Peter Sellars’s 1996 staging of Handel’s Theodora at Glyndebourne has become one of the most highly praised opera productions of recent decades – perhaps paradoxically, since Theodora is not an opera, of course, but an oratorio. Very sadly, its renown has become even greater since the death in 2006 of mezzo-soprano Lorraine Hunt Lieberson, who sang the part of Irene: no obituary failed to mention her interpretation of this secondary character, who for many became the emotional axis of the drama precisely thanks to the searing intensity of Hunt Lieberson’s singing and acting. In fact, Glyndebourne’s Irene is probably the portrayal most frequently cited and enthusiastically applauded in discussions of Hunt Lieberson’s art and career. In a widely disseminated tribute, American critic Alex Ross wrote that she ‘rose to fame in Europe in the mid-nineties, mainly on the strength of an instantly legendary performance in Sellars’s production of Handel’s Theodora at the Glyndebourne Festival’. In all likelihood, though, only a few among those who have contributed in writing to the fame of Sellars’s Theodora and Hunt Lieberson’s Irene actually saw them in the theatre. Instead, they have seen it on video, as have the many who have expressed their (often exalted) appreciation of the production or Hunt Lieberson’s Irene to me personally, including several dozen students at the institution where I teach. Channel 4 broadcast Theodora live in Britain on 15 June 1996, while a VHS was released by NVC Arts only four months later, with DVD and Blu-ray formats also appearing as they became widespread over the following years. It was only thanks to Channel 4 and NVC Arts’ speedy action, therefore, that Hunt Lieberson’s interpretation of Irene could become legendary ‘instantly’, and that Sellars’s production has been able to rise to such notable fame. Yet most of those who have discussed them in writing never mention this

中文翻译：

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溜走汉德尔（Handel），《如同晨曦中的玫瑰色步伐》（爱琳娜），西奥多拉，第一幕

彼得·塞拉斯（Peter Sellars）1996年在格林德伯恩（Glyndebourne）的汉德尔（Handel）的西奥多拉（Theodora）演出已经成为近几十年来最受好评的歌剧作品之一–也许自相矛盾，因为西奥多拉（Theodora）当然不是歌剧，而是演艺家。令人遗憾的是，自2006年女高音歌唱家洛琳·亨特·利伯森（Lorraine Hunt Lieberson）逝世以来，它的名声越来越大。正是由于亨特·利伯森（Hunt Lieberson）唱歌和表演的灼热强度才使戏剧成为可能。实际上，格林德伯恩（Glyndebourne）的艾琳（Irene）可能是亨特·利勃森（Hunt Lieberson）的艺术和职业讨论中最经常被引用和热烈鼓掌的写照。在广泛传播的贡品中，美国评论家亚历克斯·罗斯（Alex Ross）写道，“她在90年代中期在欧洲成名，主要是因为塞拉斯在格林德伯恩音乐节（Glyndebourne Festival）上塞勒斯（Searars）的汉德尔（Handel）电影《西奥多拉（Theodora）》的制作中立即具有传奇般的表现。但是，在为塞拉斯的西奥多拉（Theodora）和亨特·利勃森（Hunt Lieberson）的艾琳（Irene）的成名作过书面贡献的人中，只有极少数实际上在剧院里看到了他们。取而代之的是，他们在视频中看到了它，还有很多人亲自向我表达了他们对作品或Hunt Lieberson的Irene的欣赏（常常是崇高的欣赏），其中包括我任教的数十名学生。第4频道于1996年6月15日在英国现场直播了Theodora，而NVC Arts仅在四个月后发布了VHS，随后随着DVD和Blu-ray格式的广泛使用，它们也出现了。仅由于第4频道和NVC Arts的迅速行动，Hunt Lieberson对Irene的解释才可能立即成为传奇，而Sellars的作品也因此声名such起。然而，大多数以书面形式讨论过的人从来没有提到这一点