Angela Gheorghiu’s 2011 studio album Homage to Callas includes an unusual musical offering. In addition to a number of ‘favourite arias’, the CD cover promises ‘exclusive online access to a ground-breaking duet’: a video of Gheorghiu singing the ‘Habanera’ from Carmen with Maria Callas. A one-off experiment within the realm of opera, posthumous duets have been a significant trend in popular music since the early 1990s and are becoming increasingly common due to the extended possibilities of audio-visual digital manipulation. They are also attracting a healthy amount of scholarly attention. In a particularly influential and far-reaching analysis, Jason Stanyek and Benjamin Piekut have argued that duets between the dead and the living can provide a new model for understanding all manner of performance, complicating ‘an unhelpful and overvalued schism between presence and absence that undergirds much literature on performance’. Stanyek and Piekut’s particular target is ‘liveness’, a cultural logic that – as Emanuele Senici, Martin Barker and others have noted – has imbued much opera on screen, over the last sixty years, with a rhetoric of presence, authenticity and televisual immediacy. The sense in which posthumous duets may offer an alternative model for

中文翻译：

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手术死亡的限制Bizet，“哈瓦那”（卡门），卡门，第一幕

Angela Gheorghiu的2011年录音室专辑《向卡拉斯致敬》（Homage to Callas）包含了不寻常的音乐作品。除了一些“最喜欢的咏叹调”，CD封面还承诺“独家在线访问开创性的二重奏”：一段Gheorghiu的视频与Maria Callas一起演唱了Carmen的“ Habanera”。自从1990年代初期以来，死后二重唱是一次在歌剧领域的一次性实验，已成为流行音乐中的重要趋势，并且由于视听数字操作的广泛可能性而变得越来越普遍。他们也吸引了健康的学术关注。杰森·斯坦尼耶克（Jason Stanyek）和本杰明·皮库特（Benjamin Piekut）在一项特别有影响力且影响深远的分析中指出，死者与活人之间的二重唱可以为理解各种表现形式提供新的模式，使“存在与不存在之间的无助和高估的分裂使许多关于表演的文献变得复杂”变得复杂。Stanyek和Piekut的特定目标是“生动”，正如Emanuele Senici，Martin Barker和其他人所指出的那样，在过去的60年中，这种文化逻辑在银幕上投入了大量歌剧，其形象涉及到现场性，真实性和电视即时性。死后的二重唱可以为