寂寞难耐

昨天可能是本季我最后一次到大都会歌剧院欣赏歌剧。卡洛琳娜帮我买到了站票，20块的站票还要加上15块的强制性捐款（因为是首演）以及5块5的手续费。算下来一共$40.5，是我看过得最贵的一场歌剧。看来先睹为快也是有它的价格的。我们的位置在站票席的最后一排，只能透过前面憧憧的人影，看到半个舞台，因为上面半个舞台被第二层的包厢遮住了。我旁边站了两个老实不讲理的帅哥，大概是第一次来看歌剧吧，恨不得趴在我的字幕上。前面的人太多，我实在不能兼顾字幕和舞台，所以干脆站到墙根儿，光听不看了。旁边站了一溜儿老头，瞧，我不是唯一“专心听”的人。

还好，当晚的演出非常精彩。虽然只有一个小时四十分钟（相当于瓦格纳歌剧的一幕时间），但是唱、念、做俱佳。Orfeo ed Euridice 是Gluck 1762年的作品，也是近代歌剧的早期作品之一。根据维基不知道的介绍，

Orfeo ed Euridice (French version: Orphée et Eurydice; English translation: Orpheus and Eurydice) is an opera composed by Christoph Willibald Gluck based on the myth of Orpheus, set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing.[1] The piece was first performed at Vienna in 1762. Orfeo ed Euridice is the first of Gluck's "reform" operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a "noble simplicity" in both the music and the drama

The opera was the first by Gluck showing signs of his ambition to reform opera seria. Self-contained arias and choruses make way for shorter pieces strung together to make larger structural units. Da capo arias are notable by their absence;[2] Gluck instead uses strophic form, notably in Act One's "Chiamo il mio ben così", where each verse is interposed with dramatic recitative, - that is, stromentato, where the voice is accompanied by part or all of the orchestra - and rondo form, such as in Act Three's famous "Che farò senza Euridice?". Also absent is traditional secco recitative, where the voice is accompanied only by the basso continuo.[2] On the whole, old Italian operatic conventions are disregarded in favour of giving the action dramatic impetus. The complexity of the storyline is greatly reduced by eliminating subplots. Gluck was influenced by the example of French tragédies en musique, particularly those of Rameau. Like them, the opera contains a large number of expressive dances, extensive use of the chorus and accompanied recitative.[2]

Gluck's reforms, which began with Orfeo ed Euridice, have had significant influence throughout operatic history. Gluck's ideals heavily influenced the popular works of Mozart, Wagner, and Weber,[11] with Wagner's Gesamtkunstwerk vision especially influenced by that of Gluck.[12] Old-style opera seria and the domination of embellishment-orientated singers came to be increasingly unpopular after the success of Gluck's operas as a whole and Orfeo in particular.[2] In Orfeo ed Euridice the orchestra is far more predominant than in earlier opera, most notably in Orfeo's arioso "Che puro ciel". Here the voice is reduced to the comparatively minor role of recitative-style declamation, while the oboe carries the main melody, supported by solos from the flute, cello, bassoon, and horn. There is also accompaniment from the strings (playing in triplets) and the continuo in the most complex orchestration that Gluck ever wrote

大都会不知道到从哪儿又找到了一个出色的countertenor, David Daniels, 他的表演不输与《尤利西斯凯撒》中的Lawrence Zazzo。他在第一幕中的“Gli sguardi trattieni”，当真是惊天地泣鬼神。扮演爱神的Heidi Grant Murphy穿着便装和球鞋从空中降落，她许诺只要Orfeo 有勇气去地狱，就可以让他的妻子复活。条件是他不能再重逢之后正视自己的妻子，而且不能说出这么做的理由。Orfeo 接受了挑战，进入冥府寻找自己的妻子。

导演Mark Morris安排Orfeo在冥府里见到各个历史时期的名人，甚至包括了甘地、毛和居里夫人。Orfeo 穿过黄泉，终于找到了自己的妻子。但是在返回的路上，Euridice 怀疑丈夫已经不再爱慕自己了，因此三番五次哀求丈夫正视自己。Orfeo 最终经不起哀求，看了Euridice一眼，她立刻倒地死去。Orfeo悲痛欲绝，决定自杀 （Che farò senza Euridice?）。爱神再次出现，告诉Orfeo他已经遵守了自己的诺言，因此Euridice可以在此复活。这对爱侣终于在大地上团聚。监制Mark Morris同时也是编舞，他使用各种不同的舞蹈语言来推动剧情的发展。Orfeo痛失爱妻的压抑，冥府的恐怖，和天堂的明媚，以及大地复生的喜悦，都通过群舞表现出来。

我觉得格律克对结尾的改写不如原来的悲剧动人。Euridice的第二次死亡意味着两性关系最终的结束不是人力所能改变的。在亲密的关系中，两个人还是渐渐走向分离恐怕是生活的常态。Euridice所惧怕的不是再一次的死亡，而是Orfeo爱情的结束。在悲痛和怀疑中，她埋怨Orfeo把她从死亡的甜蜜睡眠中唤醒，让她再一次经历那些她已经忘记的生存苦痛。她在这爱中感觉到的寂寞恐怕比死亡本身更冷酷。

再来八卦一下：According to some versions of the story (notably Ovid's), Orpheus forswore the love of women after the death of Eurydice and took only youths as his lovers; he was reputed to be the one who introduced pederasty to the Thracians, teaching them to "love the young in the flower of their youth".

开始听“苏打绿”和“张悬”。在YOUTUBE里面都能下载。台湾现在的独立歌手真有性格。尤其喜欢苏打绿的音乐电视，用了很多水墨动画在里面，很有创意。张悬的嗓音很淡薄，但是她的味道不一般，听她的《宝贝》，听听她哼哼“我的宝贝，我的小鬼”吧！