摘要
西蒙·金利塞德凭借特有的天赋已成为古典乐界最受尊崇的艺术家之一,不过他可用不着媒体的大肆鼓吹,由他出演的闻名遐迩的《哈姆雷特》3月已由大都会歌剧院实况播出。
Simon Keenlyside's singular gifts have made him one of classical music's most admired artists,but he has no use for media hype. In March,he returned to the Met for the title role in Ambroise Thomas' s Hamlet,a smashing good opera that the company hasn't presented since New Year's Day of 1897.It is Keenlyside's moment of glory,but Met audiences have missed his final ripening as one of today's true singing actors.His company debut,as Belcore in a revival of L'Elisir d'Amore in 1996,slipped by.Soon thereafter,he was a deliriously moony Olivier in the company's sole run of Strauss's Capriccio,followed by routine house assignments in La Boheme,Le Nozze di Figaro and Die Zauberfl(o|¨)te.European audiences have had a fuller picture.
出处
《歌剧》
2010年第6期32-35,共4页
Opera
