Joanna C.Lee

小瓊：我依然對(duì)疫情控制下的亞洲演藝同行們充滿欽佩之心。高雄剛演出了全舞臺(tái)版的《圖蘭朵》，全中國(guó)的樂團(tuán)也都開始了新的演出季。然而在紐約，所有的演出場(chǎng)所仍然緊閉大門。

小薇：不過近來戶外演出很是熱門，尤其是在歐洲。9月6日，丹尼爾·巴倫博伊姆和柏林國(guó)家樂團(tuán)在戶外演出了貝多芬專場(chǎng)，其中包括著名的《合唱交響曲》。該演出也是這個(gè)駐扎于德國(guó)國(guó)家歌劇院的樂團(tuán)創(chuàng)立450周年的紀(jì)念慶典。

小瓊：我在網(wǎng)上觀看了整場(chǎng)音樂會(huì)，對(duì)它印象非常深刻！合唱團(tuán)成員們相隔1.5米，均勻分散在歌劇院旁邊的公共廣場(chǎng)中，身邊環(huán)繞著觀眾（但保持著一定距離）。每名歌手都裝備有隨身話筒，臺(tái)上的獨(dú)唱家們（包括勒內(nèi)·帕佩以及瓦爾特勞德·邁耶）也對(duì)著話筒歌唱。

小薇：我聽說在紐約也有不少戶外現(xiàn)場(chǎng)演出的創(chuàng)意方案。我看新聞里說到高男高音安東尼·羅斯·科斯坦佐跟紐約愛樂樂團(tuán)的音樂家們?cè)诼愤叀皵[攤”，舉辦免費(fèi)的音樂會(huì)。

小瓊：8月下旬以來的每個(gè)周末，都會(huì)有一輛紐約愛樂樂團(tuán)的皮卡車前往紐約市的五個(gè)行政區(qū)（曼哈頓、皇后區(qū)、斯塔滕島、布魯克林和布朗克斯），每天在出乎意料的地點(diǎn)進(jìn)行三場(chǎng)表演。

小薇：要是有人碰巧遇上了演出，那真是太幸運(yùn)了！

小瓊：確實(shí)是這樣的。當(dāng)時(shí)我們?cè)诩腋浇少?gòu)，從商店里出來的時(shí)候，竟然看到了紐約愛樂樂團(tuán)的皮卡車！我們就站在64街和百老匯交會(huì)的路口，享受著美妙的音樂和歌聲。

小薇：我確實(shí)在《環(huán)球時(shí)報(bào)》上讀到了“樂隊(duì)花車”的報(bào)道。兩名參與了9月4日到6日的周末演出的弦樂演奏者是中提琴手吳聰和小提琴手戈荃。

小瓊：演出很有創(chuàng)意，并且非常“接地氣”。我們欣賞了道蘭的《流吧，我的淚》和珀塞爾《狄多與埃涅阿斯》中的“狄多的哀歌”。你可能還記得安東尼·羅斯·科斯坦佐2012年在北京舉行的多明戈世界歌劇聲樂大賽中憑借該曲獲得了一等獎(jiǎng)。最后一首歌是倫納德·伯恩斯坦《西區(qū)故事》中的“某處”。

小薇：公眾反響如何呢？

小瓊：他們聽得如癡如醉。正如當(dāng)今網(wǎng)絡(luò)時(shí)代背景下的其他事物一樣，許多人都將這段經(jīng)歷發(fā)布在社交媒體上。

小薇：現(xiàn)場(chǎng)音樂的確是不可取代的。只有站在演出者跟前，你才能感覺到那種“身臨其境”的興奮感！

Joan： Im still looking at Asia with admiration. Kaohsiung just put on a fully-staged Turandot， and orchestras all over China are now embarking on their new seasons. In New York， all performing arts venues are still locked up.

Valery： But these days， open-air performances are quite popular， especially in Europe. On September 6， Daniel Barenboim and the Berlin Staatskapelle performed an all-Beethoven program， including the famous “Choral” Symphony， which was an occasion marking the 450th anniversary of the founding of the orchestra， which is resident at the Staatsoper.

Joan： Having watched the entire concert online， I was really impressed！ Chorus members stood 1.5 meters away from each other， spreading around the public square next to the opera house and surrounding the audience （at a distance）. Each singer was equipped with a body microphone， and soloists （including Rene Pape and Waltraud Meier） on stage were also singing into microphones.

Valery： I hear that in New York， there are also innovative ways of offering live performances. I read in the news that countertenor Anthony Roth Costanzo and New York Philharmonic musicians perform free“pull-up” concerts.

Joan： Every weekend from late August onward， an NY Philharmonic Bandwagon visits the five boroughs of New York City （Manhattan， Queens， Staten Island， Brooklyn and Bronx）， performing three times a day in surprise locations.

Valery： People who happen to be there are so lucky！ Joan： Indeed， we were shopping in my neighborhood and when we came out of the store， the NY Philharmonic Bandwagon was there！ We enjoyed great music playing and singing while standing in the corner of 64th Street and Broadway！

Valery： I did read about the “Bandwagon” in Chinas Global Times！ The two string players involved in the weekend of September 4-6 were violist Wu Cong and violinist Ge Quan.

Joan： And the program was inventive， and so very“close to the people.” We enjoyed Dowlands Flow， my tears and Purcells “Didos Lament” from Dido and Aeneas. You might remember Anthony Roth Costanzo won first prize at Operalia held in Beijing in 2012. The final song was Leonard Bernsteins “Somewhere”from West Side Story.

Valery： How did the public react？

Joan： They were mesmerized， and as with everything in the world now， so many people posted this experience on social media.

Valery： Live music is indeed irreplaceable， because when you stand close to a performer， you just feel the thrill of “being there”！