摘要
普契尼的《玛侬·莱斯科》(Manon Lescault)的情节关键,是主要人物在做决定前没有想清楚后果,导致悲惨的下场。大都会歌剧院的新制作,也有着同样的问题。在这个歌剧里,还有近似"英雄救美"的情节,这也发生在这个制作里,不过真实的结果要比故事里的好得多。原来的男女主角,
The Metropolitan Opera's Manon Lescaut demonstrated the peril of updating an opera's time and space.Richard Eyre's production placed the story in Nazi-occupied France,yet he failed to deliver a historically coherent and accurate narrative.However,Puccini's score was luxuriantly played by the orchestra under Fabio Luisi.The two leads—Kristine Opolais and Roberto Alagna—sang admirably and passionately.
出处
《歌剧》
2016年第3期34-35,共2页
Opera