摘要
德沃夏克的歌剧《水仙女》（Rusalka）,与他的交响乐和室内乐有不少相同之处——悠扬的旋律、民俗的色彩、层次丰富的配器、略带伤感的情调,但是吸引力就是不如他的器乐曲,至少在大都会歌剧院是如此。这部1901年的作品,一直到1993年才在大都会上演,而且在过去的20年间,如果不是因为弗莱明（Renee Fleming）钟爱这部作品,大概它也不会有机会再度上演。
Antonin Dvorak's Rusalka has never been as popular as his symphonies or chamber works.But the opera has had a couple of advocates at the Metropolitan Opera since 1993,when it finally premiered on its prestigious stage.Renee Fleming owned the role until as recently as 2014.This season,a new production was mounted for Kristine Opolais,who catapulted to international stardom in 2006 in this role.Rusalka has had quite a few regie treatments recently,but this production by Mary Zimmerman is quite traditional,even with a tinge of darkness.It is not the most refreshing take on this fairy tale,but it should please most of the Met's audience.
出处
《歌剧》
2017年第3期14-15,98,共2页
Opera
