King Priam Opera in three acts 提佩特 歌剧 总谱 朔特版

蒂佩特的第二部歌剧在各方面都不同于他的第一部歌剧，但在刻画各种人物的情感和困境时，却显得直接而饱满。我们理解安德洛玛克的热情和焦虑、赫库芭的威严和海伦的情欲--这些特洛伊女人在第三幕一开始就聚集在一起，在第一幕结束时，她们又是帕里斯必须从中选择的女神。我们也能理解在特洛伊平原上占据中心舞台的男性角色内心的盲目和坚定。其中最主要的是阿基里斯，他的歌声充满了英雄的激昂，但也不乏柔情；还有多灾多难的普里阿姆，这实质上是他的悲剧，一个被放大了许多倍的悲剧，因为它带来了许多其他人的悲剧。普里阿姆决定牺牲他的小儿子帕里斯，从而违背了他的本能，他做出这个决定是为了阻止帕里斯将导致他死亡的预言。此后发生的一切都发生在这个必要与欲望的战场上，在这个战场上没有征服者，只有牺牲者

作曲家: Tippett, Sir Michael
乐器:
出版社: Schott Music
原文简介:
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)