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有关“中国歌剧时代”的报道在过去几个月内一直不绝于耳,国内外媒体不断对这一个惹人耳目的概念进行着强有力的炒作。但在笔者看来,歌剧的中国时代是否到来的问题先暂且不论,但至少有一件事需要重新审视,那就是没有一个歌剧演出和生产大国是简单依靠单纯地邀请国际性歌剧演唱人员成为歌剧大国的,无论是米兰、伦敦还是纽约的著名歌剧院,无不经历了培养和构建本国歌唱家体系的历史过程。虽然在国际歌剧舞台上,高水准的歌手已经成为全球歌剧文化产
The report on the “Chinese Opera Era” has been unceasingly heard in the past few months, and the domestic and foreign media constantly make a powerful speculation on this arousing concept. However, in my opinion, the question of whether the arrival of the Chinese opera in the history of the opera first and foremost does not matter, but at least one thing needs to be re-examined. That is, there is no single opera production and big power simply by inviting international opera singers to become big operatic countries The famous Opera House in Milan, London and New York all experienced the historical process of cultivating and constructing the national singer system. Although on the international opera scene, high-profile singers have become global opera productions