摘要
大都会歌剧院是以什么标准决定一个歌剧制作是否需要淘汰或换新,外人有时很难一探究竟。就拿古诺的《罗密欧与朱丽叶》（Romeo et Juliette）来说好了,前一个制作是2005年才面世,大约十年间一共演出三轮将近30场次,就大都会的标准来看还算是新的,但是本季就换了一个新的制作。
How the Metropolitan Opera assesses when it needs a new production of a given opera is hard to understand.For example,Romeo et Juliette saw nearly 30 performances in the last decade,making it rather new by the Met's criteria.But somehow the opera has a new production this season directed by Bartlett Sher—one of the Met's most prominent directors.Sher has his own fans,and this production has already premiered in Salzburg and La Scala.In my opinion,this production is no worse than the old one,but it fell short of my expectations.Considering the Met's financial situation,it seems to serve no purpose.Instead of providing a glittering stage set,Sher's was deliberately dark and sombre.
出处
《歌剧》
2017年第2期19-21,共3页
Opera
