Latvian National Opera
拉脫維亞國家歌劇院是拉脫維亞國家 歌劇團和拉脫維亞國家芭蕾舞團的基 地，平均每樂季上演六齣新製作，一 方面以古典時期和浪漫時期的歌劇為 主，另一方面則致力推廣當代作品， 製作過不少大獲好評的巴羅克歌劇、 現代歌劇傑作、兒童演出和拉脫維 亞原創作品。拉脫維亞國家歌劇團經 常巡迴演出，又與許多優秀的客席歌 唱家、指揮和導演，還有佈景、服 裝、燈光設計師等合作，使劇團生色 不少。拉脫維亞國家歌劇院的製作一 直維持高水平，劇團對此一直引以自 豪，近期更獲提名角逐多個獎項。拉 脫維亞國家歌劇院合唱團憑着出色的 演出，獲提名角逐拉脫維亞2007年音 樂大獎。
總監 安德烈斯．薩加斯
藝術總監 阿杜爾斯．馬斯卡特斯
The Latvian National Opera House is home to both the Latvian National Opera (LNO) and the Latvian National Ballet, staging, on average, six new productions every season. While paying tribute to the traditional values of the classical and Romantic operatic works that are the cornerstones of its repertoire, the LNO continually strives to seek contemporary forms of expression. The Latvian National Opera House stage regularly resounds with successful productions of Baroque operas, modern operatic masterpieces, children’s performances and original Latvian works. LNO has an active touring schedule; many superb guest singers, conductors and directors, and set, costume and lighting designers frequently grace LNO stage. LNO takes great pride in its consistently exceptional performances, and recent award nominations are a testament to its excellence. The opera choir has been nominated for Latvia’s 2007 Great Music Award for its outstanding ensemble work.
General Director Andrejs Zagars
Artistic Director Arturs Maskats
第一幕
美艷動人的女巫阿爾辛娜喜歡把浪蕩 的英雄豪傑和尋寶者騙到自己的魔法 島上，再施法將他們變成各種動植物 或石頭。騎士魯吉耶羅是她最近的獵 物，仍未被施法。
歌劇開始時，魯吉耶羅的未婚妻布拉 達曼特和她的管家米利索趕來魔法 島。布拉達曼特假扮成自己的兄弟利 徹亞度；兩人遇見阿爾辛娜的姐妹莫 格娜。莫格娜對「利徹亞度」一見鍾 情（詠嘆調〈面露微笑〉）。
Act I
The charming sorceress Alcina takes pleasure in luring wandering heroes and fortune seekers to her enchanted island, and then turning them into plants, animals and stones. Her latest captive is the knight Ruggiero, who has not yet been transformed.
The opera opens with the arrival of Ruggiero’s fiancée, Bradamante, and her governor, Melisso, on Alcina’s island. Bradamante is disguised as her brother, Ricciardo. The newcomers are met by Alcina’s sister, Morgana, who falls in love with “Ricciardo” at first sight (aria O s’apre al riso).
Morgana takes both visitors to Alcina’s palace; a party is in full swing, and some of Alcina’s captives have
韓德爾與《阿爾辛娜》
George Frideric Handel and Alcina
韓德爾（1685-1759）生於德國哈勒， 自小已顯露過人音樂天份，但父親卻 反對他以音樂為業。他1702年考進 哈勒大學修讀法律，翌年父親去世後 轉攻音樂，成為新教大教堂的管風琴 師；1704年移居漢堡，1705年在當 地上演首兩齣歌劇作品《阿密拉》和 《尼祿》。
韓德爾1706至1709年間在意大利遊 歷，期間開始寫作宗教音樂，名作 《天主如是說》（1707）就是這時期 的作品；他1710年抵達倫敦，1712年 起在英國定居，繼續寫作合唱作品、 神劇及歌劇；即使作品屢遭猛烈批 評，他仍堅持不懈；後來受著名的 舞蹈家瑪麗．莎萊啟發，寫下《阿爾 辛娜》。
《阿爾辛娜》1735年在高文花園首 演。故事發生在魔幻之境，主人翁 有超自然能力──這類題材的歌劇 稱為「魔幻歌劇」，在巴羅克時期大 行其道，須以精巧的舞台機械裝置快 速轉換佈景，務求令觀眾目不暇給。
雖然歌劇主要由詠嘆調組成，但《阿 爾辛娜》也包含精采的舞蹈段落和合 唱曲。
是次演出為紀念韓德爾逝世250周年。
George Frideric Handel (1685-1759) was born in Halle, Germany. He showed great talent in music at an early age but his father was opposed to his wish to pursue a musical career. Handel began the study of law at the University of Halle in 1702, but after his father's death the following year, he abandoned law for music and became the organist at the Protestant Cathedral. In 1704, he moved to Hamburg where his first two operas, Almira and Nero, were produced in 1705.
During his travels to Italy between 1706 and 1709, Handel started to compose sacred music; the famous Dixit Dominus (1707) is from this era. He went to London in 1710 and permanently settled in England from 1712. He continued to compose choral works, oratorios and operas. At times, he was severely criticized by the English social establishment for his artistic output but he persevered, and, inspired by well-liked dancer, Marie Salle, he composed Alcina. Alcina was first performed in Covent Garden in 1735. The action takes place in an enchanted realm with a protagonist endowed with supernatural powers this sub-genre of opera, known as “magic opera”, was highly popular during the Baroque era, requiring elaborate stage machinery capable of operating rapid and sensational set design changes. Although the basis is formed by arias, this opera includes marvellous dance sequences and choruses. Alcina was chosen in honour of the 250th anniversary of Handel’s death.
文：安德烈斯．維斯曼尼斯 韓德爾的音樂，第一次聽可能會讓人 覺得很老套，但近15年來卻在歐美大 受歡迎，足見那還是普及和現代的。
他的歌劇旋律動聽，和聲既悅耳又有 意思，而且角色、內容和主題都能使 聽眾擺脫枯燥、充滿暴力和不安的日 常生活。劇中歹角也不特別可怕。當 然，歌劇跟現實生活不能相提並論， 但歌劇能激起情感，營造氣氛──巴 赫在器樂曲裏也力求這種效果。韓德 爾把巴羅克音樂表現力最強的一面帶 給觀眾。
為何演《阿爾辛娜》？第一，《阿爾 辛娜》跟韓德爾其他歌劇很不同。此 劇寫於他創造力的全盛期，寫於他 棄歌劇、取神劇之前（當時的神劇 也被搬演，佈景、服裝、戲劇一應俱 全）。相較於他其他歌劇──尤其像 《里納爾多》這些早期作品──《阿 爾辛娜》可謂短小洗鍊，代表同期歌 劇音樂的精華。
第二，《阿爾辛娜》一方面營造了強 大的對立──善與惡──卻又賦予 人性。音樂上，忠角奸角同樣栩栩如 生，一絲不苟；歹角還會洗心革面； 觀眾會同情阿爾辛娜多於同情布拉 達曼特和魯吉耶羅。比方說，閱讀或 聆賞普希金《尤金．奧尼金》時，讀 者或聽眾會把主人翁與大詩人聯繫起 來，我也敢說韓德爾本人的性格特徵 也可見於劇中人──男女皆然。
第三，《阿爾辛娜》把歌劇與芭蕾舞 共冶一爐，在當時是十分新穎的， 因為意大利歌劇甚少這樣做。芭蕾 舞是從法國文化引進的，而劇中的 芭蕾舞音樂也帶有濃厚的法國色彩。
Text: Andris Veismanis
The music of George Frideric Handel may sound oldfashioned when first heard. But the triumph of his works over the last 15 years in both Europe and the US proves that his music is universal and contemporary. Handel’s operas feature brilliant melodies, suggestive harmonies that are pleasant for the ear, and characters, content, and themes that can tear the listener away from the routine of daily life, with all its dreariness, violence and anxiety. In these operas, even evil is not too expressly horrific. Opera is not comparable to real life, yet it does incite emotions and create an atmosphere that achieves the same thing that Johann Sebastian Bach strove for in his instrumental works. Handel offers his listeners the quintessence of Baroque music.
Why Alcina? First, this opera is different from Handel’s other works. It was composed when Handel was at his creative zenith, before he stopped writing operas and turned to sacred works (works that were also staged during his lifetime, with set design, costumes and acting). Compared with other operas, particularly early works like Rinaldo, Alcina reveals the tendency to focus the work, composed in a very refined style, into a comparatively short form; it is the essence of the opera music of that era.
Second, Alcina creates very powerful polarities antitheses between good and evil which are endowed with real humanity. The evil characters are just as effectively and meticulously developed as the good characters; what is more, they are able to change for the better. Audiences sympathize more with the adventures of Alcina than they do with those of Bradamante and Ruggiero. If, for instance, while reading or listening to Puskin’s Eugene Onegin, we tend to associate the main hero with a great poet, then I will allow myself to say that Handel’s own personality traits can be discerned in the protagonists of his operas both men and women.
Third, the work was created in a manner very modern for its time, synthesizing opera with ballet, not usually characteristic of Italian opera. The ballet has been borrowed from French culture, and the ballet music itself is French in character. Handel’s chameleon-
桑露拉．維斯 Sonora Vaice
阿爾辛娜 女高音
Alcina soprano
桑露拉．維斯1992年於拉脫維亞音樂學院畢業，受業於露德米拉．布勞娜教 授。1991至1995年間為拉脫維亞國家歌劇院獨唱歌手。1995年起轉為自由 藝術家。她曾獲多個國際歌唱比賽獎項，包括1992年於里加舉行的楊尼斯． 美汀斯國際聲樂大賽大獎，同年再奪於聖彼得堡舉行的波羅的海之星比賽大 獎，又兩奪拉脫維亞音樂大獎 (1996及1998)，曾兩度打入杜鳴高世界歌劇大 賽半準決賽(1995及1997)，以及1997年英國廣播公司卡迪夫世界歌唱大賽半準決賽。
維斯足跡遍及奧地利、德國、意大利、瑞典、波蘭、法國、澳洲、希臘及中國。演出角色包括唐
尼采第《拉莫美爾的露契亞》的露契亞，浦契尼《波希米亞生涯》的咪咪，莫扎特《蒂托的仁 慈》的薇泰莉亞，威爾第《茶花女》之 薇奧麗特和《弄臣》中的吉爾達。
Sonora Vaice graduated in 1992 from the Latvian Academy of Music where she studied under Professor Ludmila Brauna. She was the soloist at the Latvian National Opera from 1991-95. Since 1995, she has worked as a freelance artist. She has won several prizes at international singing competitions including Grand Prix of the Jānis Mediņš International Vocalists Competition in Riga (1992), Grand Prix at The Stars of the Baltic Sea Competition in St Petersburg (1992) and the Latvian Great Music Award (1996, 1998). She was the semifinalist in Placido Domingo’s Operalia (1995, 1997) and at the BBC Cardiff Singer of the World (1997). She has performed in Austria, Germany, Italy, Sweden, Poland, France, Australia, Greece and China. Her repertoire includes Donizetti’s Lucia (Lucia di Lammermoor), Puccini’s Mimì (La Bohème), Mozart’s Vitellia (La clemenza di Tito), Verdi’s Violetta (La traviata) and Gilda (Rigoletto), and Handel’s Alcina among others.
基斯度化．安斯利 Christopher Ainslie
魯吉耶羅 高男高音 Ruggiero countertenor
基斯杜化．安斯利早年在開普敦擔任詩班歌手，移居倫敦後入讀皇家音樂學 院，2007年以優異成績於該校研究生課程畢業，也曾隨馬克．特克、保羅． 法林頓和奧黛麗．海蘭德學習，並於國際著名場地演出。
安斯利繼2007年在韓德爾歌唱比賽贏得米高．奧利佛獎後，2008年又在威格 摩爾演奏廳贏得理查．陶貝爾獎，並成為首位獲此殊榮的高男高音。他2007
年在倫敦韓德爾節上演的《印度國王普魯斯》飾演普魯斯，大獲好評；其他飾演過的角色包括米 多洛（韓德爾《奧蘭度》）、阿爾薩切（韓德爾《帕爾泰諾佩》，法國阿佐里亞列斯歌劇節）、阿薩 梅內斯（《薛西斯》，愛丁堡藝術節）和精靈（浦塞爾《狄多與阿尼亞斯》，南非斯坦倫布什斯帕亞 露天劇場）。
安斯利未來的演出包括在韓德爾故居博物館舉行演唱會（與哈里．拜克特和英國協奏團合作）和 在布列頓《魂斷威尼斯》演出阿波羅之聲音（里昂歌劇院）。
Christopher Ainslie started his singing career as a chorister in Cape Town. After moving to London he attended the Royal College of Music and completed his postgraduate studies with distinction in 2007. He studies privately with Mark Tucker, Paul Farrington and Audrey Hyland and performs at international leading venues.
Ainslie was the first countertenor to win the Richard Tauber Prize at Wigmore Hall (2008). He also won the Michael Oliver Prize in the 2007 Handel Singing Competition. His performance in the title role of Handel’s Poro at the 2007 London Handel Festival was highly acclaimed. Other opera roles include Medoro in Orlando, Arsace in Handel’s Partenope at Les Azuriales Opera Festival, France, Arsamenes in an Edinburgh Festival Fringe production of Xerxes and The Spirit in Purcell's Dido and Aeneas at the Spier open-air theatre, Stellenbosch, South Africa.
Upcoming engagements include a recital with Harry Bicket and The English Concert at the Handel House Museum and The Voice of Apollo in Britten’s Death in Venice with Opéra de Lyon.
拉脫維亞國家歌劇院樂團
Latvian National Opera Orchestra
古鍵琴 Harpsichord
Lauma Zutere *
直笛 Recorders
Kristine Stumbure *
Dagnija Tuca *
雙頸低音大琵琶／魯特琴
Theorbo, lute
Robert Staak **
古大提琴 Viola da gamba
Tonu Joesaar **
小提琴 Violins
Inese Strale (Concertmaster)
Liene Neija-Kalnina
Ilze Dzenite
Aija Frisenfelde
Sanita Salmane
Raimonds Melderis *
Maija Silina
Biruta Vaivode
Gunta Jankovska
Dace Ridina
中提琴 Violas
Elizabete Sorokina
Daina Karklina
Arigo Strals
大提琴 Cellos
Daina Dzenite
Diana Ozolina
拉脫維亞國家歌劇院合唱團
Latvian National Opera Chorus
女高音 Sopranos
Inese Eglite
Baiba Gaure-Bertule
Guna Pudane
Diana Silova
Dace Berzina
Liene Kinca
Inga Berzina
女低音 Altos
Olga Jakovleva
Solvita Rinke
Ingrida Bretsneidere
Iveta Ozola
Liene Lasmane-Vitola
男高音 Tenors
Ikars Samardzijevs
Ansis Talbergs
Ivo Graudums
Aigars Brucis
Eriks Rudzitis
Andris Pujats
男低音 Basses
Aldis Berzins
Andzejs Rancevics
Didzis Bicevskis
Ingus Vanags
Krisjanis Karklins
Viesturs Vitols
合唱團指導 Chorus Master
Aigars Meri
低音大提琴 Double-bass
Einars Upatnieks
雙簧管 Oboes
Egils Upatnieks
Peteris Endzelis
巴松管 Bassoon
Normunds Zvejnieks
法國號 French horns
Atvars Lakstigala
Janis Kronitis
敲擊樂 Percussion
Edgars Saksons
* 里加音樂社團 Collegium Musicum Riga
** 霍爾德斯．穆斯克斯古樂團 Hortus Musicus
巴羅克舞蹈
Baroque dances
里加舞蹈學院學生
Students of
Riga School of Choreography
Aleksandrs Osadcijs
Elvijs Fedukovics
Toms Lieldidzs-Kolbins
Donats Rudzitis
Alise Prudane
Katrina Meske
Annija Kopstale
Anna Russke
「狄齊爾納斯」舞蹈團 Dance Group “Dzirnas”
Agris Danilevics
Markus Zmolnig
Raivis Dzjamko
Kristaps Celmalnieks
Inars Dubkevics
Jurgis Janitens
Reinis Kalnins
Martins Feldmanis
Krisjanis Sants
Raivis Eglitis
Daniels Lieknins
演員
Cast
卡塔里娜
Katerina
奧爾加．瑟爾格耶娃 (27.2, 1.3)
娜塔爾賈．克列斯利娜 (28.2)
Olga Sergeyeva (27.2, 1.3)
Natalya Kreslina (28.2)
齊諾維
奧列格斯．奧爾洛夫斯 Zinovy Olegs Orlovs
鮑里斯
薩姆松斯．伊久莫夫斯
Boris Samsons Izjumovs
沙基
沙基．奈達 Sergey Sergey Nayda
松耶特卡
伊洛娜．巴格列
Sonyetka Ilona Bagele
老犯人
阿列克賽．安東諾夫 Old Prisoner Aleksey Antonov
邋遢的農民
安德里斯．拉平斯 Shabby Peasant Andris Lapins
阿卡辛婭，女囚
利耶涅．金卡
Aksinya, Convict Liene Kinca
民兵軍官
賈尼斯．阿佩尼斯
Militia Officer J nis Apeinis
神父
羅曼斯．波里薩多夫斯
Priest Rom ns Poļisadovs
暨
拉脫維亞國家歌劇院樂團
With 拉脫維亞國家歌劇院合唱團 香港特約樂師
Latvian National Opera Orchestra
Latvian National Opera Chorus
Guest musicians (Hong Kong)
中文字幕
Chinese Surtitles
劇照為拉脫維亞歌劇院演出。
Production shots from performance at LNO.
加料節目 FESTivAl PluS
27-28.2.2009 (五至六) 下午6:30-7:00
演出前講座
拉脫維亞國家歌劇院及
蕭斯達高維契的《莫桑斯克的馬克白夫人》 香港文化中心大劇院 講者：安德烈斯．薩加斯
（拉脫維亞國家歌劇院總經理）
詳情請參閱藝術節加料節目指南，或瀏覽藝術節 網站：www.hk.artsfestival.org
黃奇智
Wong Kee-chee
27-28.2.2009 (Fri-Sat) 6:30-7:00pm Pre-Performance Talk introducing latvian National Opera and Shostakovich’s lady Macbeth of Mtsensk Grand Theatre, Hong Kong Cultural Centre
Speakers: Andrejs Zagars (General Manager, Latvian National Opera)
For details please refer to the Festival Plus Booklet or go to the Festival website: www.hk.artsfestival.org
第七場
婚宴期間，眾人喝得酩酊大醉，唱歌 讚美新人。卡塔里娜赫然發現有人闖 進了地窖，打算跟沙基逃跑，但太遲 了。警察來了，卡塔里娜束手就擒； 沙基想跑卻跑不掉。一對新人被送進 監牢。
第八場
卡塔里娜在羈留營內對沙基朝思暮 想，遂懇求獄卒讓兩人相見；沙基卻 狠心拋棄卡塔里挪，認為兩人落得如 此田地全是女方一手造成。沙基看上 了女囚松耶特卡。松耶特卡想要新襪 子；沙基為了贏得芳心，就施計騙卡 塔里娜把襪子交給他；襪子一到手， 沙基就馬上送給松耶特卡。眾囚犯嘲 笑卡塔里娜；獄卒雖然控制了場面， 但卡塔里娜終於忍無可忍，把松耶特 卡殺死後再自行了斷。
Scene 7
At the wedding feast drunken guests sing praises to the newlyweds. Suddenly, Katerina notices that the cellar has been broken into. She decides to escape with Sergey, but it is too late. Katerina stretches out her wrists to the police officers as they arrive. Sergey attempts to escape but is also apprehended and the newlyweds are taken to prison.
Scene 8
In the detention camp Katerina pines for Sergey and implores the guard to let her join her love. Sergey cruelly rejects her accusing her of being responsible for their plight. He steals away to be with another inmate, Sonyetka. Sergey tries to win her heart but the girl demands new socks. Sergey slyly cajoles Katerina to give him her socks after which he immediately gives them to Sonyetka. The other prisoners mock the rejected woman. Although the guard establishes order Katerina can no longer endure her surroundings. She goes to Sonyetka, murders her, and finally commits suicide.
蕭斯達高維契
與《莫桑斯克的馬克白夫人》
Dmitri
Shostakovich and Lady Macbeth of Mtsensk
蕭斯達高維契（1906-75）生於聖彼得 堡，適逢俄羅斯歷史上的重要時刻， 其音樂生涯與這個新興蘇維埃國家發 展史息息相關。
蕭斯達高維契最初在家隨母親學鋼 琴，後入讀彼得格勒音樂學院主修鋼 琴；但不久他已厭倦學校的課程，並 認同當代音樂協會的前衛見解，積極 推廣當代西方音樂，研究和演出亨德 密特、貝爾格和荀伯格等作品。
這階段的成果不但可見於他冷峻的鋼 琴作品，更可見於其他樂種，包括弗 拉迪米亞．馬亞科夫斯基原著的話劇 《臭蟲》劇樂（1929）、《黃金時代》 芭蕾舞劇劇樂（列寧格勒，1930）， 以及兩齣完整歌劇《鼻子》（1930）和 《莫桑斯克的馬克白夫人》（1934）。
可是，當時由史太林掌權的蘇維埃政 府認為藝術應以國家利益為重，於是 1920年代蓬勃發展的音樂實驗主義就 被壓下去。
政府1932年明令所有音樂活動全由國 家監控；那時蕭斯達高維契的四幕歌 劇《莫桑斯克的馬克白夫人》已差不 多脫稿。此劇1934年在列寧格勒首 演後，被譽為社會現實主義新概念的 典範；但兩年後──在史太林自己看 過以後──就被《真理報》一篇著名 社論「是混亂，不是音樂」，抨擊為 露骨和不協調。本劇自此失去演出機 會，直至1963年才在俄羅斯重演，並 易名為《卡塔里娜．伊茲麥洛娃》。 蕭斯達高維契此後再無歌劇問世。
Dmitri Shostakovich (1906–75) was born in St Petersburg at a crucial time in Russian history. His career as a musician ran parallel to the history of the new Soviet state.
Shostakovich first studied the piano at home with his mother and later at the Petrograd Conservatory. But Shostakovich swiftly outgrew the conservatory teaching and allied himself with the forward-looking principles of the Association for Contemporary Music (ASM), which actively promoted the study and performance of contemporary Western music by such composers as Hindemith, Berg and Schoenberg.
The fruits of this phase are seen not only in Shostakovich's astringent piano works but also in the incidental music that he wrote for Vladimir Mayakovsky’s play Klop (The Bedbug, 1929), the ballets Zolotoy vek (The Age of Gold, 1930) and his two completed operas, Nos (The Nose, 1930) and Lėdi Makbet Mtsenskogo uyezda (Lady Macbeth of Mtsensk, 1934).
However, as the Soviet authorities, with Stalin in power, sought to invest the arts with a purpose directed towards the welfare of the state, the atmosphere of musical experimentation that had been allowed to thrive in the 1920s was firmly dispelled.
At the time of the 1932 decree forcing all musical activity to be under state control, Shostakovich was nearing completion of his four-act opera, Lady Macbeth of Mtsensk. After its Leningrad premiere in 1934 it was hailed as a model of the new concept of socialist realism; but only two years later just after Stalin himself had seen the opera it was condemned in the Pravda editorial “Sumbur vmesto muzïki” (Chaos instead of music) for its explicitness and dissonance. It was dropped from the repertoire, and not seen again in Russia until its revival as Katerina Izmailova in 1963. Shostakovich never wrote another opera.
齊諾維在這樣的環境長大，變成一個 懦弱的、性情不定的人；離家出走， 或是做點生意、開着名貴跑車在公路 上奔馳、還是在某小鎮買醉鬧事，總 之遠離父親的控制，他才覺得總算像 個男人；他與卡塔里娜的婚姻亦是逃 避之舉；他嘗試以為人丈夫的身份一 改在父親家中的地位，可是最後還是 失敗。
至於卡塔里娜，她成長於俄羅斯某省 份的小鎮一戶尋常人家，近年社會的 變遷導致家境愈差，沒有工作、沒有 金錢、沒有將來。19歲的她，結婚成 為逃避社會環境所帶來的厄運的惟一 出路;可惜事與願違，她的婚姻並沒為 她帶來安樂日子，反把她推向另一地 獄，更演變成她生命的最大不幸。她 的丈夫是懦弱的，丈夫專橫的父親卻 把她踐踏；來到夫家不久，她就被鮑 里斯姦污，創傷成為她心中的千斤之 擔。她生活於絕望的苦悶和恒常的恐 懼中，懷着對溫柔的飢渴、對圓滿家 庭的嚮往和為人母的希望，夢想與現 實的落差把她撕裂。當幕升起，渴求 未知的愛的卡塔里娜，將要發現殘酷 的生命真相。
列斯科夫的故事發生在莫桑斯克地 區，當地的生活雖然骯髒無情，但 仍然是人們受基督教義薰陶的十九世 紀；我們的版本卻瀰漫着一種恐怖 的、心靈上的絕望──所有關於神 或罪惡的信念都失去了。從前共黨承 繼基督教，把復活節和五一勞動節串 起來慶祝，並不叫人意外；我們保留 這個劇作的本色，加造一個鮮明的形 象，相信這個處理手法亦算不上是離 經叛道。
Why not portray the well-known trader Boris Timofeyevich Izmailov as a contemporary trader, a small provincial town businessman? And why not set the opera in Pytalovo? Boris is a retired army officer who scraped together some capital by selling illegally acquired army technology, stolen provisions from the quartermaster and army boots. Now working for the customs services he invests the bribes he receives into his bakery. His is the only business still struggling for survival in an area that industry has long since deserted, leaving only rotting houses and drunken inhabitants. Boris brings the manners of the garrison to the family home, raising his son accordingly; Zinovy grows up cowardly and inconstant, often running away from home. Away from the power of his father, whether doing business, cruising the highway in a BMW or on a drinking binge in some regional town, he finally feels like a man. His marriage to Katerina is another escape. However, his attempt to change his status in his father’s house by assuming the role of a husband fails.
As for Katerina, she was raised in a provincial Russian town by a modest family impoverished by recent events – there is no work, no money and no future. Marriage at the age of 19 is the only way to escape the doom of her social milieu. Rather than being a much hoped for respite, her marriage is a new hell and becomes her life's greatest misfortune. Her husband is impotent and her despotic father-in-law victimizes her. Soon after her arrival in the Izmaylov home she is raped by her father-in-law a horror that weighs upon her heart. She dwells there in hopeless boredom and constant fear. Yearning for tenderness, she is torn apart by her desire for family life and an unfulfilled maternal instinct. As the curtain opens, hungry for the love she has never known, Katerina is about to discover some crushing life revelations.
The Leskov story takes place in the Mtsensk region where, although life is dirty and brutal, it is still the 19th century where people have been raised with Christian values. In our production a terrible spiritual hopelessness prevails any understanding of God or sin has been long lost. It is hardly surprising that former communists take up Christianity and celebrate Easter and the 1st of May in tandem. That is why I believe that our version will not be overtly shocking. It is a tool with which to provide the overriding image of this production with its true colours.
This article was originally written for the 2006 premiere of Lady Macbeth of Mtsensk.
Olegs Orlovs is a frequent guest at the opera houses of Estonia and Latvia. He trained with Irina Arhipova, Virgilijus Noreika and Franco Bonisolli. His roles include the title role in Don Carlos, Alfredo in La Traviata, Ismaele in Nabucco, Radames in Aida, Canio in Pagliacci and Lensky in Eugene Onegin. He also works as a vocal coach at the Orloff Studio which he founded in 2005.
沙基．奈達 Sergey Nayda
沙基 男高音
Sergey tenor
沙基．奈達生於烏蘭烏德，在莫斯科柴可夫斯基音樂學院進修期間師隨伊蓮 娜．艾克希波娃和祖拉布．蘇特奇拉娃；1993年贏得馬利奧．德爾．莫納科 大賽冠軍並加盟聖彼得堡馬林斯基劇院。他常與基洛夫歌劇團和莫斯科大劇 院劇團合作，擔任獨唱；合作過的指揮包括格杰夫。
與奈達合作過的世界頂尖歌劇團包括紐約大都會歌劇院、巴黎香榭麗舍劇 院、巴勒莫馬西摩歌劇院、巴塞隆納里賽奧歌劇院和柏林德意志歌劇院。
奈達去年演出過《黑桃皇后》（波恩歌劇院），又飾演過沙基（《莫桑斯克的馬克白夫人》，德意志 萊茵歌劇院）。
Sergey Nayda was born in Ulan-Ude/Sibiria and studied at the Tchaikovsky conservatory in Moscow with Irina Arkhipova and Zurab Sotkilava. In 1993 he won the Mario del Monaco competition and became a member of the Mariinsky Theatre in St Petersburg. He often performed as soloist with the Kirov Opera and the Bolshoi Theatre in Moskow under the baton of conductors including Valery Gergiev. Nayda has appeared with some of the most important opera companies in the world: the Metropolitan Opera New York, the Théatre des Champs Élysée in Paris, the Teatro Massimo in Palermo, the Gran Teatre del Liceu in Barcelona and the Deutsche Oper Berlin. In 2008 Nayda appeared in Pique Dame at the Bonn Opera and as Sergey (Lady Macbeth of Mtensk at the Deutsche Oper am Rhein.
薩姆松斯．伊久莫夫斯 Samsons Izjumovs
鮑里斯 男低音
Boris bass
薩姆松斯．伊久莫夫斯早年肄業里加扎茲普斯．梅狄恩斯音樂學院，1974至 1979年就讀於拉脫維亞音樂學院，師承古利．安提波夫教授，1978年起加 入拉脫維亞國家歌劇院擔任獨唱，1985年贏得喬治．奧特斯國際聲樂大賽 冠軍。
伊久莫夫斯的角色包括《阿列科》、《唐．卡洛斯》、《死之歌舞》、《基特日 城的傳說》以及《少女費朗尼亞》，足跡遍踏拉脫維亞、俄羅斯、德國、波蘭、荷蘭、英格蘭和 芬蘭。
Samsons Izjumovs trained at the Jāzeps Mediņš Riga Music College and the Latvian Academy of Music under Professor Guri Antipov. He has been a soloist at the Latvian National Opera since 1978. He was the winner of the Georg Ots International Vocal Competition in 1985. Izjumovs’s repertoire includes Aleko, Don Carlos, Songs and Dances of Death, The Legend of the Invisible City of Kitezh and Maiden Fevronya. He has participated in concerts in Latvia, Russia, Germany, Poland, Holland, England and Finland.
拉脫維亞國家歌劇院樂團
Latvian National Opera Orchestra
第一小提琴
First Violins
Svetlana Okuna (concertmaster 團長)
Leonards Antonevics
Aija Frisenfelde
Jurijs Savkins
Ansis Silins
Ilze Dzenīte
Sanita Salmane
Ludmila Kalnina
Anita Balcuna
第二小提琴
Second Violins
Dace Ridina
Maija Silina
Biruta Vaivode
Ingrida Madisone
Inara Gaumiga
Gunta Redberga
Edite Markova
Dina Vanaga
中提琴 Violas
Elizabete Sorokina
Daina Karklina
Regina Malecka
Inese Cakova
Andra Visendorfa
Inta Simane
大提琴 Cellos
Inga Sunepa
Diana Ozolina
Daina Dzenite
Ivars Bezprozvanovs
Maija Predele
Inese Nelsone
Martins Blums
低音大提琴
Double-basses
Einars Upatnieks
Leons Abele
Ausma Abele
Ginta Garuta
長笛 Flutes
Miks Vilsons
Guna Paula
Anita Rulle
雙簧管 Oboes
Peteris Endzelis
Arturs Seglins
Aira Paula
單簧管 Clarinets
Martins Circenis
Atis Asaris
Martins Kalnins
Kaspars Putnins
拉脫維亞國家歌劇院合唱團
巴松管 Bassoons
Normunds Zvejnieks
Aivis Klibinskis
Linda Eizenberga
法國號 French Horns
Atvars Lakstigala
Janis Kronitis
Andris Adamsons
Gatis Klucis
小號 Trumpets
Rihards Silins
Edgars Svembergs
Peteris Kaldre
長號 Trombones
Uldis Zilberts
Vairis Nartiss
Agris Kalnins
大號 Tuba
Valdis Bricis
敲擊樂 Percussions
Edgars Saksons
Ivo Kruskops
Ugis Kruskops
Edgars Ansons-Tomsons
豎琴 Harps
Ineta Jurgensone
Oskars KrasauskisKrauze
Latvian National Opera Chorus
女高音 Sopranos
Inese Eglite
Baiba Gaure-Bertule
Guna Pudane
Diana Silova
Dace Berzina
Jevgenija Dziluma
Inese Granovska
Irina Lorence
Vija Reine
Gunita Saknina
Tatjana Serkova
Inga Berzina
Edite ButkevicaDonskiha
Tamara Klimko
Grizelda Kulberga
Alise Praporscikova
Inga Berzina
Marika Gavrona
女低音 Altos
Olga Jakovleva
Solvita Rinke
Ingrida Bretsneidere
Iveta Ozola
Liene Lasmane-Vitola
Pārsla Balode
Tatjana Bramberga
Tatjana Pusina
Anda Strautmane
Inese Upmale
Daina Adlere
Inga Krumina
男高音 Tenors
Ikars Samardzijevs
Ansis Talbergs
Ivo Graudums
Aigars Brucis
Eriks Rudzitis
Andris Pujats
Janis Kalejs
Kristaps Niedra
Armands Sterns
香港特約樂師 Guest
Musicians
(Hong Kong)
小號 Trumpets
Jonathan Clarke
Chris Moyse
Douglas Waterston
Jacobus Chong 莊伯富
法國號 French Horns
Mark Vines
Chow Chi Chung 周智仲
大號 Tubas
Paul Luxenberg
Yongyut Tossponapinun
上低音大號 Euphoniums
Ben Pelletier
Donald Choi 蔡秀賢
長號 Trombones
Jarod Vermette
Maciej Walicki
男低音 Basses
Aldis Berzins
Andzejs Rancevics
Didzis Bicevskis
Ingus Vanags
Krisjanis Karklins
Viesturs Vitols
Andris Kipluks
Deniss Frolovs
Roberts Puce
Guntis Rostoks
Maris Seipulans
合唱團指導
Chorus Master
Aigars Meri