乔治乌演唱《为艺术、为爱情》
Angela Gheorghiu: 'I am stupid in love. It infects every bit of me’
乔治乌丨“我在恋爱中很愚蠢。它影响了我的每一方面。”
乔治乌演唱《求爱神给我安慰》
'Before me, an opera singer did not need to be beautiful,’ says Angela Gheorghiu
“在我之前，一名歌剧演唱家是不需要美貌的。”
—-安吉拉·乔治乌
本文作者欧东内（By Cristina Odone）
Opera diva Angela Gheorghiu talks of her roving life, her looks, and her very public split from husband Roberto Alagna
著名的歌剧女歌唱家安吉拉·乔治乌谈论她的动荡的生活，她的外表，以及与她的前任丈夫罗伯特·阿兰尼亚（Roberto Alagna）公然决裂。——1、男高音阿兰尼亚专访（上）丨“我正在寻求的声音极其简单。” 2、一位世界级男高音的互联网思维丨阿兰尼亚专访（下）
I first saw the legendary soprano Angela Gheorghiu in the 2011 film version of Tosca. Starring opposite the gorgeous young tenor, Jonas Kaufmann, she sizzled, a sultry temptress with fire in her veins. She commanded the stage, as only a diva can, drawing all eyes with every sinuous movement.
我第一次见到具有传奇色彩的女高音歌唱家安吉拉·乔治乌是在2011版的《托斯卡》（Tosca）演出中。她与男高音演唱家乔纳斯·卡夫曼（Jonas Kaufmann）主演对手戏。她发出咝咝声，每一寸神经都焕发出性感蛊惑的气息，她控制着舞台，只有她能做到，每一个妖娆的举动都吸引了所有人的目光。

Today, I expect her to flounce into the Savoy wearing a gipsy dress, à la Carmen (another seductress she has played to perfection), after keeping me waiting for hours. Instead, she arrives, practically on time, wearing a baby pink jacket with matching bag, rimless glasses, and a diffident smile. Her T-shirt bears a cartoon doll with the logo, “This girl is cute”. That logo, and the pastel pink clothes are at odds with her prima donna persona; so is her manner: she is piano, almost pianissimo. I am as shocked by this subdued figure as if I’d caught the diva in her underwear.
今天，我原以为她会穿着吉普赛人的衣服，就像卡门（一个很会勾引男人的角色，她扮演得很完美）一样冲进Savoy（剧中萨伏依酒店），并让我等上几个小时。但是相反的，她来了，非常准时。穿着一件粉红色的小马甲配着包包，无框眼镜，略带羞涩的微笑。她的T恤上印着一个卡通娃娃图案，上面写着，“这个女孩很可爱”。这图案，这一身柔和的粉色套装与第一次见到的这位女士的形象完全不同。她很温柔，近乎安静。我被这恬静的外表震惊了，仿佛我捕捉到她作为一个女歌唱家不为人知的一面。。
Gheorghiu’s reservation might be down to the reviews she received for her Magda in La rondine. Critics claim that her performance, in this little-known Puccini opera, had been “cautious”. At 47, the soprano retains her distinctive, creamy voice – but all too often the audience must strain to hear it.
乔治乌的这份“保守”可能源自她所饰演歌剧《燕子》中的玛格达人物形象（Magda in La rondine）。评论家称，她在这部鲜为人知的普契尼歌剧中的表现“谨慎”。47岁，这位女高音保留了她独特的、奶油般声音--但通常观众都必须提起神经才能听到。

I suspect there is a personal reason as well. Covent Garden holds many memories for her: she made her international debut here in 1992, as Zerlina in Don Giovanni; and two years later her sensational Violetta in La traviata, under the baton of Sir Georg Solti, made her an international star.
我想这也有个人的原因在里面。伦敦科文特花园皇家歌剧院（Covent Garden）给她留下了很多回忆：她于1992在这里首次国际亮相，在歌剧《唐·乔瓦尼》（Don Giovanni）担任泽莉娜（Zerlina）；两年后，她在由索尔蒂（Sir Georg Solti）指挥的威尔第歌剧《茶花女》中扮演绝妙的维奥莱塔（Violetta），这使她成为一名国际明星。
Above all, this was the stage where, in 1996, she met Roberto Alagna. She was a Romanian, married to an engineer, and just getting a taste for super-stardom; Alagna was a tenor with a dazzling career – and a wife and daughter back home in France. They sang together in La bohème and promptly fell in love.
最重要的是，在这一阶段，1996年，她遇见了罗伯特·阿兰尼亚。她是罗马尼亚人，当时嫁给了一位工程师，却对超级明星却品味独到；而阿兰尼亚是一位事业有成的男高音，在法国有妻子和女儿。他们在拉波梅一起唱歌，很快就坠入爱河。

Their tempestuous relationship and later marriage were PR gold: they toured the world as opera’s Posh and Becks, a crowd-pleasing duo who promised romance and thrilling histrionics. Audiences and impresarios came to expect rows and no-shows. Then suddenly, last January, Gheorghiu announced that the couple were splitting and, last month, she accused Alagna of domestic violence.
他们跌宕起伏的关系和后来的婚姻可谓是黄金噱头：他们周游世界，作为歌剧界的“贝克汉姆与辣妹”，这对观众喜欢的二重奏就是浪漫和令人激动的戏剧性化身。他们的演出观众一票难求，而主办方则排队等候他们的空档期。然而，在去年（编者按：2012年）一月（乔治乌突然宣布这对夫妇要分手，上个月，她指控阿兰尼亚犯有家庭暴力。
Gheorghiu’s team (she travels everywhere with “a few assistants; I couldn’t survive without them”) warned me not to mention Alagna. But then Gheorghiu tells me, in the mixture of English and Italian she has opted to use for our interview, that “last November was the blackest time of my life. I had finished singing the first act [of Tosca] at the San Francisco Opera when I couldn’t go on. I was so ill, I almost fainted. We had to cancel the rest of the performance and I had to be rushed into hospital.”
乔治乌的团队（她随处都带着“几个助手，没有他们我就活不下去了”）警告我不要再提阿兰尼亚了。但后来，乔治乌告诉我，她选择用英语和意大利语接受我们的采访，“去年11月是我生命中最黑暗的时刻。当我无法继续的时候，我已经在旧金山歌剧院（San Francisco Opera）演唱完《托斯卡》的第一幕。我病得很厉害，几乎晕倒了。我们不得不取消剩下的演出，我不得不被紧急送往医院。”

The audience was told that Mme Gheorghiu had succumbed to intestinal flu. Today the singer says: “It was not just physical: I felt psychically broken.”
听众被告知，乔治乌女士被肠道流感压垮。今天，这位歌手说：“这不仅仅是身体上的问题，我感觉到了精神上的崩溃。”
Marital strife, I suggest, can prove as debilitating as flu. “I can only say that love is like a disease,” she says, her eyes welling up. “It infects every bit of me, even my brain. I am stupid in love. But I couldn’t be Angela if I weren’t romantic.”
我认为，婚姻冲突可能会像流感一样让人虚弱。“我只能说，爱就像一种疾病，”她说，眼泪夺眶而出。“它感染了我的每一个部分，甚至我的大脑。我在恋爱中很愚蠢。但如果我不是浪漫主义者，我不可能成为安吉拉。”
I put it to her that Alagna is contesting his ex-wife’s allegations and has called in the lawyers. Gheorghiu sits up, throws back her head and suddenly I glimpse the fiery prima donna I’d found so captivating: “I never lie. Everyone who knows me will tell you, I am incapable of lying.”
She looks every inch the diva when she says: “I don’t need anyone. I don’t need a home, even. Angela is at home everywhere.”
我对她说，阿兰尼亚正在反驳他前妻的指控，并已经传唤了律师。乔治乌坐了起来，转过头去，恍惚间我又在她身上看到那个我熟知的热情似火的女人，我发现她如此迷人：“我从不撒谎。认识我的人都会告诉你，我不会撒谎。”她像歌剧中的女主角一样说到，“我不需要任何人，甚至我不需要家庭，安吉拉在家里随处可见。”

This is not the last time she refers to herself as “Angela”, as if in doing so she can draw a distinction between the woman and the performer. A distinction, she tells me, no longer possible: “It’s sad, and I blame myself: from the moment I first set foot on stage, everyone talked about my looks as well as my voice. Before me, an opera singer did not need to be beautiful. Because of me, the audience now expects everything: a whole package.
这不是她最后一次称自己为“安吉拉”，仿佛在这样做的时候，她可以把女人和表演者区分开来。她告诉我，这样的区分再也不可能了：“这太可悲了，我自责：从我第一次登上舞台的那一刻起，每个人都在谈论我的容貌和我的声音。”在我之前，一个歌剧演唱家不需要漂亮。因为我，观众现在期待一切：完完全全是包装出来的形象。
“Looks are now so important in the opera, I’m not sure Luciano Pavarotti or Montserrat Caballé would have made it past the first audition, given their size. The audience now listens with their eyes. It shouldn’t be like this, but…”
“现在歌剧中，外表是如此重要，我不确定帕瓦罗蒂（Luciano Pavarotti）或蒙特塞拉特·卡瓦莱（Montserrat Caballé）是否能通过第一次试演，因为他们身材。”观众现在用他们的眼睛倾听。不应该是这样的，但是…”
I tell her that very few women feel as confident of their appearance. She shrugs: “I know how I look. And I wouldn’t want to be any fatter or any thinner. I don’t follow any diets. Yes, I say thank you to my mother, thank you to my father, for making me like this – but we are not here because of my body.”
我告诉她，很少有女人对自己的外表如此自信。她耸耸肩说：“我知道我长什么样。我也不想变胖或者变瘦。我不节食。是的，我要感谢我的母亲，感谢我的父亲，感谢他们让我变成这样--但我们来这里不是因为我的身材。”
古诺《小夜曲》

Emphasis on appearance naturally puts more pressure on singers of a certain age. I ask Gheorghiu if retirement fills her with dread. “No. Valerie Solti [Sir Georg Solti’s widow] invited me to hold a masterclass in Georg’s honour and I loved it. It really energised me. I felt like I was back at school. I want to do more!” she looks genuinely enthusiastic at the prospect. “In any case, all singers know their career is short lived. It’s true of other professions, too – one of my best friends is Nadia Com˘aneci [the Romanian gymnast and 1976 Olympic gold medallist] and she feels the same: it is the price we pay.” She turns to me, her gaze ever so slightly condescending: “I put into my performance of one act, no, one scene, what you put into maybe five days of your life.”
强调外表自然会给某个年龄段的歌手带来更大的压力。我问乔治乌退休是否让她感到恐惧。“”没有。瓦莱丽·索尔蒂(乔治·索尔蒂爵士的遗孀)邀请我以乔治的名誉举办一个大师班，我很喜欢。它让我充满能量。我觉得我回到学校了。“我想做更多！”她对前景充满热情。“无论如何，所有的歌唱家都知道他们的职业生涯是短暂的。其他职业也是如此--我最好的一位朋友，娜迪亚·科姆·阿内西(Nadia Com˘Aneci)(罗马尼亚体操运动员、1976奥运会金牌得主)，她也有同感：这是我们付出的代价。“她转过身来看着我，她的目光总是那么的谦逊：“表演中观众所看到的一幕，不，一个场景，在现实生活中我可能付出了了五天努力。”
I ask if she has always felt different from ordinary mortals: “I knew from when I was small that I had this voice that was special. It was a miracle. I was performing by the time I was six. My mother [a seamstress; Gheorghiu’s father was a railway driver] made me beautiful dresses to wear on stage. From the start I had a feeling I had no choice: by singing I was following my destiny.
我问她是否总是觉得自己和普通人不同：“我从小就知道自己的声音很特别。这是个奇迹。我六岁的时候已经在表演了。我的母亲（一位裁缝；Gheorghiu的父亲是一名铁路司机）给我做了漂亮的衣服供我在舞台上穿。从一开始，我就有一种感觉，我别无选择：通过唱歌，我追随我的命运。”

“I loved it. All of it. I loved being on stage, being made up, being photographed, being recognised.” Celebrity is not a trap, then? “I have been a celebrity since I was a little girl. There are people who have something instantly attractive. Sometimes we call it charisma, sometimes, magnetism. It’s always the same effect, though: everyone wants to know everything about them.” She pauses: “I give a lot.”
“我喜欢这所有的一切。我喜欢站在舞台上，被化妆，被拍照，被认识。”那么，名人不是陷阱吗？“当我是个小女孩时，我就是个名人。有些人会拥有立马吸引人的东西。有时我们称它为魅力，有时称它为磁力。不过，效果总是一样的：每个人都想知道他们的一切。“她停顿了一下：“我付出了很多。”
Her reputation, I say carefully, would also suggest that she demands a lot: “high-maintenance” is a euphemism for what some in the world of opera say of her. Gheorghiu will have none of it: “Is it too much that I should ask for a lot back? They say Angela is cancelling this and that. Everyone else does it, but the press is only interested when I do it.”
我很谨慎地说，她的声望也表明她要求很多：“难缠的”是歌剧界一些人对她说的委婉说法。乔治乌毫不在意地说：“我有要求很多吗？他们说安吉拉取消了这取消了那。其他人都这么做，但新闻界只有当我这么做的时候才感兴趣。”
《我亲爱的爸爸》

The former child prodigy “lives out of a suitcase”, but feels at home in Britain. She has no children, but has adopted her niece, who has just graduated from the University of Kent. Together with Gheorghiu’s mother, who has flown in for a visit, they are going to a Michael Bublé concert. “I like his music – nothing pretentious about it.” I ask if she attended the Rolling Stones concert in Hyde Park, but she shrugs: “They don’t excite me.”
这位前神童“生活在一个手提箱里”，但在英国感觉很自在。她没有孩子，但收养了刚从肯特大学（University of Kent）毕业的侄女。他们和乔治乌的母亲一起去看了一场Michael Bublé演唱会。“我喜欢他的音乐——没有什么矫揉造作的东西。”我问她是否参加了海德公园的滚石音乐会，但她耸耸肩：“他们不会让我兴奋。”
The Prince of Wales is another favourite. “I have sung for him and for the rest of the Royal family, in all their homes. Prince Charles is very sensitive, he is nostalgic for the past. He came to Romania and was enchanted by the place, because it was as if he’d stepped back centuries. Everything is as it always has been.”
威尔士亲王是另一个最受欢迎的人。“我为他和皇室其他成员，在他们各自家里唱过歌。查尔斯王子非常敏感，他怀念过去。他来到罗马尼亚，被这个地方迷住了，因为他感觉好像倒退了几个世纪。一切都如当初。”

She loves English men for their “great sense of humour. They are more gentle, the Anglo-Saxons. And they are… supportive.” 
她爱英国男人，因为他们“很有幽默感”。他们更温柔，安格鲁-撒克逊人。他们…互相支持。
I ask if one might persuade her to try marriage again, but she lowers her eyes and shakes her head. Her voice is pianissimo as she says: “I don’t want to think about the future.” Suddenly, the bluster’s gone. The curtains are down, the lights off: The performance by “Angela” is over and the real Angela Gheorghiu stands alone, vulnerable, lovable… and maybe even mortal. 
我问她是否可以说服她试着再结婚，但她低下了眼睛，摇了摇头。她轻轻地说：“我不想考虑未来。”突然，狂风消失了。窗帘落了，灯灭了：“安吉拉”的表演结束了，真正的安吉拉·乔治乌孤身一人，脆弱而可爱的…。甚至可能是凡人。
音乐编译组公众号往期推送：1、八十岁时论阿劳丨论阿劳的演奏艺术；2、八十五岁论阿劳丨他的演奏何以伟大？3、钢琴家特里福诺夫专访丨“我在游泳池里练琴”；4、十五问王羽佳丨“演出”对你意味着什么？5、王羽佳访谈丨“穿长裙？待我四十岁！”6、王羽佳专访丨她赢得了没有参加的“比赛”！7、采访阿格里奇丨“音乐必须是自然流露的事情！” 8、帕尔曼追忆海菲兹丨“这么多小提琴家都试图模仿他，但他们的演奏却成了活生生的讽刺。”；9、肖邦大赛访傅聪丨“这个比赛没有完美的玛祖卡。” 10、韩国钢琴家赵成珍访谈丨“如果我遇见肖邦……”；11、憨豆先生采访郎朗丨谈肖邦以及古典音乐普及；12、古稀之年克莱默访谈丨谈《克莱默版贝多芬协奏曲》（亨勒出版社）；13、“奥伊斯特拉赫经常鼓励我，去寻找属于自己的声音”丨“当代怪杰”吉顿·克莱默访谈；14、“指挥家”李云迪访谈丨“音乐源自内心，这就是为什么即便我们一遍遍地弹奏相同的曲子，表演依然不是机械化的原因。” 15、郎朗弟子马克西姆·朗多访谈丨“郎朗对所有事物的热情深深感染着我，当我们在一起演奏时，可以感受到创造出的音乐竟然如此欢乐！” 16、肖邦“迷妹”阿格里奇论肖邦《第一钢琴协奏曲》丨“我多么渴望去亲眼看到肖邦怎样弹琴！”；17、纽爱新总监梵志登访谈丨“我并不想被公众看作对某位作曲家有特殊癖好，演的最多或最为喜欢。” 18、埃格纳钢琴三重奏访谈丨你有父亲、母亲和孩子，等我们长大了，孩子就会成为父亲和母亲，这就是室内乐想要阐明的观点！19、华裔小提琴家侯以嘉访谈丨“没有技巧就没有表达的自由；但只关注技术，很快会变得无聊或疲劳，并失去练习专注度。”20、郎朗访谈丨“有时候父亲把我逼得太紧了，可他是爱我的！” 21、哈农库特访谈丨“我所探寻的始终是作曲家为什么要这样写”；22、面对批评，郎朗很委屈丨“我想让古典音乐表现得酷炫一点，这有什么不好么？”；23、“准备好了”丨回忆海菲兹小提琴大师班；24、美酒，女人和钢琴丨钢琴家鲁宾斯坦的三原色；25、纪念李帕蒂丨他坚称乐谱是“我们的圣经”，但对作品内在精神的解读更重要！26、周善祥访谈丨不想当钢琴家的作曲家不是好数学家；27、席夫丨为何我的《哥德堡变奏曲》宛如与魔鬼跳舞？28、卡萨尔斯论演奏丨“我们必须学会不要每个音符都完全照搬谱子上写的拉。” 29、钢琴家李斯蒂莎访谈丨我为何“在YouTube创建自己的频道”？30、席夫访谈丨“我们必须努力向公众解释如何聆听美妙的音乐。” 31、托斯卡尼尼与川普丨作为权力工具的古典音乐；32、论托斯卡尼尼丨热爱自由并勇于行动；33、布伦德尔谈周善祥丨“你可以雇一个登山向导来教一个小孩儿怎么走路。” 34、指挥家圣克莱尔论布鲁克纳《第八交响曲》丨“他并不浪漫，你在他的音乐中并不能得到像柴科夫斯基或者马勒交响曲中所得到的感受。” 35、“音乐绝对不是知识”丨钢琴家白建宇访谈；36、鲁宾斯坦访谈丨“我告诉家人，如果我坚持钢琴事业太久就开枪打死我。” 37、罗斯特罗波维奇访谈（上）丨“在我演奏时，我不是在听大提琴的声音，而是在听一个管弦乐团。” 38、罗斯特罗波维奇访谈（下）丨“我从50年代开始指挥，这大大拓宽了我塑造音乐的视野。” 39、巴伦博伊姆访谈丨“柏林墙倒塌以来，世界一直处于缺乏领导的困境中。” 40、郑京和的回归丨“当我在舞台上时，上帝与我同在！”41、巴伦博伊姆遇见阿格里奇丨“当音乐家们沉浸在自己的音乐世界中时，他们的表情传递出自然和精神力量。” 42、爸爸巴赫到底有多少小崽子？ 43、我问郑京和，经历了这么多事情，重新站上舞台是什么感觉？44、基辛访谈丨“我们钢琴家非常幸运：钢琴曲目如此之多，我只希望活得足够长，能学到我想演奏的一切。” 45、他差点成为“古尔德”丨阿劳与巴赫的故事；46、基辛访谈丨“我们钢琴家非常幸运：钢琴曲目如此之多，我只希望活得足够长，能学到我想演奏的一切。” 47、他是钢琴家，却说自己“的目标是尽量少练习”丨迪巴格访谈；48、“我们要从象牙塔中取出音乐”丨巴伦博伊姆访谈；49、“我不想听伊莎贝拉·福斯特以外任何人演奏的协奏曲。” 50、“我不是唯一戴眼镜的钢琴家”丨迪巴格访谈；51、休伊特访谈丨“你花时间学习巴赫，他必然回报你很多”；52、休伊特访谈丨“要成为优秀的巴赫演奏者，也一定是一位学者。” 53、对话休伊特丨“每只手的每一根手指都可以通过巴赫的音乐的训练而变得有力。” 54、对话休伊特丨“我很幸运，通过做一些能给我和很多人带来乐趣的事情谋生。” 55、男高音阿兰尼亚专访（上）丨“我正在寻求的声音极其简单。” 56、一位世界级男高音的互联网思维丨阿兰尼亚专访（下）
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