英文歌剧剧本

欢迎每个喜欢此巨著的朋友提问。我也喜欢sarah演的版本 到我的空间去，你可以找到全部原文歌词及原文剧本： 包括： 1.Think of me 2.Mirror ( Angel Of Music ） 3.Phantom of the Opera 4.Music of the Night 5.Prima Donna 6.All I Ask of You 7.Masquerade 8.Wishing You Were Somehow Here Again 9.The Point of No Return 等 希望你喜欢！先贴第一幕给你看哦！ 随便你选，爱那个选哪个！这是我的博客哦，我上传的很辛苦呢！希望能得到你的支持！ 我设了权限，你要我授权给你就发E给我。申明哦不选我为最佳答案我不给授权的，你可以看下我被采纳的回答，就知道我没骗人哦！你也可以加我为好友，MSN上。 A C T O N E SCENE 1 REHEARSSALS FOR 'HANNIBAL' BY CHALUMEAU (We have reached the great choral scene in which HANNIBAL and his army return to save Carthage from the Roman incasion under Scipio. HANNIBAL is UBALDO PIANGI; ELISSA, Queen of Carthage (his mistress) is CARLOTTA GIUDICELLI. The two leading SLAVE GIRLS are played by MEG GIRY and CHRISTINE DAAE. MME GIRY is the ballet mistress. M. REYER, the repetiteur, is in charge, We join the opera towards the end of ELISSA's (CARLOTTA's) great aria. She is alone, holding a present from the approaching HANNIBAL, a bleeding severed head) CARLOTTA (at the climax of an extravagant cadenza) This trophy from our saviours, from the enslaving force of Rome! (A STAGE HAND carries a ladder across the stage. OTHERS are seen still constructing partsof the scenery) GIRLS' CHORUS With feasting and dancing and song, tonight in celebration, we greet the victorious throng, returned to bring salvation! MEN'S CHORUS The trumpets of Carthage resound! Hear, Romans, now and tremble! Hark to our step on the ground! ALL Hear the drums - Hannibal comes! (PIANGI enters, as HANNIBAL) PIANGI (HANNIBAL) sad to return to find the land we love threatened once more by Roma's far-reaching grasp. REYER (interrupting him) Signor ... If you please; 'Rome'. We say 'Rome', not 'Roma'. PIANGI Si, si, Rome, not Roma. Is very hard for me. (practicing) Rome... Rome ...) (Enter LEFEVRE, the retiring manager of the Opera, with M.FIRMIN and M. ANDRE to whom he has just sold it) REYER (to PIANGI) Once again, then if you please, Signor: 'Sad to return ...' LEFEVRE (to ANFRE and FIRMIN) This way, gentlemen, this way. Rehearsals, as you see, are under way, for a new production of Chalumeau's 'Hannibal'. (Sensing a hiatus in the rehearsal, LEFEVRE attempts to attract attention) LEFEVRE Ladies and geltlemen, some of you may already, perhaps, have met M. Andre and M. FIRMIN ... (The new managers are plitely bowing, when REYER interrupts) REYER I'm sorry, M. Lefevre, we are rehearsing. If you wouldn't mind waiting for a moment? LEFEVRE My apologies. M. REYER, Proceed, proceed ... REYER Thank you, monsieur. (turning back to PIANGI). 'Sad to return ...', Signor ... LEFEVRE (sotto voce to ANDRE and FIRMIN) M. Reyer, our chief repetiteur, Rather a ttyrant, I'm afraid. (The rehearsal continues) PIANGI (HANNIBAL) Sad to return to find the land we love threatened once more by Rome's far-reaching grasp. Tomorrow we shall break the chains of Rome. Tonight, rejoice - your army has come home. (The BALLET GIRLS begin their dance. LEFEVRE, ANDRE and FIRMIN stand centre-stage watching the ballet. The are in the way. The ballet continues under the following dialogue) LEFEVRE (indicating PIANGI) Signor Piangi, our pricipal tenor. He does play so well opposite La Carlotta. GIRY (exasperated by their presence, bangs her cane angrily on the stage) Gentlemen, please! If you would kindly move to one side? LEFEVRE My apologies, Mme. Giry. (leading ANDRE and FIRMIN aside) Madame Giry, our ballet mistress. I don't mind confessing, M. FIRMIN, I shan't be sorry to be rid of the whole blessed business. FIRMIN I keep asking you, monsieur, why exactly are you retiring? LEFEVRE (ignoring this, calls his attention to the continuing ballet) We take a particular pride here in the excellence of our ballets. (MEG becomes prominent among the dancers) ANDRE Who's that girl, Lefevre? LEFEVRE Her? Meg Giry, Madame Giry's daughter. Promising dancer. M. Andre, most promising. (CHRISTINE becomes prominent. She has absentmindedly fallen out-of-step) GIRY (spotting her, bangs her cane again) You! Christine Daae! Concentrate, girl! MEG (quietly, to CHRISTINE) Christine ... What's the matter? FIRMIN (to LEFEVRE) Daae? Curious name. LEFEVRE Swedish. ANDRE Any relation to the violinist? LEFEVRE His daughter, I believe. Always has her head in the clouds, I'm afraid. (The ballet continues to its climax and ends. The CHORUS resumes) CHORUS Bid welcome to Hannibal's guests - the elephants of Carthage! As guides on our conquering quests, Dido sends Hannibals friends! (The ELEPHANT, a life-size mechanical replica, enters. PIANGI is lifted, in triumph, onto its back) CARLOTTA (ELISSA) Once more to my welcoming arms my love returns in splendour! PIANGI (HANNIBAL) Once more to those sweetest of charms my heart and soul surrender! CHORUS The trumpeting elephants sound - hear, Romans, now and tremble! Hark to their step on the ground - hear the drums! Hannibal comes! (At the end of the chorus LEFEVRE claps his hands for silence. The elephant is led off. Two stage-hands are revealed operating it from within) LEFEVRE Ladies and gentlemen - Madame Giry, thank you - may I have your attention please? As you know, for some weeks there have been rumours of my imminent retirement. I can now tell you that these were all true, and it is my pleasure to introduce to you the two gentlemen who now own the Opera Populaire, M. Richard Firmin and M. Gilles Andre. (Polite applause. Some bowing. CARLOTTA makes her presence felt) Gentlemen, Signora Carlitta Guidicelli, our leading soprano for five seasons now. ANDRE Of course, of course. I have experienced all your greatest roles, Signora. LEFEVRE And Signor Ubaldo Piangi. FIRMIN An honour, Signor. ANDRE If I remember rightly, Elissa has a rather fine aria in Act Three of 'Hannibal'. I wonder, Signora, if, as a personal favour, you would oblige us with a private rendition? (Somewhat acerbic). Unless, of course, M. Reyer objects ... CARLOTTA My manager commands ... M. Reyer? REYER My diva commands. Will two bars be sufficient introduction? FIRMIN Two bars will be quite sufficient. REYER (ensuring that CARLOTTA is ready) Signora? CARLOTTA Maestro. (The introduction is played on the piano) CARLOTTA Think of me, think of me fondly, when we've said goodbye. Remember me once in a while - please promise me you'll try. When you find that, once again, you long to take your heart ... (As CARLOTTA is singing, a backdrop crashes to the floor, cutting her off from half the cast) MEG/BALLET GIRLS/CHORUS He's here: the Phantom of the Opera ... He is with us ... It's the ghost ... PIANGI (looking up, furiously) You idiots! (He rushes over to CARLOTTA) Cara! Cara! Are you hurt? LEFEVRE Signora! Are you all right? Buquet! Where is Buquet? PIANGI Is no one concerned for our prima donna? LEFEVRE Get that man down here! (to ANDRE and FIRMIN) Chief of the flies. He's responsible for this. (The drop is raised high enough to reveal upstage an old stagehand, JOSEPH BUQUET, holding a lenth of rope, which looks almost like a noose) LEFEVRE Buquet! For God's sake, man, what's going on up there? BUQUET Please, monsieur, don't look at me: as God's my witness, I was not at my post. Please, monsieur, there's no one there: and if there is, well then, it must be a ghost ... MEG (looking up) He's there: the Phantom of the Opera ... ANDRE Good heavens! Will you show a little courtesy? FIRMIN (to MEG and the OTHERS) Mademoiselle, please! ANDRE (to CARLOTTA) These things do happen. CARLOTTA Si! These thing do happen! Well, until you stop these things happening, this thing does not happen! Ubaldo! Andiamo! (PIANGI dutifully fetches her furs from the wings) PIANGI Amateurs! LEFEVRE I don't think these's much more to assist you, gentlemen. Good luck. If you need me, I shall be in Frankfurt. (He leaves. The COMPANY looks anxiously at the NEW MANAGERS) ANDRE La Carlotta will be back. GIRY You think so, messieurs? I have a message, sir, from the Opera Ghost. (The GIRLS twitter and twirl in fear) FIRMIN God in heaven, you're all obsessed! GIRY He merely welcomes you to his opera house and commands you to continue to leave Box Five empty for his use and reminds you that his salary is due. FIRMIN His salary? GIRY Monsieur Lefevre paid him twenty thousand francs a month. Perhaps you can afford more, with the Vicomte de Chagny as your patron. (Reaction to this from the BALLET GIRLS. CHRISTINE takes hold of MEG nervously) ANDRE (to GIRY) Madame, I had hoped to have made that announcement myself. GIRY (to FIRMIN) Will the Vicomte be at the performance tonight, monsieur? FIRMIN In our box. ANDRE Madame, who is the understudy for this role? REYER There is no understudy, monsieur - the production is new. MEG Christine Daae could sing it, sir. FIRMIN The chorus girl? MEG (to FIRMIN) She's been taking lessons from a great teacher. ANDRE From whom? CHRISTINE (uneasily) I don't know, sir ... FIRMIN Oh, not you as well! (turning to ANDRE) Can you believe it? A full house - and we have to cancel! GIRY Let her sing for you, monsieur. She has been well taught. REYER (after a pause) From the beginning of the aria then, mamselle. CHRISTINE Think of me, think of me fondly, when we've said goodbye. Remember me once in a while - please promise me you'll try. FIRMIN Andre, this is doing nothing gor my nerves. ANDRE Don't fret, Firmin. CHRISTINE When you find that, once again, you long to take your heart back and be free - if you ever find a moment spare a thought for me ... (Transformation to the Gala. CHRISTINE is revealed in full costume) We never said our love was evergreen, or as unchanging as the sea - but if you can still remember, stop and think of me ... Think of all the things we've shared and seen - don't think about the things which might have been ... Think of me, think of me waking, silent and resigned. Imagine me, trying too hard to put you from my mind. Recall those days, look back on all those times, think of the things we'll never do - there will never be a day, when I won't think of you ... (Applause, bravos. Prominent among the bravos, those of the young RAOUL in the MANAGERS' box) RAOUL Can it be? Can it be Christine? Bravo! (He raises his opera-glasses) What a change! You're really not a bit the gawkish girl that once you were ... (lowering his opera-glasses) She may not remember me, but I remember her ... CHRISTINE We never said our love was evergreen, or as unchanging as the sea - but please promise me, that sometimes, you will think of me!

你确定要的是 歌剧 ？歌剧 是以歌唱为主综合诗歌、音乐、舞蹈等艺术的戏剧。中国歌剧《江姐》、《洪湖赤卫队》、西洋歌剧《卡门》、《费加罗的婚礼》、《图兰朵》。 我觉得你在这提问 要的是 类似 音乐剧《猫》这类的。

哈？？？500词？？？LZ你没搞错么？？？一说稍微长一点的两三首歌就差不多快500词了。。。。还要对话。。。。一说LS的已经给出了序幕的剧本。。。。光序幕差不多已经小700了吧。。。。。而且唱词也就那么几句。。。。

when there was me and you是一首歌唱青春的英文歌，同样也在歌唱着友情。下面是我给大家整理的表达友情的英文歌曲，供大家参阅!

Gabriella听到Troy为应付队友不断劝其放弃唱歌，

凡妮莎·哈金斯而应该专心打球的敷衍之词后信以为真，内心十分痛苦，以为Troy真的不把自己当作重要的人，一切不过是自己太过天真，富于幻想，认为Troy与自己一样都共同喜爱唱歌，拥有同样的梦想。

这首歌曲前半部分旋律哀婉缓慢，回忆着过去，讲述自己曾经的期待与欣喜，后半部分则变得激昂起来，表明自己过于盲目天真，轻信他人，现在已经觉醒，但对于自己这种觉醒也是极其痛苦的煎熬。整首歌近乎完美的表现了一个人心情起伏的历程，用心聆听就会产生共鸣。

这首歌的大体意思是说电影中男女主角互相喜欢对方，可是又不愿意承认，选择躲避对方，女主角以为男主角离开她了，就唱了这首歌。

《吉屋出租》堪称全美百老汇音乐界上世纪90年代的辉煌传奇，其迷人之处在于勾勒了艺术家挣扎的人生百态、诉说了动人爱情故事，在音乐素材上更打破了传统百老汇剧场模式，涵盖了丰富的音乐类型与元素，从狂放不羁的怀旧摇滚到抒情的民谣小品、从强而有力的节奏蓝调到空灵的福音音乐、甚至是火热的探戈舞曲……一应俱全，担纲作曲、作词、舞台剧剧本创作的乔纳森·拉尔森视高清电影《吉屋出租》为意大利歌剧大师普契尼的经典之作《波希米亚人》的现代诠释版，藉由该剧把真实的人生境况和周遭朋友的生活点滴搬上了音乐的舞台，从而造就出一个由不同文化、经济、性向和音乐拼贴而成的世界。

该剧一出，就囊获了包括普利策、托尼奖等全部奖项在内的全美所有的戏剧大奖奖项，成为音乐剧历史上获奖最多的剧目，而且，从1996年4月公演至今，百老汇演出5600场、全球巡回演出12000场，演出遍布21个国家150多个城市，并被译成16种语言进行演出，平均每天演出两场。其中，在百老汇票房收入超过3亿6000万美元，销售门票超过700万张;在全世界范围内，已经获得超过10亿美元的票房收入，销售门票数超过2500万张。它的出现标志着百老汇音乐剧一个新时代的来临。遗憾的是，拉尔森并未得见自己作品辉煌的那天，在公演的前一天晚上，突然病逝于心脏动脉瘤，年仅36岁。

It's funny when you find yourself

Looking from the outside

I'm standing here but all I want

Is to be over there

Why did I let myself believe

Miracles could happen

'Cause now I have to pretend

That I don't really care

I thought you were my fairytale

A dream when I'm not sleeping

A wish upon a star

That"s coming true

But everybody else could tell

That I confused my feelings with the truth

When there was me and you

I swore I knew the melody

That I heard you singing

And when you smiled

You made me feel

Like I could sing along

But then you went and changed the words

Now my heart is empty

I'm only left with used-to-be's

Once upon a song

Now I've known you're not a fairytale

And dreams were meant for sleeping

And wishes on a star just don't come true

Cause now even I can tell

That I confused my feelings with the truth

Because I liked the view

When there was me and you

I can't believe

That I could be so blind

It's like you were floating

While I was falling

And I didn't mind

Because I liked the view

I thought you felt it too

When there was me and you