King Priam Opera in three acts 提佩特 歌劇 總譜 朔特版

蒂佩特的第二部歌劇在各方面都不同於他的第一部歌劇，但在刻畫各種人物的情感和困境時，卻顯得直接而飽滿。我們理解安德洛瑪克的熱情和焦慮、赫庫芭的威嚴和海倫的情欲--這些特洛伊女人在第三幕一開始就聚集在一起，在第一幕結束時，她們又是帕里斯必須從中選擇的女神。我們也能理解在特洛伊平原上佔據中心舞臺的男性角色內心的盲目和堅定。其中最主要的是阿基裡斯，他的歌聲充滿了英雄的激昂，但也不乏柔情；還有多災多難的普裡阿姆，這實質上是他的悲劇，一個被放大了許多倍的悲劇，因為它帶來了許多其他人的悲劇。普裡阿姆決定犧牲他的小兒子帕里斯，從而違背了他的本能，他做出這個決定是為了阻止帕里斯將導致他死亡的預言。此後發生的一切都發生在這個必要與欲望的戰場上，在這個戰場上沒有征服者，只有犧牲者

作曲家: Tippett, Sir Michael
樂器:
出版社: Schott Music
原文簡介:
Music of iron and bronze, appropriate to its Trojan War setting—of fanfares and percussion tattoos, but with plangent windows of orchestral and vocal beauty—Tippett’s second opera is unlike his first in every respect except that of the immediacy and fullness with which it portrays the feelings and predicaments of a variety of characters. We understand the warmth and anxiety of Andromache, the majestic command of Hecuba and the erotic charge that runs through Helen—the Trojan women who come together at the start of the third act, and who double as the goddesses among whom Paris has to choose at the end of the first. We understand, too, the varieties of blindness and determination inside the male characters who dominate the central act, set on the Trojan plain. Chief among them are Achilles, singing with the vehemence but also the tenderness of a hero, and the troubled Priam, whose tragedy this essentially is, a tragedy multiplied many times over, because it brings about those of so many others.That central, determining tragedy results from Priam’s decision to sacrifice his young son Paris and thereby go against his instincts, a decision he takes to forestall a prophesy that Paris will bring about his death. Everything that takes place thereafter unfolds on this battleground between necessity and desire, a battleground on which there can be no conquerors, only casualties.(Paul Griffiths)