摘要
今年的罗西尼歌剧节对罗西尼的非主流作品进行了重新挖掘，再次上演他的歌剧《埃尔米翁内》。这部冷门歌剧创作于1819年，当年在那不勒斯首演失败后就再也没有登上歌剧舞台。直到1977年，西埃那（意大利西部的城市，文艺复兴时期的西埃那画派的发展中心）才演出了该剧音乐会版。此后该剧又继续沉寂，相隔十年后即1987年，在佩扎罗举行的罗西尼歌剧节再度上演。尽管如此，音乐史学家却认为这部作品是罗西尼的伟大杰作之一，看了8月10日晚的演出，或许观众就很清楚这种说法的原因。
This year's first disinterment at the Rossini Opera Festival was the composer's 1819 opera Ermione,whose première in Naples was a flop and had languished in comparative neglect ever since.Historians consider it one of the com- poser's most startling masterpieces and,on Au- gust 10,it was easy to see why.The festival pro- duction for the most part did him proud.Graziano Gregori's classically conceived enclave with rising and falling levels sustained the score's inexorable momentum,and Guido Levi's pale-colored washes of lighting mysteriously intensified the fraught emotions of the principals.Daniele Abbado di- rected his cast well,avoiding the pitfall of tearing passions to tatters.Sonia Ganassi's Ermione(the legendary sister to Medea)deployed an astonish- ing vocal armory to searing effect.Her fury dur- ing the Act I finale was hair-raising.
出处
《歌剧》
2008年第10期11-12,共2页
Opera
