[歌劇 - 女高音} 《卡蒂斯城的姑娘》- Anna Netrobko

出生於法國的作曲家德裏布主要以他的芭蕾舞音樂所聞名，然而他以傑出的旋律寫作才能在聲樂作品創作方麵也做出了貢獻，其中以為女高音而寫的這首輕鬆愉快的《卡蒂斯城的姑娘》為著名， 另外他譜曲的歌劇《Lakeme》 中的《Flower Duet 花之歌》也是非常優美，曾為英國航空公司廣告背景音樂。



Anna Netrebko -Les Filles de Cadix- by Delibes

作曲 : Léo Delibes (21 February 1836 – 16 January 1891)

歌詞：Louis Charles Alfred de Musset (1810-1857)

Nous venions de voir le taureau,
Trois garçons, trois fillettes,
Sur la pelouse il faisait beau,
Et nous dansions un bolero
Au son des castagnettes;
Dites-moi, voisin,
Si j’ai bonne mine,
Et si ma basquine
Va bien, ce matin,
Vous me trouvez la taille fine?
Ah! ah!
Les filles de Cadix aiment assez cela.

Et nous dansions un bolero
Un soir c’était dimanche,
Vers nous s’en vint un hidalgo
Cousu d’or, la plume au chapeau,
Et la poing sur la hanche:
Si tu veux de moi,
Brune au doux sourire,
Tu n’as qu’a le dire,
Cette or est à toi.
Passez votre chemin, beau sire,
Ah! Ah!
Les filles de Cadix n’entendent pas cela.

Et nous dansions un bolero,
Au pied de la colline.
Sur le chemin passait Diégo,
Qui pour tout bien n’a qu’un manteau
Et qu’une mandoline:
La belle aux doux yeux,
Veux-tu qu’à l’église
Demain te conduise
Un amant jaloux?
Jaloux! jaloux! quelle sottise!
Ah! ah!
Les filles de Cadix craignent ce défaut là!

 

歌詞大意： 

我們曾去過鬥牛場， 

那天空多麽晴朗。 

咱三對小夥兒姑娘，草地上跳起波列羅， 

響板聲十分響亮。 

小夥子你說，我模樣可迷人？ 

我的這條裙子，合身不合身？ 

我身材是否苗條勻稱？ 

我身材是否苗條勻稱？ 

啊！卡地斯姑娘喜歡別人來奉承。 

啦…卡地斯姑娘喜歡別人來奉承，啊！ 

我們又跳起波列羅， 

在禮拜天的晚上。 

有一個貴族走過來，他穿的金衣閃光亮， 

手插腰間把話講。 

如果你有情，含笑的金發美人， 

隻要你說一聲，給你金和銀。 

趕你的路程貴族大人， 

趕你的路程貴族大人。 

啊！卡地斯姑娘並不稀罕金和銀。 

啦…卡地斯姑娘並不稀罕金和銀，啊！

The girls of Cadiz - 英文歌詞 

We had just seen the bull,
Three boys, three young girls.
In the field, the weather was fine.
And we danced a bolero,
At the sound of the castanets.
Tell me, neighbour,
If I am looking well
And whether my basquine
Loos well, this morning.
Do you think my figure is graceful?
Do you think my figure is graceful?

Ah! Ah! Ah! Ah!
The girls of Cadiz like that very much.
Ah! Ah! Ah! Ah!
The girls of Cadiz like that very much.
La-la-la ...
The girls of Cadiz like that very much.
Ah! Ah! Ah! Ah!

And we danced a bolero
One evening, it was Sunday.
Towards us came an hidalgo,
Wealthy, feather on the cap
And the fist on the hip:
If you want from me
Brown with the soft smile?
You only have to say it
This gold is yours.
Go your own path, good sir.
Go your own path, good sir.

Ah! Ah! Ah! Ah!
The girls of Cadiz do not hear that.
Ah! Ah! Ah! Ah!
The girls of Cadiz do not hear that.
La-la-la ...
The girls of Cadiz do not hear that.
Ah! Ah! Ah! Ah!

 

Clément Philibert Léo Delibes (21 February 1836 – 16 January 1891) was a French composer of ballets, operas, and other works for the stage.

Léo Delibes was born in Saint-Germain-du-Val, now part of La Flèche (Sarthe), France, in 1836. His father was a mailman, but his mother was a talented amateur musician and his grandfather was an opera singer. He was raised mainly by his mother and uncle following his father's early death. In 1871, at the age of 35, the composer married Léontine Estelle Denain. Delibes died 20 years later in 1891, and was buried in the Cimetière de Montmartre, Paris

Starting in 1847, Delibes studied composition at the Paris Conservatoire as a student of Adolphe Adam. A year later, he also began taking voice lessons, though he would end up a much better organ player than singer. He held positions as a rehearsal accompanist and chorus master at the Théâtre Lyrique, second chorus master at the Paris Opéra, (1864), and as organist at Saint-Pierre-de-Chaillot between 1865 and 1871. His first of many operettas was Deux sous de charbon ("Two sous-worth of coal"), written in 1856 for the Folies-Nouvelles.

A ceremonial cantata, Algers, for Napoleon III on the theme of Algiers, brought him to official attention; a collaboration with Léon Minkus resulted, in which his contribution of an act's worth of musical numbers for a ballet La Source (1866) brought him into the milieu of ballet. Delibes achieved true fame in 1870 with the success of his ballet Coppélia; its title referred to a mechanical dancing doll that distracts a village swain from his beloved and appears to come to life. His other ballet is Sylvia (1876).

Delibes also composed various operas, the last of which, the lush orientalizing Lakmé (1883), contains, among many dazzling numbers, the famous coloratura showpiece known as the Légende du Paria or Bell Song ("Où va la jeune Indoue?") and The Flower Duet ("Sous le dôme épais"), a barcarolle that British Airways commercials made familiar to non-opera-goers in the 1990s. At the time, his operas impressed Tchaikovsky enough for the composer to rate Delibes more highly than Brahms—which seems faint praise when one considers that the Russian composer considered Brahms "a giftless bastard."

In 1867 Delibes composed the divertissement Le Jardin Animé for a revival of the Joseph Mazilier/Adolphe Adam ballet Le Corsaire. He wrote a Mass, his Messe brève, and composed operettas almost yearly and occasional music for the theater, such as dances and antique airs for Victor Hugo's Le roi s'amuse the play that Verdi turned into Rigoletto. Some musicologists believe that the ballet in Gounod's Faust was actually composed by Delibes.