不同城市的相同制作

小琼：如今，大量跨越国界的歌剧联合制作出现。这种做法，不仅有助于降低成本，还可以更有效地利用创意和表演人才。

小薇：事实上，上海歌剧院已经与许多世界知名的歌剧院建立了合作关系。今年夏天，上海歌剧院将推出与英国皇家歌剧院联合制作的《蝴蝶夫人》。

小琼：今天我想分享一些关于同一部歌剧、同一个演员阵容，在四个月的时间里，在两个城市上演的观演心得。

小薇：我记得你今年1月去雅典看了娜迪亚·布朗热（1887—1979）和拉乌尔·普格诺（1852—1914）的歌剧《死亡之城》（1914），该剧由纽约的弹射歌剧团演出。布郎热是包括丁善德在内的许多20世纪著名作曲家的老师，这部作品的上演受到很多关注。我看到消息，上个月弹射歌剧团带来了《死亡之城》的纽约首演。

小琼：该作品被改编为室内歌剧上演。在雅典，演出的场地是2017年建成开放的斯塔夫罗斯·尼亚尔科斯基金会文化中心的另类舞台。这个场地是一个最先进的适应性空间，能“变身”成一个容纳200至300人的黑匣子剧院（这让我想起了上海交响乐厅室内乐厅的设计）。在纽约的演出场地，位于纽约大学斯歌尔柏表演艺术中心，那是一个更为传统的剧院，有700个座位和一个镜框式舞台。

小薇：这在规模上形成了巨大反差！舞台表演怎么样？

小琼：正如你所想象的那样，在雅典，你可以从零开始建造自己的舞台，那里没有乐池（音乐家们被安置在右边，面向观众）。舞台设计师安德洛玛刻·查尔方特巧妙地创造了一个三面向观众开放的房间。还有一个重要的道具——一张长桌——被放在左边（雅典版），但在纽约，它被移到了右边，改变了舞台的平衡（这显然是导演罗宾·瓜里诺想要的）。

小薇：我可以从现场照片中看到，大片的白布为投影提供了便利。那歌手和音乐家呢？

小琼：指挥家尼尔·戈伦领衔相同的演员阵容，但希腊版和美国版的乐队组合是不同的。我在观看演出时觉得很开心：反复聆听同一部作品，真的能提高一个人对布朗热音乐语言的鉴赏能力。

Joan： These days， so many operatic co-productions are set up across national borders， which helps not only reduce cost， but also efficiently utilize creative and performing talents.

Valery： Indeed， the Shanghai Opera House has set up alliances with so many world-renowned houses. Coming up this summer is the co-production of Madama Butterfly with the Royal Opera House at Covent Garden.

Joan： Today I want to share some observations about the same opera production， with the same cast， appearing in two cities within the span of four months.

Valery： I remember you went to Athens in January for La ville morte （1914）， an opera by Nadia Boulanger（1887？1979） and Raoul Pugno （1852？1914）， performed by the New York-based Catapult Opera. It was a true discovery， since Boulanger was such a famous teacher to many composers of the last century， including Ding Shande. I read that Catapult Opera just put on the New York premiere of La ville morte last month.

Joan： It was arranged as a chamber opera， and in Athens the venue was the Alternative Stage of the Stavros Niarchos Foundation Cultural Center， which opened in 2017. This Alternative Stage was a state-ofthe-art adaptable space， a black-box theater seating 200 to 300. （In fact， it reminds me of the design of the Chamber Hall of the Shanghai Symphony Hall.） In New York， its the NYU Skirball Center for the Performing Arts， a much more conventional theatre that seats 700 with a proscenium stage.

Valery： This is a serious contrast in scale！ What about the staging？

Joan： As you can imagine， in Athens you construct your own stage from scratch， and theres no orchestra pit （musicians were placed on the right， facing the audience）. The scenic designer Andromache Chalfant ingeniously created a room that opened on three sides to the audience. An important prop—a long table—was placed on the left （Athens）， but in New York it shifted to the right， changing the balance of the stage （clearly something director Robin Guarino wanted）.

Valery： I can see from the photos large swathes of white cloth provided the surface for projections. What about the singers and musicians？

Joan： Conductor Neal Goren led the same cast but the instrumental ensemble was different in Greece and America. I had a great time watching the performances： repeat listening really enhances ones appreciation of Boulangers musical language.