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刚刚过去的第13届北京国际音乐节以三部“新锐”歌剧区别于以往,周龙的《白蛇传》和叶小纲的《咏·别》都是两人的最新力作,但本届音乐节上最为抢眼的却是300年前的亨德尔歌剧《塞魅丽》,它以中国当代艺术家张洹去年9月为布鲁塞尔皇家莫奈歌剧院执导的版本,向中国观众展示了一个将中华传统文化与西方古希腊神话融合的神奇视觉和精神幻象,其精彩程度和诠释的内在深刻都令观者异常振奋拍案叫绝。但在兴奋之余,在对张洹天才的奇思妙想赞叹之余,你或许会发现这个《塞魅丽》版本已经与亨德尔无关了、与那些高水准的歌唱家无关了,也已经与莫奈歌剧院无关了,更与北京国际音乐节无关了,音乐节就好比是厨房、锅灶,亨德尔的《塞魅丽》和歌唱家以及那幢450年历史的明
Just past the 13th Beijing International Music Festival to three “cutting-edge ” Opera is different from the past, Zhou Long’s “White Snake” and Ye Xiaogang’s “Wing · do not” are the latest masterpiece of the two, but the current music The most eye-catching feature of the festival was the 300-year-old Handel opera, “Semeri,” which presented the Chinese audience with a version of the Chinese contemporary artist Zhang Jian’s visit to the Royal Monet Opera House in Brussels last September. The mysterious vision and spiritual illusion of the fusion of culture and western ancient Greek mythology make the spectators extremely excited to record the case with its wonderfulness and immanent interpretation. But in addition to the excitement, while admiring the flair for Zhang’s genius, you may find that this “Chameleon” version has nothing to do with Handel, and has nothing to do with high-profile singers Nothing to do with the Monet Opera House, but also has nothing to do with the Beijing International Music Festival, the festival is like the kitchen, stove, Handel’s “Charm” and the singer and the 450-year-old Ming