法兰高·阿法奴根据普契尼的草稿将全剧完成。该剧于1926年4月25日在米兰斯卡拉歌剧院首演，由托斯卡尼尼担任指挥。
接着要你就要了解这部歌剧的主要内容：讲述了一个西方人想象中的中国传奇故事。歌剧吸收了江南民歌《茉莉花》的旋律，带有浓郁的东方韵味。
最后可以明确的说：这部歌剧是用意大利语写成的，其中应为是描写的古代中国，所以又有中国民族音乐的成分。但是外国人到底是外国人，他们没弄清楚我国古代时期的历史，导致这部歌剧的背景中的服饰与所描写的历史不在一个时期！（比如歌剧中皇帝的服饰，古代中国皇帝应该穿金黄色的黄袍，但在歌剧中大臣确穿上了金黄色朝服）。..
本人是音乐专业毕业，特此对这个问题做一个简短的回答，若有不足之处望各位大虾多多补充~。。。。。。
5.关于“歌剧”的英语短篇演讲稿,求英语达人出手相助
The Chinese opera is a traditional form of stage entertainment, weaving together elements of mime, dance, song, dialogue, swordplay, and acrobatics into one fluid continuous flow. Gestures, movements and expressions incorporated within each performer's script come together to bring forth an impressive performance. In contrast to Western stage entertainment, which is subdivided into different categories such as opera, drama and sketches, Chinese opera has remained faithful to its original format over the centuries. Although sharing a common ancestry, Chinese opera boasts over 300 various distinct forms - taking their names from their places of origin. These forms are generally discernible by their use of local dialects and distinct 'melodies'. Beijing opera is considered by most to be the most refined. Also widespread are Pingju Opera, Kunqu Opera, Shaoxing Opera, Henan Opera, Sichuan Opera, Shanxi Opera, Huangmei Opera, Huagu Opera and Yangko Opera. Some Chinese ethnic minority groups have some local form of operas. ------------English Renaissance drama grew out of the established Medieval tradition of the mystery and morality plays (see Medieval English Drama). These public spectacles focused on religious subjects and were generally enacted by either choristers and monks, or a town's tradesmen (as later seen lovingly memorialized by Shakespeare's 'mechanicals' in A Midsummer Night's Dream).At the end of the fifteenth century, a new type of play appeared. These short plays and revels were performed at noble households and at court, especially at holiday times. These short entertainments, called "Interludes", started the move away from the didactic nature of the earlier plays toward purely secular plays, and often added more comedy than was present in the medieval predecessors. Since most of these holiday revels were not documented and play texts have disappeared and been destroyed, the actual dating of the transition is difficult. The first extant purely secular play, Henry Medwall's Fulgens and Lucres, was performed at the household of Cardinal Morton, where the young Thomas More was serving as a page. Early Tudor interludes soon grew more elaborate, incorporating music and dance, and some, especially those by John Heywood, were heavily influenced by French farce. Not only were plays shifting emphasis from teaching to entertaining, they were also slowly changing focus from the religious towards the political. John Skelton's Magnyfycence (1515), for example, while on the face of it resembling the medieval allegory plays with its characters of Virtues and Vices, was a political satire against Cardinal Wolsey. Magnyfycence was so incendiary that Skelton had to move into the sanctuary of Westminster to escape the wrath of Wolsey. The first history plays were written in the 1530's, the most notable of which was John Bale's King Johan. While it considered matters of morality and religion, these were handled in the light of the Reformation. These plays set the precedent of presenting history in the dramatic medium and laid the foundation for what would later be elevated by Marlowe and Shakespeare into the English History Play, or Chronicle Play, in the latter part of the century. Not only was the Reformation taking hold in England, but the winds of Classical Humanism were sweeping in from the Continent. Interest grew in the classics and the plays of classical antiquity, especially in the universities. Latin texts were being "Englysshed" and latin poetry and plays began to be adapted into English plays. In 1553, a schoolmaster named Nicholas Udall wrote an English comedy titled "Ralph Roister Doister" based on the traditional Latin comedies of Plautus and Terence. The play was the first to introduce the Latin character type miles gloriosus ("braggart soldier") into English plays, honed to perfection later by Shakespeare in the character of Falstaff. Around the same time at Cambridge, the comedy "Gammer Gurton's Needle", possibly by William Stevens of Christ's College, was amusing the students. It paid closer attention to the structure of the Latin plays and was the first to adopt the five-act division.Writers were also developing English tragedies for the first time, influenced by Greek and Latin writers. Among the first forays into English tragedy were Richard Edwards' Damon and Pythias (1564) and John Pickering's New Interlude of Vice Containing the History of Horestes (1567). The most influential writer of classical tragedies, however, was the Roman playwright Seneca, whose works were translated into English by 。
6.求英语歌剧
monlin rough 红磨坊sound of music 音乐之声cat 猫mrs peron 贝隆夫人jesus christ super star 耶稣基督超级巨星mamamia 妈妈咪呀oliver 雾都孤儿lion king 狮子王Les Miserables 悲惨世界Joseph And The Amazing Technicolor Dreamcoat 约瑟芬的奇幻彩衣miss saigon 西贡小姐Fame 声名远扬hairspray 发胶星梦high school musical 高校音乐剧Martin Guerre 马丁格尔我猜楼主想要的其实是音乐剧，因为楼主给的例子都是音乐剧的说~所以提供的也都是音乐剧即使音乐剧和歌剧还是很不一样的。