Known by his pioneering masterworks as Marriage of Figaro, Don Juan and Magic Flute, Mozart is one of the most influential composers in 18 century, an essential founder of the Vienna Classical School. Though many of us are familiar with his pieces of music, few actually understand his legendary but tortured life.
莫扎特是18世纪最为有影响力的作曲家之一，维也纳古典乐派的奠基人，以《费加罗的婚礼》、《唐璜》、《魔笛》等开创性杰作闻名于世。虽然我们许多人对于他的作品已经耳熟能详，可他传奇却又坎坷的一生却十分鲜为人知。
Premiered on 2009 at the Palais des Sports de Paris, the musical Mozart, L’opéra Rock, which originally narrates the splendid biography of this unprecedented genius with music of varied sorts. After being released, this hit french musical widely gained recognition of audiences from all over the world, which made it achieve enormous success, grossed $100million and sold 750,000 copies of the cast recording within 3 years. Till now, it has been played in 9 countries or regions including US, Korea and China, adopted in 7 versions of different languages, meanwhile, is still a regnant piece which is fairly vital in the musical circle.
音乐剧《摇滚莫扎特》于2009年在巴黎体育馆首演，以多变的乐曲讲述了这位绝世天才的传奇一生。这部轰动一时的作品一经上映，在全球好评如潮，获得了巨大成功，它在3年内盈利达到1亿美元，售出75万张专辑。目前，它已在全球超过9个，包括美国、韩国和中国等国家或地区巡演，被改编为7个不同的语言版本，至今仍然活跃在音乐剧的圈子里，具有不可撼动的地位。
Different from the enthusiasm illustrated in his operas, his experience could be described as a miserable one or, a lament of a genius ---- the expulsion of the archbishop, his brush with his lover, being deserted by Paris, the deaths of his parents, marginalization of his peers as well as torment of the illness before died young…just as the idiom “god envies talent”. A 35 years old dropped down as a resplendent meteor, however, his suffering has melt as leaping notes which remain great popularity today. Imagine at one of the scenes of this musical: Mozart rushes about on the streets of Paris in a thunderstorm without an umbrella for promoting his compositions while sings the song Tatoue-moi with lilting rhythms but just being completely rejected by these clients, this kind of optimism or romanticism appropriately fits the core spirit of the France, which made the musical extremely impressive. So someone said, Paris, which had disappointed Mozart but then awarded him with crowning appreciation after his death.
不同于莫扎特在他歌剧中所表现的积极心态，他的经历可以说是相当悲惨，或者说可以被形容为一手天才的挽歌。他的一生历经了主教的驱逐、与爱人的擦肩而过、被巴黎所冷落、父母双亡、同行排挤并在病痛的折磨下英年早逝，就像老话说的，天妒英才。一个35岁的生命如璀璨的流行般陨落，可却将苦难融为音符，至今流行依旧。想象剧中有这样一幕：莫扎特奔波于巴黎的大街小巷，忙着推销自己的编曲，口中唱着《纹我》轻快的乐曲，可却被客户们拒之门外，也正是这种乐观或是浪漫主义正好与法兰西的精神内核向契合，也正因如此，这部剧才能深入人心。所以，有人说，巴黎冷落了莫扎特，却又在他死后，授予他至高的赞赏。
However, rather than the accurate depiction of the Mozart in the history, the director has broken our traditional stereotypes of this brilliant musician of 18 century by reposing contemporary conviction and modern emotion, which blessed this Mozart with nearly an unexpected figure. As how the player of Mozart, Mikelangelo Loconte, evaluated his character in an interview: “I think Mozart’s main issue is emancipation. He had a short life, so he didn’t really have time to grow up. And that’s exactly what I want to show the public. It’s not Mozart fooling around like what people would expected.”And this sort of hypothesis obviously derived from the empathy of the masterworks of this gifted. Via the stress of the dramatic comedy, simultaneously, emphasis on the description of the “deviants”, this opera entirely demonstrated the rebellious or wild souls of the main characters.
但与其小心翼翼地描摹历史上的莫扎特，倒不如说导演以当代人的理念和情感寄托，打破我们对于这位18世纪音乐家的传统偏见，赋予了他几近颠覆的人格。正如此剧中莫扎特的饰演者，Mikelangelo Loconte所说：“我认为莫扎特最大的特点就是放荡不羁，他的一生如此短暂，甚至还没来得及长大，而这也是我想向观众们所呈现的，而非大家所想的游手好闲的那种人。”而这种假定出自对于莫扎特作品的深度共鸣，通过凸显喜剧色彩、突出人物的离经叛道，洗炼出主角灵魂深处的潇洒与反叛。
In addition, the styles of the songs that were adopted could be exceedingly distinguished from the conventional ones, which have absorbed the element of pop, heavy metal and, apparently, rock into the classical theme, which is surprisingly, in my point of view, coincided with the conception “vilain” that was highlighted in the Mozart’s works, which briefly means that even the form of the art supposed to be supremely noble should be adapted by the lives of the public. And this creative action has received numerous admiration as well as praise of the fans, also attracted a good deal of audiences to start to concern about the field of musical, but at the meantime, incurred much criticisms of the professional who condemned this show as an impertinence one and lack of the noteworthy vocal skill.
此外，较之常规音乐剧，《摇滚莫扎特》有着极强的曲风和辨识度。该剧将流行、重金属当然还有摇滚等元素融入了古典音乐的主旋律，在我看来，正与莫扎特在他的作品中所强调的“市井民众”的理念不谋而合，简单来讲，即无论多么高雅的艺术形式都应取自于群众的生活。该剧的这一场剧，使它收获了大量粉丝的好评，同时，也吸纳了一大批观众开始关注音乐剧这一领域，但同时也收到了一些来自权威的批判，指出该剧有些不庄重且缺乏显著的声乐技巧。
Eventually, the ultimate theme of Mozart, L’opéra Rock is remain to be discussed, whose traces could be found out from the final theme of the show, Vivre à en crever, meaning live life to the fullest in English, whose lyric exposed the value of our lives and existence, which I still eager to share with you. “If we must die, let’s live life to the fullest, retain everything to sacrifice it all. If we must die, I want to carved on our tombs, that our laughter fooled death and time.”
最后，关于本剧的最终主题，依然值得我们探讨研究，而从它的谢幕曲《Vivre à en crever》（中文翻译：纵情生活）中即可窥见一二。这首歌的歌词在结束时，向我们揭示了我们存在的意义，现在，我想将它分享给大家。“如若必有一死，何不纵情生活，所有试图挽留的将被献祭。如若必有一死，我愿在我的墓碑上刻下，我们的笑声嘲笑了死亡，愚弄了时光。”
Author: Kong Yilin
Date: July 20, 2022
