High Life

112 品 Under the baton of its founder, chamber orchestra Orfeo 55 delivered an authentic performance in unison with Stutzmann’s singing; such tacit understanding can only be achieved through close cooperation. Including the encore session, at least 20 pieces spanning the entire baroque era were performed, half ofwhichwere arias. That Stutzmanncompleted the programme and attended a post-performance Q&A sessionwithout appearing exhausted is nothing less than remarkable. Le French May has firmly established itself as an indispensable part of the musical calendar in the region and its programme for the next edition is keenly awaited. One wonders which leading operatic singer might feature in the centerpiece concert next year – could it be the critically acclaimed coloratura soprano Natalie Dessay, baroque specialist Sandrine Piau or the capricious Patricia Petibon? Or perhaps the prolific tenor Roberto Alagna or Rolando Villazón, who has made a strong comeback in recent years? 奥菲欧55室乐团于2009年由斯图茨曼创立，并由后者担任总指挥。音乐会 上，奥菲欧55室乐团与斯图茨曼之间的默契可谓溢于言表，这是经年累月合作的 成果。包括加演环节在内，两者为观众呈献了约二十首来自法国和意大利的巴洛 克时期乐曲，其中一半为咏叹调，全由斯图茨曼以女低音风格演绎，引人注意之 余也具有启迪意味。两个多小时的音乐会过后，斯图茨曼却不见疲态，更出席了 观众互动环节，回答了不少提问。 法国五月艺术节经过多年发展，已经发展成为古典乐迷在每年春夏之交重点 关注的音乐盛会。下一届的古典音乐节目着实让人期待，尤其是焦点音乐会的主 角。法国拥有不少顶尖歌唱家，仅女高音即有以花腔闻名的娜妲莉·德赛、专长 巴洛克的桑德琳·皮奥乌和灵活多变的帕特里莎·派蒂邦。男高音方面，经验丰 富的罗伯托·阿蓝尼亚和强势复出的罗兰多·比利亚松亦是一时之选。