一位作曲家,两部歌剧:芬芳的“花园”歌剧还是“贴身”绸缎的戏剧  

One Composer, Two Operas: Lush operatic “Garden” or “Intimate” theatrical drapery

作　　者：司马勤 李正欣(编译) Ken Smith

机构地区：[1]不详

出　　处：《歌剧》2022年第2期62-73,共12页Opera

摘　　要：早在上一个千禧年时——那也只不过就是20年前,但谁还在细数着过日子呢?——《美国音乐》年刊的编辑约稿,请我撰写一篇展望21世纪音乐未来景象的文章,但主题并不是预测将来会“听到”怎样的音乐。由于《美国音乐》的读者大多是音乐界专业人士,因而我这篇文章所涉及的是作曲家、演奏家、经纪人、主办方与乐评人未来将何去何从,以及建构出整个行业将要发展的方向。Back in a different millennium-only a couple of decades ago,but who’s counting?-I was commissioned to write an article for the Musical America directory about what classical music would be like in the 21stcentury.Not how it would sound,mind you.Since Musical America is mostly read by music professionals,I was supposed to talk to a wide range of composers,performers,managers,presenters and critics to get a sense of where the business itself was headed.

关 键 词：乐评人 经纪人 千禧年 专业人士 发展的方向 约稿 21世纪 主办方 

分 类 号：G63[文化科学—教育学]