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发信人: derud(天堂中的奥菲欧) 整理人: fredrink(2001-11-17 16:46:41), 站内信件 |
| 如果撇开美帝国主义的思想，这是一篇非常不错的文章，
我已经全文看过了。文章讲述一位华盛顿的音乐爱好者11月15号到纽约卡内基音乐厅观看纽约市歌唱艺术节的经历。音乐会前，他走访了911事件的一些事发现场，其中有0号区，华尔街，百老汇大街上的圣保罗大教堂，下曼哈顿等。随后他走到了卡内基音乐厅，在这里他描述了生与死的强烈对比：Going from the scene of the worst terrorist attack in American history to an evening of entertainment featuring some wonderfull rarely heard music from the Iberian Peninsula。评论完演出现场以后，作者是这样结束的：（deRud译）一天过后，返回华盛顿途中，两个月来不散的情感又在脑中浮现：痛苦，愤怒，决心，还有对艺术更为深刻全面的理解。如果说这个悲剧使我们睁开了双眼，我们看到也往往只是平时处在鼻子底下的事物。在零区我看到的是死亡。在卡内基音乐厅我看到了新生。零区的死寂的背后你感到的是英雄主义，无私奉献和众志成城的斗争精神。然而为何斗争？就在昨晚我总算是明白了。或许世界上没有一个城市能像纽约那样揭示斗争意义的答案。 A Day In New York/New York Festival of Song I was in NYC yesterday for this event at the Weill Recital Hall at Carnegie Hall. This was also my first time in NYC since 9-11-01. It was to say the least, a poignant and emotional day. I got into town early enough that I was able to go to Ground Zero. No TV camera in the world will ever do justice to the devestation. TV images are no more than a two- dimensional representation and they cannot always capture a mood. Even if the image is accompanied by a correspondent who is effective at painting a word picture, it still does not grasp the totality of the event. I spent a good part of the morning and early afternoon manoeuvering around the perimeter of the exclusion zone, trying to get the best view that I could. Every different angle seemed to tell a different story; each image a different perspective. Every bit as moving as the scene of destruction itself is all of the makeshift memorials near the site. Especially all of the flowers and messages at the (St. Paul's?) Catholic Church on Broadway. That church is so close to Ground Zero that the fact that it survived relatively unscathed qualifies as a minor miracle. All of the heart-felt messages of condolences and support from around the world brought a tear to my eye. I thought that I was over with getting choked up about this tragedy. However, seeing with ones own eyes takes it to another level. I had already seen the Pentagon damage three days after the fact and that was bad enough as it is, knowing that nearly two hundred people were killed there. But that was not even close to the scale of what I saw yesterday. The Pentagon looked like someone had taken a huge knife and carefully sliced out a piece of the pie. The WTC looked like the whole pie got obliterated. And at the Pentagon, they have found all the living and the dead; at the WTC who knows how many are still left to be unburried. But the strangest thing is the contrast that you see in lower Manhattan from Ground Zero to the rest of the neighborhood. I walked down to Battery Park and sat down to enjoy what could not have been a more beautiful, serene day. Such a startling juxtaposition to the stark monsterous tragedy only a couple of blocks north. Just to the east of Ground Zero is Wall Street, a beehive of human activity, the very picture of American earnestness and ambition. Meanwhile, back at Ground Zero there is a stony silence, interrupted only by the street noise and the murmur from onlookers like the whispered comments you hear from people who have just witnessed an auto accident. Everything in Manhattan is crammed so close together, another thing that the TV cameras never pick up. From listening to the media, one would think that Manhatten is 100 miles long. But in fact, tragedy and hope are so very close together, located literally right around the corner from each other. I can't quite find the words for all this. I am reduced to just doing a roll call of my emotions as I looked on: sadness and hurt were the most pervasive feelings. And more slowly....anger. A dull probing anger just below the surface of everything else I was feeling. The anger that makes it easy for me to visualize one of the Air Forces' Daisy Cutters being dropped right on top of Osama's head. I have never been one to give in to those kind of emotions but I just felt such a mixture of hurt and anger standing at Ground Zero. It was as if we were right back at 9-11 when it first happened. After all that I headed uptown to Carnegie Hall. Now here is a contrast. Going from the scene of the worst terrorist attack in American history to an evening of entertainment featuring some wonderfull rarely heard music from the Iberian Peninsula. Much of this program consisted of the lively, sensous music that we associate with Spanish classical pieces. Somehow, I was able to put my thoughts of the day at ease and enjoy the program. And what a delightful program it was! The featured artists were soprano Jennifer Aylmer, my favorite mezzo Vivica Genaux, guitarist Giuliano Belotti, and Steven Blier on piano. The program was broken into six sections starting with a group of early songs, zarzuelas, and tonadillas (composers included Murguia, Yradier, Gomis, Vives) followed by art songs of 20th century Spain including selections from Guridi, Montisalvatge, and Granados among others. After the intermission there was a section of Basque and Catalan art songs (Mompou, Lavilla, etc) followed by a selection of fairly short Sephardic songs arranged by Manuel Garcia Morante. After a guitar solo from Belotti, the finale included a series of robust folk songs, mostly traditionals arranged by Graciano Tarrago and others. Throughout the performance Steve Blier did a nice job of introducing the different sections of music, giving a short and sweet explanation of the significance of each genre, which he delivered with appropriate humour. The voices of Aylmer and Genaux were the feature of the show and both shown brightly throughout the evening. I don't know if these two performers have ever worked together before, but they clearly established a fine level of cooperation. It was interesting to see that given the contrasting styles of the two artists. Genaux, the somewhat more experienced performer of the two, was clearly the more comfortable in front of the audience and somewhat more animated, which is not surprising in lieu of some of the very physical roles that she has performed. Aylmer is somewhat closer to the stand and deliver mode, although she does connect with the audience very well with her facial expressions, which are perhaps not as animated as a Bartoli, but active enough. With her youth and crystal clear soprano, you could easily see Aylmer as a Gilda. The program notes indicated that she will be debuting in that role at the Austin Lyric Opera later this year. She has a strong, clear voice although this is such a small venue (the Fire Marshall placard said 202) that just about anybody could sound strong here. Vivica Genaux was her usual bouyant self, easily handling the vivacious Zarzuelas. However, I especially enjoyed her in the very dark Sephardic songs. It is very deep, sad music with a strong spiritual tinge. On an intuitive level, one had to feel that this performer understood the sublime spirituality behind the music. Genaux struck a fine balance between the darker pieces and the more upbeat, animated selections, which drew the strongest ovation from the crowd. If I had a complaint with the show, it is that I would have liked to hear more from guitarist Giuliano Belotti. I understand that this was primarily a vocal recital, but Belotti was so pleasing on his one piece by Isaac Albeniz, that I would have liked to hear more from him. At the end of the day, riding home on the redeye to DC, I was left with the same feelings I have had for the last two months: pain, anger, resolve, and a deeper appreciation for the culture in all its facets. If tragedy causes us to open our eyes, sometimes it is to those things that were always right under our noses. What I saw at Ground Zero was death. At Carnegie Hall, I saw life. Indeed, the death at Ground Zero was mixed with heroism, selflessness, the profound sense of a shared struggle. But what is the struggle for? The meaning of that was underlined for me further uptown last night. And there is perhaps no city in the world better equiped to provide those meanings than New York. Mike Fekula Washington, DC ---- 
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