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本届北京国际音乐节的闭幕演出歌剧《咏·别》是令人瞩目的一部歌剧,因为实际上本届音乐节的三部歌剧里,这是唯一一部真正表现了中国本土歌剧能力的作品,同时整个创作团队也宣告了当代音乐家在歌剧事业上的雄心。叶小纲是“文革”后著名的中央音乐学院1978级毕业生,剧本作者孙戈旋生于70年代,甚至更为年轻。无论是余隆还是张国勇,抑或是主导国际音乐节的涂松,也都是改革开放之后才得以有机会到西方学习真经,他们是伴随“文革”结束后的改革开放成长起来的一代中坚。而不管是歌手还是舞台设计、导演,都具有了前所未有的国际化背景,这些因素对中国的歌剧事业的发展将起到怎样的推进作用?《咏·别》给出的是叶小纲的答案,给出的是国际音乐节的答案,给出的是中国本土“文革”后一代人最具前瞻性、最和国际接轨的一群艺术管理者的答案。
The closing ceremony of the Beijing International Music Festival The opera “Wing · Bie” is a remarkable opera because in fact, the three operas of this festival are the only ones that truly demonstrate the local Chinese operas At the same time, the entire creative team also announced the ambition of contemporary musicians in the cause of opera. Ye Xiaogang is a 1978 graduate of the famous Central Conservatory of Music after the “Cultural Revolution.” Writer Sun Gexuan was born in the 1970s and even younger. Whether it is Yu Long or Zhang Guoyong, or Tu Song, who led the International Music Festival, are all opportunities to learn from the West after the reform and opening up. They are the generation that grew up following the reform and opening up after the “Cultural Revolution” The backbone. Regardless of the singer or stage designer, director, have an unprecedented international background, these factors will play a role in promoting the development of China’s opera business? “Wing” is given by Ye Xiaogang’s answer to give The answer is International Music Festival, which gives the answer to a group of art managers who are the most forward-looking and most in line with the international standards of the latter generation of China’s “Cultural Revolution.”