On The Role Of Calaf In Puccini's Opera Turandot Image Creation

From the second half of the nineteenth century to the first half of the twentieth century,Puccini, as a result of the touchable plot and the wonderful music, was second toVerdi, who was the one of the most famous and most influential composer in Italy. The opera Turandot is his most influential, though the last, masterpiece. Puccini spent all his life in the opera as a conclusion to his career of opera in his life .The opera Turandot was set in ancient Chinese. Puccini, employing a myriad of the artistic method, together with the rhythm of Jasmine, a Chinese folk song and customs, make the whole opera be fraught with sensation of alienation and colour of oriental . In the opera, a range of vivid characters are created like Turandot,Calaf,Liu, as well as several classical die Arie, like"Nessun dorma"and "Signore,ascolta"etc.The author, reviewing and combing the researches made by the predecessors, realized that the focus of previous studies was laid on the protagonist Liu and die Arie, whereas fewer touched on the image of the character of Calaf in the opera. Thus, the thesis, will try to make an analysis of the role of the prince Calaf, and personal statements about his artistic and musical image.The thesis can be partitioned into six chapters:The first chapter is introduction, dealing with the significance of research, goal and content of the research and the current state of the research.The second chapter concerns with Puccini and his opera 'Turandot'. The chapter can be divided into two parts: the first deals with the general introduction of Puccini and his opera, then with the analysis of the creative psychology and its artistic characteristic of Turandot. The second part is about the general analysis of the opera 'Turandot', from three aspects: historical background,Text-evolvement,and sensation of alienation and colour of orientation. The third part is about the plot of the 'Turandot'. We make a detailed analysis of the relationship between the acts by means of the diagram.The third chapter concern with the analysis of the image of character of Calaf. This chapter can be subdivided into two parts: the first part is a brief introduction of Tatar in history, to grasp the characteristic of the traits of Calaf in general parlance; the second part is dealt with the analysis of the role of Calaf, in order to do research into the characters of Calaf. The four chapter is concerned with the musical analysis of Calaf. As the chapter of paramount, it can fall into two parts: the first part is about the character of the musical image. The second part talks about the analysis of two famous Arie and its artistic achievement.The fifth chapter tells of the differences and similarity between Calaf's die Arie and Puccini's Air Tenor. It can be portioned into three subtypes in terms of characteristic of the protagonist, way to the musical creation and thematic style of the music.The last chapter is the conclusion.