Satyagraha
Good news:
Philip Glass’s landmark 1980 work, set to text from the ancient Sanskrit scripture the Bhagavad Gita, is a moving account of Mahatma Gandhi’s formative experiences in South Africa, which transformed him into a great leader. For the opera’s Met premiere, director Phelim McDermott and designer Julian Crouch (artistic directors of London’s provocative Improbable theater company) use adventurous, improvisational puppetry, achieved by a brilliant team of aerialists, to illuminate this formative period in Gandhi’s life and work. Tenor Richard Croft (pictured) brings his crystalline timbre and musical finesse to Glass’s gently unfolding, chant-like music.
http://eventful.com/events/E0-001-004494970-2
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An opera basic on Sanskrit Bhagavad-Gita.
The bad thing is, British opera composers are mostly bad,
Purcell is an exception.
- posted on 04/20/2008
xw wrote:
Satyagraha
昨天看了这部歌剧,好三场既古老又现代的Meditations.
Glass的音乐其实很简单,chanting,印度风?盘旋缠绕,久不绝,有迷幻味。
背景中有托尔斯泰,泰戈尔,还有金。
唱词用的是梵语,择于《薄伽梵歌》中的一些片断。
http://www.yidian.org/viewthread.php?tid=6397&fpage=1&highlight=%B1%A1%D9%A4%E8%F3%B8%E8 http://www.yidian.org/viewthread.php?tid=6607&fpage=1&highlight=%B1%A1%D9%A4%E8%F3%B8%E8
Satyagraha梵语“有力的真理”,指甘地在南非发起的非暴力不合作。
就该说这是现代歌剧中既前卫,又经典的作品。
Philip Glass:
http://www.philipglass.com/music/compositions/satyagraha.php
Stagebill提到Dafur, Kenya, and Tibet.
- posted on 04/20/2008
Synopsis
ACT I (TOLSTOY). Scene 1. The Kuru Field of Justice A great battle is impending between two royal families, the Kuruvas and the Pandavas. At a signal from the king, the trumpeter blows his conch, signaling to the waiting armies assembled on the sacred plain. Warriors and chieftains blow their battle shells announcing their readiness to fight. Seeing the battle set, Prince Arjuna realizes that his relatives and friends fight on both sides. Filled with compassion, he speaks to Lord Krishna and asks him for guidance. Krishna instructs him to be wise in matters of death and duty: “Hold pleasure and pain, profit and loss, victory and defeat to be the same: then brace yourself for the fight. So will you bring no evil on yourself.” Gandhi enters and draws a parallel between the mythic confrontation and the present one.
Scene 2. Tolstoy Farm (1910) Gandhi has initiated the first collective action among South Africa’s Indian residents. There are only a handful of Satyagrahis pledged to resist the Europeans’ racial discrimination. No one knows how long the struggle will last, but the Satyagrahis progress toward securing an immediate goal with the establishment of Tolstoy Farm. Here, all families live in one place, becoming members of a cooperative commonwealth, where residents are trained to live a new, simple life in harmony with each other. Everything from building to cooking to scavenging is to be done with their own hands. The building of the farm draws everyone into an active involvement with the Satyagraha ideal—“a fight on the behalf of Truth consisting chiefly in self-purification and self-reliance.” Weighing the ideas of contemplation and action, Gandhi states his view that work is preferable to idleness, provided one’s motives are freed from the taint of desire: “Between theory and practice, some talk as they were two—making a separation and a difference between them. Yet wise men know that both can be gained in applying oneself whole-heartedly to one.”
Scene 3. The Vow (1906) The British government proposes a legal amendment for complete re-registration and fingerprinting of all Indians—men, women and children. They would be required to carry resident permits at all times, police could enter homes to inspect for certificates, and offenses would be punishable by fines, jail, or deportation. The proposed Black Act becomes the occasion for a large rallying of the community around a specific issue. At a public meeting attended by more than 3,000, a resolution is drawn up stating that all will resist the Act unto death. Suddenly, the Satyagrahis have come to a turning point. The life and death terms of the resolution call for a step beyond ordinary majority vote, and all in attendance listen to the speakers explain the solemn responsibility of taking the individual pledges. Only a vow taken in the name of God will support an individual’s observance of the resolution in the face of every conceivable hardship, even if he were the only one left. “For nothing on earth resembles wisdom’s power to purify and this a man may find in time within himself, when he is perfected in spiritual exercise… If a work is done because it should be done and is enjoined by Scripture and without thought for great benefits, then that is surrender in Goodness.”
Act II “Tagor e” Scene 1. Confrontation and Rescue (1896) Gandhi has spent six months in India to inform people in his homeland of the settlers’ conditions in South Africa. Thousands of Europeans have read of his speeches and meetings in somewhat exaggerated accounts in South African newspapers, and there is a wave of opposition when Gandhi returns to Durban. Already angered by the way he has exposed events to the world, the Europeans are further enraged by Gandhi’s intention to bring back hundreds of Indian immigrants. If the government will not prevent them from landing, then the Europeans will take the law into their own hands. Growing larger in numbers and more violent in actions, the excited crowd pursues Gandhi on the long walk through town. A European supporter, the wife of the superintendent of police, opens her umbrella for Gandhi’s protection and walks by his side, leading him to safety. She declares Gandhi’s opponents fools, corrupted by pride and hypocrisy.
Scene 2. Indian Opinion (1906) The weekly publication of Indian Opinion is central to the Satyagraha movement’s activities, and the paper progressively reflects the growth of its principles. Refusing all advertisement, the publication is freed of any outside influence and becomes the mutual responsibility of those working on the paper and the readers whose subscriptions supply the only source of financial support. Indian Opinion openly diagnoses the movement’s weaknesses as a means for eradicating them. Though this keeps Gandhi’s adversaries well informed, it more importantly pursues the goal of real strength. Setting a standard with a strong internal policy, Indian Opinion informs the local and world community and becomes a powerful weapon for the struggle. At its height, there is an estimated readership of 20,000 in South Africa alone. Gandhi’s wife and his associates restate the importance of working for a cause rather than for one’s own gratification. By setting a good example, one inspires and leads others.
Scene 3. Protest (1908) Movement leaders have been sentenced to jail for refusing to leave South Africa. The community resolves to protest by filling up the jail. Getting themselves arrested for various offences, the number of Satyagrahi prisoners rises to 150 within a few days. The government proposes a settlement: if the majority of Indians undergoes voluntary registration, they will repeal the Black Act. After fulfilling their part of the bargain, the community is stunned to learn that the Black Act is to be put into effect anyway. Ready to resume the struggle, Satyagrahis issue their own ultimatum: if the government will not withdraw the act, Indians will burn their certificates and accept the consequences. On the day of the ultimatum’s expiration, Gandhi learns of the government’s refusal while conducting a prayer meeting before the burning of the registration cards. The certificates are set ablaze. Satyagraha now has its baptism of fire. Gandhi preaches about the importance of bearing no hate toward anyone: “The Lord said: Let a man feel hatred for no being, let him be friendly, compassionate; done with thoughts of ‘I’ and ‘mine’, the same in pleasure as in pain, long suffering.”
Act III “King” New Castle March (1913) With two racially discriminatory laws, the government is effectively controlling the influx of new Indian settlers and keeping the old class of indentured laborers under its thumb. Both the Three Pound Tax and the Asiatic Immigration Law are in effect as the great Indian leader, Shree Gokhale, makes a tour of South Africa and secures from the government a public promise for their repeal. The government’s breach of that promise gives Satyagraha an opportunity to include new objectives in its fight for truth and, in turn, to increase its strength in numbers. The miners in New Castle are selected to be the first drawn into the expanding struggle, and a deputation travels there, organizing a strike in sympathy with the movement. It is also decided that striking miners and their families should leave the homes provided by mine owners and join the Satyagraha army. Led by Gandhi, they march the thirty-six miles to the Transvaal border. If arrested at this check point, the army of 5,000 would flood the jails, incurring heavy expenses and difficulties for the government. If allowed to proceed to Tolstoy Farm, they would prolong the strike, conceivably drawing all of the 60,000 laborers affected by the tax law into the struggle. In either event, they would be bringing strong pressure for repeal, all within the dictates of Satyagraha. The army is instructed to stand any test without opposition, and their movements are openly announced to their adversaries—“as an effective protest against the Minister’s breach of pledge and as a pure demonstration of our distress at the loss of self-respect.”
Talking to his followers about the soul’s return to Brahma, Gandhi proclaims: “The Lord said, I have passed through many a birth and many have you, I know them all but you do not. Yet by my creative energy, I consort with Nature and come to be in time. For whenever the law of righteousness withers away and lawlessness arises, then do I generate myself on earth. I come into being age after age and take a visible shape and move a man with men for the protection of good, thrusting the evil back and setting virtue on her seat again.”
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Philip Glass对薄伽梵歌很深入,对瑜伽的修炼果然不一般。
这部歌剧也是学习梵语最好的契机。
Here is the Variety review:
http://www.variety.com/review/VE1117936808.html?categoryid=33&cs=1
- posted on 04/26/2008
英国人殖民印度几百年,倒是法国人早写了几部印度的歌剧。
看过甘地,顺便又把几部法国印度风歌剧借了来看。林肯图书馆一扫
即全,Lakmé是在回架上的,(回架上大部分是歌剧,纽约人真懂得
耐看的东西)。前天看了L'Africaine,是写探险家达伽马的戏,旧金
山歌剧院的演出,很带劲。
Shirley Verrett
Placido Domingo
Ruth Ann Swenson
Justino Diaz
Michael Devlin
Philip Skinner
Chorus, Ballet and Orchestra of The San Francisco Opera
Conducted by Maurizio Arena
191 minutes
&&
Giacomo Meyerbeer曾是巴黎落难中的Wagner的老师,还与他私
下说德语。可惜Wagner忘恩负义,晚年反犹狂热起劲。
借维基百科来笔记一下吧:
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L'Africaine
L'africaine (The African Woman) is a grand opera, the last work of the composer Giacomo Meyerbeer. The French libretto was written by Eugène Scribe. Meyerbeer's working title for the opera was 'Vasco da Gama', the hero. The events in the opera are, however, entirely fictitious. Gabriela Cruz has published a detailed analysis of the historical context of the events of the opera and the opera setting itself.
Performance history
The opera was premiered at the Paris Opéra on April 25, 1865 in a performing edition undertaken by François-Joseph Fétis, as the composer had not prepared a final version at his death the previous year. It is Fétis who gave the work its present title.
The work was first performed at Covent Garden Theatre, London, on 22 July 1865, and in New York on 1 December 1865.
The opera was enormously successful in the 19th century but is today rarely revived. Most modern performances and recordings are severely cut to give prominence to the parts of da Gama and Sélika, and therefore cannot give a full idea of the composer's conception - which in any case has been to some extent obscured by the version of Fétis.
Synopsis
The opera depicts fictional events in the life of the explorer Vasco da Gama.
Place: Lisbon (at sea and in an exotic new land)
Time: late 15th century
Act 1
The beautiful Inèz (soprano) is forced by her father, the Grand Admiral, to marry Don Pédro instead of her true love, Vasco da Gama (tenor). Da Gama, who is thought to be dead, appears at the Grand Council saying he has discovered a new land. His request for an expedition is refused, causing da Gama to attack the Grand Inquisitor. Da Gama is then imprisoned.
Act 2
In prison, Sélika (soprano), an African queen, saves da Gama, whom she loves, from being murdered by Nélusko (baritone), a member of her entourage. Inès agrees to marry Don Pédro if da Gama is freed. Don Pédro mounts an expedition to the new lands, assisted by Nélusco.
Act 3
Nélusko is navigating Don Pédro's ship, but is secretly planning to destroy the Europeans. Da Gama has followed Don Pédro in another ship, and begs him to return to Lisbon. Don Pédro refuses, and a storm breaks out. The local people kill all on the ships save da Gama.
Act 4
Sélika returns to her homeland, and swears revenge on her enemies. Da Gama is captured by priests, who intend to sacrifice him. Sélika saves him by saying that he is her husband. Da Gama resigns himself to this new life.
Act 5
Inèz has made her way to this new land. She meets da Gama, but their reunion is interrupted by Sélika, who feels betrayed. When she realises the strength of the lovers' affection, she allows them to return to Europe. She then commits suicide by inhaling the perfume of the poisonous blossoms of the Manchineel tree. Nélusko follows her into death.
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Manchineel tree, 应该是南美的,弄错了?
Q:Why is the manchineel tree considered so dangerous?
A:The chief reason as to why the manchineel tree is such a perilous menace is the fact that its sap and fruit contain poison. The tree is a member of Euphorbiaceae family and is usually found in tropical America. Its fruits are thoroghly bitter particularly because of the poison and is apple-like in shape. These fruits drop simultaneously and normally they are found in concentration at the foot of the tree, veneering the ground beneath it. The sap is white in color and eminently poisonous and acidic. Such great is its menace that a single drop of it, if dropped on a skin catalyzes a burning sensation and even raises a blister.
Despite of being extremely poisonous, the tree has a number of uses too. For one, its wood is used in making furniture. It was a established legend that sitting or lying under this very tree meant certain and absolute death. But in 18th century, the naturalist Nicholas won Jacquin rested under the manchineel tree for hours without even a modicum of inconvenience or speculation of peril.
Lakme的是Datura(曼陀罗)倒是真印度,但不那么毒。
- posted on 04/26/2008
今天才看了比才的《采珍人》,Les pêcheurs de perles, 比以前感觉都好。
舞台简洁,唱得很有力,威尼斯凤凰歌剧院的。(歌剧院中的长老:)
Annick Massis - Yasu Nakajima
Luca Grassi - Luigi De Donato
Teatro La Fenice di Venezia
Marcello Viotti, conductor
此剧中二重唱很多,许多有比才后来卡门中的原型,(当然卡门中更
多的“汲取”)。比才此剧的剧情没有震憾力,也许印度比西班牙离
欧洲远,便不感太真切,有点传奇,游戏?
也维基一下吧,法语版尚有些篇幅:
Les Pêcheurs de perles
Les Pêcheurs de perles est un opéra en trois actes de Georges Bizet sur le livret d'Eugène Cormon et Michael Carré. L'œuvre a été présentée pour la première fois le 30 septembre 1863 au Théâtre-Lyrique de Paris et reprise à l’Opéra-Comique le 21 avril 1893. L'histoire se passe à Ceylan.
Les pêcheurs de perles viennent d'arriver sur l'île de Ceylan. Ils ont besoin de la bénédiction d'une prêtresse (Leïla) pour de bonnes récoltes. Mais dans le passé, Zurga et Nadir furent tous deux amoureux de Leîla, et Nadir et Zurga sont des amis d'enfance. Malgré sa promesse de chasteté, que va devenir le trio amoureux avec la belle Leïla ?
Personnages
Zurga, un pêcheur, le chef de village et ami de Nadir Baryton
Nadir, un pêcheur et ami de Zurga, Ténor
Leïla, la prêtresse, Soprano
Nourabad, haut prêtre, Basse
Les créateurs
Rôles Au Théâtre-Lyrique À l'Opéra Comique
Léïla, prêtresse Léontine de Maësen Calvé
Nadir, pêcheur François Morini Delmas
Zurga, roi Jean-Vital Ismaël Soulacroix
Nourabard, grand-prêtre M. Guyot Challet
L'histoire
Acte 1
Sur une plage de Ceylan, les pêcheurs de perles achèvent de monter leurs tentes. La fête rituelle qui précède la période de pêche bat son plein. Les pêcheurs accomplissent chants et danses afin de chasser les mauvais esprits, puis élisent Zurga comme leur chef. Nadir, ami de jeunesse de Zurga, rejoint alors le groupe. Tous deux évoquent le souvenir de Leïla, prêtresse de Candi, dont ils étaient amoureux. Afin de préserver leur amitié, ils avaient prononcé le voeu de renoncer à cet amour ; voeu qu'ils décident de réitérer. Une pirogue approche alors du rivage avec, à bord, le prêtre Nourabad et Leïla, la jeune vierge dont le chant doit protéger le village et les pêcheurs de la colère des flots. En remerciement, elle recevra la plus belle perle. Devant Zurga, elle réitère ses voeux de chasteté et promet de ne jamais quitter le voile qui la cache, la violation de ce serment en serait cruellement punie. La cérémonie se termine. Leïla gravit le sentier jusqu'au temple, suivie de Nourabad. Du haut du rocher, elle chante ses paroles sacrées. Nadir reconnaît sa voix et décide de la rejoindre.
Acte 2
Dans les ruines, d'un temple indien, Leïla se repose. Le grand prêtre Nourabad lui rappelle ses engagements. Pour prouver sa loyauté, la jeune femme lui raconte comment elle a autrefois risqué sa vie pour sauver un étranger. En échange, il lui avait offert un collier qu'elle a gardé. Restée seule, la prêtresse chante son amour pour Nadir et le bonheur de le revoir ; la voix de celui-ci vient alors se mêler à la sienne. Mais Nourabad les découvre et les dénonce à Zurga et aux pêcheurs. Pas de pitié pour les amants sacrilèges : Zurga, pris de jalousie, les condamne à mort. Une tempête se lève, les pêcheurs, terrorisés, sont persuadés qu'il s'agit de la vengeance de la mer offensée.
Acte 3
Premier tableau: Seul, dans sa tente, Zurga médite sur ce qu'il vient de faire. Il est rongé par la culpabilité. Leïla vient alors se jeter à ses pieds, en le suppliant d'épargner Nadir, offrant sa vie en échange. Mais l'amour qu'elle éprouve pour Nadir ne fait qu'augmenter la jalousie et la colère de Zurga. Voyant son heure venir, Leïla confie son collier à un jeune pêcheur et lui demande qu'il le porte à sa mère. Zurga identifie immédiatement le gage confié autrefois à celle qui lui avait sauvé la vie. Reconnaissant, il décide alors de sauver les deux amants en leur permettant la fuite. Second tableau: L'exécution se prépare au pied de la statue de Brahma. Soudain une lueur rouge envahit l'horizon. Pour égarer les pêcheurs qui attendent l'exécution des deux traîtres, Zurga met le feu au village. Il apporte lui-même la terrible nouvelle : le village brûle. Les indiens partent en désordre, Zurga brise les chaînes des condamnés. Sa tâche achevée, il reste debout au milieu de l'incendie, contemplant ses malheurs : la perte de son camp et de son amour.
- posted on 04/27/2008
再《拉克美》,应该是法国印度风中的经典,已胜过传奇。
我一直只能找到悉尼歌剧院的Sutherland的版本,没有字幕,布景设
记与唱功均为经典、完美。
Joan Sutherland
Isobel Buchanan
Huguette Tourangeau
Jennifer Bermingham
rosina Raisbeck
Henri wilden
Graeme Ewer
John Pringle
Clifford Grant
Conductor: Richard Bonynge
The australian Opera Chorus
The Elizabethan Sydney Orchestra
KULTUR
&
前面已传了一下《印度铃歌》,还有一个女声双重唱也精美:
http://en.wikipedia.org/wiki/The_Flower_Duet
"The Flower Duet" (Sous le dôme épais) is a famous duet ("Viens, Mallika, les liens en fleurs") from Léo Delibes’ opera Lakmé.
Sous le dôme épais
Où le blanc jasmin
À la rose s’assemble
Sur la rive en fleurs,
Riant au matin
Viens, descendons ensemble.
(Under the thick dome where the white jasmine
With the roses entwined together
On the river bank covered with flowers laughing in the morning)
Doucement glissons de son flot charmant
Suivons le courant fuyant
Dans l’onde frémissante
D’une main nonchalante
Viens, gagnons le bord,
Où la source dort et
L’oiseau, l’oiseau chante.
(Gently floating on its charming risings
On the river’s current
On the shining waves
One hand reaches
Reaches for the bank
Where the spring sleeps and
The bird, the bird sings.)
Sous le dôme épais
Où le blanc jasmin,
Ah! descendons
Ensemble!
Sous le dôme épais
Où le blanc jasmin
À la rose s’assemble
Sur la rive en fleurs
Riant au matin
Viens, descendons ensemble.
(Under the thick dome where the white jasmine
Ah! We descend
Together! Under the thick dome where white jasmine
With the roses entwined together
On the river bank covered with flowers laughing in the morning)
Doucement glissons de son flot charmant,
Suivons le courant fuyant
Dans l’onde frémissante
D’une main nonchalante
Viens, gagnons le bord
Où la source dort et
L’oiseau, l’oiseau chante.
(Let us descend together
Gently floating on its charming risings,
On the river’s current
On the shining waves,
One hand reaches,
Reaches for the bank,
Where the spring sleeps,
And the bird, the bird sings.)
Sous le dôme épais
Où le blanc jasmin,
Ah! descendons
Ensemble!
(Under the thick dome where the white jasmine
Ah! We descend
Together!)
这歌剧太有名,中文剧情介绍在这里:
=============================
《拉克美》
三幕歌剧,贡迪内与吉尔里合作编剧,法国作曲家德利伯谱曲,于1881年完稿,被认为是杰出歌剧之一。此剧与《阿伊达》及《蝴蝶夫人》等有很多相似之处,都有着奇异的东方色彩。1883年4月14 曰,在巴黎喜剧院首次公演。1886年3月1曰,在托马斯指挥下,第一次在纽约大都会歌剧院演出。举世著名的花腔女高音歌剧演唱家李莉?庞斯担任女主角拉克美,轰动全球,是最成功的演出。
剧情取自法国剧作家贡迪内的戏剧《洛蒂的婚礼》:英国军官杰拉尔德与印度婆罗门祭司尼拉坎塔之女拉克美相爱。尼拉坎塔憎恨英国人,趁两人见面之际,拔剑刺伤杰拉尔德。幸得拉克美挽救,杰拉尔德才得以脱险,两人得以相聚。此时英印战争迫在眉睫,杰拉尔德奉命随军出发,拉克美服毒自尽,酿成悲剧。
演奏时间 第一幕:50分 第二幕:53分 第三幕:34分
剧中人物:
尼拉坎塔 印度婆罗门祭司 男中音
拉克美 其女 女高音
马莉卡 拉克美之奴婢 女低音
杰拉尔德 英国军官甲 男高音
弗雷德里克 英国军官乙 男中音
埃伦 英总督之女儿 女高音
罗斯 艾伦之堂妹 女低音
本特森夫人 女教师 女中音
哈奇 印度一侍者 男高音
英国军官、士兵、妇女、印度士兵及百姓、中国商人等。
时间:故事发生于1880年,地点:英国统治下的印度
剧情介绍:
第一幕:婆罗门教寺院花园 前奏曲后幕启
老迈的印度教僧侣尼拉坎塔,非常厌恶外国人,特别是英国人。他对教徒说,英国侵略者不久将被赶出印度。向布拉曼神祈求早一点得到解放。寺内传出拉克美祷告歌声,尼拉坎塔称拉克美是唯一神圣少女,可以向神祈求把敌人赶走。他把女儿交待给两个仆人,自己去参加城里庆典。这时,英国陆军军官杰拉尔德、弗雷德里克、英国家庭教师本特森夫人和她的两个学生埃伦和罗斯闯进神域。杰拉尔德的未婚妻埃伦看到拉克美佩带的宝石有美丽宝石,非常羡慕,杰拉尔德画下宝石造型,表示要仿造出来送给她。留下杰拉尔德想象拉克美的形态。情不自禁地唱出:《痴凯的幻想》这是一首众所周知的男高音咏叹调。拉克美看见杰拉尔德,质问他怎么闯进来。杰拉尔德说:“是青春之神把我送到这里,是你的美丽把我引来,”俩人初见即坠入情网,拉克美求杰拉尔德速离此圣地花园,并警告杰拉尔德其父对白人的敌意,尼拉坎塔回来,得知这圣地曾被外国人玷污,声称一旦查出,格杀不论。
第二幕:印度街景 间奏曲为“短笛”的小进行曲。嘈杂的市场,钟声响后,巫女们开始舞蹈。尼拉坎塔带着拉克美在街上搜寻亵渎圣地的人。尼拉坎塔命拉克美唱着著名的咏叹调《铃歌》,他确信犯罪者听到她的歌声必定出现。这是被认为花腔女高音咏叹调中最难唱的歌曲。其内容是以高僧的女儿的故事开端:“一位年轻女郎跑步上前,手中紧握着指环,敲着铃子叮哨作响”,歌唱的旋律也模仿着铃声相似的音符,故亦有译为《摇铃曲》者拉克美唱毕,杰拉尔德果然奔来会她,尼拉坎塔猜测他就是那个人时,就去追赶。拉克美唱着《在森林中》,她告诉杰拉尔德,让他到神的所在地森林之中隐匿,“我每夜都会悄悄前往”。僧侣们追赶杰拉尔德不见,又返回,杰拉尔德在混乱中被刺伤。尼拉坎塔刺伤杰拉尔德之后逃走,他以为杰拉尔德必死无疑。拉克美深为惶恐,急忙跑向受伤的杰拉尔德面前查看,见伤势不重才稍微松了他一口气。
第三幕,森林中的秘密小屋,拉克美唱催眠曲,杰拉尔德从昏睡中醒来。拉克美告诉他,是她用花汁秘方把他救活,恢复了健康。俩人互诉爱情永不分离。远方传来相爱的男女的合唱,拉克美建议与杰拉尔德共饮圣水,因为喝此圣水的人将永远保存真实的爱,长生不老。在她去提圣水时,好友弗雷德里克突然出现,责备杰拉尔德不该忘了军人的使命,并怂恿他重归军营,远处也传来雄壮的军号声,杰拉尔德心动。弗雷德里克又提醒他,你忘了埃伦在等你吗?杰拉尔德神情恍惚,拉克美取得圣水回来时,知道得不到杰拉尔德的心,心碎之余,就服毒草自杀。杰拉尔德见状惊叫,但拉克美微笑着唱:《迎接死亡吧》尼拉坎塔赶来,见女儿摇摇欲坠地抱住杰拉尔德,愤怒地要杀杰拉尔德。但是垂死的拉克美警告说:“她的爱人已经服用了长生不老的圣水。”又说她已准备为他赎罪而死,然后唱出与世告别的歌,不久她便在被她挽救生命的爱人怀中香消玉殒。最后尼拉坎塔宣布女儿已获永恒的生命。
- posted on 12/11/2008
Le Roi de Lahore
http://opera.stanford.edu/Massenet/RoiDeLahore/synopsis.html
拉霍的國王
http://blog.udn.com/barnabas/1174973
Synopsis
ACT I
The people of Lahore, led by the high priest Timour, pray to Indra for deliverance from the advancing Muslim armies of Mahmoud. Scindia, the King's minister, arrives to ask that one of the women of the temple, Sita, be released from her vows; Timour replies that only the king can make such a request. Scindia tells him that he has heard that a man has been visiting her within the temple itself; they go off to visit her together. in the temple, Scindia tells Sita he is taking her to be married, and Sita is overjoyed; but when Scindia reveals that he is the intended husband, she sends him away. Her agitation revealing her guilt, she confesses that she has been visited by a man who talked of love but has never touched so much as her hand. Scindia begs for her love, but she refuses him, and he swears revenge. He calls in all the people, and orders her put to death; Alim, the King, who has just arrived through the secret door, reveals that he is her lover and gives her his protection. Timour tells him that to expiate his sin, he must ride against Mahmoun's army.
ACT II
In the camp of Alim's army, Sita watches some soldiers play chess, waiting for the King to return from battle. After she retires, the defeated remnants of the army return, telling the camp that the king is dying; Scindia takes the opportunity to seize power for himself. Alim arrives, weak and pale, and tries to rally his soldiers, but they reject him, and he dies in Sita's arms.
ACT III
In Paradise, Alim appears before Indra. He begs to return to Sita, and Indra agrees: he will be reincarnated, not as a king, but as a commoner, and his life will be linked to Sita's, so that if she dies, he will also.
ACT IV
In the palace, Sita mourns the death of the king and swears that she will not marry Scindia; on the palace steps, Alim is overjoyed that he has returned to life. He stops Scindia, about to enter the palace to see Sita; the people are confused to see a man with the features and voice of the dead king. Alim demands the love of Sita; Scindia orders him killed, but Timour, recognizing the will of Indra, intervenes and takes him into the temple as Sita's palanquin passes by on its way to the palace.
ACT V
In Indra's sanctuary, Sita, who has fled from the palace, draws a dagger to kill herself, but she pauses to listen to the evening prayer. Alim arrives through the secret door and the lovers try to flee together; but Scindia arrives with his soldiers. Sita, trapped by Scindia's men, stabs herself; Alim, feeling the same blow, dies with her. A vision of paradise appears, and as Sita and Alim die, Scindia regrets his evil deeds.
- Re: 拉克美posted on 12/12/2008
感谢XW上贴。"花之歌"二重唱美是美,但萨瑟兰德只能听,不能看了。
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