一位世界级男高音的互联网思维丨阿兰尼亚专访（下）
Interview with Roberto Alagna, tenor
You will be Rodrigue in Le Cid by Massenet in March and April 2015 at the Palais Garnier. Massenet's writing is often seen as more respectful of voices than may be that of Gounod, for example. What do you think about that?
问：您将于2015年3月和4月在巴黎歌剧院参演由马斯奈创作的《熙德》中的罗德里格。例如，马斯奈的作品通常被视为比古诺的声音更为高贵。您对此有何看法？
I would say that Massenet's music as well as Gounod's is breathing music. It is therefore made for the voice. By contrast by Meyerbeer, take L'Africaine for instance, everything is connected and there is often not even a bar that allows the singer to breathe. It is much harder... But the difficulty of works such as Massenet's is that they are made of very heavy roles. The French Opera is generally seen from the perspective of its refinement, but we should not forget that these works are very intense, long (since often in 5 Acts) and written in a very demanding tessitura making the singer switch from a dramatic to a lyrical voice. This requires the singer to have a broad expressive vocal range. Moreover, if Massenet knows how to compose for voices, you also need to know how to comply with his style. Gounod has a different style, as each composer does, even Francis Lopez! Don't believe it's possible to sing Luis Mariano's repertoire without working it. For me, works, as well as songs, are like enigmas to solve. It's up to the singer to find the key, that is to find the proper technique and style, still having in mind that a style changes over time. Nobody sings Mozart to-day as his works were sung during his lifetime.
阿兰尼亚：我想说马斯奈的音乐和古诺的音乐都是在呼吸音乐。因此，这是为了声音需要而创作的。与梅耶贝尔形成鲜明对比的是，以《非洲女人》为例，所有东西都是相互关联的，而且甚至没有一个让歌唱家呼吸的小节。这很难......但马斯奈的作品的难度在于它们的作用非常重要。法国歌剧通常从其化精细的角度来看，但我们不应该忘记，这些作品是非常有激情的，而且很长（因为通常有5幕），并且是在为一个要求非常高的声域，使歌唱家从戏剧转变为抒情的声音而创作的。这就要求歌唱家要具有广泛的富有表现力的音域。而且，如果马斯奈知道如何为音域而创作，你还需要懂得如何依从他的风格。古诺有自己不同的风格，就像每个作曲家一样，即使是弗朗西斯洛佩兹！不要相信没有研究过就演唱马里亚诺的全部曲目是可能的。对我而言，作品以及歌曲，就像谜一样需要解决。歌唱家需要找到关键，那就是找到适当的技巧和风格，但仍然要记住随着时间的推移风格会发生改变。今天没有人会唱莫扎特，因为他的作品是在他的有生之年被演唱的。
In your quest for the right style, are you working with a coach?
问：在追求正确的风格时，您是否和指导老师一起工作？
I do it more as a writer in the process of writing the biography of a person and who is considering anything that helps understand more about this person and the times in which he lived. I collect a huge documentation and listen a lot of records. I know that many singers do not listen to the existing records because they were probably being advised against doing it during their training. But I think it is a mistake. Would you advise an author not to read the books written by others? And a painter to ignore what is produced by other painters? That would be ridiculous. Singers fear imitating but we must be aware that no one does create anything from scratch, and each of us, we are the reflection of something that already exists. In life, we are absorbing multiple changes, and it's the same thing for singing. For example, to prepare the Goldmark's aria, I listened to all the possible versions to figure out how I was going to sing it.
阿兰尼亚：如果作为作者在写个人传记的过程中我会更多地这样去做，并且会考量任何有助于更多了解这个人以及他所生活的时代的东西。我收集了大量的文档并收听了很多录音。我知道很多歌唱家不会听现有的唱片，因为他们在培训期间可能会被劝告不要这样做。但我认为这是一个错误。你会建议一个作者不要阅读别人写的书吗？还有一位画家忽视其他画家的作品吗？那太荒谬了。歌唱家害怕模仿，但我们必须意识到，没有人会从头开始创作任何东西，而我们每个人，都是已经存在的东西的反映。在生活中，我们正在吸收多种变化，唱歌也是如此。例如，为了准备戈尔德马克的咏叹调，我聆听了所有可能的版本，以弄清我将如何演唱它。
I have always done so, because it just helps me to find my way in my preparation stage. I have thousands of records at home ... And today there is also YouTube with its endless catalog and examples from which it is possible to learn. If only I'd had that on hand when I was a student! I was dreaming of seeing a picture of Del Monaco, whom I could just imagine at that time. Nowadays, the Internet makes everything available to study ...
我一直这样做，因为它帮助我在准备阶段找到自己的方法。在我家里有成千上万的唱片......而今天，YouTube上也有无尽的目录和例子，可以从中学习。如果我是学生的话，只有我手头上有这个东西！我梦想着看到德尔摩纳哥的画像，那时我只能想象他的样子。现在，互联网使得一切都可用于学习...
You must also feel the need for it…
问：您也必须感受到这个需求.....
Precisely, that is the passion. A human being, chosen by Nature to be a singer, has this flame. At an age when others play football, I left everything to go and sing. The love of singing is for me a driving force for everything and I feel the need to constantly sustain my passion. Last night, I was tired after having sung in Berlin, but I didn't go to bed before 4 in the morning because I needed to watch videos of singers of the past. This is how I built what makes my culture, and not just an operatic culture, because the opera can lead to many things. The title of my album is My life is an Opera and there is a true reality behind those words. I owe everything to the Opera.
阿兰尼亚：确切地说，那就是激情。一位被自然选为歌唱家的人所拥有的这种光辉。在别人踢足球的年龄，我放下一切去唱歌。对歌唱的热爱对我而言是一切的动力，我感到需要不断保持我的激情。昨晚我在柏林演唱过后感到疲倦，但是我并没有在凌晨四点之前睡觉，因为我需要观看过去歌唱家的视频。这就是我如何建立我的文化，而不仅仅是歌剧文化，因为歌剧可以引领许多事情。我的专辑的标题是《我的人生是一部歌剧》，这些话背后有一个真实的现实。我欠歌剧院的一切。
You will sing Lancelot in Le Roi Arthus by Chausson at the Opera Bastille in May and June 2015. Can we see in this almost Wagnerian role the obvious continuation of Otello you sang in Orange last season …
问：您将于2015年的5月和6月在巴士底歌剧院演唱肖松的《亚瑟王》中的兰斯莱特。我们可以在这个几乎是瓦格纳式的角色中看到您上个年度在奥兰治演唱《奥赛罗》的明显延续......
Honestly, it's not my way of thinking. I make my choices for roles with which I fall in love. But it's not the case for Le roi Arthus because it is a role I was offered. In a case like this, and generally each time I am offered a new role, my first reaction is to decline the proposal, saying that "it's not for me". I had the same reaction for L'Elisir d'Amore. My first thought was that I could not do it ... Then comes the stage where I wonder why I am contacted for this specific role. And then I immerse myself in the score, I discover it. A score, it's a bit like a person. You get acquainted with it. You can fall in love with it like with a woman. I have this same relation to music. My approach of Chausson's score was not straightforward, but now I love it.
阿兰尼亚：老实说，这不是我的思考方式。我选择我喜爱的角色。但是对于《亚瑟王》来说不是这样，因为它是給我提供的一个角色。在这样的情况下，通常每次被提供新角色时，我的第一反应就是拒绝该提议，并说“这不适合我”。我对《爱的甘醇》有同样的反应。我的第一个想法是我不能这样做......然后进入了我想知道为什么他们会为这个特定角色而联系我的阶段。之后我沉浸在乐谱中，我找到了它。一个乐谱，它有点儿像一个人。你渐渐熟悉它。你可以像爱上一个女人一样爱上它。我与音乐有着同样的关系。我对肖松的乐谱的了解并不直截了当，但现在我喜欢它。
Roberto Alagna in Le Dernier jour d'un condamné. D.R.
罗伯特·阿兰尼亚演唱《有罪人的最后一天》
How do you perceiv sson's masterpiece?
问：您如何看待肖松的杰作？
It is miles away from composers such as Mozart, Massenet, Verdi or Puccini, from their genius and inspiration. I keep the feeling that Le Roi Arthus is rather like a skilfull construction meticulously arranged than a truly inspired work. In the whole opera you can find similarities with the duet of Tristan and Isolde by Wagner... Besides, something special had happened to me by working Le Roi Arthus. I started by learning the first Act, then I had to set it aside for a moment to focus on my current performances. And over a single month, I had totally forgotten what I had learned. This is the first time it happened to me and I believe it's due to the fact that the structure of this composition is not natural to me. And yet, Le Jongleur de Notre-Dame by Massenet is much more difficult to memorize. With its score rich in syncopations and unusual harmonics, this opera is extremely complex from a vocal standpoint. It is one of the most complicated works I had to memorize. Anyway, as regards Le Roi Arthus, I understood that if I don't want to lose it, I must not set the work aside. Now, as I said, I feel comfortable with this music, especially with respect to the composition technique.
阿兰尼亚：距离来自莫扎特，马斯奈，威尔第或普契尼等作曲家的天才和灵感相隔千里。我一直认为《亚瑟王》更像是一个精心安排而不是真正启发性工作的精巧建筑。在整个歌剧中，你可以找到与瓦格纳的《特里斯坦和伊索尔德》二重唱的相似之处......此外，通过演绎《亚瑟王》，发生了一些特别的事情。我从学习第一部开始，然后不得不搁置一段时间来专注于我目前的表演。过了一个月，我完全忘记了我所学到的东西。这是它第一次发生在我身上，我相信这是由于这种作品的作曲结构对我来说不自然。然而，马斯奈的《圣母院大教堂的少女》更难背诵。凭借其丰富的切分音和不寻常的和声，从歌唱的角度来看，这部歌剧非常复杂。这是我必须记住的最复杂的作品之一。无论如何，对于《亚瑟王》来说，我明白如果我不想失去它，我不能把它放在一边不管。现在，正如我所说的，我对这种音乐感到满意，尤其是在乐曲技巧方面。
Roberto Alagna in Otello by Verdi in Orange. © Philippe Gromelle
罗伯特·阿兰尼亚在奥兰治夏季音乐节演唱威尔第《奥赛罗》
The opera composed by your brother David - The Last Day of a Condemned Man has recently been released on DVD. What does this work mean to you?
问：由您的兄弟大卫作曲的歌剧－《有罪人的最后一天》最近发行了DVD。这部作品对您意味着什么？
When my brother David started composing his opera Le Dernier jour d'un condamné, he was 18. Yet, with an astonishing maturity and despite the innovative side of his writing, he was able to join in the operatic tradition. David's approach reminds me of Mascagni’s, when he wrote his opera in one Act Cavalleria Rusticana as part of a competition. The genius was there and the work is still hailed as a great success. There is something similar with Le Dernier jour d'un condamné, so long as you enter this work without prejudice. Both the Orchestra conductors who have already led it, starting with Michel Plasson, and the performing singers were surprised at how deeply they were drawn in by this composition. It’s beyond thinking. There is something going on there.
阿兰尼亚：当我的兄弟大卫开始撰写他的歌剧《有罪人的最后一天》时，他18岁。然而，他的作品惊人的成熟，尽管他的创作有创新的一面，却能够加入歌剧的传统元素。大卫的方法让我想起了马斯卡尼的作品，当时他正写一幕歌剧作品《乡村骑士》作为比赛的一部分。天才出现了，这项工作仍被誉为取得了巨大成功。只要你毫无偏见地进入这部作品《有罪人的最后一天》，就会有类似的感觉。以米歇尔·普拉松为首的乐团指挥和演唱家都很惊讶于被这部作品深深吸引住了。这是无法想象的。这些事情都正在发生着。
Today many artists use social networks to develop their image. What are your thoughts about that?
问：今天，许多艺术家使用社交网络来发展自己的形象。您对此有何想法？
This means of communication has become important. I have many fans who are publishing pictures and sharing information, but there is in particular a very committed person who handles that for me. She is in charge of administrating my Facebook profile and shows an amazing efficiency! She even comments on papers and articles on blogs or online magazines, pointing out the mistakes and is always demonstrating relevance with elegance and kindness. Her knowledge make her even succeed in reversing some situations based on negative or erroneous information, both on French and foreign websites. For a long time, when fans were defending an artist, they were accused of bias. Also, when they were reading misinformation, they kept silent because helpless, and let them circulate on the Internet. So now, I find it fair that someone manages to rectify the situation with tact, when necessary. The best part is that she can make some rather negative people change their mindset.
阿兰尼亚：这种沟通的方式变得重要。我有很多粉丝在发布图片和分享信息，但特别有一位非常忠诚的人为我处理这件事。她负责管理我的Facebook个人资料，并显示出惊人的效率！她甚至评论博客或在线杂志上的论文和文章，指出错误，并且始终表现出与优雅和善良的相关性。她的知识使她甚至能够在法国和外国网站上成功地扭转一些基于负面或错误信息的情况。很长一段时间，当粉丝们为一位艺术家辩护时，他们会被指责为偏袒。另外，当他们在阅读错误信息时，他们因为无助而保持沉默，并让这些错误信息在互联网上流传。所以现在，我认为是必要的时候有人设法机智地纠正这种情况。最好的方面是她可以让一些相当负面的人改变他们的想法。
Which of your next engagements can you announce in the short-to medium-term?
问：您可以宣布一下短期到中期的下一个业务合作伙伴吗？
All of the engagements that await me are equally important to me, but I find it amusing to take up soon Romeo et Juliette with Michel Plasson. Michel Plasson and all the people I work with are part of my family. I have shared a lot with them, feelings, doubts, fears, joys. They have seen me mature and there is a close complicity between us ...
In February I will sing Carmen at the Met again with Elina Garanca, and later I will perform in La Juive. I am also looking forward to singing soon L’Elisir d’Amore with Aleksandra Kurzak. Then we will have Samson et Dalila at the Metropolitan Opera in a new production. Finally, Bayreuth calls me for Lohengrin... Is it not simply amazing!
阿兰尼亚：所有等待着我的合作对我来说同样重要，但我觉得与米歇尔·普拉松即将开始合作《罗密欧与朱丽叶》很有意思。米歇尔·普拉松和与我一起工作的所有人都是我家人的一部分。我与他们分享了很多，感受，怀疑，恐惧，欢乐。他们看到我成熟了，我们之间情投意合......
在2月份，我会再次与艾琳娜·嘉兰查一起在大都会博物馆演唱《卡门》，之后我将演唱《犹太少女》。我也期待着不久与亚历山德拉Kurzak一起演唱《爱的甘醇》。然后，我们将在纽约大都会歌剧院上演的新戏《参孙与达莉拉》中演唱。最后，拜罗伊特给我打电话演唱《罗恩格林》......这不仅仅是惊喜，对吗？
Interview by Philippe Banel
On 4th December 2014
Philippe Banel采访
于2014年12月4日
Roberto Alagna in Otello by Verdi in Orange. © Philippe Gromelle
罗伯特·阿兰尼亚在奥兰治音乐节演唱威尔第的《奥赛罗》
Roberto Alagna's album My Life is an Opera is available in two versions. The "Standard" version features 16 opera arias that the tenor has recorded in London in September 2014 conducted by Yvan Cassar. The "Deluxe" version only available in France also includes a second CD with 6 additional arias ，excerpt from La Boheme, Aida, Rigoletto, L'Elisir d'Amore and Turandot recorded between 1995 and 2003 accompanied by various orchestras.
罗伯特·阿兰尼亚的专辑《我的人生是一部歌剧》有两个版本。“标准”版本突出男高音歌唱家于2014年9月在伦敦录制的由伊万卡萨尔指挥的16首歌剧咏叹调。仅在法国上映的“豪华版”还包括第二张CD，其中还有另外6首咏叹调摘录自1995年至2003年期间《波希米亚人》，《阿伊达》，《弄臣》，《爱的甘醇》和《图兰朵》以及各种管弦乐队的伴奏。
最新评论
推荐文章
作者最新文章
你可能感兴趣的文章
Copyright Disclaimer: The copyright of contents (including texts, images, videos and audios) posted above belong to the User who shared or the third-party website which the User shared from. If you found your copyright have been infringed, please send a DMCA takedown notice to [email protected]. For more detail of the source, please click on the button "Read Original Post" below. For other communications, please send to [email protected].
版权声明：以上内容为用户推荐收藏至CareerEngine平台，其内容（含文字、图片、视频、音频等）及知识版权均属用户或用户转发自的第三方网站，如涉嫌侵权，请通知[email protected]进行信息删除。如需查看信息来源，请点击“查看原文”。如需洽谈其它事宜，请联系[email protected]。
版权声明：以上内容为用户推荐收藏至CareerEngine平台，其内容（含文字、图片、视频、音频等）及知识版权均属用户或用户转发自的第三方网站，如涉嫌侵权，请通知[email protected]进行信息删除。如需查看信息来源，请点击“查看原文”。如需洽谈其它事宜，请联系[email protected]。