※ 引述《Tosca (hi)》之铭言： : http://www.spiegel.de/international/zeitgeist/0,1518,825717,00.html : 还没机会来台湾的世界知名男中音/男低音 Quasthoff : 日前宣布退休 连结是他的退休访谈 : 内容颇感人 稍微翻译一下有关音乐的部份 SPIEGEL: Your recitals were emotional experiences for the audience. 你的音乐会对听众来讲简直充满激情 Quasthoff: There are differences between the singers I call "voice owners," and the people who stand up there and do something that audiences are willing to buy as a performance. Although I do have to say that it's still very easy to please audiences today, unfortunately. 我认为声乐家有分等级的，有些只是"发出声音的人"， 另一些则会做一些事情来让观众觉得花钱来听音乐会是值得的， 不幸的是这世代的观众太容易讨好了。 SPIEGEL: What do you mean? 你指的是? Quasthoff: When I go to an opera performance and sit there while people are cheering and shouting "bravo," I sometimes ask myself what exactly they're cheering about. And I even see myself as an artist who also knows how to enjoy other people's performances. I remember a performance of Mahler's "Fifth Symphony" in Salzburg, with Simon Rattle and the Berlin Philharmonic. It was unbelievable how they played the Adagietto -- with such intensity and devotion. I left the concert hall in tears. 当我去听歌剧的时候，观众很亢奋大喊Bravo时，我会问自己:为什麽观众如此兴奋? 我将自己当做一个也能享受并欣赏别人演出的艺术家。 我记得有次拉图带领柏林爱乐在萨尔兹堡演出马勒第五， 他们演奏的慢板乐章简直让我不敢置信--那惊人的力量以及毫不保留的付出， 我後来带着眼泪离开音乐厅。 SPIEGEL: Is music a kind of magic? 音乐有一种魔力对吧? Quasthoff: I don't know. Let me tell you a story instead. I was a member of the Windsbach Boys Choir, the first ensemble to sing the complete St. Matthew Passion in Israel after World War II. A man came up to me in the intermission. He was crying. He had a blue number tattooed onto his arm (a sign that the man had been imprisoned in a Nazi concentration camp). He hugged me and said, in German: "I'm speaking German today for the first time in more than 50 years. I lost my entire family." His wife, his children, his parents, everyone. "I heard you singing today, and now I know that Germany is a different place once again." When I gave a recital in Munich two weeks later, he came to my dressing room. 让我告诉你一个故事，当我还是Windsbach Boys Choir的一员的时候， 我们是第一个在二次大战後到以色列唱巴哈马太受难曲的团体， 中场的时候，一个男人过来找我，然後他哭了， 那男人手臂上有蓝色的条码刺青，也就是他曾待过纳粹的集中营， 他抱着我，然後用德文跟我说话: 五十年来，我再度用德文讲话， 我失去了整个家庭，老婆、小孩、父母都没了，然後我今天听到你唱歌， 我终於理解到，今日的德国和当初那个德国，已经不一样了。 SPIEGEL: Did you sing as a child? 你小时候会唱歌吗? Quasthoff: Constantly. Pop songs, opera, everything. I grew up with music. We had this music chest. It was broad and rectangular. There was a radio in the left bottom corner. The record player was on the right side, at the top, the kind where you can stack 10 singles on top of each other. By the time my mother would come home from the store, I was able to sing the songs on the singles. 什麽都唱，不管是流行歌还是歌剧，我在音乐中长大的， 屋子的角落一边是收音机，另一边是唱片播放机，上面还堆满单曲唱片。 SPIEGEL: How was your voice discovered? 别人是怎麽发现原来你很会唱歌? Quasthoff: My father had also taken singing lessons once. He knew a little about music, and at some point he noticed that I had a great talent. My father said: I want Thomas to have something he can look forward to once a week. The way my brother looked forward to table tennis. That's why I got singing lessons. 我父亲学过一点点歌唱课程，懂一点点音乐，他发现我还小有天份，然後他说: 我希望汤玛斯(就是我)有一个可以每个礼拜进步一点的东西，就像我哥哥在学桌球一样， 然後我就开始去学唱歌了。 SPIEGEL: Who taught you? 谁教你唱歌? Quasthoff: My father went to see Sebastian Peschko, a fairly renowned and famous pianist at the time, who was the director of the department of chamber music and songs at the Norddeutscher Rundfunk (radio network) in Hanover. Peschko said: Okay, let's do an audition. But when he heard that I was a thalidomide victim, he said: 15 minutes, that's all the time I have. But then the whole thing lasted for more than one-and-a-half hours, and Peschko said: Okay, the boy isn't just talented. He is 100 percent made of music. He referred me to Charlotte Lehmann, a voice teacher, and I worked with her for 17 years. 我老爸带我去找Peschko，一个广播室内乐团的总监， 但是当面试的时候他知道我是沙利窦麦的受害者後， 他就说:ok，给你十五分钟，只能这麽多! 然後呢?我後来在他面前唱了一个半小时! Peschko给我的评语说:这小子天杀的太有天赋了，完全就是为音乐而生的! 然後他把我转介给Charlotte Lehmann，之後我跟她一起工作了十七年。 SPIEGEL: The University of Music in Hanover rejected you. 汉诺威音乐大学拒绝让你入学?! Quasthoff: They didn't even do it directly. It was all done on the quiet. The university didn't want to create a precedent, which, from its perspective, is understandable. Of course, they thought: What happens if he doesn't make it through the program? They didn't even invite me to audition. I would probably have made it, after all. I had more private singing lessons than any student gets today. 那连拒绝都称不上! 他们不想开先例(让重度残障人士入学)， 他们担心着万一我毕不了业怎麽办? 结果他们连让我面试的机会都没有， 不过後来，我比所有的声乐学生接受更多私人课程。 SPIEGEL: When did you realize that singing could become your career? 你什麽时候终於发现原来你可以靠唱歌维生? Quasthoff: After I had won that ARD (German public broadcasting) contest in 1988. Before that, I was giving about 15 concerts a year. A lot of church concerts. Bach, Bach and more Bach. I'm familiar with almost all the churches from Flensburg (in the far north of Germany) to Munich (in the south). I could have done 300 concerts a year after that contest. 我在1988年赢了一个大比赛，在那之前我一年大概唱十五场音乐会， 都是在教会的音乐会，巴哈、巴哈、然後还是巴哈! 因此我对德国境内从北到南的教会都熟的不得了。 在比赛之後我一年大概唱三百场音乐会。 SPIEGEL: How did colleagues react to you as a thalidomide-damaged singer? 同僚怎麽看待你这个沙利窦麦受害者声乐家? Quasthoff: Sometimes they made jealous remarks during competitions. Once someone told me to my face that I was getting a "cripple bonus." I think I kept my cool and simply replied: "Well, you had the chance to beat me, but it wasn't quite enough." Today, I can say in all honesty that there was certainly a bonus for being disabled. But you only get it once. After you've appeared 10 times at the Hercules Hall in Munich, and perhaps thirty times at the Philharmonic in Munich and 20 times at Carnegie Hall in New York, people no longer come to hear you because you're disabled, but because they like to hear you. 有时候他们会嫉妒我，有一次某个人当我的面告诉我:我带有"残障优势"! 我很冷静的回答他:你以为我只是靠残障而红就大错特错了。 没错，身为重度残障，我或许再演出上带有一点优势， 不过当你已经在慕尼黑爱乐厅唱了三十场，在卡内基出现20次的时候， 人们来看我演出已经不是因为我是残障，而是因为他们喜欢听我唱歌。 SPIEGEL: You sang in two opera productions, as the minister in Beethoven's "Fidelio" and King Amfortas in Wagner's "Parsifal." Was that the high point of your career as a singer? 你唱过两部歌剧，贝多芬的费戴里奥，还有华格纳的帕西法尔，这算是你事业高峰吗? Quasthoff: It was absolutely exhilarating, especially "Parsifal." It was a fantastic production by Christine Mielitz. They booed at the premiere, but you can do that in Vienna. It was an artistic milestone. What could I do after that? I'm not a Wotan, nor am I a Rigoletto. I don't even have the right voice for that. 那真是令人非常振奋的经验，尤其帕西法尔的制作太梦幻了， 对我来说那确实是一个里程碑，但也仅止於此了 我既不是华坦(尼贝龙指环的脚色) 也不是弄臣， 我的声音根本不适合唱那些脚色。 --

※ 发信站: 批踢踢实业坊(ptt.cc) ◆ From: 114.37.198.236 ※ 编辑: Tosca 来自: 114.37.198.236 (04/11 21:34)