Orpheus and Eurydice: Dance of the Blessed Spirits-Gunilla von Bahr/Stockholm Chamber Orchestra
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Orpheus and Eurydice: Dance of the Blessed Spirits-Gunilla von Bahr/Stockholm Chamber Orchestra 歌曲简介
《精灵之舞》位于歌剧《奥菲欧与尤丽狄茜》的第二幕第二场,差不多在全剧的中点附近,既与前一场戏中奥菲欧为寻回死去的爱妻尤丽狄茜而独闯冥府的紧张冲突形成对比,又为了后面奥菲欧受到福地的妙音幻境感染后的精神升华进行铺垫,具有重要的戏剧意义。在1762年意大利语原版中,“精灵之舞”片断只有F大调上的几句轻盈的旋律,篇幅很短。真正著名的这段d小调旋律在1774年的法语修订版中才被加入进来,演奏完毕后原先的那段F大调旋律再原样反复一次,整体上扩充成为了复三段式的结构。因此,这支d小调“旋律”实际上相当于是整个“精灵之舞”的三声中部,尽管人们习惯于单独称这段“旋律”为“精灵之舞”。即使从纯音乐的角度也可以看出,这段3/4拍的“精灵之舞”芭蕾片断大体上应该是属于典雅、庄重的小步舞曲性质,两端的部分采用具有“田园牧歌”色彩的F大调,对比的三声中部采用其平行小调d小调。若结合歌剧内容,故事发生在希腊神话背景下的福地(Elysium,The Elysian Field)。福地实际上是后来基督教天堂概念的重要原型之一,也是乌托邦思想的重要起源,又似乎与佛教中的西方极乐、中国神话中的蓬莱仙境或是武侠中的忘幽谷有着几分相近。希腊神话中对此处的描写并不详细也不尽统一,大体上福地位于冥府的中心(又说在世界的最西边被海洋包围),是一片被鲜花、树木和草甸覆盖的幽静山谷,整日在朦胧的雾气笼罩下,一群被祝福的精灵们在此处永久的休憩,这里的时间是凝固的,高尚的魂灵幻影飘忽其中。在《奥菲欧与尤丽狄茜》的不少舞台诠释版本中,d小调旋律均被安置于尤丽狄茜在福地转身遥望的刹那。例如在著名的格林德波恩歌剧节1982年版中,“精灵之舞”第一部分(F大调)的舞台表演为尤丽狄茜漫步走入福地,并在几位面色慈祥的精灵帮助下将凡间的服饰更换为福地的蓝色薄沙;d小调中部则出现于更衣后的尤丽狄茜缓缓转身,随后她迷惘地在福地四处飘荡彷徨并接受其他精灵的致意。当今的很多演奏者都习惯于把此时在薄雾中隐约绵延的这支旋律演奏得十分夸张和悲泣,这或许是孤立看待音符的结果,或许是想当然地把这段音乐与奥菲欧和尤丽狄茜阴阳相隔的爱情悲剧直接联系在了一起。事实上,根据希腊神话,亡灵在来到冥界时都要饮用忘川(Lethe)水,以消除死者对前世的记忆,尤丽狄茜想必也不例外,舞台上的更衣其实也外化了这种“尘缘了断”的过程。据此,这段旋律的可能意味也许只是尤丽狄茜初到福地所感到的迷茫和困惑无奈,至多夹杂有些许对前世的依稀回忆,更多的应解释为唯美虚幻的极乐福音。就音乐本身来说,这段旋律也显然与浪漫主义直抒胸臆式的煽情旋律有着相当的距离,类似的例子早在维瓦尔第、亨德尔、巴赫等人的慢板乐章中就并不罕见,其中渲染的仍基本属于客观的、理性的类型化情感。作为十八世纪中叶追崇古希腊审美理想(“单纯的崇高与静穆的伟大”)的代表人物,格鲁克即使真的希望在此处浓墨重彩,也绝不会用一支睡眼惺忪、音色霜冷的长笛来担此重任。
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