当摩尔将军遭遇“黑白战争”  

Mooris Less-When Otello(and otheroperas)becomes a study in Black and White

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9期46-57,共12页Opera

摘　　要：多亏了身居高位(起码是中等偏上)的朋友,我竟然弄到了几周前英国皇家歌剧院最后一场《奥赛罗》的演出票。在此之前我并没有计划去看这部戏。我人虽在伦敦,但那是为了另一场完全不同的演出。我还记得基斯·华纳(KeithWarner)于ADE MAKTIN 2017年执导的这版制作,由乔纳斯·考夫曼(Jonas Kaufmann)担纲主角,但乐评人的反应不冷不热。然而,2017年跟今天的世界,恍如隔世。这一次,考夫曼出局,罗素·托马斯(RussellThomas)登场。整个制作都呈现出不同的色彩——嗯,包括演员的肤色。Thanks to friends in high(or at least mediumhigh)places,I managed to score tickets to the last performance of Otello a few weeks ago at the Royal Opera House.I hadn't planned to go.I was in London for a completely different gig,and I remember the lukewarmreceptionKeithWarner's production received back in 2017 with Jonas Kaufmann in the title role.But that was then.By now,Kaufmann was out,Russell Thomas was in,and the whole production had taken on a different,um,complexion.

关 键 词：考夫曼 英国皇家歌剧院 《奥赛罗》 乐评人 托马斯 

分 类 号：G63[文化科学—教育学]