Trial by Jury is the earliest work by Gilbert and Sullivan which is still<br >performed today, it was not, in fact, their first joint enterprise. They had<br >collaborated in 1871 on an opera called Thespis, or the Gods Grown Old, which<br >had been commissioned by John Hollingshead, the owner and manager of<br >the Gaiety Theatre. However, the musical score of this work does not<br >survive.<br > After Thespis, which was staged at the Gaiety, the librettist and composer<br >had gone their separate ways - Gilbert to write plays and Sullivan to<br >compose church music, songs and ballads. That their remarkable talents<br >were brought together again four years later was due partly to accident and<br >partly to the vision and imagination of Richard D Oyly Carte, theatrical<br >manager and impresario.<br > In 1875 Carte put on Jacques Offenbach s comic opera La P&ichole at the<br >Royalty Theatre in Dean Street, Soho, where he was manager. It seems that<br >he originally hoped that the one-act French work would be accompanied by<br >a two-act opera composed by Arthur Sullivan. However, this was not ready<br >in time for the opening night on 30 January and Carte hastily substituted a<br >domestic comedy. Meanwhile, he looked around for another short musical<br >piece which would complete the bill and provide a popular evening s<br >entertainment.<br > One story has it that W. S. Gilbert happened to walk into Carte s office one<br >day early in January, another that the two men met in the street. However<br >it came about, their meeting was fruitful. Gilbert already had a one-act<br >operetta up his sleeve, the libretto of which he had shown to Carte the<br >previous summer. It was to prove the ideal companion to La POrichole.<br > Gilbert had first sketched out the bare bones of Trial by Jury in the 11 April<br >1868 issue of Fun, a magazine to which he regularly contributed humorous<br >verse, in 1873 he extended it into a full-scale libretto at the suggestion of Carl<br >Rosa, the opera impresario, who wanted to set it to music and stage it with<br >his wife, Euphrosyne Parepa-Rosa, appearing in the leading role as the<br >plaintiff. However, the project was abandoned when Madame Rosa<br >suddenly died in January 1874.<br >
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我购买过很多经典文学的注解版本,大多流于形式,只是简单地标注了一些生僻词汇。但《The Annotated Gilbert and Sullivan 2》(此处代指该书)给我的感觉是,作者真正走进并“爱”上了这些作品。这种情感投射,使得注解不再是冰冷的知识点罗列,而更像是一场持续的、充满激情的对话。我发现,书中对一些音乐剧的舞台调度和服装设计历史也有所涉猎,这对我这个热衷于想象舞台场景的读者来说,简直是意外的宝藏。例如,对于《日本皇子》中那些极具异域风情的服装,书中不仅展示了早期的插画版本,还探讨了维多利亚时代英国对“东方主义”的迷恋与误解是如何影响了这些视觉呈现的。这种多维度的解读,极大地丰富了我对歌剧的理解,让我能够更立体地去想象和重构那个被搬上舞台的奇妙世界。与其说这是本注释书,不如说这是一本关于“跨界艺术与文化挪用”的精彩案例分析。
评分说实话,这本书的厚度一度让我望而却步,感觉像是在啃一块难以消化的“硬骨头”。但当我真正沉下心来,按照它推荐的顺序,从早期的作品开始梳理时,才发现这种“厚重感”恰恰是其价值的体现。它不是简单地对已有的文本进行注解,而是在构建一个完整的“吉尔伯特-沙利文世界观”。最让我惊喜的是,它对“讽刺”这一核心元素的解析,达到了前所未有的深度。吉尔伯特笔下的笑料,很多都根植于特定的社会阶层和政治玩笑,这些“梗”如果不加解释,很容易随着时间的流逝而失传。这本书像是一个精密的时光胶囊,它不仅保存了这些笑料的原始形态,还细致地“解冻”了它们背后的语境。我尤其喜欢书中关于角色塑造的章节,作者通过对比分析几个剧作中反复出现的原型人物——比如那个不谙世事的贵族、或是那个过度热心的平民,展现了吉尔伯特对人性弱点的永恒关注。读完,你才会明白,这些歌剧的魅力绝不仅仅在于“好听”或“好笑”,它们是那个时代最犀利、最优雅的社会评论。
评分我得承认,我最初买这本书是带着一种“工具书”的心态,希望能快速查阅一些特定剧作的背景资料。然而,这本书的阅读体验远超我的预期,它更像是一部深入浅出的艺术史著作,而非冷冰冰的参考手册。作者在处理那些看似繁琐的历史背景时,展现出了高超的叙事技巧。比如,在分析《裁判官》时,他没有直接堆砌关于公共秩序和道德规范的陈词滥调,而是通过描绘当时伦敦剧院的生态环境,以及吉尔伯特本人对官僚主义的愤懑情绪,将那些复杂的社会议题巧妙地编织进了剧本的肌理之中。我特别欣赏其中对于音乐改编部分的处理。很多时候,我们只关注了歌词的妙语连珠,却忽略了沙利文如何将意大利正歌剧的宏大结构,与英式轻歌剧的活泼旋律进行融合的精妙之处。书中的乐理分析虽然专业,但绝不晦涩,它用清晰的图示和对比,让我这个非科班出身的人也能领会到沙利文在旋律创新上的匠心独运。它让原本被视为“通俗娱乐”的作品,拥有了值得被严肃对待的艺术深度。
评分这本厚厚的书,装帧得体,摸上去有一种沉甸甸的质感,让人对其中蕴含的知识充满了期待。我原本就对吉尔伯特和沙利文这对黄金搭档的歌剧抱有深厚的兴趣,但总觉得在欣赏那些诙谐幽默的对白和优美动听的唱段时,总有些文化背景或语言上的细微之处未能完全领会。这本书的出现,无疑为我这样的“半吊子”爱好者提供了一盏明灯。它的排版非常精良,每一个场景、每一句歌词旁边,都有详尽的脚注和注释,那种细致入微的考究,简直让人叹为观止。我记得有一次,我正在琢磨《彭赞斯水手》中某个关于维多利亚时代法律条文的双关语,正感困惑时,翻到旁边的注释,作者竟能追溯到那个时代具体的法案文本,并用现代易懂的语言进行了解释,这种跨越时空的对话感,令人十分着迷。它不仅仅是文本的罗列,更像是一位知识渊博的老教授,耐心地在你耳边低语,为你拨开那些时代和语言的迷雾。阅读的过程,与其说是看书,不如说是一次沉浸式的学术考察,每一次翻页,都像是推开了一扇通往十九世纪英国喜剧黄金时代的大门。
评分每次翻开这本书,都有一种寻宝般的乐趣。因为它收集的不仅仅是文字层面的资料,还有大量珍贵的、难以获取的插图和手稿复印件。这些视觉材料的加入,极大地提升了阅读的沉浸感和历史真实性。我曾经在网上搜寻过关于沙利文早期作品的评论资料,但总是不够完整。这本书系统性地整理了许多当时报纸和评论杂志的摘录,有些评价极为苛刻,有些则极力赞美,这些不同的声音交织在一起,勾勒出了吉尔伯特和沙利文在当时文化界所面临的争议与荣耀。我尤其关注那些关于首演盛况的记录,作者通过引述观众的信件和日记,让人仿佛能嗅到剧院里香烟和香水混合的气味,听到观众们因一个恰当的“打油诗”而爆发出的哄堂大笑。这本注解之作,成功地将那些尘封的、凝固的文本,重新注入了鲜活的时代脉搏。它不仅解释了“是什么”,更解释了“为什么”它们会在当时引起如此巨大的轰动。
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