繼今年一月四日的第一場表演後, 我們的第二場表演, 是以演出歌劇的型態呈現。那是在四日當天表演完後. 表演的主辦人當眾宣布的, 而日期就訂在三月八日的婦女節, 來演出一場只有女性演出的這場歌劇, 這是歌劇大師普契尼晚期的作品, 也是他唯一一齣歌劇只有女性演員, 沒有男性的演出。
「安潔莉卡修女」, 此齣歌劇對我來說並不陌生, 在早期的部落格中 , 我也大約提到過, 演出過, 這也是我唯一的一次, 在歌劇中擔任獨唱( solo)的角色, 但那都是早年, 在教堂的演出。 我萬萬也沒有想到, 在我進入2026年後, 還能再次回到這齣歌劇, 而且是我夢寐很久的歌唱舞台, 里約市立歌劇院( Teatro Municipal de Rio de Janeiro)。
承接著一月四日的演出氣勢, 三月八日的演出, 也是滿堂彩, 應著觀眾們的請求, 在三月八日的演出後, 又安排的四月十三日的再次公演。
今天我就把兩天演出的情景, 濃縮後, 一次用圖片敘說。
1樓. 筱楓2026/08/10 05:15Opera in one act to a libretto by Giovacchino Forzano, the second panel of The triptych. First performance: New York, Metropolitan Opera House, 14 December 1918.
It is the only opera by Puccini composed to a libretto that is not based on a previous theatrical or literary work. Forzano said that he had developed the idea, without knowing that Puccini had a sister who was a nun and lived in a cloistered convent. The composition was very rapid, considering Puccini’s timing: a few months from March to July 1917 for the composition, then about a month for the orchestration. It seems that Puccini, once the work was finished, had his sister and the other nuns listen to it, causing a lot of commotion.
Suor Angelica is the less fortunate of the three works of The triptych, while it was Puccini’s favourite.
