摘要
如果从莎士比亚整体的戏剧水准来看，《仲夏夜之梦》也许不是最好的，但却是广受欢迎的一部喜剧。它在浪漫主义时期所受到的关注或许不是我们这个时代的人所能理解的。按照现在的眼光来说，至少我以为，这部贯穿着以爱为线索的闹剧甚至可以用浅薄无聊来评论它。当然，以现代的审美趣味去评论以往时代作品是容易的，你可以不喜欢它，也可以攻击它，而问题是，你无法用其他东西去取代历史对它的偏好。同样，像门德尔松这样出身于富裕银行家家庭的天才，在优裕的生活之余，很难会去关注诸如舒曼、柏辽兹等人想去关心的问题。在音乐史上，门德尔松实在是一个难得的幸运儿，这形成了他生前和死后音乐界对他完全不同的评价。
A composer gifted with musical talents just as Mozart, Felix Mendelssohn had long been charmed by Shakespeare＇s A Midsummer＇sss Night Dream. lie began work on the overture at age 17, but it was not until the composer was 34 when the King of Prussin requested incidental music to the play. So Mendelssohn added more music （scherzo, intermezzo, nocturne, Wedding March, Funeral March, Finale）. Although this incidental music came out of two periods of the composer＇s life, there＇s little stylistic difference between juvenilin and mature output. Apart from instrumental music, there are also solos and choruses. All in all the music enlivens the drama,and the Wedding March now become a classic in its own right.
出处
《歌剧》
2008年第2期53-56,共4页
Opera
