主持：Joanna C. Lee 編譯：辛時雨

不止后臺

創(chuàng)樂者交響樂團組織的《女武神》講座活動（圖：吳詠翰）

小瓊：

幾天前，我有機會參觀了新加坡濱海藝術中心的后臺區(qū)域。其實這不是我的特權——每位希望多了解創(chuàng)樂者交響樂團版本的《女武神》的公眾，都可以報名參加。

小薇：

我聽說演出前一天，創(chuàng)樂者交響樂團組織了整個下午的活動，目的是讓觀眾做更好的準備，更深入地欣賞瓦格納的《女武神》。無論如何，這是新加坡觀眾首次可以在現場體驗這部經典樂劇的機會。

小瓊：

1月4日活動當天，你可以旁聽介紹瓦格納音樂語言或探究樂劇故事神話根源的講座，之后就是我先前提到的后臺之旅。最后大家更可以觀賞一小時的彩排，親眼看見樂團的樂手、歌唱家和技術人員工作的過程。24小時之后便是《女武神》正式的新加坡首演了。

小薇：

這些確實是獨特的體驗，令人大開眼界。在看到了制作人員在幾乎空曠的劇院里四處奔走，見證了舞臺監(jiān)督的細致入微后，才能更好地欣賞這來之不易的作品。

小瓊：

我非常同意。當我們走進劇場看正式演出的時候，所有的這些準備工作已經在我們眼前隱藏起來了。比方說，當幕布拉開，諸如燈光細節(jié)、道具的精確擺放、群眾演員在舞臺上的站位還有特定的舞臺提示等諸如此類的技術考量，都早已確定下來了。

上、下：創(chuàng)樂者交響樂團版本的《女武神》現場（圖：許智勇）

小薇：

你一定很興奮吧，這幾乎算是參與到劇組的工作過程當中了——或者至少可以說，能夠在專業(yè)歌劇工作者外的人員進劇場前率先看到些什么。

小瓊：

你會更加注意觀察周圍的細節(jié)，畢竟體會到了工作人員對他們工作的專業(yè)投入。大都會歌劇院（像許多頂級歌劇院一樣），對待其彩排很嚴肅，甚至要求中場休息的時長和正式演出時完全一致，畢竟在排練期間能用正式演出的同等時長完成更換服裝、修補妝面、移動舞臺裝置等工作，對臺上臺下的每個人都很重要。

上、下：創(chuàng)樂者交響樂團版本的《女武神》現場（圖：許智勇）

小薇：

在新加坡，他們甚至給來觀看彩排的觀眾分發(fā)了節(jié)目冊，所以大家可以有一整天的時間來研讀其中的文章以了解信息。真的，之前從沒有人能有時間在場燈暗下之前坐下來好好把節(jié)目冊上的注解讀完。這種做法給了大家一個先機。

Joan:

Just the other day, I was offered a chance to tour the backstage of Singapore’s Esplanade—Theatres by the Bay. Actually, it wasn’t just me—anyone who wanted to learn more about the Orchestra of Music Makers’ production of

Die Walküre

could sign up.

Valery:

I did hear about a whole afternoon of activities organized to prepare audience members the day before the performance. After all, this was the first chance Singapore audiences would have to experience this classic Wagnerian music-drama performed live!

Joan:

On January 4, you could attend lectures introducing Wagner’s musical language and the story’s mythological roots. After that came the exclusive backstage visit I mentioned. To cap it off,you also could attend an hour of the dress rehearsal and see the musicians, singers and technical staff in action. Then, 24 hours later, came

Die Walküre

’s actual Singapore premiere.

Valery:

These are really unique experiences, eyeopening in every way. By seeing the production staffrunning around a nearly empty theatre, witnessing how meticulous stage managers have to be, you can appreciate the results even more.

Joan:

I do agree. When we see a public performance,all of these preparations are already hidden from us.For example, by the time the curtain finally comes up, technical considerations such as lighting details,precise placement of props, spotting in crowd scenes and specific stage cues have all been fixed.

Valery:

You must feel a sense of excitement becoming almost part of the working process—or at least being able to see something before the rest of the opera world is allowed to enter the house.

Joan:

You pay even more attention to the details around you, since you see the care that the production staff puts into their work. The Metropolitan Opera (like many top-tier opera houses) takes its dress rehearsals very seriously, even keeping intermissions the same length as in the actual performance, since moving within the same amount of time to change costumes,fix makeup and move sets is important for everyone on and off stage in “going through the process.”

Valery:

In Singapore, they even gave out program books for the dress rehearsal, so audience members could have a whole day to read the informative articles. Really, no one ever has the time to sit and read program notes before the lights go down. This gave people a head start!