從門外漢到歌劇通

主持：Joanna C.Lee 編譯：辛?xí)r雨

鐵桿藝術(shù)迷的日記

Diary of a die-hard fan

2018北京國(guó)際音樂(lè)節(jié)《奧菲歐》劇照

小瓊：

我們愛歌劇，我們愛看現(xiàn)場(chǎng)演出。所以同往常一樣，秋季總是個(gè)很忙碌的季節(jié)。

小薇：

這也是中國(guó)的演出“節(jié)慶”季，北京國(guó)際音樂(lè)節(jié)和上海國(guó)際藝術(shù)節(jié)領(lǐng)跑群雄，歌劇和聲樂(lè)演出比比皆是。

小瓊：

讓我回溯一下我10月21日的日記。那天，我在北京國(guó)際音樂(lè)節(jié)的兩個(gè)不同地點(diǎn)觀看了兩場(chǎng)演出，基本上是無(wú)縫銜接。下午3點(diǎn)，我去看了《奧菲歐》的最末一場(chǎng)演出。這部嶄新制作的室內(nèi)歌劇由王斐南及聯(lián)合編劇兼導(dǎo)演鄒爽出品，后者剛剛接任北京國(guó)際音樂(lè)節(jié)藝術(shù)總監(jiān)。

小薇：

你參加的是一次典型的周日午場(chǎng)演出。我在新聞里看到，這兩位女性創(chuàng)意藝術(shù)家不僅致敬了蒙特威爾第在1607年的原作，還把故事與當(dāng)今聯(lián)系起來(lái)，將其帶到了一個(gè)新的高度。

小瓊：

我確實(shí)很喜歡“浸沒式歌劇”這個(gè)理念——當(dāng)你一踏進(jìn)熙攘的北京三里屯北太古里的紅館，就像走進(jìn)了一場(chǎng)婚宴，一組弦樂(lè)四重奏演奏著流行曲目，還有一位主持人負(fù)責(zé)接待“來(lái)賓”。演出結(jié)束后，演員及創(chuàng)作團(tuán)隊(duì)還進(jìn)行了一場(chǎng)精彩的討論。

Joan:

We love opera.We love seeing live performances.So as always, autumn is a very busy time.

Valery:

It’s also China’s “festival” time, with the Beijing Music Festival and the Shanghai International Arts Festival leading the pack.Operas and vocal performances abound.

Joan:

Let me retrace my diary of October 21.On that day I saw two performances, basically back to back,in two different venues at the Beijing Music Festival.At 3 p.m., I attended the final performance of

Orfeo

,a new chamber opera by Fay Kueen Wang with colibrettist/director Zou Shuang, the latter newly minted as Artistic Director of the Beijing Music Festival.

Valery:

You attended a typical Sunday matinee, and I read in the news that these two female creative artists not only paid tribute to Monteverdi’s original of 1607, but took the story to a new level in connecting with our time.

Joan:

I do love the idea of immersive opera—as soon as you entered The Red in the hustle-bustle of Beijing(Taikoo Li at Sanlitun North), you’re in a wedding reception, with a string quartet playing pop songs and an MC hosting the crowd.After the show, there was an exciting post-performance discussion with the cast and creative team.

2018北京國(guó)際音樂(lè)節(jié)《消失人的日記》劇照

小薇：

但你還要奔赴另一場(chǎng)演出。北京擁堵的交通，恐怕會(huì)有些難度吧？

小瓊：

有時(shí)候我簡(jiǎn)直無(wú)法想象沒有互聯(lián)網(wǎng)的生活。我們利用網(wǎng)絡(luò)查詢得知，北京110路公交可以直接載我們到下一個(gè)場(chǎng)館：多維劇場(chǎng)。第二場(chǎng)演出是一部聲樂(lè)套曲，是我最仰慕的20世紀(jì)歌劇作曲家之一雅納切克所作。導(dǎo)演伊沃?馮?霍夫在雅納切克的聲樂(lè)套曲《消失人的日記》的基礎(chǔ)上，整合出了一個(gè)戲劇性的場(chǎng)景。我們?cè)谕砩?點(diǎn)半準(zhǔn)時(shí)趕到了。

小薇：

希望你在這期間有時(shí)間吃些東西。

小瓊：

音樂(lè)節(jié)或藝術(shù)節(jié)給文化愛好者提供了豐富多彩的體驗(yàn)，而且策劃總監(jiān)們都很清楚，講究觀劇效率的觀眾們只要仔細(xì)安排日程，常常可以一天觀摩兩場(chǎng)演出！而歐美的歌劇節(jié)由于管弦樂(lè)隊(duì)的緣故，鮮少有接連的演出，但對(duì)于10月21日的北京國(guó)際音樂(lè)節(jié)來(lái)說(shuō)完全可以做到，畢竟演出的團(tuán)隊(duì)完全不同：《奧菲歐》是有國(guó)際演員參演的中國(guó)制作及首演，而《消失人的日記》則是直接從歐洲引進(jìn)而來(lái)——后者作為一部聲樂(lè)套曲，僅需一位伴奏的鋼琴家。

Valery:

But you ran to another performance.Wasn’t that hard, given the traffic in Beijing?

Joan:

Sometimes I can’t imagine life without the internet.We discovered that Beijing bus 110 dropped us directly at the next venue:Multidimension Theatre.The second show featured a song cycle by one of my favorite 20-century opera composers, Leo? Janá?ek.Director Ivo van Hove put together a dramatic scenario based on Janá?ek’s song cycle,

Diary of One Who Disappeared

.We made it just in time by 7:30 p.m.

Valery:

Hope you had something to eat in between.

Joan:

Festivals offer such a variety of experiences for an arts-lover.And festival organizers are quite aware that time-efficient fans, with careful planning, can sometimes see two performances in a day! European or American opera festivals rarely have back-to-back performances because of the orchestra.But for the Beijing Music Festival on October 21, it worked well,since the performing forces were entirely different.

Orfeo

was home-grown with international performers;

Diary of One Who Disappeared

was directly imported from Europe.The latter, being a song cycle, involved only an accompanying pianist.