南北歌剧，美学分宗——论威尔第歌剧之优美感与瓦格纳歌剧之崇高感

The Aesthetics of Opera in the North and the South Are Divided—On the Elegance of Verdi’s Operas and the Sublimity of Wagner’s Operas

摘要: 浪漫主义时期，威尔第和瓦格纳两人分别代表了南北的不同歌剧观。文章由德意志哲学家康德的“优美感”与“崇高感”的概念分析入手，梳理二人不同的民族性、音乐美学思想及其源流，通过对二者歌剧中情节、女性角色和乐队作用的解读，进一步阐释优美感与崇高感的互相包含与转换，试图揭示威尔第与瓦格纳分别以优美感和崇高感为主要美学特征的歌剧风格，以期探讨优美感与崇高感的美学概念用于音乐研究的可能性。

Abstract: In the Romantic period, Verdi and Wagner respectively represented different views of opera in the north and south. The article starts with the analysis of the concepts of “aesthetic sense” and “sublime sense” of German philosopher Kant, sorts out their different national characteristics, musical aesthetic thoughts and their origins, and further explains the mutual inclusion and transformation of aesthetic sense and sublime sense through the interpretation of the plots, female characters and the role of the orchestra in their operas. This paper tries to reveal the opera styles of Verdi and Wagner, which are mainly characterized by aesthetic sense and sublime sense respectively, in order to explore the possibility of applying the aesthetic concepts of aesthetic sense and sublime sense to music research.