프랑스 오페라 명곡

I. 불멸의 여성 오페라 아리아
1. ‘나는 외리디스를 잃었다’（글룩 〈오르페와 외리디스〉） ··················19
2. ‘아!, 나를 보고 웃는다’（구노 〈파우스트〉） ······························25
3. ‘툴레의 왕’（구노 〈파우스트〉） ··············································31
4. ‘사랑은 들새와 같아’（비제 〈카르멘〉） ···································34
5. ‘불안하게 하는 것은 아무것도 없어’（비제 〈카르멘〉） ················42
6. ‘예전처럼, 밤의 어둠 속에서’（비제 〈진주잡이〉） ·······················44
7. ‘결국 이렇게 되고 마는구나!’（도니체티 〈연대의 딸〉） ·················49
8. ‘프랑스 만세’（도니체티 〈연대의 딸〉） ······································51
9. ‘나는 아직 멍해요’（마스네 〈마농〉） ······································53
10. ‘안녕, 우리들의 작은 탁자여’（마스네 〈마농〉） ·······················58
11. ‘자, 마농, 공상은 이제 그만’（마스네 〈마농〉） ·························60
12. ‘작은 새들은 소사 나무에 앉아’（오펜바흐 〈호프만 이야기〉） ···········61
13. ‘산 비둘기는 날아가 버렸네’（오펜바흐 〈호프만 이야기〉） ···········68
14. ‘아! 이제 더 이상 왕비님을 볼 수 없네’（베르디 〈동 카를로〉） ·········70
15. ‘세상의 허무함을 아는 그대여’（베르디 〈동 카를로〉） ················73
16. ‘망망대해의 한 가운데서 바람에 휩쓸려’（베르디 〈시칠리아의 저녁기도〉） ············································74
17. ‘고맙습니다, 소중한 친구들이여’ （베르디 〈시칠리아의 저녁기도〉） ············································78
18. ‘내가 아름답다고 말해다오’（마스네 〈타이스〉） ······················79
19. ‘사랑이란 고귀한 미덕’（마스네 〈타이스〉）·····························82
20. ‘두려움으로 애원합니다’（스폰티니 〈베스타의 무녀〉） ················83
21. ‘오, 불행한 수호의 여신이여’（스폰티니 〈베스타의 무녀〉） ···········87
22. ‘인도의 젊은 아가씨는 어디로 가나’（들리브 〈라크메〉） ············87
23. ‘아자엘, 너는 왜 떠나갔니?’（드뷔시 〈방탕아〉） ·······················93
24. ‘나는 금발의 티타니아’（토마 〈미뇽〉） ·································96
25. ‘바람둥이 나비야’（라모 〈우아한 인도의 나라들〉） ·····················99
26. ‘오, 아름다운 투렌 지방이여’（마이어베어 〈위그노교도들〉） ········102
27. ‘로베르, 당신을 사랑해요’（마이어베어 〈악마 로베르〉） ·············104
28. ‘사랑과 의무 사이에서’（베를리오즈 〈벤베누토 첼리니〉） ············107

II. 위대한 남성 오페라 아리아
1. ‘오, 낙원이여’（마이어베어 〈아프리카의 여인〉） ··························111
2. ‘오늘은 최고로 기분 좋은 날’（도니제티 〈연대의 딸〉） ················113
3. ‘안녕, 정결한 집이여’（구노 〈파우스트〉） ·······························117
4. ‘그녀는 나를 전혀 사랑하지 않았어’（베르디 〈동 카를로〉） ·········119
5. ‘마지막 날이 다가왔습니다’（베르디 〈동 카를로〉） ····················121
6. ‘오, 팔레르모, 사랑스런 땅이여’（베르디 〈시칠리아의 저녁기도〉） ······122
7. ‘오, 리차드, 나의 왕이여’（그레트리 〈사자왕 리차드〉） ················123
8. ‘이 세상이 나를 망각한다면’（그레트리 〈사자왕 리차드〉） ············127
9. ‘이다산 숲속에서’（오펜바흐 〈아름다운 엘렌〉） ·························128
10. ‘운명의 여신이’（로시니 〈오리백작〉） ···································134
11. ‘그렇다면 나를 이승으로 돌아가게 해 주시오’（라모 〈이폴리트와 아리시〉） ···············································137
12. ‘내 아버지를 향한 찬양을 들으니’（라모 〈이폴리트와 아리시〉） ·······140
13. ‘이 숲에서 벗어날 수 없네’（드뷔시 〈펠레아스와 멜리장드〉） ········142
14. ‘더 이상 쓸데없는 걱정하지 마세요’（드뷔시 〈방탕아〉） ···········145

III. 격정의 여성 오페라 아리아
1. ‘꿈 속에 살고파라’（구노 〈로메오와 줄리에트〉） ························147
2. ‘세상에! 차가움이’（구노 〈로메오와 줄리에트〉） ························151
3. ‘그녀에게 나의 고백을 전해주오’（구노 〈파우스트〉） ················153
4. ‘새끼들과 함께 있는 꾀꼬리는’（그레트리 〈제미르와 아조르〉） ·······155
5. ‘밤에 그와 이야기하는 게 두려워’（그레트리 〈사자왕 리차드〉） ·····158
6. ‘이렇게 간절히 애원합니다’（글룩 〈타우리드의 이피게네이아〉） ······159
7. ‘안돼요, 난 그렇게 끔찍한 일을’（글룩 〈타우리드의 이피게네이아〉） ····163
8. ‘난 결국 지워버리고 말겠지’（글룩 〈타우리드의 이피게네이아〉） ·····163
9. ‘나의 작은 방에서 당신에게 편지를 쓰오’（마스네 〈베르테르〉） ···164
10. ‘자, 눈물을 흘리게 해 줘요’（마스네 〈베르테르〉）····················174
11. ‘나의 용기가 나를 버렸다’（마스네 〈베르테르〉） ·····················175
12. ‘시스트럼볼이 금속성으로 짤랑거리고’（비제 〈카르멘〉） ··········176
13. ‘세비야의 성벽 근처에서’（비제 〈카르멘〉） ···························177
14. ‘자, 내가 해 보자’（비제 〈카르멘〉） ·····································179
15. ‘오렌지 꽃이 피는 나라를 아시나요?’（토마 〈미뇽〉）···············180
16. ‘제 꽃을 여러분에게’（토마 〈햄릿〉） ···································182
17. ‘그는 믿으라고 말했어요’（토마 〈햄릿〉） ·····························185
18. ‘떠나지 마라, 오펠리아여’（토마 〈햄릿〉） ·····························187
19. ‘사랑의 신이여, 약한 나를 도와주소서’（생상스 〈삼송과 달릴라〉） ·················································188
20. ‘툴레의 왕’（베를리오즈 〈파우스트의 겁벌〉） ····························192
21. ‘사랑에 타오르는 불꽃이’（베를리오즈 〈파우스트의 겁벌〉） ·········196
22. ‘안녕, 숲이여’（차이콥스키 〈잔 다르크〉） ·······························198
23. ‘정원에는 새들이’（오펜바흐 〈호프만 이야기〉） ························201
24. ‘당신 자식들의 어머니인 불행한 내가’（〈케루비니 〈메데아〉） ·····202
25. ‘슬픔에 억눌려’（로시니 〈오리백작〉） ···································207
26. ‘내 무릎에서 자는 태양의 아들이여’（마이어베어 〈아프리카의 여인〉） ···········································208
27. ‘안녕, 나의 다정한 해안이여’（마이어베어 〈아프리카의 여인〉）············································································210

IV. 열정의 남성 오페라 아리아
1. ‘어찌하여 나를 깨우는가?’（마스네 〈베르테르〉） ······················213
2. ‘오, 자연이여’（마스네 〈베르테르〉） ······································214
3. ‘혼자구나! 드디어 혼자구나!’（마스네 〈마농〉） ·······················215
4. ‘여기를 떠나기 전에’（구노 〈파우스트〉） ································217
5. ‘금 송아지는 끄덕없이 서 있네’（구노 〈파우스트〉） ··················218
6. ‘여러분 축배를 듭시다’（비제 〈카르멘〉） ·······························219
7. ‘주님 제 비참함을 보소서’（생상스 〈삼송과 달릴라〉） ·················221
8. ‘당신 마음속의 재들이’（오펜바흐 〈호프만 이야기〉） ··················224
9. ‘그대가 태어나던 순간’（케루비니 〈쿠쿠르지〉） ························225
10. ‘움직이지 마라’（로시니 〈기욤 텔〉） ····································228
11. ‘빛나는 태양이여 결코 우리 눈에’（라모 〈우아한 인도의 나라들〉） ·····233
12. ‘술은 내 마음의 슬픔을 사라지게 한다’（토마 〈햄릿〉） ············234
13. ‘형님, 용서를 빕니다’（토마 〈햄릿〉） ···································236
14. ‘나는 아직도 떨려요’（그레트리 〈제미르와 아조르〉） ··················237
15. ‘행복했던 어린 시절부터 우린’（글룩 〈타우리드의 이피게네이아〉） ····238
16. ‘내게 마음의 평화가 찾아오네’（글룩 〈타우리드의 이피게네이아〉） ·····239

V. 오페라 속 사랑의 아리아
1. ‘그대 음성에 내 마음 열리고’（생상스 〈삼송과 달릴라〉） ·············241
2. ‘희망을 전해주는 봄이여’（생상스 〈삼송과 달릴라〉） ··················245
3. ‘눈을 감으면’（마스네 〈마농〉） ···········································247
4. ‘그대가 내게 던진 이 꽃은’（비제 〈카르멘〉）···························248
5. ‘지금도 다시 들리는 것만 같다’（비제 〈진주조개잡이〉） ··············249
6. ‘사랑의 신이여’（오펜바흐 〈아름다운 엘렌〉） ····························250
7. ‘은신처에 숨어있는 쥐를 잡으려면’（오펜바흐 〈지옥의 오르페〉） ···252
8. ‘그 날 이후’（샤르팡티에 〈루이즈〉） ······································261
9. ‘아, 떠오르라, 태양이여!’（구노 〈로메오와 줄리에트〉） ················263
10. ‘가장 눈부신 콘서트을 열어요’（라모 〈플라테〉） ····················265
11. ‘사랑에 빠진 나이팅게일은’（라모 〈이폴리트와 아리시〉） ············274
12. ‘나의 요람을 귀한 은혜로 채워주셨던 어머니께’（케루비니 〈쿠쿠르지〉） ·····················································275
13. ‘어두운 숲’（로시니 〈기욤 텔〉） ··········································276

VI. 오페라 속 사랑의 이중창
1. ‘뭐라고요? 나를 사랑한다고요?’（도니체티 〈연대의 딸〉） ············277
2. ‘어머니의 안부에 대해 말해주오’（비제 〈카르멘〉） ···················280
3. ‘그래요, 그대가 내 고백을 강요하네요’（로시니 〈기욤 텔〉） ········283
4. ‘사랑의 밤, 빛나는 하늘’（구노 〈파우스트〉） ···························286
5. ‘아, 빛을 의심하도다’（토마 〈햄릿〉） ····································288
6. ‘나의 긴 머리카락은’（드뷔시 〈펠레아스와 멜리장드〉） ·················290
7. ‘오늘이 마지막 날입니다’（드뷔시 〈펠레아스와 멜리장드〉） ···········293
8. ‘끝없는 황홀과 환희의 밤이여’（베를리오즈 〈트로이사람들〉） ·······297

VII. 가장 사랑받는 오페라 이중창
1. ‘하얀 쟈스민꽃이 울창한 둥근 지붕아래’（들리브 〈라크메〉） ·······301
2. ‘아름다운 밤, 사랑의 밤’（오펜바흐 〈호프만의 이야기〉） ··············303
3. ‘어깨에 뭔가 있는 것 같네’（오펜바흐 〈지옥의 오르페〉） ··············304
4. ‘하늘이 내게 선사했습니다’（오펜바흐 〈아름다운 엘렌〉） ·············306
5. ‘신성한 사원에서’（비제 〈진주조개잡이〉） ·······························310
6. ‘당신이요? 나요!’（비제 〈카르멘〉） ·······································312
7. ‘최후의 이 순간이’（마스네 〈베르테르〉） ································317
8. ‘낯선 자여, 약속대로 당신이 여기 왔군요’（마스네 〈타이스〉） ·····318
9. ‘당신이구려, 사제여’（마스네 〈타이스〉） ································321
10. ‘내가 너의 용기와 신념에 깊이 감동해서’（베르디 〈시칠리아의 저녁기도〉） ···········································323
11. ‘불타오르는 열정이’（그레트리 〈사자왕 리차드〉） ·····················325
12. ‘그는 대담하다고 하더군요’（로시니 〈오리백작〉） ···················326
13. ‘평화로운 숲이여’（라모 〈우아한 인도의 나라들〉） ·····················328
14. ‘당신을 어디로 데려왔는지 알겠어요?’（드뷔시 〈펠레아스와 멜리장드〉） ··········································329

VIII. 환상의 오페라 앙상블
1. ‘우리에게 모종의 건수가 있어’（비제 〈카르멘〉） ······················335
2. ‘저들이 감히 아버지를 살해하다니!’（로시니 〈기욤 텔〉） ············336
3. ‘그리스가 완전히 엉망으로 바뀌는 동안’（오펜바흐 〈아름다운 엘렌〉） ···············································340
4. ‘아나타엘!, 자네로군’（마스네 〈타이스〉） ·······························342
5. ‘예전처럼 멋져 보이는구먼’（마스네 〈타이스〉） ·······················345
6. ‘우리는 어두운 밤의 장막 아래로’（로시니 〈오리백작〉） ·············347
7. ‘병사들의 소리가 들려온다’（로시니 〈오리백작〉） ·····················349
8. ‘미래의 삶과 죽음에 관한’（라모 〈이폴리트와 아리시〉） ···············350
9. ‘부드러운 사랑의 신이여’（라모 〈우아한 인도의 나라들〉） ············350

IX. 감동의 오페라 합창곡
1. ‘라타플란, 라타플란, 라타플란’（도니제티 〈연대의 딸〉） ·············353
2. ‘그들이 온다! 콰드리야가 온다!’（비제 〈카르멘〉） ····················354
3. ‘경비병들이 교대하는 시간에’（비제 〈카르멘〉） ·······················356
4. ‘무기를 여기에 내려놓으세’（구노 〈파우스트〉） ·······················357
5. ‘뒤돌아보지 마라’（오펜바흐 〈지옥의 오르페〉） ·························359
6. ‘그리스의 왕들입니다!’（오펜바흐 〈아름다운 엘렌〉） ···················361
7. ‘위대한 신이여’（글룩 〈타우리드의 이피게네이아〉） ·····················363
8. ‘아, 가련한 이피게네이아’（글룩 〈타우리드의 이피게네이아〉） ········365
9. ‘천국의 딸, 영원한 베스타여’（스폰티니 〈베스타의 무녀〉） ···········366
10. ‘창조의 불, 세상의 영혼이여’（스폰티니 〈베스타의 무녀〉） ··········367
11. ‘이게 무슨 소리냐’（라모 〈이폴리트와 아리시〉） ·······················368
12. ‘테티스 여신의 가슴에 그대의 불을 던지오’（라모 〈우아한 인도의 나라들〉） ············································370

X. 가장 유명한 오페라 서곡과 간주곡
1. ‘서곡’（토마 〈미뇽〉） ························································371
2. ‘헝가리 행진곡’（베를리오즈 〈파우스트의 겁벌〉） ························371
3. ‘서곡’（비제 〈카르멘〉） ·····················································372
4. ‘서곡’（로시니 〈기욤텔〉） ···················································372
5. ‘바카날’（생상스 〈삼송과 달릴라〉） ········································373
6. ‘명상곡’（마스네 〈타이스〉） ················································373
7. ‘미뉴에트와 갤럽’（오펜바흐 〈지옥의 오르페〉） ·························373
8. ‘서곡’（베르디 〈시칠리아의 저녁기도〉） ····································374

XI. 참고문헌 ···························································375
XII. 작곡가별 오페라 명곡 색인 ·····························376