第一篇：影視美聯(lián)英語(yǔ) 時(shí)報(bào)樂(lè)評(píng)人眼中的郎朗鋼琴演奏會(huì)

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美聯(lián)英語(yǔ)提供：影視英語(yǔ) 時(shí)報(bào)樂(lè)評(píng)人眼中的郎朗鋼琴演奏會(huì)

Because the Metropolitan Museum of Art has largely redirected its concerts to tie in to its exhibitions, the notion of a recital by the crowd-pleasing Chinese pianist Lang Lang to usher in “China: Through the Looking Glass” made sense, perhaps, on the surface.大都會(huì)藝術(shù)博物館(Metropolitan Museum of Art)為了配合其所舉辦的展覽，在很大程度上改變了其音樂(lè)會(huì)的定位。因此，找來(lái)廣受歡迎的中國(guó)鋼琴家郎朗開(kāi)鋼琴演奏會(huì)，為名為《中國(guó)：鏡花水月》的展覽揭幕的想法合情合理，或許在表面上是這樣的。

But in the Met Museum Presents event, on Thursday evening, Mr.Lang played only four modest pieces of Westernized Chinese music, filling 15 minutes of the hourlong program, alongside works by Tchaikovsky and Chopin.Set in the cavernous Great Hall near the front entrance, the concert was clearly designed less to add context to the exhibition than to generate interest in it.周四晚間的演奏會(huì)是現(xiàn)場(chǎng)藝術(shù)展示活動(dòng)Met Museum Presents的組成部分，歷時(shí)一個(gè)小時(shí)，但朗朗只用15分鐘演奏了4首風(fēng)格內(nèi)斂的中國(guó)曲目，而且對(duì)它們做了西化處理。其余時(shí)間里，他都在演奏柴科夫斯基(Tchaikovsky)和肖邦(Chopin)的作品。這場(chǎng)演出是在靠近前門(mén)、空間高闊的大堂里舉行的，顯然，其目的更多地是為展覽增加人氣，而非增進(jìn)人們對(duì)展覽背景的理解。

And in that it may well have succeeded.Fifteen minutes before the scheduled start time, the line outside the museum extended down the entrance steps and a block or so up Fifth Avenue.從這種意義上說(shuō)，它或許相當(dāng)成功。演出還有15分鐘就要開(kāi)場(chǎng)的時(shí)候，博物館外排起了長(zhǎng)隊(duì)，從門(mén)口的臺(tái)階開(kāi)始，沿著第五大道(Fifth Avenue)排了差不多一個(gè)街區(qū)那么長(zhǎng)。

A half-hour later, Mr.Lang took the makeshift stage before more than 500 loudly welcoming visitors and announced, “I’m your pianist for tonight.” Perhaps wishfully, he also praised the acoustics of the room, calling them “very spiritual.”

半個(gè)小時(shí)后，朗朗走上臨時(shí)搭建的舞臺(tái)，向500多位到場(chǎng)者高聲致意，并宣布，“今晚由我為您演奏。”他還贊美了大廳的音響效果，稱(chēng)其“非常有靈性”，而這或許有些臆斷。

My experience from about 40 feet from the stage was the opposite.With megaton amplification, the loud playing in the outer sections of two Chopin scherzos and in two pieces from Tchaikovsky’s “The Seasons” was deafening and soul-deadening.坐在距離舞臺(tái)40英尺遠(yuǎn)的地方，我的感受與他截然不同。他演奏肖邦的兩首詼諧曲和柴科夫斯基《四季》(The Seasons)套曲中的兩首曲目時(shí)，首尾部分的琴聲被無(wú)限放大后簡(jiǎn)直震耳欲聾，靈性全無(wú)。

The four Chinese items, by composers little known in the West, and the six numbers from “The Seasons”(out of 12 in all, one for each month)were character

pieces, designed to set scenes and moods(“Autumn Moon Over a Calm Lake”).Excellent playing and even some poetry came through in the quieter music.But the merciless pummeling in Tchaikovsky’s “Reaper’s Song” and “The Hunt,” and in the Chopin, pretty much obliterated everything around it.四首中國(guó)曲目（其作者在西方少為人知）和來(lái)自《四季》套曲的六首曲目（共有12首，每月一首）都是性格小品，旨在闡釋背景、烘托氛圍（《平湖秋月》）。彈奏較為安靜的樂(lè)曲時(shí)，他彈得非常好，甚至可以讓人感受到詩(shī)意。但在彈奏柴可夫斯基的《刈者之歌》(Reaper’s Song)和《狩獵之歌》(The Hunt)以及肖邦的作品時(shí)，他讓人記住的只剩下對(duì)琴鍵的猛烈敲擊。

Mr.Lang declined an encore at first, instead introducing Derek Wang, a young protégé developed through the Lang Lang International Music Foundation.Mr.Wang said he would play two Chopin études but was hustled off after one.朗朗起初拒絕了對(duì)返場(chǎng)曲的請(qǐng)求，而是介紹郎朗國(guó)際音樂(lè)基金會(huì)培養(yǎng)的年輕音樂(lè)家汪振波(Derek Wang)出場(chǎng)。汪振波說(shuō)他要彈奏兩首肖邦練習(xí)曲，但一首過(guò)后就被催促著下了臺(tái)。

He gave an attractive, shapely account of the “Revolutionary” étude.He actually seemed to judge the amplification better than Mr.Lang had, though he may also simply have lacked some of Mr.Lang’s power.汪振波把肖邦的《革命》(Revolutionary)練習(xí)曲演繹得很好，也很動(dòng)人。他對(duì)擴(kuò)音效果的判斷似乎比朗朗好，不過(guò)，也有可能是他缺乏朗朗那樣的力量。

Finally, Mr.Lang played a pleasant encore, the “Turkish March” from Mozart’s Piano Sonata in A(K.331), and audience members roared their approval，seemingly unanimous.最后，朗朗加演了一首歡快的返場(chǎng)曲目，莫扎特(Mozart)的《土耳其進(jìn)行曲》（A大調(diào)K.331）。觀眾一片歡呼，似乎都很贊賞他的表演。

Still, I heard what I heard.How could I not? 不過(guò)，我自己還是耳聽(tīng)為實(shí)。不是嗎？