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The ‘Caruso of Jazz’ and a ‘Creole Benvenuto Cellini’ Verdi, ‘Miserere … Ah, che la morte ognora’ (Leonora, Manrico), Il trovatore, Act IV
Cambridge Opera Journal Pub Date : 2016-07-01 , DOI: 10.1017/s0954586716000215
Andy Fry

Eric Hobsbawm’s epithets capture aspects of two great New Orleans musicians: the long, impassioned melodies of Sidney Bechet (‘pulsating ropes of beautiful sound’) and the picaresque story-telling of Jelly Roll Morton (‘more readable than many such works’). Both jazzmen knew how to spin a yarn, in their words and in their music. As well as recording among the finest early jazz, they left accounts of their lives, in Treat It Gentle and Mister Jelly Roll, which continue to intrigue, to delight and to puzzle. One intersection of many in their stories occurs at a conspicuously operatic juncture: the prison bars separating Leonora from Manrico in the ‘Miserere’ of Verdi’s Il trovatore – or, as I prefer, ‘The Count’s captured my lover (who’ll turn out to be his brother) blues’. It is no surprise that New Orleans musicians would raid the opera house for tunes. French opera especially had been a lively presence in the city since the end of the eighteenth century. As well as hosting countless US premieres, New Orleans was first in the country to establish a permanent opera company. Verdi’s revision of Trovatore as Le Trouvère, for example, appeared barely three months after its Paris premiere (reopening the Théâtre d’Orléans after Holy Week in April 1857). Opera retained a strong hold on the city as the first generation of jazz musicians were growing up; the New Orleans company toured Trouvère to New York in 1912, alongside Faust, La Favorite, Mignon and Thaïs. Bechet and Morton both recount formative experiences at the opera, though their memories are wilfully vague. There’s no need to insist on their attendance in the house, however, to explain their recourse to opera for musical resources. Performances of works, after all, constitute only part – perhaps a small part – of the genre’s transmission and impact. In an age when public music-making, domestic performance and recordings

中文翻译:

“爵士乐的Caruso”和“ Creole Benvenuto Cellini”的威尔第,“ Miserere…Ah,che la morte ognora”(Leonora,Manrico),Il trovatore,第四幕

埃里克·霍布斯鲍姆(Eric Hobsbawm)的诗作捕捉了两位新奥尔良伟大的音乐家的故事:西德尼·贝切特(Sidney Bechet)热情洋溢的悠长旋律(“优美的脉搏”)和杰利·罗尔·莫顿(Jelly Roll Morton)讲故事的怪诞故事(“比许多此类作品可读性更高”)。两位爵士乐手都知道如何用他们的言语和音乐来纺纱。除了录制最出色的早期爵士乐外,他们还在《请客气》和《果冻先生先生》中留下了自己的生平事迹,继续令人着迷,愉悦和迷惑。他们故事中的许多故事发生在一个明显的歌剧转折点上:在威尔第(Verdi)Il Trovatore的“ Miserere”的“ Miserere”中,监狱将Leonora和Manrico分开–或者,正如我更喜欢的那样,“ The Count抓住了我的爱人(他会变成是他的兄弟)布鲁斯。毫不奇怪,新奥尔良的音乐家会突袭歌剧院的曲调。自18世纪末以来,法国歌剧在这座城市尤其活跃。除了举办无数美国首演外,新奥尔良还是该国首家成立永久歌剧公司的公司。例如,威尔第(Verdi)将Trovatore改名为LeTrouvère,在巴黎首映仅三个月就出现了(在1857年4月圣周之后重新开放了Théâtred'Orléans)。随着第一代爵士乐音乐家的成长,歌剧在这座城市保持着强大的影响力。1912年,新奥尔良公司将Trouvère与Faust,La Favorite,Mignon和Thaïs一起游览了纽约。贝谢特和莫顿都讲述了歌剧的形成经历,尽管他们的记忆含糊不清。但是,没有必要坚持要求他们参加演出,以解释他们对音乐资源的歌剧诉求。毕竟,作品的表演只占该类型的传播和影响的一部分,也许只是一小部分。在公共音乐制作,家庭表演和录音的时代
更新日期:2016-07-01
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