从门外汉到歌剧通

主持：Joanna C. Lee 编译：辛时雨

《魔幻之爱》演出现场

法利亚赏心悦目的作品

Falla delights

小琼：

我还在回味今年夏末观看的一场演出，它独具创意、引人深思。在艺术总监萨托·马胡利安（Sato Maghoulian）的领导下，纽约视点乐团（Perspectives Ensemble）以融合视觉、音乐和文学艺术的演出而闻名。安杰尔·吉尔-奥多涅斯（Angel Gil-Ordóñez）执棒该团队演出了西班牙作曲家曼努埃尔·德·法利亚（Manuel de Falla，1876～1946）的两部杰作。

小薇：

很多人听过《魔幻之爱》（

El Amor Brujo

）中的著名选段，而聆听整部作品一定是真正的享受。

小琼：

《魔幻之爱》需要一位熟稔弗拉门戈“深沉之歌”（西班牙语为

cante jondo

）风格的独唱歌手。我们很幸运地能够观赏来自塞维利亚的著名艺术家埃斯佩兰萨·费恩南德斯（Esperanza Fernández）在纽约的演出。

小薇：

按我的理解，“深沉之歌”被称为弗拉门戈艺术中最严肃、深沉的形式，是西班牙南部海岸安达鲁西亚（Andalusia）地区的标志。在这部作品中，法利亚将鲜明的西班牙音乐与延续着欧洲古典传统的现代习语相结合。

小琼：

当晚演出的第二部分是《彼得大师的木偶戏》（

El Retablo de Maese Pedro

），这又是一部浸润着

Joan:

I’m still relishing an innovative and inspiring performance I saw at the end of summer. New York’s Perspectives Ensemble, under its Artistic Director Sato Maghoulian, is renowned for presenting programs that bridge visual, musical, and literary arts. Under the baton of Angel Gil-Ordóñez, the group staged two masterpieces by the Spanish composer Manuel de Falla (1876–1946).

Valery:

Many people recognize some of the famous tunes from

El Amor Brujo

(“Love, the Bewitcher”), but it must be a real treat to hear the entire work.

Joan:

El Amor Brujore

quires a solo singer grounded in the art of flamenco, in

cante jondo

(deep song).We were lucky to see Esperanza Fernández, a famous artist from Seville, appearing in New York.

Valery:

I understand that

cante jondo

is considered the most serious and deepest form of flamenco,representative of the Andalusia region on the country’s southern coast. In this work, Falla combined distinctly Spanish music with modern idioms associated with the European classical tradition.

Joan:

The second half of the program featured

El Retablo de Maese Pedro

(“Master Peter’s Puppet Show”), another work steeped in Spanish culture: it is a story excerpted from Cervantes’s early 17-century masterpiece,

The Ingenious Nobleman Don Quixote

西班牙文化的作品：它摘编自17世纪塞万提斯的杰作《堂吉诃德》。剧中堂吉诃德与他的仆人桑丘在一家旅店看木偶表演，一个小男孩（女高音詹妮弗·泽特兰饰演）讲述了一位被摩尔人劫为人质的妇人的故事，而彼得大师（男高音豪尔赫·加尔扎饰演）也有插话。到最后，木偶戏被人打断了——那人不是别人，正是堂吉诃德（男中音阿尔弗雷多·加西亚饰演）！

科沃克·穆拉德为《彼得大师的木偶戏》设计的纸质人物

小薇：

法利亚是把这部作品写成了一出特别的木偶剧吗？

小琼：

这是当年委约的一部分，木偶剧版本于1923年在巴黎首演。为了达到效果，视点乐团还请了一位视觉艺术家——科沃克·穆拉德（Kevork Mourad）参与其中。三位声乐歌唱家和乐队站在台上，而影像则投射在上方的纱幕上。

小薇：

我看到这些纸质人形可以手动移动，使人物和故事“动起来”。

小琼：

结合其他的电脑特效，穆拉德创造了赏心悦目的“动画”。全场演出中，我都在想着中国：法利亚从自己民族艺术的溯源中，征服了国内外的观众。而现如今，许多国内的艺术家也正挖掘着中国故事和民间音乐元素，并讲述给世界听。

of La Mancha

, in which Don Quixote and his servant Sancho are watching a puppet performance at an inn.While the story of a maid taken hostage by the Moors is narrated by a young boy (sung by soprano Jennifer Zetlan), there are also interjections by Master Peter(sung by tenor Jorge Garza). Toward the end, the puppet show is interrupted by none other than Don Quixote (sung by baritone Alfredo García)!

Valery:

Falla wrote this as a special puppet theater work?

Joan:

This was part of the commission, and the puppet theater version premiered in Paris in 1923.For this presentation, the Perspectives Ensemble involved a visual artist—Kevork Mourad. The three vocal soloists stood on the stage with the orchestra while images are projected above, on a scrim.

Valery:

I see these paper figures can be moved manually to “animate” the characters and the story.

Joan:

With additional computer processing, Mourad created a delightful illusion of motion. Throughout the performance, China was on my mind: Falla sourced from national culture, successfully reaching his audience at home and abroad. Many artists here are also mining Chinese stories and folk music elements today, telling them to the world.