大都会之“进口”《唐卡洛斯》与《茶花女》

The Met's"imported"Don Carlos and La Traviata

推出新制作是剧院经理彼得·盖尔伯（Peter Gelb）打造大都会歌剧院新形象的重要举措。新制作的确可以创造新鲜感引起舆论关注,但是每季要推出七八个新制作,即使是对年度预算几乎有3亿美元的大都会歌剧院来说,成本已是相当可观,更别提要承担的风险了（像是上季嘘声满场的《托斯卡》以及本季雷声大雨点小的《莱茵的黄金》）。比较保险的方法之一,就是引入其他歌剧院已经成功演出的制作。在2010年最后两个月就看到两个这样的制作——威尔第的《唐卡洛斯》和《茶花女》。前者是英国皇家歌剧院2008年的制作,后者则是2005年萨尔茨堡音乐节上任有千金也一票难求的抢手演出。

Co-productions among several opera houses are becoming more prevalent as costs escalate and the world economy shows no clear sign of improving. The end of 2010 saw two such productions at the Metropolitan Opera House-Don Carlos from the Royal Opera House(2008) and La Traviata from the Salzburg Festival(2005).Different casts generated fresh insights into the not-exactly-brand-new productions.Don Carlos was dominated by the towering performance of Ferruccio Furlanetto as King Philip,while La Traviata showed the strengths and shortcomings of its heroine-Marina Poplavskaya.The modern, minimalist Traviata also replaced the old over-stuffed and campy Franco Zeffirelli production,thus signaling a new direction for Peter Gelb and the Met.