摘要
4月初的一个早晨，我在纽约的帕克美丽殿酒店里等候与卡利塔·马蒂拉的会面，却见她一阵风似的与我擦身而过，拖着两个拉杆箱直奔前台。她将就此开始马不停蹄的一天。马蒂拉刚刚在卡内基音乐厅献演了一场芬兰作品音乐会，她同意接受这次采访，不过只有不多不少一个半钟头的时间，之后还要偷闲片刻去拍个照，然后要在下午4点半赶往纽瓦克自由国际机场，离现在总共只有5个小时了。一切安排妥当后，她显得神采奕奕、神情专注，即使在认为无人关注的时候她也保持着这种状态。这就是她做事的风格。
OUTLINE / On opening night of the 2009-2010 season, Karita Mattila added Puccini's Tosca—the ultimate diva role—to her Met repertoire.The soprano herself cited a run as Chrysothemis in Elektra at Salzburg in 1995 as the epiphanic moment,unlocking her creative energy and fearless spirit in the kind of repertory that truly takes advantage of it.The opera world at large sat up to take notice with her Elisabeth in Don Carlos, directed by Luc Bondy at Theatre du Chatelet in 1996. If she knocked 'em dead in subsequent performances of Lisa in The Queen of Spades and Elsa in Lohengrin,then it's fair to say she launched full-scale nuclear attacks with the title roles in Fidelio,Jenufa,Salome and Kat'a Kabanova.And that would be the repertory that gave a singer a more distinctive entry in The New Grove Dictionary of Opera.Mattila had arrived.
出处
《歌剧》
2009年第12期44-47,共4页
Opera
