摘要
说到奇遇,对于在平淡无奇中度日的人多会有一种好奇和渴望。有生活经历的成年人,期望和理想多比较务实,称之为"妄想"似欠公平,但某些渴望或许为各种原因所羁绊,最终成了"痴人说梦"。未涉世事的孩子们的奇遇、灵感和对它的渴望则多来自童话故事,没有任何功利概念,其幻想可以上天入地、单纯又多彩。但过于奇幻的奇遇,会使他们困惑不解。这是笔者看了两部歌剧后对两种不同的奇遇概念及其结果的一点体会。
In Donizetti’s opera buffa,it’s the one moment which is absolutely no laughing matter.Damiano Michieletto’s new production for the Royal Opera House does have Don Pasquale as victim—often cutting the pathetic figure of an aging,pill-popping guy who just misses his mum—but asks us to laugh at him anyway.When Alice’s Adventures Under Ground first premiered a few years back,the thought of this frenzied and fraught production finding a home at the prestigious Royal Opera House seemed shocking.In a fantastical turn of events,Anthony Mc Donald has staged Gerald Barry’s operatic whirlwind with great success:the historic theatre is decked out with comical designs and witty costuming to evoke the absurd,in a space that is—typically—not so.
出处
《歌剧》
2020年第11期40-47,共8页
Opera
