與小型歌劇的親密接觸

小瓊：現在，隨著新冠肺炎疫情對日常生活的影響或多或少地減小，紐約的文化生活正在回歸其充滿活力的狀態。最近，我很高興看到一家新劇團上演了一部講述亞洲故事的當代歌劇！

小薇：你是在說彈射歌劇團嗎7我了解到他們劇團的使命是“通過展示非西方文化和代表性不足的文化的杰作來擴展歌劇經典”。我們之前曾在專欄中討論過這家劇團的成立，當時正值新冠疫情大流行的時期，他們在網上組織創作新項目。他們第一次的現場演出作品是當今最著名的目前還健在的日本作曲家細川俊夫的《班女》的美國首演。演出在紐約大學斯基爾貝爾表演藝術中心舉行。

小瓊：這是一部令人著迷的作品，由三名歌手及一名飾演無聲角色的舞蹈演員組成。這個故事改編自能劇，作為一部溫馨的室內歌劇，你能夠真正感覺出這個故事對生命的隱喻，而這正是能劇的精髓。

小薇：我們都知道能劇的歷史傳統，《班女》是三島由紀夫（1925～1970）的現代作品。但如果你深入挖掘這個故事的起源，你會發現令人驚嘆的歷史層出不窮。三島給日本室町時代劇作家世阿彌的原作（約1363～約1443）添加了一個新的轉折和完全不同的結局。世阿彌寫的《班女》則是基于以一把團扇作為愛情信物的古代故事，故事發生在中國西漢時期。

小瓊：對中國古代文學感興趣的人可能很熟悉樂府詩。世阿彌最初的靈感來源于班婕妤的《怨歌行》，詩中描述了愛的象征——一把繡扇有朝一日可能會被丟棄，它的短期恩寵也會結束。班婕妤（約公元前48～公元前2）是一位妃子，她過著堪稱楷模的生活，被列入《列女傳》。

小薇：那它又是如何被改編成當代歌劇的？我了解到，該劇2004年在普羅旺斯-艾克斯舉行了世界首演。

小瓊：你可以想象，這部作品的音樂語言非常現代，但也很精致，充滿了夢幻般的特質。由彈射歌劇團的藝術總監尼爾·戈倫執棒塔利亞樂團，意大利導演盧卡·維格蒂執導，這部作品充滿了夢幻般的視覺效果。

小薇：舞臺可能很抽象，但也讓令人感受到很親密。在這么小的空間里，空氣中完全充斥著音樂，觀眾們肯定會感覺到與演員拉近了距離。

Joan： Now with COVID more-or-less behind us，New York's cultural life is returning to its vibrant self.Most recently I was delighted to see a new companystaging a contemporary opera with an Asian story！

Valery： You're talking about Catapult Opera？ I readthat their mission is to \"expand the operatic canonby presenting masterpieces from non-Western andunder-represented cultures.\" We discussed thefounding of this company in this column before， atthe height of the pandemic， when they organizedinnovative projects online. Their first in-person eventwas the US premiere of Hanjo by Toshio Hosokawa（the most famous living Japanese composer today）.The performance was at the Skirball Center for thePerforming Arts at New York University.

Joan： It was a mesmerizing production， with threesingers and a dancer/actor playing a silent role.The story is adapted from Noh theatre， and as anintimate chamber opera， you really feel the story as ametaphor for life， which is the essence of Noh.

Valery： We all know about the historical traditionof Noh， and this is a modern take by Yukio Mishima（1925-1970）. But if you dig deeper into the originsof this story， you'll find layers of amazing history.Mishima adds a new twist and completely differentending to the original by （c.1363-c.1443）. And Zeami'sstory-about a love relationship and two peopleexchanging fans-was based on an ancient figure ofthe Western Han dynasty.

Joan： Those interested in ancient Chinese literatureare probably familiar with Yuefu Songs. Zeami'soriginal inspiration can be traced to Ban Jieyu's Songof Resentment， describing how an embroidered fan-a token of love-may one day be cast away， its short-term favor ended. Ban Jieyu （c.48-2 BCE） was anImperial Concubine， she led such an exemplary lifethat she was included in the Lienu Zhuan.

Valery： How was it adapted in the contemporaryopera？ I read the world premiere took place in 2004 inAix-en-Provence.

Joan： The musical language is very modern， asyou can imagine， but also delicate and filled withdream-like qualities. The Talea Ensemb[e， expertlyconducted by Catapult's artistic director Neal Goren.And with Italian director Luca Veggetti at the helm，the production also has a visual dream-like quality.

Valery： The stage might be abstract， but it can alsobe so intimate. In a space that small， the music musttotally fill the air， and the audience certainly feelsclose to the singers.