普利策给的授奖词是“a deeply expressive opera that draws on a Chinese folk tale to blend the musical traditions of the East and the West”。
http://www.pulitzer.org/citation/2011-Music
WORKS: Madame White Snake, a classical transformation myth, is the story of a powerful white snake demon who transforms into a beautiful woman so as to experience love. She meets her true love, Xu Xian, at the Broken Bridge on the West Lake in Hangzhou and marries him. So widely celebrated is their love that a curious Abbot investigates. He sees right through her human form to the snake. When the Abbot learns that Madame White Snake is pregnant, he is horrified by what he considers a violation of all of the traditional taboos of race and religion, the divine and the profane. He decides to intervene and he confronts her husband. Not surprisingly, disaster strikes. Madame White Snake is betrayed by her husband and in the moment of betrayal, she is tragically transformed back into a snake.
In its long journey through the centuries, this simple myth has become an icon in the hearts and minds of the Chinese people. The deadly white snake demon gives up her immortal existence to assume human form in the pursuit of the most human of all emotions – love. She holds love dearly for one moment; and then love is lost forever. A powerful metaphor for each individual’s struggle to dream, the myth has spoken deeply to all who have dared to dream. The question of what it means to be truly human is always timely and each generation answers this question in its own voice.
http://www.pulitzer.org/works/2011-Music
BIOGRAPHY: Zhou Long (b. July 8, 1953, Beijing) is internationally recognized for creating a unique body of music that brings together the aesthetic concepts and musical elements of East and West. Deeply grounded in the entire spectrum of his Chinese heritage, including folk, philosophical, and spiritual ideals, he is a pioneer in transferring the idiomatic sounds and techniques of ancient Chinese musical traditions to modern Western instruments and ensembles. His creative vision has resulted in a new music that stretches Western instruments eastward and Chinese instruments westward, achieving an exciting and fertile common ground.
Zhou Long was born into an artistic family and began piano lessons at an early age. During the Cultural Revolution, he was sent to a rural state farm, where the bleak landscape with roaring winds and ferocious wild fires made a profound and lasting impression. He resumed his musical training in 1973, studying composition, music theory, and conducting, as well as Chinese traditional music. In 1977, he enrolled in the first composition class at the reopened Central Conservatory of Music in Beijing. Following graduation in 1983, he was appointed composer-in-residence with the National Broadcasting Symphony Orchestra of China. Zhou Long travelled to the United States in 1985 under a fellowship to attend Columbia University, where he studied with Chou Wen-Chung, Mario Davidovsky, and George Edwards, receiving a Doctor of Musical Arts degree in 1993. After more than a decade as music director of Music from China in New York City, he received ASCAP’s prestigious Adventurous Programming Award in 1999.
He has been the recipient of commissions from the Koussevitzky Music Foundation in the Library of Congress, the Fromm Music Foundation at Harvard University, Chamber Music America, and the New York State Council on the Arts. Among the ensembles who have commissioned works from him, are the Bavarian Orchestra (Poems from Tang), the Tokyo Philharmonic (The Future of Fire), the New Music Consort (The Ineffable), the Pittsburgh New Music Ensemble (Soul and Tian Ling), the Peabody Trio (Spirit of Chimes), and the Kronos, Shanghai, Ciompi, and Chester string quartets (Poems from Tang). In February 2010, his pioneering cross-cultural opera, Madam White Snake, which was premiered by Opera Boston, received great critical acclaim. It was given a second performance in Beijing on the 27-October 2010 by the Bejing Philharmonic Orchestra.
A United States citizen since 1999, Zhou Long is married to the composer-violinist Chen Yi. It should be noted that Zhou is his family name and Long is his personal name, and thus he should be referred to as Mr. Zhou or Dr. Zhou.
http://www.pulitzer.org/biography/2011-Music
- RE: 2011 普利策音乐奖:周龙--白蛇传posted on 04/20/2011
- Re: RE: 2011 普利策音乐奖:周龙--白蛇传posted on 04/21/2011
录像里那个stage director对白蛇传的总结很逗,I paraphrase,If you get over the transformation part, it's about: girl meets boy;boy doubts girl;girl loses boy, to the church.
连段音乐的snip都找不到,还是国内好,什么新production,再怎么不让照相录影,首演一完,有时整场都能给甩到土豆上去。 - posted on 04/21/2011
浮生 wrote:
录像里那个stage director对白蛇传的总结很逗,I paraphrase,If you get over the transformation part, it's about: girl meets boy;boy doubts girl;girl loses boy, to the church.
白蛇传这个故事本身很好,现代性很足(青蛇的男身变女身,白蛇的不朽之身到速朽之身),特别适合后现代语境(identity, transformation, journey, love, belief, truth, etc)的改写。中国人因为已经不大懂自己的“传统”是什么,所以没办法像日本人那样在传统上做出现代性十足的好文章或者好电影(日本1918以来的文学和电影的成就中国是只有甘拜下风的份)。香港人有眼光,李碧华写过《青蛇》,徐克拍过电影,但是功夫有限。鲁迅有眼光,才会就着雷峰塔的倒掉发了一番议论。严歌苓写过,不过是个短篇。其他的大部分中国艺术家们,暂时还处在不中不西不古不今不洋不土的境界。
连段音乐的snip都找不到,还是国内好,什么新production,再怎么不让照相录影,首演一完,有时整场都能给甩到土豆上去。
喏,拿这个解馋,雷死了我不负责。我上学时有年暑假风靡大陆(那时你大概已经出国了)。许仙是叶童反串,动不动就和白娘子对歌,让人抓狂。
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