摘要
洛杉矶歌剧院第一个《尼伯龙根的指环》是直探人心幽微之境,还是不着边际的想象?德国视觉剧场艺术家阿契.弗雷耶(Achim Freyer)的舞台世界是把观众带入奇幻的神话世界,还是让歌手难以发挥的陷阱?剧院投下3100万美元的制作费,是大步跨入成熟期的里程碑,还是好高骛远的致命错误?
OUTLINE/ Against all odds,LA Opera finally presented its first Der Ring des Nibelungen in June.German director Achim Freyer's staging has generated quite a lot of controversy since the cycle was unveiled two years ago. Was it a timeless exploration into the unconscious or a mishmash of unrelated images? Was it a bold interpretation of the new century or imagination that ran amok? Will the LA Opera survive this $30-million-plus endeavor? These are questions that will not and cannot be answered for some time to come.
出处
《歌剧》
2010年第7期28-29,共2页
Opera