Rautavaara - Rasputin / Salminen, Hynninen, Paasikivi, Franck, Finnish National Opera
昨天下午看了这一部歌剧,真的很不错。这疯僧在歌剧里表现的就比
一般写实电影真实得多,这个故事本身耐人寻味,玛雅肯定喜欢!
亚马逊也有很好的音乐戏评!
http://www.amazon.com/Rautavaara-Rasputin-Salminen-Hynninen-Paasikivi/dp/B0009BF5XC/ref=sr_1_15?ie=UTF8&s=music&qid=1230648257&sr=8-15
& 这是Opera Today上的。
RAUTAVAARA: Rasputin
In fall 2003, Los Angeles Opera opened its season with Deborah Dratell’s Nicholas and Alexandra, with libretto by Nicholas von Hoffman. At that time, company director Placido Domingo, who took on the juicy role of Rasputin, announced that the production would be filmed and prepared for eventual DVD release.
That didn’t happen, perhaps, if one may dare to assume, because Nicholas and Alexandra received such scathing reviews. But a DVD has appeared with the central characters of the czar, czarina, and the Mad Monk, in an opera that premiered at almost exactly the same time as the Dratell work. Einojuhani Rautavaara’s Rasputin, performed at the Finnish National Opera, doesn’t have to be compared to the woe-begotten Nicholas and Alexandra to merit praise. The DVD captures an intense, riveting evening of dramatic musical theater and a performance by Matti Salminen in the lead role that manages to capture all the seedy charisma and ecstatic lechery of this fascinating figure. If opera-lovers sadly cannot expect a world-tour of this great artist performing in a fine opera written with him in mind, they must at least obtain the DVD and settle in to experience Salminen’s brilliant work in a operatic stage work of genuine achievement.
The opera only covers Rasputin’s life from the time he entered the life of Russian royal family as they desperately sought relief for their hemophiliac son. He is seen as a dangerous influence by the established order, represented in the opera by two men seeking to marry the czar’s daughter Irina — Dimitri and Felix, whose rivalry is muted by the fact of their own homosexual relationship. As Rasputin’s influence grows, desperation sets in, and finally the Monk’s enemies can find no other option than to poison, stab, and shoot him to death. The conflagration to come reveals itself in a dream of the czar’s, as flames fill the stage.
Rautavaara’s opera, therefore, takes its place in the Faustian tradition as an innovative portrait of a malevolent but charismatic figure and the havoc he wreaks in a society of false piety. And like Mephistopheles, Rasputin makes for a great role for a deep, resonant voice (Domingo’s in the Dratell work was, of course, set higher — if not in true tenor range).
Salminen revels in the both the role’s musical challenges and the character’s schizophrenic nature. For like all truly great characters, Rasputin isn’t faking either his religious ecstasy or degrading himself with his libidinous rampages — they are integral parts of his Falstaffian nature, the ying and yang of a life force beyond understanding or control. The character’s first set piece – a long, dark meditation translated as Evil will sink in the water — quickly establishes Rasputin’s ominously attractive personality, and Rautavaara’s music, while not conventionally melodic, makes for a trance-inducing lullaby, and the audience falls under the Monk’s spell just as the Czarina and her ailing son do.
Like the best opera composers, Rautavaara sees to it that all the major roles get their time in the limelight. Lilli Paasikivi’s czarina begins the opera with a desperate plea for someone to save her son’s life, recalling in its minor key drama Butterfly’s final aria to her “piccolo iddio.” Jorma Hynninen’s Nicholas comes across as a weak man but a loving father, concerned that his daughter Irina might be about to marry one of two very wrong men, while allowing his wife to have her way in terms of Rasputin’s growing influence. Jyrki Anttila (Felix) and Gabriel Suovanen (Dimitri) both exude proper amounts of elegant sleaze as lovers who see Irina as a ticket to power, and Rasputin as the greatest threat to their ambition.
In three acts, the opera runs about 2 and half hours, so with two intermissions probably required, it would be a substantial, and probably expensive, proposition to stage. But this original production has much to recommend it, as smoothly moving walls slide into formulations to quickly signify shifting locations, and the lighting and costuming are of consistently high standards. Hannu Lindholm designed the production and Vilppu Kiljunen directed.
The production of new operas seems to be increasing, which, while healthy by most any measure, also means that some good works can be swept away by the next tide of newer works. Opera houses the world over would do very well to check out this Ondine release and realize that here is a new opera of potent drama and searing musicality, and if Matti Salminen is available, what more could be wanted? Anyone without the patience — formidable, indeed — to await that development should acquire this Ondine DVD soon.
Chris Mullins
Los Angeles Unified School District, Secondary Literacy
&& 这是网上狗来的一篇电影评。
'Rasputin'(《魔力无边》)——那只是一个王室的故事 (2007-01-19 01:23:40)
http://blog.sina.com.cn/s/blog_436a11d3010006sm.html
分类:About Alan Rickman
Rusputin,神父,灭亡了一个王朝。让世界历史从近代迈入到现代。
一个王朝,我们都说它该灭亡了,他却说是神的力量。王和王后,不仅仅是普通的人,他们还拥有一个国家;病危的王子,召唤来一位神父,丢掉了一个王国。荒谬的神父啊,小小的伎俩让王后与国王瞎了眼睛;伟大的爱啊,就算是荒谬也无法看透。
俄国最后一个王朝的灭亡,我们只知道是因为社会矛盾的激化,战争让人民痛不欲生,皇帝专政让俄国的资本主义得不到发展。我们从不知道是一个王子的病痛,让一个叫Rusputin的“神父”荒唐地走进皇宫,荒唐地行事,荒唐地宣扬他所谓的神学,他荒唐到连皇帝的至亲都拿起武器反对王室,于是便验证了自己的感觉:如果我被王室的人杀死,那王室就会灭亡。于是,他被沙皇的侄子杀死,所以,一代王朝覆灭了。
到底有没有这回事,我们无法验证,只能当作一段野史传奇来看。片尾告诉我们这个Rusputin救过三次的王子被苏维埃的人乱枪射死埋掉之后,现在尸体还没找到。我不相信是上帝或圣母收走了他——因为他坚定不移的信仰。本来,罗曼诺夫王朝的覆灭就是由于各种矛盾的激化,也许,曾经是由一位叫做Rusputin的神父,用他小小的催眠术“治好”了王子的病,但也正因为这一点,这位神父,或者神棍更为恰当,才有机会为沙皇“指着方向”去打仗,直到输到所有人都很透了他们的皇上和皇后。这让我想到了两句诗:南朝四百八十寺,多少楼台烟雨中。也许,沙皇并没有为一个神棍建那么多寺庙,但是却任他放肆,只为了自己的儿子,虽然人都有私心,可惜他忘了他还有一个国家。
而Rusputin,嗜酒好色,甚至还有一些精神问题,也许有那么一手得意的催眠术还有一些好运气和悲剧的却是必然的命运。从小的时候,如果说他有魔法,可以看到别人干过什么,是圣母和上帝亲自选中的人还不如说他偷窥了些什么,然后拿到别人面前来炫耀——可能他自己也没意识到。穷人被富人欺凌,我们同情他,却没想到他会混进王宫,搅乱了整个国家。他用小小的伎俩“治好”了王子的病,俘获了王后的信任,然后是公主们,然后是国王……王室被他玩弄于鼓掌之中,声称与他亲近,与他亲吻上床就等于在和上帝交流。昏庸的贵族们不懂什么叫迷惑,于是国家被他弄得一团糟,人民反抗的力量越来越大。但是罪恶却得不到惩罚,为什么他做了那么多荒唐的事情还能安安稳稳的被王族信任?两边都是昏庸无用,两边也许都该灭亡了……直到那个伟大的王子和那两个大臣背叛了皇室,做出了拯救国家的一举——杀死了Rusputin。
终于死了,死得很诡异,死得很困难。用毒药没有用,开枪也没能一枪把他毙命。难道他真的有神力?不过野史毕竟是野史,他还是死了。就是上帝的使者也抵挡不住子弹的打击。
看这部戏依旧是为了Alan。他演过不少反面角色,但这个——至少在我看来是够反面的了,也许这剧作者并不这么认为,不过按历史唯物主义的观点来说,他是——反面角色是我觉得最让我不能接受的。当知道这是个什么样的人物之后,我就在期盼着他什么时候能下地狱,他会怎么罪恶的死去。Alan的演技无可厚非,他可以一转眼就变成贵族,一转眼就变成天使,一转眼就变成乞丐。但是单说这个角色,真是让我讨厌到咬牙切齿。Ian McKellen演的Nicholas,可能由于剧本想替他翻案吧,并不是我们想象中那样的暴君,而是个疼爱儿子的好父亲,对妻子忠贞的好丈夫,想过平民生活的好贵族;当然,我们忽略了他是怎么打仗的——与德国的一战似乎打得并不是令人满意。挺喜欢Ian演的,他的情节不免让人感动,特别是他们一家最后被苏维埃政府乱抢扫死时,他挡在妻子的面前——如果他不是一个臭名昭著的国王,谁都会以为他绝对是个该受人敬仰的人。Greta Scacchi,可能以前看过她的什么片子,反正很眼熟,饰演皇后。高贵却最无法认清真相,但是这又是母亲的本能——她太爱她的儿子而无法分辨什么是对什么是错。直到后来她质问Rusputin到底是看见了圣母还是感觉到,她脑子才似乎有一点清醒。其他人就没什么好说的了,除了那个杀掉Rusputin的王子,一脸正义相,很配合当时的共产主义气氛。就国家来说,他做得没错;就情理来说,也许吧,Rusputin的确是王室当时能“信任和交流”的唯一人选了,王子就这么把他干掉,似乎也太伤王后的心了。
总的来说,我挺喜欢这部电影,虽然主角让人觉得心里别扭的慌。
- Re: RAUTAVAARA: Rasputin(疯僧)posted on 12/30/2008
Rusputin的故事看过几个。这个是歌剧还是电影?还是歌剧电影?XW在那里看的?我们这里现在还没有。 - posted on 12/30/2008
DVD, which Chris Mullins' opera veview anticipated at the very end:
The production of new operas seems to be increasing, which, while healthy by most >any measure, also means that some good works can be swept away by the next >tide of newer works. Opera houses the world over would do very well to check out >this Ondine release and realize that here is a new opera of potent drama and searing >musicality, and if Matti Salminen is available, what more could be wanted? Anyone >without the patience — formidable, indeed — to await that development should >acquire this Ondine DVD soon.
http://www.amazon.com/Rautavaara-Rasputin-Salminen-Hynninen-Paasikivi/dp/B0009BF5XC/ref=sr_1_15?ie=UTF8&s=music&qid=1230648257&sr=8-15
&
The Alan Rickman movie, from the comments, seems quite fake, of course the movie comments were not very well written.
liaokang wrote:
Rusputin的故事看过几个。这个是歌剧还是电影?还是歌剧电影?XW在那里看的?我们这里现在还没有。 - posted on 12/31/2008
看来拉斯普丁(Rasputin)确实一语成谶:
一九一六年十二月二十九日,拉斯普丁在彼德格勒的一场宴会上被杀
死了,人们进行了一次整顿沙皇专制政体的显然已经太迟的尝试。到
了三月,事态迅速扩大,彼得格勒因食而导致的骚乱发展成了一次革
命起义,起义者曾试图取消代议机构国家杜马,逮捕所有的自由派领
导人,建立以里沃夫亲王为首的临时政府。三月十五日,沙皇退位。
到此,似乎有可能进行一场温和的改革--也许在一个新沙皇的统治
下可行。达 以后,事情非常明朗,民众对俄国的信任已荡然无存,
任何形式的改良都不能接受。俄国百姓已经不愿再忍受欧洲世界的旧
秩序,沙皇,战争和列强等,他们要尽快彻底地从一切难受的苦难中
解放出来。协约国并不知道俄国的现状,他们的外交官们根本不了解
俄国人。这些温文尔雅的人在意的只是俄国宫廷,而不是俄国人民,
他们对俄国出现的这种新局势的判断一错再错。外交官们对共和政体
没有好感,他们采取各种手段使新政府陷入困境。俄国共和政府的领
袖人物是精于雄辩的,极富感召力的克伦斯基,他意识到自己在国内
受到一种更加深刻的革命运动--“社会革命”的巨大力量攻击,在
国外受协约国政府的轻视。他的盟国不许他给俄国人民边界以外的土
地,也不允许他给他们边界之内的和平。法国和英国的报纸大肆攻击
它们的这个疲惫不堪的盟国,当德国人从海上和陆上对里加发起猛攻
时,英国海军部竟不敢或不愿出征波罗的海施以援手。
新的俄罗斯共和国必须在没有外援的情形下战斗。虽然有协约国的强
大海军优势和英国海军上将费西尔勋爵的强烈抗议,但除了派出一些
潜艇实施偷袭外,协约国在整个战争期间一直任由德国人横行于波罗
的海。
俄国人民坚决要求结束战争。在彼得格勒成立了一个代表工人和士兵
的团体--苏维埃,苏维埃 要求在斯德哥尔摩举行一次社会主义者
的国际会议。这时,柏林陷入了粮食危机,奥国和德国的反战情绪日
益高涨。从以后发生一事件来看,这样一次会议早就有可能在一九一
七年促成以民主为基础的公正与和平,并且有可能引发一次德国革命。
克伦斯基请求他的西方盟国准许召开这次会议,但它们害怕发生一场
世界的社会主义和共和主义革命,居然违背英国工党微弱多数的支持
而拒绝了这个请求。这个“温和的”俄罗斯共和国,在既没有协约国
道义上的支持,也没有物质方面的援助的情况下,仍在坚持斗争,并
且在七月发动了孤注一掷的进攻。在获得初步的胜利后很快就被打败
了,俄国人又一次遭到屠杀。
俄国人再也忍受不下去了。这时,俄国军队中不断发生叛乱,尤其是
在北方前线。一九一七年十一月七日,克伦斯基政府被推翻了,苏维
埃夺取了政权。。。
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