司馬勤

就算在一年前，當(dāng)大家開(kāi)始討論全球后疫情時(shí)代逐漸“恢復(fù)常態(tài)”時(shí)，我心里總是在疑惑，想要把世界還原，真的能辦得到嗎？事實(shí)上，一條文藝新聞?wù)f明了一切。那就是珍·莫斯（Jane Moss）退出林肯中心。

去年夏末，莫斯辭去了她的藝術(shù)總監(jiān)一職——在過(guò)去的27年里，她在林肯中心的領(lǐng)導(dǎo)地位高高在上，剛好跟我從事音樂(lè)評(píng)論的年份相若。林肯中心是全球最龐大的文化機(jī)構(gòu)，在她宣布離任之前，林肯中心旗下各家場(chǎng)館的大門已經(jīng)關(guān)閉了6個(gè)月；與此同時(shí)，黑人喬治·弗洛伊德（George Floyd）之死所引發(fā)的公憤蔓延至全美的各個(gè)角落，當(dāng)然也影響到各大文化機(jī)構(gòu)。莫斯這一舉動(dòng)所傳達(dá)的信息很明確：我們的世界無(wú)法走回頭路了。身為一位備受敬重、善于發(fā)掘藝術(shù)家以及孕育新項(xiàng)目的文化策展人，現(xiàn)年67歲的莫斯心里所憂慮的，是林肯中心前路茫茫。所以，是時(shí)候把權(quán)杖交給他人了。

在大西洋彼岸，古典音樂(lè)界最顯赫的夏季盛會(huì)——薩爾茨堡音樂(lè)節(jié)，也引發(fā)了類似的高層人事震動(dòng)：擔(dān)任音樂(lè)節(jié)主席26年且一直負(fù)責(zé)處理外界公眾事務(wù)的赫爾加·拉貝-施塔德勒（Helga Rabl-Stadler）將于今年年底離任。在她多年的領(lǐng)導(dǎo)下，音樂(lè)節(jié)屢創(chuàng)佳績(jī)，包括2006年將當(dāng)?shù)刈钚⌒偷膭≡耗貏≡海℉aus für Mozart）修繕一新，以紀(jì)念莫扎特誕生250周年，并展演了作曲家畢生創(chuàng)作的全部22部歌劇。但是，她最令人佩服的能力于去年展現(xiàn)得淋漓盡致：2020年恰逢薩爾茨堡音樂(lè)節(jié)成立100周年，這一紀(jì)念活動(dòng)是當(dāng)時(shí)疫情背景下全球最大型的演藝項(xiàng)目——或者應(yīng)該說(shuō)，是去年在國(guó)際樂(lè)壇舉行的寥寥無(wú)幾的演出項(xiàng)目中最成功例子。

兩位女士都能獨(dú)當(dāng)一面，又截然不同：拉貝-施塔德勒比莫斯大6歲，她在歐洲的角色更接近一位公職人員。在美國(guó)，很少有文化領(lǐng)袖會(huì)擁有這種像拉貝-施塔德勒一樣的聲望。拉貝-施塔德勒辭任的決定也不令人驚訝：原本她的合約在2020年年底就已經(jīng)到期，但因?yàn)橐咔榈年P(guān)系，音樂(lè)節(jié)委員會(huì)特別請(qǐng)求她多留任一年。其實(shí)，疫情的影響形成了兩個(gè)極端的效果：拉貝-施塔德勒在困境下堅(jiān)持舉辦音樂(lè)節(jié)獲得空前成功，而莫斯卻連自己的辦公室都無(wú)法出入自如。

然而，這兩則新聞背后傳達(dá)的信息同樣清晰：這是一個(gè)時(shí)代的正式結(jié)束。

幾周前，又傳來(lái)另一個(gè)“人事變動(dòng)”的新聞。盡管新聞中涉及的職務(wù)交替將于幾年后才會(huì)實(shí)現(xiàn)，在我的心目中卻引發(fā)更大的共鳴。9月中旬，梵志登（Jaap van Zweden）宣布，他將會(huì)在2023–2024年演出季結(jié)束后，同時(shí)辭去他的兩個(gè)音樂(lè)總監(jiān)的職務(wù)。

現(xiàn)任紐約愛(ài)樂(lè)樂(lè)團(tuán)與香港管弦樂(lè)團(tuán)音樂(lè)總監(jiān)的梵志登——那正是我常住的兩個(gè)城市的樂(lè)團(tuán)——他與我所累積的“萬(wàn)里行”航程里數(shù)不相伯仲，因?yàn)榇蠹叶际恰翱罩酗w人”。很明顯，這就是問(wèn)題所在。

差不多一年前，我與梵志登就“飛行”這個(gè)話題有過(guò)一次長(zhǎng)時(shí)間的交談。當(dāng)時(shí)，他滯留在阿姆斯特丹，無(wú)法前往香港或紐約工作。說(shuō)真的，梵志登曾經(jīng)飛往香港并且依據(jù)當(dāng)?shù)胤酪叽胧?，在酒店隔離多天。當(dāng)他終于熬過(guò)了孤獨(dú)的日子后，很可惜，整個(gè)香港管弦樂(lè)團(tuán)卻被送去隔離。演出全部取消，無(wú)可奈何的梵志登唯有返回歐洲。

其實(shí)，這位大師在疫情期間并沒(méi)有閑著。他指揮了數(shù)場(chǎng)音樂(lè)會(huì)，各個(gè)演出城市都位于歐洲，自己駕車就可以到達(dá)（因此避開(kāi)了搭乘航空交通）。他也有充足的時(shí)間去經(jīng)營(yíng)帕帕基諾基金會(huì)（Papageno Foundation），這個(gè)他早年創(chuàng)辦的、協(xié)助自閉癥兒童的音樂(lè)治愈計(jì)劃。即便是在一年前，他的未來(lái)計(jì)劃已經(jīng)有了雛形。

他告訴我，這種在一個(gè)城市待一周，然后飛到另一個(gè)城市待一周的日子將永不復(fù)返?！拔磥?lái)，最低限度是在一個(gè)地方逗留一個(gè)月，或者六周，為當(dāng)?shù)胤e極推進(jìn)更具持續(xù)性的成果。”他堅(jiān)決地說(shuō)。我當(dāng)時(shí)以為那是梵志登因?yàn)槭芤咔榈姆N種限制而產(chǎn)生打破傳統(tǒng)的理念——想深一層，也的確如此。但是，當(dāng)你要重拾“老規(guī)矩”時(shí)，這些想法卻揮之不去。

一方面，梵志登決定卸任的新聞登上了《紐約時(shí)報(bào)》頭版（指揮大師準(zhǔn)備卸任香港管弦樂(lè)團(tuán)的消息當(dāng)時(shí)還未公布，所以這篇報(bào)道名副其實(shí)屬于新鮮出爐的“新聞”）。犬儒主義者或會(huì)在字里行間尋找梵志登暗示有意考慮其他樂(lè)團(tuán)就職的意向，因?yàn)榈搅?024年左右，幾支具有領(lǐng)先地位的國(guó)際樂(lè)團(tuán)將要聘任新總監(jiān)。（梵志登在報(bào)紙?jiān)L談中曾提及，沒(méi)有興趣接管阿姆斯特丹皇家樂(lè)團(tuán)，雖然他曾在那里擔(dān)任樂(lè)團(tuán)首席。當(dāng)然，這類聲明也沒(méi)有否認(rèn)他不會(huì)考慮其他樂(lè)團(tuán)。）

藝術(shù)世界的未來(lái)會(huì)是什么樣的呢？很明顯，這要取決于誰(shuí)擔(dān)綱領(lǐng)導(dǎo)。莫斯公布離職一年后，林肯中心向外界發(fā)送消息，聘請(qǐng)了從前任職紐約公共劇院的珊塔·塔克（Shanta Thake）為“首席藝術(shù)官”（Chief Artistic Officer），連職務(wù)的頭銜都有所變動(dòng)。她的工作范圍主要負(fù)責(zé)使林肯中心所演出的劇目更加多樣化，超越古典音樂(lè)與芭蕾等傳統(tǒng)領(lǐng)域，擴(kuò)展至嘻哈、詩(shī)歌與原創(chuàng)歌曲等范疇。

薩爾茨堡音樂(lè)節(jié)主席是由音樂(lè)節(jié)委員會(huì)物色的，而委員會(huì)成員都是奧地利政治圈中不同層面的人士。因此，這個(gè)主席職位也可被歸納為“政治任務(wù)”。雖然要找一個(gè)像拉貝-施塔德勒那么出色的、25年來(lái)一直是音樂(lè)節(jié)代表人物的繼任者十分困難，但大多數(shù)觀察家一致認(rèn)為，鑒于藝術(shù)節(jié)的現(xiàn)任藝術(shù)總監(jiān)與財(cái)政總監(jiān)都是男性，新任主席看起來(lái)也會(huì)繼續(xù)由女性擔(dān)任。

那么紐約愛(ài)樂(lè)樂(lè)團(tuán)又如何呢？自從馬林·阿爾索普（Marin Alsop）于今年8月離開(kāi)巴爾的摩交響樂(lè)團(tuán)以來(lái)，很多人關(guān)注的焦點(diǎn)都圍繞在美國(guó)最大規(guī)模的25個(gè)樂(lè)團(tuán)中沒(méi)有一位女指揮擔(dān)任音樂(lè)總監(jiān)上。在過(guò)去的一段時(shí)間里，南半球傳出了好消息：女指揮西蒙·楊（Simone Young）離開(kāi)漢堡歌劇院后重返家鄉(xiāng)，領(lǐng)導(dǎo)悉尼交響樂(lè)團(tuán)大獲好評(píng)。紐約愛(ài)樂(lè)樂(lè)團(tuán)總裁兼首席執(zhí)行官黛博拉·博達(dá)（Deborah Borda）是一位無(wú)可非議的女權(quán)主義者，她也是女指揮家國(guó)際大賽（La Maestra）的主席。在《紐約時(shí)報(bào)》的訪談中，她強(qiáng)調(diào)必須“加快速度”為更多女指揮家提供就業(yè)機(jī)會(huì)。

我不敢百分百打賭，但我不看好從前那些“男性為主”的古舊關(guān)系網(wǎng)在未來(lái)的生存機(jī)遇。

Even back a year ago， when people were first talking about the world “returning to normal，” something told me things would never be the same. In fact， one bit of news said it all： Jane Moss left Lincoln Center.

Moss stepped down as artistic director—a position shes held in New York for 27 years， nearly as long as Ive been writing about music—at the end of last summer. Lincoln Center， the worlds largest cultural institution， had been dark for nearly six months； in the meantime， the furor over the death of George Floyd had resonated throughout the country， not least in Americas cultural institutions. Mosss message was clear： the world was not going back. And as an impresaria famous for cultivating artists and developing works that reflect the world around us， Moss—now 67—had no clear idea what that was anymore. It was time for someone else.

Across the Atlantic， a similar rumble shook the Salzburg Festival， the classical music worlds leading summer event. Helga Rabl-Stadler， the festivals president and public face for 26 years， will be stepping down from the job at the end of this year. Rabl-Stadler has seen a number of career accomplishments， not least of which was the renovation of the festivals smallest theater， the Haus für Mozart， as part of the composers 250th birthday in 2006， along with presenting all 22 of his operas. But she truly made her mark last year with the Salzburg Festivals centennial season—the largest performing arts event in 2020 and one of the few events that took place that year at all.

There are major differences between the two women； Rabl-Stadler is six years older and a public dignitary in Europe in a way that few cultural figures in America have ever been. Nor was the move as much of a surprise， since Rabl-Stadlers contract was set to expire at the end of 2020 before the festivals supervisory board asked to remain one more year. The two in fact represent opposite sides of the Covid spectrum， since the pandemic spurred Rabl-Stadlers greatest success while Moss remained locked out of her own office.

The message underneath， though， was just as clear： this is officially the end of an era.

A few weeks ago， yet another announcement came through with news of yet another change of employment. This one doesnt take place for another couple of years， but it resonates with me all the more for being so close to home. In mid-September， Jaap van Zweden declared that he would be stepping down from both of his music directorships at the end of the 2023-24 season.

As the artistic leader of both the New York Philharmonic and the Hong Kong Philharmonic—the hometown orchestras of both my home towns—Van Zweden is one of the few people whose air-mile status equals my own. And evidently， that was the problem.

I had a lengthy chat with Van Zweden nearly a year ago about this very situation. How did it feel to be stuck in Amsterdam， unable to travel to either of your professional work places？ Actually， Van Zweden had flown to Hong Kong and undergone a hotel quarantine. But when he got out， his entire orchestra had gone into quarantine and their concerts cancelled， so he flew back to Europe.

Van Zweden hasnt exactly been twiddling his thumbs. He managed to conduct several concerts， all within easy driving distance of Amsterdam（bypassing air travel entirely）. He also spent significant time working with the Papageno Foundation， an organization he founded to provide music therapy for autistic children. But even a year ago， he was clear about his future plans.

The days of spending a week in one city and then flying to the next are over， he claimed. “In the future it will be a month， maybe six weeks， in any city so we can really accomplish something in depth，” he insisted. I thought it was simply the Covid talking—and in a way it was. But it turned out not to be the kind of thing that you forget as soon as the old patterns return.

For one thing， the story made the front page of The New York Times （Van Zwedens plans hadnt been reported yet in Hong Kong， so it was literally news there， too）. Cynics might read this as a subtle announcement of his availability for some future choice positions， as a number of orchestras will be looking for new music directors by then. （The only thing Van Zweden ruled out was taking over the Royal Concertgebouw Orchestra， where he was once concertmaster， but that leaves a lot of other orchestras out there.）

So what will the future of the arts look like？ Well， obviously it depends on whos in charge. Nearly a year after Moss declared she was stepping down， Lincoln Center announced her replacement. Shanta Thake， formerly of New Yorks Public Theater， has now been hired as chief artistic officer （even the title has changed）， charged with broadening the centers programming beyond classical music and ballet to include hip-hip， poetry and songwriting.

In Salzburg， where the president is selected by a board drawn from many levels of Austrian politics， the job is essentially a political appointment itself. Though it wont be easy to fill the shoes of a woman whose profile had been synonymous with the festival for more than 25 years， the one thing that most observers agree on is that， since both the artistic and financial directors are men， her replacement will also be a woman.

And what about the New York Philharmonic？ Since Marin Alsops departure from the Baltimore Symphony Orchestra in August， much public discussion has centered around the fact that none of the top 25 American ensembles are led by a woman. Favorable news keeps coming in from Down Under， where Simone Young， formerly of Hamburg State Opera， has returned to her hometown to lead the Sydney Symphony Orchestra. The New York Philharmonics president and chief executive Deborah Borda—an unapologetic feminist whos also chair of La Maestra， an international conducting competition for women—has already told the Times about “an acceleration”underway of women on the podiums.

Its not exactly a sure bet， but I wouldnt put my money on the old boy network.