从门外汉到歌剧通

主持：Joanna C.Lee 编译：辛时雨

铁杆艺术迷的日记

Diary of a die-hard fan

2018北京国际音乐节《奥菲欧》剧照

小琼：

我们爱歌剧，我们爱看现场演出。所以同往常一样，秋季总是个很忙碌的季节。

小薇：

这也是中国的演出“节庆”季，北京国际音乐节和上海国际艺术节领跑群雄，歌剧和声乐演出比比皆是。

小琼：

让我回溯一下我10月21日的日记。那天，我在北京国际音乐节的两个不同地点观看了两场演出，基本上是无缝衔接。下午3点，我去看了《奥菲欧》的最末一场演出。这部崭新制作的室内歌剧由王斐南及联合编剧兼导演邹爽出品，后者刚刚接任北京国际音乐节艺术总监。

小薇：

你参加的是一次典型的周日午场演出。我在新闻里看到，这两位女性创意艺术家不仅致敬了蒙特威尔第在1607年的原作，还把故事与当今联系起来，将其带到了一个新的高度。

小琼：

我确实很喜欢“浸没式歌剧”这个理念——当你一踏进熙攘的北京三里屯北太古里的红馆，就像走进了一场婚宴，一组弦乐四重奏演奏着流行曲目，还有一位主持人负责接待“来宾”。演出结束后，演员及创作团队还进行了一场精彩的讨论。

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北京国际音乐节《消失人的日记》剧照

小薇：

但你还要奔赴另一场演出。北京拥堵的交通，恐怕会有些难度吧？

小琼：

有时候我简直无法想象没有互联网的生活。我们利用网络查询得知，北京110路公交可以直接载我们到下一个场馆：多维剧场。第二场演出是一部声乐套曲，是我最仰慕的20世纪歌剧作曲家之一雅纳切克所作。导演伊沃•冯•霍夫在雅纳切克的声乐套曲《消失人的日记》的基础上，整合出了一个戏剧性的场景。我们在晚上7点半准时赶到了。

小薇：

希望你在这期间有时间吃些东西。

小琼：

音乐节或艺术节给文化爱好者提供了丰富多彩的体验，而且策划总监们都很清楚，讲究观剧效率的观众们只要仔细安排日程，常常可以一天观摩两场演出！而欧美的歌剧节由于管弦乐队的缘故，鲜少有接连的演出，但对于10月21日的北京国际音乐节来说完全可以做到，毕竟演出的团队完全不同：《奥菲欧》是有国际演员参演的中国制作及首演，而《消失人的日记》则是直接从欧洲引进而来——后者作为一部声乐套曲，仅需一位伴奏的钢琴家。

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, Leoš Janáček.Director Ivo van Hove put together a dramatic scenario based on Janáček’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.