“Dazzling fluidity…the production is as stunning as the music.”—New York Times
“Unparalleled musical beauty and dramatic power.”—Le Monde on Guo Wenjing
郭文景作曲、美国林肯中心艺术节和斯伯雷托艺术节联合制作、戛纳金奖导演伊戈杨执导的歌剧《凤仪亭》，2012年7月26、27、28将亮相纽约林肯中心，开始其在美国的第二轮演出。
《凤仪亭》是郭文景将中国戏曲唱法引入歌剧的一次探索，在此剧中他仅用了川剧青衣（貂蝉）和京剧小生（吕布），没有用美声唱法的演员。此剧完成于2004年，曾在德国、意大利和荷兰演出，此次是美国首演。貂蝉由著名川剧演员、两度梅花奖获得者沈铁梅饰演；吕布由中国京剧院著名小生演员江其虎饰演。
在林肯中心的演出之前，此剧5月27日至6月7日在美国斯伯雷托艺术节（Spoleto Festival）演出六场。演出受到热烈欢迎，六场票全部售罄。欧美重要媒体，如《纽约时报》、《华尔街日报》、英国《留声机》杂志等，都对演出给予了积极正面的报道和评价。
《华尔街日报》
The Voices in His Head
Spoleto also offered a captivating fusion of East and West in its production of Guo Wenjing's "Feng Yi Ting." Mr. Guo based his 45-minute, two-character chamber opera on a famous Chinese tale, building an orchestral score using four traditional Chinese instruments and a Western orchestra around the distinctive vocal tunes of traditional Chinese opera. Director Atom Egoyan's magical multimedia staging, incorporating Western technology and Eastern shadow-puppet techniques, is the first for this 2004 work; it comes to the Lincoln Center Festival at the end of July.
斯伯雷托艺术节制作的郭文景先生的《风仪亭》把东西方文化巧妙地融合在一起，魅力非凡。这部45分钟、两个人物的歌剧讲述了一个有名的中国古代故事。作曲家用管弦乐队及四种中国民族乐器应和传统且独特的中国式歌剧唱腔。导演Atom Egoyan不可思议的多媒体舞台，把这部2004年的作品第一次用高科技与中国皮影结合，并将与今年7月底在林肯中心艺术节展示给观众。
Diao Chan, a legendary beauty, is the instrument of a political plot hatched by her father: She seduces a brutal general and a corrupt warlord (the first being the adopted son of the second) and persuades the son to kill the father. ("Feng Yi Ting" means "phoenix pavilion," where the endgame plays out.) The Sichuan opera singer Shen Tiemei was riveting and fierce as Diao, revealing the iron-willed woman beneath the seductress in the traditionally strident and nasal vocal style of Chinese opera.
传奇的美女貂禅，是她父亲政治布局中的一件法宝。她诱惑了武将吕布和他的义父大军阀董卓并说服吕布杀掉了董卓。风仪亭意为凤凰亭，是故事结尾的发生地。川剧演员沈铁梅饰演貂禅，善于运用鼻音，采用中国川剧特色的高腔把这个外表柔弱内心坚强的女子表达的精彩之至。
In the orchestra, under the expert direction of Ken Lam, the slides of the bowed erhu, the tremolos of the pipa, and the distinctively breathy and reedy sounds of the Chinese flute and mouth organ were picked up, mimicked and expanded on by the Western orchestral instruments until it was hard to tell where the breaks were. The orchestra was most vehement in the nonsinging interludes, though the accompaniments for the Beijing opera singer Jiang Qihu, as the ferocious general Lü Bu, were more percussive and aggressive than those for Ms. Shen, matching his character and penetrating vocal style. It was as if Béla Bartók had written for the Chinese opera.
二胡的滑音，琵琶的弹挑轮，笙和中国竹笛的特殊气口被林敬基指挥下的管弦乐队的各种西洋乐器或模仿，或拓展直至所有乐器融合在一起，难分彼此。管弦乐队在没有演唱的间奏曲部分最热烈，作曲家为体现京剧小生江其虎饰演的吕布的激进个性，设计的唱腔非常独特，乐队伴奏采用了大量的打击乐，与为沈女士饰演的角色貂禅大相径庭，仿佛是巴托克再生写的中国歌剧。
《查尔斯顿邮报》
Review: ‘Feng Yi Ting’ a wonder of culture, sound and story
《凤仪亭》—— 文化、声音与故事的奇观
Feng Yi Ting plays like a traditional Chinese theater piece. On one level, that is, because on another very interesting level, it offers a deeper, poignant perspective on tradition vs. transition, on cross-pollination of cultures, on the age of globalization itself.
从某种层面上，《凤仪亭》演奏起来类似中国传统戏剧作品。而从另一个更有意思的层面来看，这首曲子从一个更深刻，更尖锐的视角出发，探讨了传统与变迁，文化交融和全球化本身。
Guo Wenjing is as Chinese as it gets. Part of the select group of composers accepted to the Beijing Central Conservatory, known as the Class of 1956, he is the only one who chose to stay in his homeland, unlike some of his colleagues who have enjoyed successful careers in the West. They, too, use traditional Chinese influences in their music. But no one can quite “walk the walk” like Guo Wenjing, who has developed a language that has completely assimilated genuine (and constantly developing) Chinese elements within a contemporary language that owes much to Stravinsky and Lutoslawski. It’s precisely in this intentional duality where the success of his music lies.
郭文景，正如名字所显示的，是彻头彻尾的中国人。作为中央音乐学院作曲系77级的精英，他选择了留在故土，而不是像班上很多其他同学那样，在西方国家发展各自的辉煌事业。尽管这些留洋的同学也在作品中加入了传统中国元素，但没人能像郭文景这般“精于此道”。在斯特拉文斯基和鲁托斯拉夫基的影响下，他已然用现代音乐的语汇构建了一整套纯正的（并且不断发展的）中国元素。正是由于这种国际二重性，使得他的音乐有今天的成功。
Feng Yi Ting has a straightforward setup, very operatic actually. The plot tells of an ambitious and strong woman who takes control of her world using her charm and seduction, and whose defining line is: “I’d rather be a broken piece of jade, than an intact tile of clay.”
《凤仪亭》的乐队配置很直截了当，十分歌剧化。剧情讲的是一个强势的女人用自己的魅力和诱惑力控制自己的世界。她的座右铭是：“宁为玉碎，不为瓦全。”
The story is told from the perspective of the heroine, very traditionally, and on one level, it could have been presented as a traditional Chinese play with not much else happening. The composer, however, treats the above setup as an object put through a prism of non-traditional harmonic, rhythmic and timbral elements, creating a kaleidoscopic swirl of sounds, which the brilliant director Atom Egoyan sets on stage with remarkable refinement and sensitivity.
故事以女主角视点进行阐述，讲述方式很传统。某种程度上，这个剧本可以以传统中国剧目的方式呈现，不添加很多其他元素。作曲家则透过上述乐队配置，假以非传统和声、节奏和音色元素，营造了一种万花筒般的声音。才华横溢的导演Atom Egoyan用精致灵动的舞台布景与之珠联璧合。
The opera is minimally scored for a mixed ensemble of 15 players, among them a dizi (bamboo flute), a sheng (Chinese mouth organ), a pipa, an erhu and several exotic percussion instruments, augmented by a Western string quartet, wind trio and harp.
这部歌剧配置精炼，15人的乐队包括一支笛子，一把笙，一把琵琶，一把二胡，及民族打击乐器，配以西式弦乐四重奏，木管三重奏和竖琴。
The inventive score is lean, percussive, buoyant and quite colorful, at times using the instrumentalists as a unison choir and employing extended techniques, all in context and good taste. There are several extended percussive passages driving the action, culminating in wonderful bursts of sound, followed by resonant space, as well as freer quasi-aleatoric sections that allow the piece to ebb and flow very gracefully.
这部新颖的作品运笔简洁，打击乐丰富，轻快活泼，色彩绚丽。延伸技法被用的出神入化，不时动用演奏员进行合唱，连贯且雅致。多处运用扩展的打击乐段落来推动剧情，音乐直至高潮处，接以响亮的回声和自由的、类似偶然的组合，使这个高潮优雅的回落。
Language is important in Guo Wenjing’s music, and it’s apparent that the rhythms, pitch patterns and prosodies of his native tongue are making their way into the shaping of the musical gestures.
语言在郭文景的音乐中很重要。节奏、织体和作曲家母语的韵律明显地在其音乐的表达中占有一席之地。
Egoyan is a master storyteller, and he is the real auteur of this production, as he was able to capture the concept of the score and blow it up on the stage and screen, using technology seamlessly, with an eye and sensibility that channeled Bernardo Bertolucci and Sergio Leone. Surely he must have had in mind the shadow theater scene in “Once Upon a Time in America” when he was devising his concept for “Feng Yi Ting.”
Egoyan是讲故事的大师，是这部制作的真正的导演。他能够捕捉音乐中的概念，并运用纯熟的技术，敏锐的洞察力，将这种概念在舞台和屏幕上进行放大。有着传承自Bernardo Bertolucci和Sergio Leone的视野和敏感，导演在设想《凤仪亭》的时候脑海中一定浮现出了《美国往事》的场景。
Through the use of projection, shadow play, and spectacular video art by Tsang Kin-Wah, he and his set designer Derek McLane create a surreal surrounding veil to the story that takes it out of its geographical and temporal confines and turns it into a universal experience.
通过投影，皮影戏和Tsang Kin-Wah壮观的录像艺术，导演和他的舞台设计师Derek McLane为歌剧讲述的故事蒙上了一层梦幻般的面纱，摆脱了时空的限制，成为一种放之四海皆准的体验。
The juxtaposition of the characters dressed stunningly in vivid colors by Han Feng, against black and white grainy projections of themselves, shadow figures, and a moving assembly line of statuettes combined seamlessly into a swirling collage that consumed the audience.
剧中人物的服装颜色光鲜照人，和黑白的投影形成强烈反差。他们与投影上的人物，移动的小雕像一道，形成了一个拼贴画的漩涡，吞噬着观众。
The highest achievement of this production was getting all the proportions right. The duration, scope, size of ensemble, stage and projection proportions, even the choice of venue — the wonderful Dock Street Theatre — came together perfectly to tell a story. Isn’t that the very essence of opera?
歌剧最大的成功之处在于完美的平衡。时长、视野、乐队配置、舞台和投影，乃至演出场地的选择——美丽的Dock Street剧院——珠联璧合的完成了一个故事的讲述。这不正是歌剧的本质么？
《纽约时报》
MUSIC REVIEW：All the World On a Stage In America
CHARLESTON, S.C. — The Spoleto Festival USA justifiably prides itself on variety, but its greatest strength is in its presentations of contemporary work. The festival’s staging of Philip Glass’s opera “Kepler,” which closed on Saturday evening, was dramatically nearly static because Mr. Glass and his librettist, Martina Winkel, wrote it that way, but it explored the relationship between science and religion in compelling, sometimes provocative ways.
美国Spoleto艺术节无可争议的证明了自己的多样性，但其最有力的部分还是对现代作品的呈现上。艺术节呈现了菲利普·格拉斯的歌剧《科普勒》，周六晚结束的歌剧几乎是静止的。因为格拉斯先生和他的剧本作家Martina Winkel就是这么写的。但是该剧以一种引人入胜的、甚至刺激的方式探索了科学和宗教的关系。
The festival’s other opera offering, the Chinese composer Guo Wenjing’s “Feng Yi Ting,” is more conventional in the sense that it has a plot, and a thoroughly operatic one. Yet this work, heard on Friday evening at the Dock Street Theater, is of another world. Vocally and instrumentally, it uses both Chinese and Western approaches to timbre, melody and harmony, oscillating between the styles and combining them with dazzling fluidity. A keening erhu melody floats over Western string and woodwind chords. Vocal lines, steeped in the pinched timbres of Chinese opera, take chromatic turns foreign to that tradition.
艺术节的另一制作，中国作曲家郭文景的《凤仪亭》用一种更传统的方式，把情节和歌剧有机的结合在一起。这部周五晚上在Dock Street剧院上演的歌剧体现的是另一个世界。无论是声乐上还是器乐上，这部歌剧在音色、旋律与和声方面体现了作曲家高超的创作手法，中西合璧，流动的音乐让人目眩神迷。哀怨的二胡旋律漂浮在弦乐和木管的和弦上方。高且陡的歌声线条在中国戏剧音色中，将明艳的异域风情与传统合二为一。
The story, based on a historical incident, is about passion used for political ends. A courtesan, Diao Chan, purposefully beguiles two men, Lu Bu and the evil minister Dong Zhuo, mainly so that she can persuade Lu to kill Dong, saving the country at a time when the Han emperor was weak. At first it seems more like a monodrama than an opera: until well into the 45-minute work we hear only from the femme fatale, Diao, and Lu’s contribution is relatively brief. (We don’t hear from Dong at all.)
故事基于一个关于利用感情干预政治的历史事件。风尘女子貂蝉，蓄意的欺骗了吕布和董卓，劝诱吕布杀掉董卓，救汉王朝于旦夕之危。一开始，这更像是一部独角戏：45分钟的作品我们只能听到美女貂蝉的声音，吕布的戏份相比很少。
The production, by Atom Egoyan, with vividly colorful Chinese costumes by Han Feng and scenic design by Derek McLane, is as stunning as the music. Live video, designed by Tsang Kin-Wah, is projected on a series of scrims and shows the singers in black and white from angles the audience otherwise could not see, or at times as white-against-black shadow-play figures. The video includes titles, in English and Chinese, sometimes with letters floating away from the words they make up. (Cameron Davis is the projection designer.)
这部由Atom Egoyan导演的歌剧，由Han Feng设计了绚丽的服饰，Dered McLane场景设计。他们的工作和音乐一样绚丽。Tsang Kin-Wah设计的现场视频在一系列幕布上展现，用黑白两色为观众呈现演员不可见的一面，间或有时呈现出皮影戏角色。视频有中英文标题，有时候字母会从设计师独创的单词中飘出来。（Cameron Davis是投影设计师。）
It takes a moment to get used to Shen Tiemei’s nasal soprano, but once you do you hear the nuances of Diao’s plotting in the careful shaping of the Chinese operatic style and also, thanks to Mr. Guo’s Western melodic turns, a hint of Bessie Smith’s graceful blues modulations. Jiang Qihu sang Lu’s falsetto lines with an affecting pathos. And Ken Lam led members of the Spoleto Festival USA Orchestra and a small contingent of Chinese musicians playing traditional instruments in a beautifully balanced, bracing performance.
女高音沈铁梅的鼻音式唱腔需要一段时间来适应。但是你一旦适应了，你就会听到作曲家对女主角精心地用中国戏剧形式的微妙处理。感谢郭文景先生的西式旋律风格，如Bessie Smith优雅的布鲁斯般细腻。江其虎的假音唱腔如泣如诉。Ken Lam领导下的美国斯伯雷托艺术节乐团的乐手与中国乐手的演奏体现了既平衡又令人振奋的美感。
The festival orchestra is a young ensemble, mostly made up of conservatory students and recent graduates. Many of the players have been in the ensemble for at least three years, and the word around here is that the orchestra is more selective than an Ivy League college.
艺术节乐团很年轻，由音乐学院在校生和刚毕业的学生组成。很多乐手在乐团里呆了至少三年了。传言说这个乐团的选拔比长青藤院校还要严格。
英国《留声机》
Spoleto Festival continues to provoke with Glass and Guo Wenjing
At the other end of the operatic spectrum, Spoleto gave the official American premiere, indeed the first staged production, of Guo Wenjing’s Feng Yi Ting. Its heavily Chinese tonalities and modes were bound to ring foreign to a predominantly Western audience. But the story – based on the story of courtesan Diao Chan, a femme fatale who orchestrates what director Atom Egoyan best describes as a ‘sexual coup d’état’ – was all too familiar for opera-goers weaned on Strauss, Puccini and Verdi.
……斯伯雷托音乐节献上了郭文景先生的歌剧作品《凤仪亭》。这部剧带着浓重的中国色调来到了以西方人为主的观众群中。但是故事本身的题材——风尘女子貂蝉，被导演Atom Egoyan描述为“性别斗争”——在施特劳斯、普契尼和威尔第的格局中屡见不鲜，对于西方的歌剧迷而言已经十分熟悉了。
What’s engrossing was the music, laden with conflict and fraught with tension. Soprano Shen Tiemei and tenor Jiang Qihu sang in the traditional Peking and Sichuan operatic style. However, their stratospheric pitches and constricted tones clashed beautifully with a more typically Western score that blends a traditional orchestra with native instruments like the pipa and erhu. Deep rumbles arrive simultaneously knotted and untangled. Like Glass’s music, Feng Yi Ting (running until June 7 and stopping in New York at the Lincoln Center Festival, also under Redden’s directorship, in July) is characterised by an emotional neutrality that leaves the audiences to decide for themselves how they feel.
最吸引人的是音乐，满载着冲突，紧张忧虑。女高音沈铁梅和男高音江其虎用传统的京剧和川剧风格演唱。他们高亢的音调，压缩般的唱腔与配以二胡和琵琶的管弦乐队的碰撞十分精彩。隆隆的低音适时的出现和解决。《凤仪亭》在情绪上保持中立，让观众自己来体验。
Walking out of the theater both nights and rounding the corners of downtown Charleston, I heard snippets of conversations of fellow stimulated audience members parsing out the particulars in a way that validates the risks Spoleto is taking in the name of furthering artistic dialogue.
走出这两场歌剧，徘徊在查尔斯顿闹市的角落，我听到了些许同场观众对歌剧特色的赞扬之词，以及斯伯雷托音乐节选曲对今后艺术导向作用的认可。
导演简介：阿托姆·伊戈扬
阿托姆·伊戈扬，1960年7月19日出生于埃及开罗。他的父母是亚美尼亚的难民，在年轻的时候都曾有艺术方向的志向，他们原本要到埃及的开罗开家俱店，后来决定离开政治不安的环境，于1963年移民到加拿大的维多利亚，并将姓改为伊戈扬。伊戈扬从少年时代开始，便对写作和阅读剧本产生兴趣，在多伦多上大学时，并浸淫在各种艺术之中。虽然那时的他为了要成为外交官而主修国际关系。但闲暇之余，他仍继续玩古典吉他、写影评，并构想很多的戏剧和电影剧本。
还在大学时，伊戈扬便在鹿屋影协的赞助下拍摄了他的第一部短片《Howard In Particular》，并以此片在加拿大国家博览电影节获得许多奖项。也因此让他能在鹿屋影协的支持下，继续拍摄其它短片。之后他则在安大略艺术协会的赞助下，自编自导了30分的影片《Open House》。不过毕业后他并没有从事外交的工作，而是到多伦多的一家剧院担任编剧。后来，他发现自己的兴趣是成为一位电影导演，再加上加拿大电视台购买了《Open House》的版权，在加拿大主题节目中播放。因此他在加拿大协会和安大略艺术协会的赞助下，开始拍摄他的第一部长片《近亲》。之后加拿大电视台雇用他为电视影集《In This Corner》的导演，展开了他一连串在多伦多拍摄加拿大及美国电视连续剧的生活。在拍摄了近三年的电视作品之后，伊戈扬才拍摄了他的第二部作品《阖家观赏》，这个作品的优异表现，使得电影界开始重视他的才能。因此伊戈扬继续编导新的电影作品，并不断地参加各国际影展。
阿托姆·伊戈扬作品年表：
1984：《近亲》Next of Kin
1987：《阖家观赏》Family Viewing
1989：《念白部分》Speaking Parts
1991：《售后服务》The Adjuster
1991：《蒙特娄六重奏》Montré
1993：《保险公司代理人》The Adjuster
1994：《色情酒店》Exotica
获奖记录：1994年第47届法国戛纳电影节国际影评家奖、加拿大吉尼奖最佳影片、最佳导演、最佳原作剧本等七项奖。
1997：《意外的春天》（另译《甜蜜的来世》/《莫失莫忘）The Sweet Hereafter
获奖记录：1997年第50届法国戛纳电影节评委会大奖。
1999：《意外的旅程》Felicia's Journey《你是我的羔羊》
2002：《阿拉诺山》Ararat
2003：《世界上最悲伤的音乐》，《神鬼妙计》
2005：《何处寻真相》Where the Truth Lies
2007：《每个人都有他自己的电影》
2006：《柳暗花明》(制作人）
2005：《嘴对嘴》，Sabah，《何处寻真相》
2009：《色·诱》
2012：《魔鬼绳结》
