High Life

HIGH LIFE 111 女低音所面临的困局由来已久，早在几个世纪前，作曲家便惯性地让女低音 扮演二三线甚至吃力不讨好的角色。天才横溢且创作丰硕的沃尔夫冈·阿马多伊 斯·莫扎特，也没有专门为女低音创编乐谱。在十九世纪中短暂经历局部中兴 后，女低音还是被现代及当代古典音乐作曲家忘记。根据老一辈古典乐迷忆述， 上世纪下半叶的古典乐风尚较为海纳百川，不像二十一世纪般泾渭分明。因此， 当年的女低音还能扮演女中音的角色，但这情况大概已不复存在了。 2018 法国五月艺术节毅然以女低音为焦点音乐会的主角，其大胆创新的精 神值得嘉许，对古典乐迷而言也是难得的音乐体验。斯图茨曼的演出充分体现女 低音独有的深度、厚重、温暖、质感与磁性，证明女低音虽然屡屡不获重视，但 无损其对古典音乐的重要性。女低音从来不与女高音争艳，本身却是无惧岁月、 不动如山且砥砺前行的传统。当世人误以高音为美的唯一准则，女低音却有意无 意地展现上善若水、不争是争的智慧。 The contralto may have suffered from an image problem for centuries, as it was invariably cast in supporting or unappealing roles. It has probably never been featured inWolfgang Amadeus Mozart’s compositions and despite its partial revival in the mid-19th century, the contralto would be overlooked again by modern and contemporary composers. It is often said that decades ago, when musical tastes were less regimented and more holistic, contraltos could take up mezzo-soprano roles, but this door is all but shut now. Le FrenchMay 2018 was audacious in staging a concert centred around the contralto and it was an enlightening experience for melophiles to rediscover the unique charm of a nearly forgotten voice type. Stutzmann’s compelling interpretation was a reminder of the inherent depth, richness, timbre and warmth of the contralto, indeed an unassuming yet unmovable tradition which remains steadfast in the face of a craze for ever higher voice fallaciously equated with beauty.