摘要
早在2013 年,当普莱蒂·延德首次在大都会歌剧院亮相时,是因为罗西尼歌剧《奥利伯爵》(Le Comte Ory)的演员阵容在最后一刻改变。当时,在格鲁吉亚女高音尼诺·马查伊泽(Nino Machaidze)因病退出该制作后,延德用了不到一个月的时间,学会了剧中“阿黛尔”这个角色——这让歌剧迷们既高兴又担心。众所周知,大都会歌剧院每年的演出季,歌剧制作的角色演员通常会提前6 个月左右公之于众,但即便是最谨慎的乐观主义者。
A star on the rise, Pretty Yende enjoys critical praise for her recordings and great popularity on social media. Yet she resists the image of "diva," preferring to delve deeply into the characters she portrays. "I wouldn’t be human if I didn’t acknowledge my insecurities," she says. "Empathy and humanness in what we do is too important."
出处
《歌剧》
2019年第5期46-51,共6页
Opera
