The Glyndebourne opera house has a new show. It is a story called L’Orfeo from the year 1607. William Kentridge is the director.

格林德本歌劇院有一場新演出。這是一個名為《奧爾菲歐》的故事，源自 1607 年，由 William Kentridge 執導。

The stage looks like an artist's room. There are many videos and drawings on the walls. These pictures show how art is made.

舞台看起來像是一個藝術家的工作室。牆上有很多影片和繪畫。這些畫面展示了藝術是如何創作的。

A dancer helps the character Euridice. She does not sing much, so she moves her body to tell the story. The musicians use old instruments to make the music sound real.

一名舞者協助演出 Euridice 這個角色。她不常唱歌，因此透過肢體動作來敘述故事。音樂家使用古樂器，讓音樂聽起來更加真實。

Some people love the pictures and videos. Other people say there are too many images. They say it is hard to read the words on the screen.

有些人很喜歡這些繪畫與影片。但也有人認為影像過多，表示螢幕上的文字很難閱讀。

You can see L’Orfeo at Glyndebourne until July 25. Later, the show goes to Greece and New York.

您可以到 7 月 25 日前在格林德本觀賞《奧爾菲歐》。隨後，該劇將前往希臘與紐約演出。

The Glyndebourne opera house has started its first performance of Claudio Monteverdi’s 1607 masterpiece, L’Orfeo, directed by the artist William Kentridge.

格林德本歌劇院已開始演出由藝術家 William Kentridge 執導、克勞迪奧·蒙特維爾第 1607 年的傑作《奧路菲歐》。

The production focuses on the power of art to create. Director William Kentridge presents the character of La Musica as a central creative force, placing her in an artist's studio that combines Bauhaus style with elements from Kentridge's own workspace in Johannesburg. This set is enhanced by constant video projections of charcoal drawings and old documents. Furthermore, the staging connects different time periods, using ideas from Rilke’s 1920s interpretations of the Orpheus myth to link the 17th-century music with today's audience.

這次製作重點在於藝術創造的力量。導演 William Kentridge 將 La Musica 這個角色塑造為核心的創造力量，將她置於一個藝術工作室中，設計將包浩斯風格與 Kentridge 在約翰內斯堡自己的工作室元素結合。舞台透過不斷投影的炭筆畫與舊文件來增加層次感。此外，舞台設計將不同時代連結，利用 Rilke 在 1920 年代對奧路菲歐神話的詮釋，將 17 世紀的音樂與今日的觀眾聯繫起來。

To give the character of Euridice a stronger presence, the production has added physical dance movements performed by Roseline Wilkens, as the original music gives her very few lines to sing. The music is led by conductor Jonathan Cohen and the Orchestra of the Age of Enlightenment. They use period instruments, such as early organs and theorbos, to ensure the sound remains historically accurate. The performance emphasizes Monteverdi's belief that music should always support the emotion and meaning of the text.

為了讓 Euridice 這個角色更有存在感，製作組加入了由 Roseline Wilkens 表演的肢體舞蹈動作，因為原曲給她的演唱片段非常少。音樂由指揮 Jonathan Cohen 與啟蒙時代管弦樂團領軍。他們使用古樂器，例如早期風琴與提奧波琴，以確保音色符合歷史原貌。演出強調了蒙特維爾第的信念，即音樂應始終服務於文字的情感與意義。

However, reactions from the audience and critics have been mixed. While many praised the combination of the stage and screen as an exciting experience, some critics argued that the visuals were too intense. Consequently, they suggested that the heavy use of images sometimes made it difficult to read the subtitles and distracted from the singers' performances.

然而，觀眾與評論家的反應褒貶不一。雖然許多人讚賞舞台與螢幕的結合是一種刺激的體驗，但部分評論家認為視覺效果過於強烈。因此，他們認為過多的影像有時會導致難以閱讀字幕，並分散注意力，影響了對歌手表演的關注。

L’Orfeo is playing at Glyndebourne until July 25, and will later be performed at the Greek National Opera and the New York Metropolitan Opera.

《奧路菲歐》將在格林德本演出至 7 月 25 日，隨後將在希臘國家歌劇院與紐約大都會歌劇院演出。

The Glyndebourne opera house has commenced its first staging of Claudio Monteverdi’s 1607 work, L’Orfeo, directed by artist William Kentridge.

Glyndebourne 歌劇院已開始上演由藝術家 William Kentridge 執導的 Claudio Monteverdi 1607 年作品《奧菲歐》（L’Orfeo）。

The production is characterized by a conceptual framework that emphasizes the generative capacity of art. Director William Kentridge has positioned the character of La Musica as a central creative agent, depicting her within an artist's studio that integrates Bauhaus aesthetics with elements from Kentridge's Johannesburg workspace. This scenography is augmented by continuous video projections of animated charcoal drawings and archival documents, designed by Janus Fouché. The staging further incorporates a temporal synthesis, drawing inspiration from Rilke’s 1920s interpretations of the Orpheus myth, thereby layering multiple historical epochs—from the original 17th-century composition to the 21st-century audience—within a single performance space.

此次製作的特點在於一個強調藝術創造力的概念框架。導演 William Kentridge 將「音樂女神」（La Musica）設定為核心的創意主導者，將她置於一個結合了包浩斯美學與 Kentridge 在約翰尼斯堡工作室元素的藝術工作室中。由 Janus Fouché 設計的場景，配合持續播放的動畫炭筆畫與檔案文件投影，使視覺效果更加豐富。演出更融合了時間上的合成，靈感來自 Rilke 在 1920 年代對奧菲歐神話的詮釋，從而將 17 世紀的原曲到 21 世紀的觀眾等多個歷史時代，全部疊加在同一個表演空間內。

Structural modifications have been implemented to enhance the agency of the character Euridice, whose limited vocal lines in the original score are supplemented by physical movement performed by dancer Roseline Wilkens. The musical execution is managed by conductor Jonathan Cohen and the Orchestra of the Age of Enlightenment, utilizing period instruments such as theorbos, lirones, and various organs to maintain historical fidelity. The performance is noted for its adherence to Monteverdi's principle that musical composition must serve the linguistic delivery and emotional articulation of the text.

為了強化歐里狄斯（Euridice）這個角色的主導權，製作方面採取了結構性修改，利用舞者 Roseline Wilkens 的肢體動作來補足原譜中有限的唱段。音樂執行由指揮 Jonathan Cohen 與「啟蒙時代管弦樂團」（Orchestra of the Age of Enlightenment）負責，使用如 theorbos、lirones 及各種管風琴等古樂器，以維持歷史原貌。演出強調遵循蒙特威第的原則，即音樂創作必須服務於文字的語言表達與情感抒發。

Stakeholder reception indicates a dichotomy between the production's visual ambition and its practical execution. While the integration of stage and screen is cited as an exhilarating reflection of sensory overload, some critical analysis suggests that the density of the visual stimuli may impede the legibility of surtitles and occasionally overshadow the dramatic contributions of the vocalists.

相關持份者的反應顯示，製作的視覺野心與實際執行之間存在反差。雖然舞台與螢幕的結合被認為是對感官超載的精彩反映，但部分評論分析指出，視覺刺激過於密集，可能會影響字幕的易讀性，有時甚至掩蓋了歌唱家在戲劇上的貢獻。

L’Orfeo is currently playing at Glyndebourne until July 25, with subsequent engagements scheduled for the Greek National Opera and the New York Metropolitan Opera.

《奧菲歐》目前在 Glyndebourne 演出至 7 月 25 日，隨後將在希臘國家歌劇院與紐約大都會歌劇院上演。