古典音樂花園
古典香
Gustavo Dudamel explodes out of his seat at the podium during a rehearsal at Los Angeles’s Walt Disney Concert Hall and stands on the tips of his toes, jabbing the air violently with his conductor’s baton, a look of ice pick–murderer concentration crossing his face. Arrayed in front of him, a massive choir of some 800 singers lifts its voices in an ebullient passage from Gustav Mahler’s Eighth Symphony. Impatient with what he’s heard so far, yet intent on coaxing every last bit of romantic drama from the score, the young maestro grabs a nearby microphone to address the group. “We have a phrase in Venezuela: ‘You killed the tiger and now you’re afraid to take the skin,’” Dudamel tells them with loose cordiality. “This is happening here. You have to take the skin! Be more in the moment!”
古斯塔沃·杜達梅爾從座位上一躍而起，他踮起腳尖，手舞指揮棒，在空中猛烈地比劃著，臉上的神情就像殺手麵對獵物般專注，手裏的指揮棒就像用作凶器的尖利冰錐。在洛杉磯迪斯尼音樂廳的指揮台前，八百多人組成的宏大樂團在他的執掌下高聲齊奏馬勒《第八交響曲》，激情澎湃，樂聲如潮。但我們年輕的指揮家顯然有些聽不下去，他覺得樂團的演繹並不如想象中的完美，忍不住抓起了手邊的話筒，開始向台下訓話。“我們委內瑞拉有句話說得好：‘既然當初殺得了虎，現在怎麽不敢剝虎皮了？’”杜達梅爾說，語氣中透出性情中人的直率，“你們現在就是這種情況。必須把虎皮剝下來！要入戲一點！”
The tiger Dudamel is taming today—known as the “Symphony of a Thousand” because of the sheer number of performers it takes to stage—has the maestro behaving like the exacting tiger mom his musicians have come to admire. Dudamel’s interpretation of Mahler’s Eighth has been the most anticipated orchestral event of the season: a sold-out performance (scalpers got $850 for a pair of tickets) featuring singers from 16 local choruses and more than 250 musicians from the two orchestras he commands, the Los Angeles Philharmonic and the Simón Bolívar Symphony Orchestra of Venezuela. As one of the largest-scale works in the classical concert repertoire and a singular fusion of song with symphony, Mahler’s Eighth is a fitting finale for what Dudamel refers to as his “crazy dream,” the Mahler Project. A series of concerts to commemorate the 100th anniversary of Mahler’s death, the project has Dudamel conducting all nine of the Austrian composer’s completed symphonies (as well as the opening movement of his unfinished 10th and “Songs of a Wayfarer”)—completely from memory. Having just finished a blockbuster run in Los Angeles, Dudamel and his orchestras depart this week for Caracas to perform the whole nine yards again.
杜達梅爾現在馴的“虎”就是編製龐大、人稱“千人交響曲”的馬勒《第八交響曲》，正是這支曲子讓杜達梅爾“性情大變”，成了嚴格苛刻、不近人情的“虎媽”。杜達梅爾對“馬勒八”的演繹是本季交響界最受矚目的宏偉盛事，門票早已售罄，票販子手中的雙人票已經賣到了850美元。此次演出陣容龐大，不僅包括杜達梅爾麾下的洛杉磯愛樂樂團和委內瑞拉西蒙·玻利瓦爾青年交響樂團的250多名音樂家，還從當地請來16個合唱團。作為編製最大的古典曲目之一，“馬勒八”完美地融合了聲樂和交響樂，創造出非凡的藝術效果。杜達梅爾說，這支曲子最適合用作“馬勒計劃”的終曲，這是他的一個“瘋狂的夢”。所謂“馬勒計劃”就是為了紀念馬勒逝世100周年而舉辦的一係列大型音樂會，屆時杜達梅爾將親自指揮樂團演奏這位奧地利作曲家的全部9首交響曲（以及未完成的《第十交響曲》第一樂章和聲樂套曲《旅人之歌》）——所有曲目全憑記憶指揮。洛杉磯的演出盛會剛一結束，杜達梅爾和他的樂團就得在本周內奔赴加拉加斯，在委內瑞拉的觀眾麵前再次演繹這9首曲子。
Meet the maestro called the savior of classical music. “The Dude,” as he’s come to be known, is widely hailed as “the rock-star conductor,” the classical world’s answer to Elvis Presley or Michael Jackson. The diminutive conductor is a towering figure in symphonic music, whose cultural influence belies his relatively young 31 years. With his undulating mane of corkscrew curls, ecstatic podium presence, and unabashedly modern interpretations of cherished orchestral works, Dudamel has unleashed a flood of new interest in classical music, bridging the generation gap between pension-age high-culture appreciators and younger listeners.
下麵一起來見識一下我們的男主人公——集萬千讚譽於一身的指揮家杜達梅爾。他被人稱為古典音樂的救贖者、頗具搖滾風格的指揮家、古典界的貓王和邁克爾·傑克遜，出道之初便有“神奇小子”之名；雖然個子不高，卻是交響界的巨人，年僅31歲就有舉世矚目的文化影響力。他那一頭波浪起伏的濃密卷發，沉醉於指揮之中的癲狂狀態，對交響“神曲”大膽無畏的全新闡釋，吸引了一批又一批年輕人關注古典音樂，使得這個原本隻屬於老齡、小眾群體的高雅藝術形式重新煥發出蓬勃的生機。
The L.A. Phil chased Dudamel “around the world” to nab him., Lawrence K. Ho / Los Angeles Times-Polaris
洛杉磯愛樂“追遍天涯海角”才把杜達梅爾“追到手”，圖片來源：Lawrence K. Ho / Los Angeles Times-Polaris
And the show is just beginning. “The Mahler Project is immense,” says Deborah Borda, president and chief executive of the L.A. Phil. “When we planned it, I don’t think the two of us completely took in how big it would turn out to be.” It is the kind of bar-raising command performance that audiences have come to expect from the Venezuelan wunderkind—a musician who, whether taking on a Sibelius violin concerto or a Strauss symphony, makes a policy of raising the roof whenever he performs.
好戲才剛剛開始。“‘馬勒計劃’非常龐大，”洛杉磯愛樂的團長和執行總監黛博拉·博爾達說，“策劃的時候，我們兩個可能都沒想到這個計劃能做多大。”人們爭先恐後地來聽演唱會就是為了一睹來自委內瑞拉的“音樂精靈”如“神靈附體”般的魔力。在這位指揮神童的演繹下，無論是西貝柳斯的小提琴協奏曲還是斯特勞斯的交響曲，都使聆賞者陷入如攝魂版的迷醉。
The grueling project also underscores Dudamel’s commitment to El Sistema—“The System”—Venezuela’s tough-love musical-outreach program for youth that made the conductor what he is and still counts him as its most forward face. “An orchestra is a model for an ideal global society—a symbol,” he says in his heavily accented English. “You have to create harmony. Everyone has to listen to each other, this large, complex group of people with different personalities that has to communicate. You have to have discipline. This is where The System works! The point is not to build better musicians. It’s to build better citizens, to see children building their lives from music.”
在這項雄心勃勃的計劃中，杜達梅爾還將大力推廣“音樂救助體係”——通過音樂教育拯救貧困階層的孩子。正是委內瑞拉的音樂救助體係造就了杜達梅爾，將這個神童從青蔥小苗栽培成了蒼天大樹。“交響樂團是理想社會的典範，”杜達梅爾操著地方口音很重的英語說道，“你必須創造和諧的氛圍，讓每個人在這個龐大、複雜的群體中學會聆聽，學會與他人交流。你必須製定紀律讓每個人遵守。音樂救助體係也是如此，其目的是為了培養更優秀的音樂家和更好的公民，讓孩子們用音樂造就自己的生活。”
Born to a salsa-trombone-playing father and a vocal-coach mother, Dudamel grew up in a loving but disadvantaged household. He famously enrolled in El Sistema (full name in translation: the National System of Youth and Children’s Orchestras of Venezuela) at the age of 5. His talent as a violin prodigy was spotted early on, and soon he was receiving tutelage from The System’s founder, José Antonio Abreu, who over the last 37 years has reshaped the lives of hundreds of thousands of disadvantaged Venezuelan youths with his music-education program. By age 18, Dudamel had assumed the role of musical director and conductor of the Simón Bolívar orchestra, El Sistema’s house ensemble.
杜達梅爾出生在一個幸福卻貧困的家庭，父親是薩爾薩舞曲的長號手，母親是聲樂教練。5歲時他就進了“音樂救助體係”（全稱委內瑞拉國家青少年交響樂團體係）——一個曆時37年，拯救過無數委內瑞拉貧困兒童的音樂教育項目。他在拉小提琴上的天賦很早就顯現出來，不久後就成了項目創始人若澤·安東尼奧·阿布魯的門生。18歲時，杜達梅爾當上“音樂救助體係”的“嫡係”樂團——西蒙·玻利瓦爾青年交響樂團的音樂總監和指揮。
“People say, ‘He’s very young!’” Dudamel says. “The image of a conductor is with white hair, 50, 60 years old. But people must remember: I started to conduct when I was 12 years old.”
“人們看到我時總會說我太年輕了，”杜達梅爾說，“因為一般指揮家都是五、六十歲、白發蒼蒼的老人，但是他們沒有想過，我從12歲起就開始當指揮了。”
Soon the conductor’s aggressively modernist outlook, his exacting vision as an orchestra leader, and his galvanizing pasión with the baton were coaxing reluctant audiences in London, Paris, and New York to give standing ovations of “Bravo, Gustavo!” Critics, meanwhile, began to view the Dude as the charismatic prodigy who could resuscitate the art form (perhaps inevitably, he has also been written off by some critics as “overhyped”). In 2004, the maestro won the first Gustav Mahler Conducting Competition in Bamberg, Germany, and acclaimed conductor Simon Rattle was hailing him as “the most astonishingly gifted conductor I have ever come across.”
剛出道不久，杜達梅爾就以其張揚不羈的外表、精益求精的藝術態度和激情澎湃的指揮風格征服了倫敦、巴黎、紐約的無數觀眾，讓他們驚呼“妙不可言”，批評家們開始把這位魅力四射的神童看做古典音樂的救贖者（當然，也有人批評他“興奮過度”）。2004年，杜達梅爾在德國班貝格舉辦的馬勒國際指揮大賽上一舉奪魁，著名指揮家西蒙·拉特爾更是盛讚他為自己見過的“最有天賦的指揮家”。
The L.A. Phil’s Borda recalls chasing Dudamel “around the world” to secure his commitment as the orchestra’s music director. After visiting Caracas, Borda in 2007 maneuvered to help found Youth Orchestra Los Angeles (YOLA), which provides free instruments and intensive music and academic training to students from several of L.A.’s most underprivileged neighborhoods. “I remember getting on the plane thinking, ‘I don’t know that I’ll be able to bring Gustavo to Los Angeles,’” Borda says. “‘But I must bring El Sistema back to our city and country.’” The move not only established the first El Sistema program outside Venezuela, it lured Dudamel to the City of Angels, where he took over from Esa-Pekka Salonen as the L.A. Philharmonic’s conductor and musical director in 2009. El Sistema affiliates have since cropped up in American cities such as Chicago, New York, and Baltimore, and as far away as South Korea, Greece, Norway, Denmark, and Scotland.
博爾達向記者講述了洛杉磯愛樂為了杜達梅爾“追遍天涯海角”的往事。2007年，博爾達來到加拉加斯，向杜達梅爾承諾幫他建立洛杉磯青年交響樂團，為洛杉磯最底層民眾家的孩子提供免費的樂器和高強度的音樂、文化訓練。“我記得當時自己上飛機的時候就在想，‘也不知道這次能不能把杜達梅爾請到洛杉磯來，’”博爾達說，“‘不過不管怎麽說一定要把音樂救助體係引進洛杉磯，引進全美國。’”結果此舉不僅讓音樂救助體係在委內瑞拉以外的地方紮根，還把杜達梅爾引到了這座“天使之城”。2009年，杜達梅爾接替艾薩-佩卡·薩洛寧成為洛杉磯愛樂的指揮和音樂總監。此後，音樂救助體係在各地如雨後春筍般湧現，不僅紮根於芝加哥、紐約、巴爾的摩，還開到了大洋彼岸的韓國、瑞士、挪威、丹麥和蘇格蘭。
At a recent YOLA rehearsal inside the swooping architectural confines of the Frank Gehry–designed Disney Hall, Dudamel’s commitment to his young charges was on vivid display. Guiding an ensemble of 40 kids through a performance of Brahms’s Hungarian Dance No. 5, the conductor was by turns goofy and cajoling. He was also stern, leaving no doubt about his expectations. After the orchestra performed one none-too-satisfactory passage, Dudamel said: “The first time was perfect. The second time was bad. The third time was worse. And the last time was horrible. Sorry, Brahms!”
為了回報音樂救助體係當年對自己的栽培之恩，杜達梅爾一直熱心於培養年輕一代音樂家。最近，洛杉磯青年交響樂團在弗蘭克·蓋裏設計的環形音樂聖殿——迪斯尼音樂廳舉行了彩排，杜達梅爾親自指揮40個孩子演奏勃拉姆斯的第5號《匈牙利舞曲》。這位指揮家時而循循善誘，時而坦率直白，不過總的來說他嚴格苛刻，不留情麵，定下的標準一定要做到。在一段不甚完美的演奏之後，杜達梅爾毫不客氣地說：“第一遍不賴，第二遍不行，第三遍很差，第四遍簡直不堪入耳。天哪，我真為勃拉姆斯感到抱歉！”
Dudamel’s professional habit of holding youth-orchestra members to the high standards he sets for his adult players—even at the risk of riding them—is textbook El Sistema, says Gretchen Nielsen, director of education activities at the L.A. Phil. “There’s a thing they do in Venezuela: they throw out this goal that’s way too lofty for any kid to attain,” she explains. “But it makes them want to rise to that. And it sets up this deep trust. They think about Gustavo as a friend and this great artist. They want to fulfill both of those contracts.”
杜達梅爾一貫以職業的水準要求年輕的演奏者，盡管這樣的標準有時對他們來說過於嚴苛。據洛杉磯愛樂主管教育活動的格雷琴·尼爾森說，這種“高標準，嚴要求”的訓練風格正是音樂救助體係的金科玉律。“他們委內瑞拉人有個習慣，喜歡給孩子設立看似高不可及的目標，”她解釋道，“但這樣做也是對孩子能力的充分信任，能激起他們的挑戰欲。孩子們把古斯塔沃看做良師益友。既對他保有尊崇，又和他打成一片。”
Helena Wessman, the managing and artistic director of the Göteborg Symphony, where Dudamel was conductor for five seasons, can attest to the positive impact his nucleos—as teaching centers for El Sistema are known—have had across Sweden. “This El Sistema thing: Gustavo is the icon, the ambassador of it,” she says. “I think within 10 years it will be a strong global movement. What Gustavo is doing is creating big waves of energy throughout the world.”
哥德堡交響樂團的執行、藝術總監海倫娜·維斯曼亦對此深有體會，杜達梅爾曾在她的樂團擔任五個季度的指揮，音樂救助體係也在瑞典遍地開花。“杜達梅爾是體係的靈魂與代言人，”她說，“依我看，不出十年這個體係就會走遍全球，古斯塔沃正把他的青春活力帶向世界各地。”
Kevin Sullivan / Orange County Register-ZUMA
圖片來源：Kevin Sullivan / Orange County Register-ZUMA
To hear it from Dudamel, the endgame of his international acclaim is to provide inspiration. “Fame has two sides for me,” he says. “One is when fame is an inspiration for other people. The other is when fame is an inspiration for you. What that means? In the second case, it becomes an ego thing. ‘I’m the best and everybody knows me.’ In the first, you see the children calling you, and your image is an inspiration for them to accomplish things. For me, that’s amazing. You feel like things are going the right way.”
對杜達梅爾來說，名譽是前進的動力。“名譽對我來說有兩方麵的影響，”他說，“一是激勵別人，二是激勵自己。怎麽說呢？從第二個方麵講，名譽構成了一種自尊，你會覺得，‘我是最棒的，沒有人不知道我。’從第一個方麵講，你會感覺到孩子們需要你，他們把你看做偶像來鞭策自己。這對我來說很神奇，感覺就像所有的事情都發展得很順利。”
Dudamel’s efforts to conjoin his past with his future legacy were thrown into stark relief on a recent afternoon at Heart of Los Angeles, a nonprofit after-school program for underprivileged kids in L.A.’s gritty Rampart district, which houses one of the city’s two El Sistema nucleos. Some 20 members of the Simón Bolívar Symphony Orchestra were giving tutorials on cello and violin to the appreciative and surprisingly well-behaved elementary students. “When we see the children play, it’s like going back in time to watch ourselves learning how to play,” says Manuel Jurado, 20, of the Bolívar Symphony. The young Venezuelans made no secret of how they revere the Dude as something between a national hero and an inspirational icon. “He’s kind of a god for us,” says Bolívar Symphony assistant conductor Jesús Parra, 17. “He’s opened the doors for many conductors to believe in what they do. Out of thousands of children, Gustavo is the main example of what El Sistema can create.”
從貧民家庭走出的杜達梅爾希望利用自己目前的社會地位幫助更多的貧困兒童。不久前的一天午後，他率領玻利瓦爾交響樂團的20名“親兵”來到音樂救助體係在洛杉磯蘭帕特區設立的兩個教育中心指導當地的貧困兒童演奏大提琴和小提琴，孩子們的表現令人吃驚。“看著孩子們演奏，仿佛看到了當年的自己，”20歲的團員曼紐爾·尤拉多說。這些年輕的委內瑞拉人絲毫不掩飾自己對杜達梅爾的崇拜，他們把他看做民族英雄和勵誌偶像。“他對我們來說就像神一樣，”17歲的樂團助理指揮赫蘇斯·帕拉說，“他造就了許許多多的年輕指揮，讓他們相信自己的才能。古斯塔沃是音樂救助體係拯救的成千上萬名街頭少年之一，充分說明了這個慈善體係所發揮的驚人作用。”
Lost on no one is the fact that this savior of classical music comes from the so-called Third World—and doesn’t resemble any of the elderly maestros who’ve been the face of European orchestral music for centuries.
幾個世紀以來，統領交響樂壇的都是歐洲國家的那些一本正經的老年音樂家，杜達梅爾的出現顛覆了人們的傳統偏見。這位古典音樂的救贖者來自所謂的“第三世界”，給暮氣沉沉的交響樂壇帶來了全新的氣象。
For his part, Dudamel is happy to function as an antidote to elitism and bridge the cultural divide. “I’m coming from a Latin culture where everything is so energetic,” he says. “I cannot avoid that. It’s in my blood.”
杜達梅爾自己倒樂於做草根階級的代言，他希望通過音樂溝通不同的文化。 “我從小生活在拉美的文化環境中，那裏的一切都充滿了活力，”他說，“這種文化影響滲透到了我的血液裏，根深蒂固。”
http://article.yeeyan.org/view/58460/250156
