主持：Joanna C. Lee 編譯：辛?xí)r雨

《魔幻之愛(ài)》演出現(xiàn)場(chǎng)

法利亞賞心悅目的作品

Falla delights

小瓊：

我還在回味今年夏末觀看的一場(chǎng)演出，它獨(dú)具創(chuàng)意、引人深思。在藝術(shù)總監(jiān)薩托·馬胡利安（Sato Maghoulian）的領(lǐng)導(dǎo)下，紐約視點(diǎn)樂(lè)團(tuán)（Perspectives Ensemble）以融合視覺(jué)、音樂(lè)和文學(xué)藝術(shù)的演出而聞名。安杰爾·吉爾-奧多涅斯（Angel Gil-Ordó?ez）執(zhí)棒該團(tuán)隊(duì)演出了西班牙作曲家曼努埃爾·德·法利亞（Manuel de Falla，1876～1946）的兩部杰作。

小薇：

很多人聽(tīng)過(guò)《魔幻之愛(ài)》（

El Amor Brujo

）中的著名選段，而聆聽(tīng)整部作品一定是真正的享受。

小瓊：

《魔幻之愛(ài)》需要一位熟稔弗拉門戈“深沉之歌”（西班牙語(yǔ)為

cante jondo

）風(fēng)格的獨(dú)唱歌手。我們很幸運(yùn)地能夠觀賞來(lái)自塞維利亞的著名藝術(shù)家埃斯佩蘭薩·費(fèi)恩南德斯（Esperanza Fernández）在紐約的演出。

小薇：

按我的理解，“深沉之歌”被稱為弗拉門戈藝術(shù)中最嚴(yán)肅、深沉的形式，是西班牙南部海岸安達(dá)魯西亞（Andalusia）地區(qū)的標(biāo)志。在這部作品中，法利亞將鮮明的西班牙音樂(lè)與延續(xù)著歐洲古典傳統(tǒng)的現(xiàn)代習(xí)語(yǔ)相結(jié)合。

小瓊：

當(dāng)晚演出的第二部分是《彼得大師的木偶戲》（

El Retablo de Maese Pedro

），這又是一部浸潤(rùn)著

Joan:

I’m still relishing an innovative and inspiring performance I saw at the end of summer. New York’s Perspectives Ensemble, under its Artistic Director Sato Maghoulian, is renowned for presenting programs that bridge visual, musical, and literary arts. Under the baton of Angel Gil-Ordó?ez, the group staged two masterpieces by the Spanish composer Manuel de Falla (1876–1946).

Valery:

Many people recognize some of the famous tunes from

El Amor Brujo

(“Love, the Bewitcher”), but it must be a real treat to hear the entire work.

Joan:

El Amor Brujore

quires a solo singer grounded in the art of flamenco, in

cante jondo

(deep song).We were lucky to see Esperanza Fernández, a famous artist from Seville, appearing in New York.

Valery:

I understand that

cante jondo

is considered the most serious and deepest form of flamenco,representative of the Andalusia region on the country’s southern coast. In this work, Falla combined distinctly Spanish music with modern idioms associated with the European classical tradition.

Joan:

The second half of the program featured

El Retablo de Maese Pedro

(“Master Peter’s Puppet Show”), another work steeped in Spanish culture: it is a story excerpted from Cervantes’s early 17-century masterpiece,

The Ingenious Nobleman Don Quixote

西班牙文化的作品：它摘編自17世紀(jì)塞萬(wàn)提斯的杰作《堂吉訶德》。劇中堂吉訶德與他的仆人桑丘在一家旅店看木偶表演，一個(gè)小男孩（女高音詹妮弗·澤特蘭飾演）講述了一位被摩爾人劫為人質(zhì)的婦人的故事，而彼得大師（男高音豪爾赫·加爾扎飾演）也有插話。到最后，木偶戲被人打斷了——那人不是別人，正是堂吉訶德（男中音阿爾弗雷多·加西亞飾演）！

科沃克·穆拉德為《彼得大師的木偶戲》設(shè)計(jì)的紙質(zhì)人物

小薇：

法利亞是把這部作品寫成了一出特別的木偶劇嗎？

小瓊：

這是當(dāng)年委約的一部分，木偶劇版本于1923年在巴黎首演。為了達(dá)到效果，視點(diǎn)樂(lè)團(tuán)還請(qǐng)了一位視覺(jué)藝術(shù)家——科沃克·穆拉德（Kevork Mourad）參與其中。三位聲樂(lè)歌唱家和樂(lè)隊(duì)站在臺(tái)上，而影像則投射在上方的紗幕上。

小薇：

我看到這些紙質(zhì)人形可以手動(dòng)移動(dòng)，使人物和故事“動(dòng)起來(lái)”。

小瓊：

結(jié)合其他的電腦特效，穆拉德創(chuàng)造了賞心悅目的“動(dòng)畫”。全場(chǎng)演出中，我都在想著中國(guó)：法利亞從自己民族藝術(shù)的溯源中，征服了國(guó)內(nèi)外的觀眾。而現(xiàn)如今，許多國(guó)內(nèi)的藝術(shù)家也正挖掘著中國(guó)故事和民間音樂(lè)元素，并講述給世界聽(tīng)。

of La Mancha

, in which Don Quixote and his servant Sancho are watching a puppet performance at an inn.While the story of a maid taken hostage by the Moors is narrated by a young boy (sung by soprano Jennifer Zetlan), there are also interjections by Master Peter(sung by tenor Jorge Garza). Toward the end, the puppet show is interrupted by none other than Don Quixote (sung by baritone Alfredo García)!

Valery:

Falla wrote this as a special puppet theater work?

Joan:

This was part of the commission, and the puppet theater version premiered in Paris in 1923.For this presentation, the Perspectives Ensemble involved a visual artist—Kevork Mourad. The three vocal soloists stood on the stage with the orchestra while images are projected above, on a scrim.

Valery:

I see these paper figures can be moved manually to “animate” the characters and the story.

Joan:

With additional computer processing, Mourad created a delightful illusion of motion. Throughout the performance, China was on my mind: Falla sourced from national culture, successfully reaching his audience at home and abroad. Many artists here are also mining Chinese stories and folk music elements today, telling them to the world.