歌剧中的骄傲：“不敢说出名字的爱”唱响最高音

Pride at the Opera:The love that “dare not speak its name” sings at top volume

早在2017年,“新”纽约市立歌剧院(正式的名称是“纽约市立复兴歌剧院”,NYCO Renaissance)第二轮演出季的压轴好戏——彼得·艾特沃施(Peter Eotvos)的《天使在美国》(Angelsin America)美国首演——门票卖得满堂红,让破产后重组的歌剧院大展雄风。姑且不说作品的制作水平有点“营养不良”,无法跟歌剧院最辉煌的年代相比;歌剧本身也显得“营养不良”:托尼·库什纳(Tony Kushner)历时8个小时的、获得普利策戏剧奖的、深度思考艾滋病与同性恋的话剧,浓缩至两小时的歌剧版,音乐风格恐怕太接近“音乐剧”(musicalization)。换句话来说,话剧原版(虽然没有人演唱)显得更富有歌剧性。

Back in 2017,the new New York City Opera(officially known now as“NYCO Renaissance”)ended its second season with the biggest hit of its post-bankruptcy life:the US premiere of Peter Eotvos’s Angels in America.No matter that it was undernourished by the standards of City Opera in its prime;the opera itself was a bit undernourished too:a two-hour musicalization of Tony Kushner’s eight-hour Pulitzer Prize-winning rumination on AIDS and homosexuality in America.The original play had actually been more operatic.