High Life

品 98 #12 2017 年 9 月 《佛罗伦斯悲剧，第16号作品》以歌剧音乐会形式上演， 即没有场面调度、戏服及演技。逾70名乐师在台上演奏，展现 慑人气势；澳门文化中心综合剧院即便不是专用音乐厅，亦无 损较大编制管弦乐团之声势。这部歌剧纵使不如格奥尔格·弗 里德里希·亨德尔的正歌剧《阿尔辛娜，HWV 34》或莫扎 特的喜歌剧《费加罗的婚礼，KV 492》般包含众多经典咏叹 调——十八世纪与二十世纪的音乐已不可同日而论——但三 位歌唱家令人信服的表演，大幅加强了这个未完成故事的感染 力。以《佛罗伦斯悲剧，第16号作品》作为2016-17乐季闭 幕音乐会，堪称大胆之举。 of tragedy as per Aristotle and Hegel. This unambiguously points towards the unfinished nature ofWilde’s original play, which leaves one wondering what could have happened in acts two and three. Will Simone be persecuted, as it would be unimaginable that he could get away with slaying a prince? If so, will he be saved by an intervening character? And now that Bianca has rediscovered the love for Simone, will there be a plot twist to torment or separate the couple? With over 70 musicians on stage, the orchestral force was thumping,eveniftheGrandAuditoriumatMacaoCulturalCentre is not a purpose-built concert hall. Eine florentinische Tragödie, Op. 16. is by no means as generously endowed with signature arias asAlcina, HWV34 byGeorg FriedrichHändel or Le nozze di Figaro, KV 492 by Mozart – they are of different eras and genres after all – but the three singers’ persuasive performance greatly enhanced the pathos of the unfinished play, indeed an audacious choice as the 2016-17 Season Closing Concert.