[歌剧 - 女高音} 《卡蒂斯城的姑娘》- Anna Netrobko

出生于法国的作曲家德里布主要以他的芭蕾舞音乐所闻名，然而他以杰出的旋律写作才能在声乐作品创作方面也做出了贡献，其中以为女高音而写的这首轻松愉快的《卡蒂斯城的姑娘》为著名， 另外他谱曲的歌剧《Lakeme》 中的《Flower Duet 花之歌》也是非常优美，曾为英国航空公司广告背景音乐。



Anna Netrebko -Les Filles de Cadix- by Delibes

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

歌词：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!

 

歌词大意： 

我们曾去过斗牛场， 

那天空多么晴朗。 

咱三对小伙儿姑娘，草地上跳起波列罗， 

响板声十分响亮。 

小伙子你说，我模样可迷人？ 

我的这条裙子，合身不合身？ 

我身材是否苗条匀称？ 

我身材是否苗条匀称？ 

啊！卡地斯姑娘喜欢别人来奉承。 

啦…卡地斯姑娘喜欢别人来奉承，啊！ 

我们又跳起波列罗， 

在礼拜天的晚上。 

有一个贵族走过来，他穿的金衣闪光亮， 

手插腰间把话讲。 

如果你有情，含笑的金发美人， 

只要你说一声，给你金和银。 

赶你的路程贵族大人， 

赶你的路程贵族大人。 

啊！卡地斯姑娘并不稀罕金和银。 

啦…卡地斯姑娘并不稀罕金和银，啊！

The girls of Cadiz - 英文歌词 

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.