時至今日，臺灣地區中文歌劇的創作與演出已然成形，但與西方歌劇的歷史及理論比較，這種以中文劇本為骨幹，西方音樂為形體的中文歌劇形式，無論在藝術涵養、創作題材及演出紀錄，資歷實在尚淺。然而在表演藝術的建構中，存在相當多的可塑性與可能性。本篇主要探討中文歌劇《鄭莊公涉泉會母》之劇本音樂詮釋，取材自《左傳》首篇〈鄭博克段於鄢〉改編成中文歌劇作品。將中國文學的經典古籍編撰為西方的歌劇劇本，已經是充滿實驗性質的挑戰，遑論將中國史實以西方歌劇形式忠實的詮釋於現代劇場。藉由分析《鄭莊公涉泉會母》劇本當中的文本劇情與虛構劇情，探討歌劇劇本的創作結構與劇情鋪陳，在音樂詮釋及演唱表現方面，嘗試以演唱者的視角探討本劇的音樂特性及演唱技巧，期能勾勒出中文歌劇《鄭莊公涉泉會母》的創作風貌與創新價值。

“A Vow to the Underworld Spring”is the first opera that extracted from Chinese Classic Story, Zuo Zhuan. Opera music in Taiwan adapted opera Libretto with Chinese script since 1980’s. Although the qualification of East opera development is still green, the Opera creation in Taiwan is considerable in the blending and variations between East and West intercultural, tradition and mordenity. How to bring the traditional value of Chinese culture into the performing arts of Western opera form? This should be an experimental challenge, which playwright and composer by professor Tseng Dau- Hsiong strives to look for and construct the historical experience, culture and aesthetics unique insight Chinese classic Story in Zuo Zhuan.“A Vow to the Underworld Spring”had significant trial and interpretation in the history of Chinese contemporary classical opera. First, this article will explore the differences and features of Opera libretto and other Drama, discuss creative structure, literary style, storyline and performance art aesthetics separately. Second, it discusses the transformation of historical stories in dramatic form, the structure and development of script adaptation. and the virtual plot and expression. This article will look forward to discussing the literature and the debate of thought, Open new areas of Taiwanese performing art development and bring more ideas and inspiration. Contribute to creating Opera performance and creation in Taiwan. By means of adaptation and interpretation of the Chinese classical and creation of western Opera libretto and music presentation. Then outline the aesthetics and new vision of Chinese classical Opera.