悉尼音乐学院音乐学高级讲师davidlarkin博士回顾了导演凯特·高为澳大利亚歌剧院创作的新作品《魔笛》。 莫扎特表演最多的歌剧《魔笛》，人们对它的熟悉程度会让人看不出它固有的怪异。 它受到了一系列的影响，从古埃及的象征意义和共济会到欧洲政治（夜之女王的角色被解读为对前奥地利女皇玛丽亚·特蕾莎的暗指）。 剧作家伊曼纽尔·施坎德创作了一部寓言、梦境和童话的作品。 这种混杂的音乐引发了莫扎特一些最伟大、最受欢迎的音乐，这应该会动摇人们根深蒂固的观念，即古典音乐是一种一本正经、毫无幽默感的东西。 与莫扎特为洛伦佐·达庞特的唱词创作的三首意大利轻歌剧一样，《魔笛》拥抱了席琳苏，避免了朗诵性的歌唱，而是选择了德语口语对话。 在我第一次知道的录音中，克伦佩尔1964年的传奇版本，只包括演唱部分。 这使作品的平衡从愚蠢转向崇高。 凯特·高为澳大利亚歌剧院创作的新作品从一开始就不回避哑剧的愚蠢。 威胁怪物的塔米诺（迈克尔·斯莫尔伍德饰）被描绘成一个拿着火炬的孩子投影的剪影，帕帕杰诺（本·明盖饰）在上台前首先出现在摊位上与观众互动。 迈克尔·斯莫伍德饰演的塔米诺是一位令人愉悦的轻抒情男高音。 图片：基思·桑德斯/澳大利亚歌剧院。幽默的关键在于用英语呈现歌剧。 高尔和高的翻译有一些值得一笑的台词。 帕帕杰诺徒劳地寻找一个女人——任何女人——来满足他的浪漫欲望，他唱道：“我是听力不好，还是没有人自愿？”。 这个角色经过了明显的欧克式改造，配上爱斯基摩人，并暗指啤酒和芭比娃娃。 本·明盖和斯塔西·阿勒鲍姆将出演帕帕杰诺和帕米娜。 图片：凯斯·桑德斯/澳大利亚歌剧院幸运的是，对于其他角色来说，更严肃的时刻——包括萨拉斯特罗的咏叹调（大卫·帕金庄重地演唱）和帕米娜的悲歌（斯塔西·阿勒鲍姆令人心碎地表演）——被允许在不强迫喜剧的情况下展开。 坎皮服装和装饰性布景歌剧澳大利亚前作朱莉·泰莫的魔笛将序曲简化为开场三和弦。 在这部由teresa riveiro böhm执导的作品中，能完整地听到它，我感到很欣慰。 管弦乐队在整个晚上提供了一种悦耳的声音和清脆的发音，在演奏台和舞台之间只有一些不协调的时刻。 特别表扬的是这位长笛演奏家和格洛肯皮尔演奏家的出色独奏（后者是莫扎特在第一场演出中扮演的角色）。 奇怪的是，塔米诺把舞台上的长笛举到空中，而不是模仿，在视觉和声音之间造成了一种奇怪的脱节。 相比之下，莫诺斯塔托斯（卡宁·布伦饰）和他的党羽们对魔铃声的强制性反应是一阵滑稽的舞蹈，其中包括马卡琳娜的动作。 安娜·科丁利的服装不拘一格。 cordingley为捕鸟人papageno穿了染有鸟粪的传统服装，为tamino和pamina穿了简单的蓝色服装，为monatatos穿了红色工作服和超大眼镜，为sarastro穿了一件华而不实的金色斗篷。 在最后的合唱中，所有的反派都换上了扎染嬉皮士的衣服。 大卫·帕金扮演的萨拉斯特罗身穿艳俗的金色斗篷，化着大胆的眼妆。 照片：基思·桑德斯/歌剧院澳大利亚夜间女王（朱塞皮娜·格雷奇饰）以其白金金色头发、吸血鬼毛皮和羽毛服装来证明自己是哑剧中的反派。 对于营地鉴赏家来说，甚至超过这一点的是帕帕格纳（珍妮弗·布莱克饰）穿着巴西狂欢节风格的鸟类服装的迟到。 迈克尔·伊尔根的布景有一个三面环绕草地的外部，每面都有装饰性的入口。 闪亮的缎带窗帘代表着火和水的考验，其他窗帘则反复拉过舞台中间，用于人物之间的投影和旁路。 施法表演不用说，当晚女王的两首咏叹调是最受欢迎的。 格雷奇沉着冷静地征服了平流层的花腔。 但对我来说，最突出的声音属于阿廖姆，他为帕米娜的咏叹调带来了一种闪亮的legato，但也为合奏带来了欢乐。 演员斯泰西·阿勒鲍姆饰演帕米娜大放异彩，与卡宁在一起。 图片：凯斯·桑德斯/澳大利亚歌剧院本·明盖是一位经验丰富的音乐剧演员，除了在音色上有些粗糙之外，他很有把握地扮演了帕帕杰诺这个角色，并展现了这个角色的幽默和人性。 斯莫尔伍德饰演的塔米诺有一个令人愉悦的轻快抒情的男高音，虽然没有这个角色的一些倡导者那么有力，但他的措辞却很和谐，堪称典范。 这三个灵魂，延伸和要求儿童歌手的角色，是明智的双重演员阵容，开幕之夜三人组abbey hammond，zev mann和james valanidas展示了合奏的把握和体面的表演技巧。 成年三人组的女士们，简，施奈德和鲁斯，合作得很好。 施奈德饰演第二夫人，简饰演第一夫人，鲁斯饰演第三夫人。 照片：基思·桑德斯/澳大利亚歌剧院如果他的大数字，帕金扮演的萨拉斯特罗（和演讲者）可能是最令人满意的咏叹调，在这些神圣的大厅里，这在他的寄存器中更高。 他勇敢但不明智的决定是选择最后一个不成文的低“e”，这揭示了他有问题的底部音域，这个音域经常被油炸声扭曲。 布林把他标志性的漫画天赋带给了莫斯塔托斯，莫斯塔托斯和其他反派一样，在最后也受到了欢迎。 格雷戈里·布朗和内森·雷是可靠的牧师。 无论是开怀大笑，还是精心演唱的伤感歌曲，这部作品都适合每个人。 它可能并没有解决作品中的所有难题，但至少人们可以欣赏到莫扎特的天才。 澳大利亚歌剧院的《魔笛》将在悉尼歌剧院上演至2024年3月16日。 davidlarkin博士是悉尼音乐学院音乐学高级讲师，专门研究19世纪的音乐。 这个故事最早发表在《对话》中，内容活泼、有趣：歌剧《澳大利亚》在莫扎特表演最多的歌剧《魔笛》中找到了欢乐。 所有照片由澳大利亚歌剧院提供。dr david larkin, senior lecturer in musicology at sydney conservatorium of music, reviews the new production of the magic flute by director kate gaul for opera australia.the sheer familiarity of the magic flute, mozart’s most-performed opera, can blind one to its inherent oddness. it draws on a range of influences, from ancient egyptian symbolism and freemasonry to european politics (the character of the queen of the night has been read as a covert allusion to former austrian empress maria theresa).librettist emanuel schikaneder has created something that is part allegory, part dream and part fairy tale. that this mish-mash elicited some of mozart’s greatest and most popular music should shake up ingrained notions of classical music as something po-faced and humourless.embracing sillinessunlike the three italian opere buffe that mozart composed to the libretti of lorenzo da ponte, the magic flute avoids recitative – sung speech – in favour of spoken german dialogue. in the recording i first got to know, klemperer’s legendary version from 1964, only the sung portions were included. this tilted the work’s balance away from the silly and towards the sublime.a new production by kate gaul for opera australia does not shy away from pantomime silliness from the start. the monster threatening tamino (michael smallwood) is rendered as a silhouette projected by a child with a torch, and papageno (ben mingay) is first seen in the stalls engaging with audience members before making his way to the stage.michael smallwood has a pleasing light lyrical tenor as tamino. photo: keith saunders/opera australiakey to bringing out the humour is presenting the opera in english. the translation by gaul and michael gow has some chortle-worthy lines. “am i hard of hearing, or is no one volunteering?” sings papageno as he vainly seeks a woman – any woman – to satisfy his romantic urges. this character is given a decidedly ocker makeover, complete with an esky and allusions to beers and barbies.ben mingay and stacey alleaume are cast as papageno and pamina. photo: keith saunders/opera australiathankfully, more serious moments for other characters – including sarastro’s arias (sung with gravitas by david parkin) and pamina’s lament (heart-rendingly performed by stacey alleaume) – are allowed to unfold without forcing the comedy.campy costumes and an ornamental setopera australia’s previous magic flute by julie taymor reduced the overture to its opening three chords. it is a relief to hear it in full in this production, directed with sureness of touch by teresa riveiro böhm. the orchestra provides a fulsome sound and crisp articulation over the evening, with just a handful of uncoordinated moments between the pit and stage.special commendations are due to the flautist and glockenspiel player for their fine solos (the latter was a role taken on by mozart for the first performance). weirdly, tamino held his on-stage flute up in the air instead of miming, creating an odd disconnect between sight and sound. by contrast, the enforced response of monostatos (kanen breen) and his henchmen to the sound of the magic bells was a hilarious spasm of dancing, macarena moves included.the costumes by anna cordingley are eclectic. cordingley uses guano-stained tradie attire for the bird-catcher papageno, simple blueish outfits for tamino and pamina, red overalls and outsized glasses for monastatos, and a gaudy gold cloak for sarastro. all the villains are changed into tie-dye hippy clothes for the final chorus.david parkin portrays sarastro in a gaudy gold cloak and bold eye makeup. photo: keith saunders/opera australiathe queen of the night (giuseppina grech) asserts her pantomime villain credentials with her platinum blonde hair, vampish fur and feather costume. outdoing even this for connoisseurs of camp is the late appearance of papagena (jennifer black) in a brazilian-carnival-style bird costume.michael yeargan’s set has a three-sided exterior surrounding grass, with ornamental entrances on each side. shiny ribbon curtains represent the fire and water tests, with other curtains repeatedly drawn across the middle of the stage for projections and byplay between characters.spell-casting performancesneedless to say, the queen of the night’s two arias are among the most applauded. grech conquers the stratospheric coloratura with aplomb. but for me, the standout voice belongs to alleaume, who brings a burnished legato to pamina’s arias, but also playfulness in the ensembles.actor stacey alleaume shines as pamina, here with kanen been. photo: keith saunders/opera australiaben mingay is a seasoned musical theatre performer and aside from some roughness in tone quality, he takes on the role of papageno with assurance and brings out the humour and humanity of the character.smallwood has a pleasing light lyrical tenor as tamino – less forceful than some exponents of the role, but tuneful and exemplary in his diction.the three spirits, extended and demanding roles for child singers, are sensibly double cast, and the opening night trio of abbey hammond, zev mann and james valanidas demonstrate sureness of ensemble and decent acting chops. the adult trio of ladies, jane ede, indyana schneider and ruth strutt, work very well together.indyana schneider as second lady, jane ede as first lady and ruth strutt as third lady. photo: keith saunders/opera australiaof his big numbers, parkin as sarastro (and speaker) is probably most satisfactory in the aria, within these sacred halls, which sits higher in his register. his brave but unwise decision to go for the final unwritten low “e” reveals his problematic bottom register, which is often distorted with vocal fry.breen brings his trademark comic gifts to monostatos who, like the other villains, is welcomed into the fold at the end. gregory brown and nathan lay are solid priests.whether one enjoys a laugh, or finely sung sentimental numbers, this production has something for everyone. it may not have solved all the conundrums of the work, but at least one gets to appreciate mozart’s genius uncut.opera australia’s the magic flute is at the sydney opera house until 16 march, 2024.dr david larkin is senior lecturer in musicology at sydney conservatorium of music, specialising in nineteenth-century music. this story was first published in the conversation as campy, playful and funny: opera australia finds the joy in the magic flute, mozart’s most-performed opera. all photos supplied by opera australia.本文来源： 澳大利亚歌剧院在《魔笛》中找到了活泼有趣的欢乐
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