JoannaC.Lee

小瓊：紐約的文化演出日程在秋季總是排得很滿。就像北京或上海一樣，每天都可能有多個活動重疊，你經(jīng)常不得不在某個晚上做取舍。想要一場不落的話，必須得克隆另一個自己。10 月4 日是卡內(nèi)基音樂廳新演出季的開幕之夜（標(biāo)志著2023-2024 演出季的開始），音樂盛宴由里卡爾多·穆蒂執(zhí)棒芝加哥交響樂團(tuán)。同一天晚上， 紐約愛樂樂團(tuán)演出了史蒂芬·萊奇的《雅各的天梯》（委約作品），紐約電影節(jié)則放映了曾獲得過奧斯卡提名的希臘導(dǎo)演歐格斯·蘭斯莫斯的短片《咩咩》。

小薇：你最終的選擇是什么？

小瓊：由于芝加哥交響樂團(tuán)的紐約巡演包括兩場音樂會，而紐約愛樂樂團(tuán)的這套節(jié)目將上演三次（10 月4 日、5 日和6 日），因此我最終選擇了這部只有一次欣賞機會的影片。

小薇：我在網(wǎng)上看到，這確實是一場非常特別的活動：這是一部只能由音樂家現(xiàn)場配樂來放映的無聲電影。您看到的版本是《咩咩》的國際首映， 該片是由希臘國家歌劇院和希臘非營利組織NEON 聯(lián)合制作的，旨在讓當(dāng)代文化更貼近公眾。

小瓊：蘭斯莫斯被委約為“藝術(shù)家聚焦作曲家” 項目執(zhí)導(dǎo)一套實驗性的作品。通過現(xiàn)場演奏當(dāng)代音樂和重新詮釋經(jīng)典作品（克努·尼斯泰特改編巴赫合唱曲，還有細(xì)川俊夫的室內(nèi)樂作品），為這部30 分鐘的影片增添了新的觀影體驗維度。我覺得我見證了一次不同藝術(shù)門類的真正融合，這種融合直擊人心。在放映后的座談會上，蘭斯莫斯向觀眾們解釋了這部電影是“以最原始的形式——一部無聲電影及敘事片”展現(xiàn)給大家，并細(xì)說了挑選音樂作品的難得機會。

小薇：顯然，他對當(dāng)代音樂有著非常精致的品位。這是一個幫助藝術(shù)家鍛煉想象力的好方法！我在網(wǎng)上看到，項目的宗旨就是“圍繞藝術(shù)家創(chuàng)作與古典作品互動的新作品，脫離傳統(tǒng)的歌劇元素、陳詞濫調(diào)和敘事，旨在向初次接觸的觀眾們展示歌劇和古典音樂的世界”。

小瓊：如果有機會看到《咩咩》的放映及演出， 我想你一定會為它著迷的。這部電影以希臘農(nóng)村為背景，在提諾斯島拍攝。該片由達(dá)米安·勃納爾和艾瑪·斯通主演，艾瑪·斯通甚至出現(xiàn)在映后座談會上，這讓她所有的粉絲都高興得尖叫起來！

Joan： The New York cultural calendar is always so full in the fall. Just like Beijing or Shanghai， multiple events overlap and you often have to make choices on any given night. Id have to clone myself to see them all. October 4 was Carnegie Halls Opening Night Gala （marking the beginning of its 2023–24 season） with Riccardo Muti conducting the Chicago Symphony Orchestra. That same evening， the New York Philharmonic performed the world premiere of Steve Reichs Jacobs Ladder （which it commissioned）， and the New York Film Festival showed Bleat by Oscar-nominated Greek director Yorgos Lanthimos.

Valery： What did you eventually choose？

Joan： Since the Chicago Symphony was in town for two concerts， and the New York Philharmonic repeated the same program three times （October 4， 5 and 6）， I chose the film， since I only had one chance to catch it.

Valery： I read online that indeed it was very special event： a silent film that can only be screened with live music. Your screening was the international premiere of Bleat ， co-produced by the Greek National Opera and NEON， a Greek non-profit organization that brings contemporary culture closer to the public.

Joan： Lanthimos was commissioned as part of“The Artist on the Composer” program. And using live performances of existing contemporary music and recontextualized classics （J.S. Bach / Knut Nystedt and Toshio Hosokawa） did add a new dimension to the 30-minute film experience. I felt I was witnessing a true amalgam of different artistic disciplines reaching deep into hearts and minds. At the post-screening talkback， Lanthimos explained this amazing opportunity of involving with film “in its most primitive form—just a silent film， a narrative” and selecting the musical compositions.

Valery： He clearly has very refined taste in contemporary music. What a great way of helping artists exercise their imagination！ I read online that the concept “revolves around artists crafting fresh creations that interact with classical compositions， departing from conventional operatic elements， clichés， and narratives. This aims to introduce unfamiliar audiences to the world of opera and classical music.”

Joan： If and when theres another screening/ performance of Bleat ， youll be mesmerized. The film is set in a rural Greek community and shot on the island of Tinos. The film stars Damien Bonnard and Emma Stone—and she even appeared at the talkback， making all of her fans scream with joy！