新版《女人心》亮相格林德伯恩歌剧节 

Così fan tutte, Glyndebourne Festival Opera, Glyndebourne The Makropulos Case, English National Opera, London

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如同色拉叶、蒸糕一样，歌剧总是在时尚的门前徘徊，忽而时兴忽而又落伍了。《女人心》就是很好的例子。这部略显暧昧的歌剧与19世纪占主导地位的浪漫主义情感相距甚远。而在20世纪，随着新古典主义思潮及心理有如潘朵拉的盒子般被打开，《女人心》日益受到欢迎，甚至渐渐与莫扎特的其他代表作《魔笛》、《费加罗的婚姻》等齐名。该剧中的菲奥尔迪利吉和费兰多如同柴可夫斯基《叶甫盖尼"奥涅金》中塔姬雅娜和连斯基形象一样。对追求者而言，一对姐妹也无疑比仅仅一个更有意思。该剧不仅拥有优美动人的咏叹调，剧中人物形象个性鲜明，细节生动精致富有色彩。菲舍尔的指挥，希特纳的执导以及所有参加格林德伯恩首演的演员都懂得如何去释放、展现莫扎特音乐中的这种如火山喷发般的能量。
因此，近年来，几乎没有一个演出季里不上演最新版的《女人心》。尽管尼古拉斯"希特纳导演的这个版本相对较含蓄，但仍因为它的性感、华美令人眼前一亮。
5月27日亮相格林德伯恩歌剧节的《女人心》，是尼古拉斯"希特纳在十多年导演生涯以来第一次在英国执导歌剧的演出，在演出的很多方面较其以往作品也发生了很多变化。莫扎特的精致细腻以一种朴素简洁的形式来表现。在灯光剪辑保罗"康斯特布尔令人惊叹的灯光效果之下，整个舞台仿佛置于夏日的日光浴中。舞美设计维奇"莫梯默设计的暗赭色和灰色相间的别墅、碧蓝色天空的舞台与演员斐红色的袖口和闪闪发光的剑形成鲜明的对比……

Like salad leaves and steamed puddings, operas go in and out of fashion. Così fan tutte, or Il scuola degli amanti, is a case in point. In the 19th century, its ambiguities sat uneasily with Romantic sentiments. In the 20th century, eased by the slick wit of neo-Classicism and the Pandora's box of psychoanalysis, its popularity grew to rival that of Die Zauberfl鰐e and Le nozze di Figaro. These days, barely a season goes by without a new Così, though as Nicholas Hytner's subtle staging shows, it is still as disturbing as it is beautiful, wry, and sexy.
Dressed in shades of sand and stone by Vicki Mortimer, and bathed in summer light by Paule Constable, Hytner's period production marries elegance, farce, and psychological acuity. The four lovers, Fiordiligi (Miah Persson), Dorabella (Anke Vondung), Ferrando (Topi Lehtipuu), and Guglielmo (Luca Pisaroni), have been cast so that every line of the ensembles is exquisitely balanced, and so that the simmering sexual attraction on which the plot depends is entirely believable. Their tutors, Don Alfonso (Nicolas Rivenq), and Despina (Ainhoa Garmendia), who is both accomplice and victim, are similarly lithe of body and voice, and not, as is common, played as party pieces for veteran performers.
The swaggering physical comedy of the seductions - which, like the Albanian disguises, owes much to Johnny Depp's Jack Sparrow - is beautifully realised, the anguish that accompanies each man's small successes with the other's fiancée is sharp. Unlike many directors, Hytner knows that the secret to sexual triumph is in risking ridicule. Most admirably, the suitors' disappointment is signalled early - not least by the violas of the Orchestra of the Age of Enlightenment, who, under Iván Fischer, insist that this game will end badly, while the instruments around them collude in the deception……