New Year Suite 提佩特 新年组曲 总谱 朔特版
新年》是迈克尔-提佩特最狂野、最开放的歌剧作品，对于一位年过八旬的作曲家来说，这是一个异常年轻的构思，这部作品将他的抒情狂喜和节奏活力融入了一个濒临解体的新世界。与前四部作品都是为皇家歌剧院创作不同，这部作品是为休斯顿大歌剧院创作的，这促使蒂佩特从歌剧转向音乐剧，甚至是摇滚音乐剧，为流行歌曲、口语对话、笑话，尤其是舞蹈提供了空间--肢体的共同运动，就像《仲夏夜之恋》一样，但现在是在一个更宽松的框架内，用音乐来表达语言所不能表达的东西。乔安和唐尼--年轻的女人和年轻人，白人和黑人，都是孤儿--无法加入舞蹈，因为他们在个人的恐惧和幻想中孤立无援。舞蹈本身也因这座 "今日某地 "城市的社会不安而岌岌可危。"明日某地 "的来访者：一艘宇宙飞船的船长（瑞根）、飞行员（佩格林）和计算机魔法师（默林）--尽管这些科幻角色后来都成了仪式的参与者（他们也有自己的人类问题）。唐尼经历了一次神奇的转变；乔安通过爱获得了离开她一直躲藏的房间的勇气（保罗-格里菲斯）"
作曲家: Tippett, Sir Michael
乐器: orchestra
出版社: Schott Music
曲目:
The Space Ship Lands (tape) - Prelude - The Shaman Dance - The Hunt dor the Scapegoat - Donny's Skarade - Donny's Dream - Dream Interlude (includes taped voices) - Jo Ann's Dreamsong - Love Scene for Jo Ann and Pelegrin - Paradise Dance - The Beating-Out of the Scapegoat (the Bad Old Year) - Ringing in the New Year - The Space Ship takes off again (tape)
The wildest and most open of his operas, New Year is an extraordinarily youthful conception for a composer in his mid-eighties, a work that spins his lyrical ecstasy and rhythmic vitality into a new world on the point of disintegration. Unlike its four predecessors, all of which had been written for the Royal Opera House, this one was composed for Houston Grand Opera, a relocation that encouraged Tippett to veer from opera to musical, evenrock musical, giving space to pop song, spoken dialogue, joke and, above all, dance—the communal movement of bodies that would, as in The MidsummerMarriage but now within a much looser framework, with music say what words could not. Jo Ann and Donny—young woman and youngman, white and black, both orphans—cannot join the dance, isolated as they are inside their personal fears and fantasies. And the dance itself is imperilled by social unease in this city that is ‘Somewhere and Today’.To it come visitors from ‘Nowhere and Tomorrow’: the captain (Regan), pilot (Pelegrin) and computer wizard (Merlin) of a space vessel—though thesescience-fiction characters turn out to be ritual agents (and to have human problems of their own). Donny undergoes a magical transformation; Jo Ann, through love, gains the courage to leave the room in which she has been hiding.(Paul Griffiths)