阿兰尼亚 巴黎独唱音乐会
Interview with Roberto Alagna, tenor
男高音罗伯特·阿兰尼亚专访（上）
The release of Roberto Alagna's disc My Life is an opera is in itself an event as it is not a compilation but a very recent studio recording of opera arias carefully selected to illustrate the singer's path… When we met Roberto Alagna, he was between two performances of Carmen in Berlin. It has been also a chance for us to talk with him about Le Cid and Le Roi Arthus he will sing during the Season at the Opera de Paris.
罗伯特·阿兰尼亚的光盘《我的人生是一部歌剧》的发行本身就是一个戏剧，因为它不是一个汇编，而是一个通过精挑细选歌剧咏叹调用以描述歌唱家的历程的非常新的录音室版本...当我们遇到罗伯特·阿兰尼亚时，正是他在柏林《卡门》的两场演出之间。我们也正好有机会与他谈谈他将于本年度在巴黎歌剧院演唱的《熙德》和《亚瑟王》   。         
My Life is an opera
Tutti-magazine : You are currently between two performances of Carmen at the Deutsche Oper Berlin where you are singing Don Jose alongside Clementine Margaine. How are you?
《图特杂志》问：您目前在德国柏林的《卡门》两场演出之间，您和克莱门汀.马尔加一起演唱《唐豪塞》（译者注：唐豪塞，卡门剧中人物）。您的感觉如何？
Roberto Alagna: I will be honest in saying I would prefer not to have to do interviews in the same time. It's difficult to take everything on, traveling and performing in a production in parallel. For example, I just learned that the soprano who sings Micaela is ill and will be replaced for the next performance. I don't know the substitute and it would have been better for me to be present on-site and get ready for the replacement. On the other side, I am perfectly aware of the need to comply with the various requirements of my job. That said, this Carmen in Berlin is running smoothly. I had already sung Les Troyens with Clementine Margaine in Marseille but this is our first Carmen together and all is fine. There are already video excerpts on the web! 
罗伯特·阿兰尼亚答：我实话实说，我不想在同一时间接受采访。很难把所有的事情，旅行和表演同时进行。例如，我刚刚了解到，唱米凯拉的女高音生病了，并将在下一场演出中被替换。我不了解替补歌唱家，因此对我来说更好的是在现场并准备好替换。另一方面，我完全意识到需要遵从我的工作的各种需求。也就是说，这个在柏林的《卡门》运行顺利。我已经在马赛与克莱门汀·马尔加因一起唱了《特洛伊人》，但这是我们第一部《卡门》，一切都很好。网上已经有视频摘录了！
阿兰尼亚演唱《花之歌》
For your new album My Life is an opera, you have returned to some roles that have punctuated your path as a singer. During the recording session did you experience some of the same feelings that you had in the past as a performer, or some old reflexes?
问：对于您的新专辑《我的人生是一部歌剧》，您已经回到了某些角色，这些角色呈现出您作为歌唱家的历程。在录音过程中，您是否曾经历过与过去作为表演者同样的感受，或者一些曾有过的反应？
With a work like Roberto Devereux, reflexes are clearly present. But what I find truly amazing is our past-related sensations. The so prevalent idea consisting in believing that "it was better before" often also applies to singers about themselves. Thus I have also replayed what I had recorded before, and I was surprised to find that I am singing better today. I am reading the reviews and I happen to come across some papers where people regret that my voice becomes more like this or more like that, but I personally prefer what I hear today. No doubt, some things can have been lost, but a maturity has set in and I won other qualities such as a simplicity in the manner of singing and a kind of naturalness in my interpretation, things I had not before. 
阿兰尼亚：有了《恶魔罗勃》这样的作品，反应显然是存在的。但是我发现真正令人惊喜的是我们与过去有关的感觉。这种流行的观点即坚信“以前更好”往往也适用于歌唱家自己。因此我也重播了之前录制的内容，并且惊讶地发现我今天的歌声更好。我正在阅读评论，而且碰巧发现了一些报纸，人们对我的声音变得更像这样或更类似于那样感到惋惜，但我个人更喜欢今天听到的。毫无疑问，我过去唱歌可能已经渐渐流逝，但成熟度已经建立，我赢得了其它品质，如歌唱方式的简单性和我的艺术处理的一种自然性，这些我以前从未有过。
Yvan Cassar, Roberto Alagna and Frederico Alagna in the studio. D.R.
Simplicity of sound and vocality, it's important for you?
问：声音和声乐艺术的简单性，对您来言很重要吗？
For years, I have been hearing a sound in me, the ideal sound I would like to render. This ideal, of course, is unattainable. When I am getting close to it, it moves further away. This is the famous perfection we are all pursuing. But one thing is certain: the sound I am seeking is extremely simple, and it is in this direction that I would like to evolve. 
The Deluxe Version of the album My Life is an opera includes older recordings, like a La Bohème which is 20 years old. We can observe, when comparing with the recordings of this year, that the voice is not very different, but it gained, I think, in the sense of the simplicity that I am targeting. When you are young, you may tend to make the strokes bolder, wishing to appear different from what you are. Often also, you are subject to influences. But this is normal for a young performer. When I listen to Caruso in 1903 or 1906 and Caruso in 1921, I prefer the latter, even he was said then to be finished. I am far more touched by his voice, even if he had some problems with his breath. Maturity can also be a good thing.
阿兰尼亚：多年来，我一直听到我的声音，我想呈现的理想声音。当然，这种理想是难以达到的。当我接近它时，它会渐行渐远。这就是我们都在追求的著名的完美。但有一点是肯定的：我正在寻求的声音极其简单（extremely simple），而且我正在朝这个方向发展。——男高音翁德里希丨自然地歌唱无需特殊技巧
《我的人生是一部歌剧》这张专辑的豪华版，包括年代更久的唱片，如已经20年的《波希米亚人》。我们可以观察到，与今年的录音相比，这种声音并没有太大的不同，但我认为，从我正在追求的简单性意义上来说，它已经获得了成功。当你年轻时，你可能会倾向于使笔触更大胆，希望看起来与你自己不同。通常情况下，你可能会受到影响。但这对年轻演员来说是正常的。当我聆听1903年或1906年的卡鲁索和1921年的卡鲁索时，我更喜欢后者，甚至有传说但后来他还是完成了。即使他的呼吸出现了一些问题，但我更会被他的声音所感动。成熟也是一件好事。
Is the stage experience a key for performing such a recording?
Roberto Alagna records under the baton of Yvan Cassar at Abbey Road. © Yann Olivier
问：舞台经验是完成这个录音的关键吗？
This is the first time I recorded an album in the same conditions as in live mode. Usually, when recording, we are singing for the microphone, knowing that we don't need to project the voice and that, even if we deliver a slightly toneless voice, this will give a color. But this is the first time that I don't sing for the microphone. I wanted to do as the singers of the past did. After all, this disc is also a tribute to the great tenors of the past such as Rosvaenge, Luccioni, Vezzani or Thill. When they were recording, there was no difference with the live. on stage. For this record, I really wanted to go back to this way of working, to the point that during the recording sessions I was not going and listen to the records, because being attentive to the records finally means to sing for the microphone.
阿兰尼亚：这是我第一次在与现场模式相同的条件下录制专辑。通常，在录音时，我们是在为麦克风演唱，因为我们知道我们不需要表达声音或其它，即使我们发出略显单调的声音，也会产生一种色彩。但这是我第一次不为麦克风演唱。我想像以前的歌唱家那样去做。毕竟，这张专辑也是对以前的伟大男高音歌唱家的纪念，如罗斯芬格，卢乔尼，韦扎尼或蒂尔（Rosvaenge, Luccioni, Vezzani or Thill.）。当他们录音时，与现场在舞台上没有任何区别。对于这个录音专辑，我真的很想回到这种工作方式，达到在录音期间我不打算也不会去听唱片的程度，因为关注唱片最后意味着要为麦克风演唱。
This implies to fully trust the people you are working with…
问：这意味着要完全信任您正在与之合作的人......
Absolutely, and that's why I asked my brother Frédérico to work with me on this disk. He was telling me if something needed to be corrected or recaptured. Yvan Cassar was conducting the orchestra and we went on with the tempi that were inspiring us. Similarly, Frederico felt free to ask Yvan to try something else. In short, we have worked in a climate of full trust and partnership, and I am pleased that the disc reflects our common and shared approach which was to avoid at all costs the artificiality in this recording.
阿兰尼亚：当然，这就是为什么我要我的兄弟弗雷德里科与我一起工作并录制这张唱片的原因。他告诉我是否需要纠正或重新捕捉某些东西。伊万卡萨尔正在指挥这个管弦乐队，我们继续按照鼓舞着我们的节奏进行。同样，弗雷德里科可以自由地让伊万去尝试其它的东西。总之，我们在充满信任和伙伴关系的气氛中工作，我很高兴这张唱片反映了我们的共同点和认知，即不惜一切代价避免录音中的虚假性。
Roberto Alagna recording My Life is an Opera in London in September 2014. D.R.
You recorded this recital in London in last September. Was it the right time?
问：您去年九月在伦敦录制了这个个人音乐会。您觉得是合适的时间吗？
I recorded this album three weeks after having sung Otello at the Chorégies d'Orange. Meanwhile, there was also a big concert at the Palace of Monaco. Of course I heard right and left "He will be tired!", "This is madness!". And the day before entering the studio, I recorded the integral version of La Navarraise by Massenet which will be released next year. This means that the period was very busy for me ... Well, I was myself very surprised of the ease with which I sang. I even believe I never recorded a nicer High D! I am also very proud to propose such a varied program in the track-list.
阿兰尼亚：我在奥兰治夏季歌剧节演唱《奥赛罗》三周后录制了这张专辑。与此同时，我还在摩纳哥宫殿举办了一场大型音乐会。当然我到处听到“他会很累！”，“这是疯狂！”这样的话。在进入录音室前一天，我录制了马斯奈创作的将于明年发布的《纳瓦拉姑娘》的完整版本。这意味着这段时间对我而言非常忙碌......那么，我对自己唱的那种轻松感到非常惊讶。我甚至相信我从来没有录过一个更漂亮的高音D！我也非常自豪能够在专辑曲目列表中提出这样一个不同的标题。
阿兰尼亚演唱《明亮的窗户》
How did you manage your energy to be able to sing so many valiant arias one after the other?
问：您是如何分配您的精力才能够一个接一个地唱这么多优秀的咏叹调的？
It's true that we did not even have one full week to make this recording. Originally, I must admit that my label would like to release a best-of. I was only scheduled to record three or four arias. We didn't say anything, but with Yvan Cassar we agreed to try and record all at once. We have succeeded in winning our bet except for two arias we couldn't record, for lack of time: Le Postillon de Longjumeau by Adam and Sadko by Rimski-Korsakov, in Russian. After that, Universal had 16 pieces freshly recorded instead of 3 as initially expected. As they say, we run at full throttle for this recording, in a make it or break it situation! Of course, in such a context, we didn't have the opportunity to take care of the order in which the arias were recorded, according to the voice requirements. It was necessary to rather deal with the musicians who were present in the studio to allow us to record this or that aria, depending on the orchestration. I remember that in one session, I had to record four arias in a row. And they were good enough to be kept.  
阿兰尼亚：的确，我们甚至没有一个完整的星期来做这个录音。最初，我必须承认，我的公司想要发布最好的专辑。我只计划录制三到四首咏叹调。我们什么也没说，但是与伊万卡萨尔合作，我们同意尝试并一次录制全部内容。我们成功地赢得了我们的赌注，除了两个咏叹调我们无法录制，因为缺乏时间：亚当创作的《隆瑞莫的马车夫》和里姆斯基-柯萨科夫用俄语创作的《萨特阔》。之后，环球公司录制了16首新曲目，而不是按照最初预期的只有3首。就像他们说的那样，我们在这个录音中加足马力，以此来制作或者突破它！当然，在这种情况下，根据声音需要，我们没有机会处理录制咏叹调的顺序。与在场的音乐家交流是相当必要的，以便我们根据管弦乐编曲来录制这个或那个咏叹调。我记得在一次录音过程中，我必须连续录制四首咏叹调。他们足够好地被保留了下来。
As regards the vocal requirements, one of the most demanding aria is "Magische Töne" from La Reine de Saba by Goldmark, because it just requires a voice from another world, and to finish with an angelic tone as in the "Hostias" from Verdi's Requiem. Delivering it after other arias is of enormous difficulty. "Il est dix heures ... Encore six heures..." from the Opera of my brother David, Le Dernier jour d'un condamné is also very demanding. But I very much appreciate having the opportunity to record this "Aria of the Condemned Woman"that I had never sung before.
至于声乐的要求，要求最高的咏叹调之一是来自戈尔德马克的《萨巴女王》的“郭德马克神奇的声音”，因为它只需要来自其它世界的声音，并以“牺牲祈祷”中的天使般的音调结束威尔第的安魂曲。在其它咏叹调之后发行它是相当困难的。“我是十点... 安可是六点...”取自我兄弟大卫的歌剧《有罪人的最后一天》，它的发行也是相当困难的。但我非常感谢有机会录制我以前从未唱过的这首《有罪的女人的咏叹调》。
Yvan Cassar, who conducts the orchestra used, like you, very different styles …
Yvan Cassar conducting the Orchestra gathered for My Life is an Opera. D.R.
问：伊万·凯撒，这个指挥管弦乐队的人，像您一样，风格迥异......
I must say "Bravo" to Yvan who was precisely able to appropriate all these various styles. Yet, I know that some have criticized his presence, as well as that of the orchestra, whereas we have gathered wonderful musicians from the London Symphony, the Philharmonia Orchestra and the Royal Opera House Orchestra! I heard pure aberrations about this Ensemble, just because many were unaware of the musicians' background. Some have even argued that they were studio's mercenaries!
阿兰尼亚：我必须向伊万说“太棒了”，他能够恰当地适应所有这些不同的风格。然而，我知道有些人批评他和乐团的存在，而我们聚集了来自伦敦交响乐团、爱乐乐团和皇家歌剧院管弦乐队的很棒的音乐家！我听到的关于这个乐团的纯粹的反常，只是由于很多人不知道音乐家的背景。有人甚至认为他们是工作室的雇佣兵！（明日继续更新）
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
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