编者注：

        LIMELIGHT是澳大利亚古典音乐与表演艺术领域的专业杂志。在其五星评分体系中，五星（★★★★★）代表“在艺术与技术层面均具有卓越品质”。

        四星半（★★★★ ½）是杂志给予演出的极高评价，意味着演出在艺术水准和技术呈现上都超过优秀水平，接近完美。此次中央歌剧院首赴澳大利亚巡演，能在海外权威专业媒体上获得四星半评价，是对演出艺术质量的高度肯定。

        The China National Opera House made its delicious debut in the Sydney Opera House Concert Hall on Sunday evening with a perfectly curated Opera Gala; the first half read like a wine list, taking listeners on a journey from champagne to merlot.
        The night began with the sparkling flair of Mozart’s iconic Eine kleine Nachtmusik. From the first chord, the chamber orchestra demonstrated vigour and excitement. Importantly, however, its controlled choice of tempo was excellent, balancing the work’s sense of wonder with accuracy and nuance. Conductor Yuan Ding knew exactly when to give the perfect impulse to his musicians, then let them create the rest of the magic.
        Bass Song Fengrun was next with Sarastro’s In diesen heil’gen Hallen from The Magic Flute, bringing on the sauvignon blanc: light yet welcoming. His regal yet gentle presence remained true to the style while also being relatable.
        Next came our pinot gris: the sweet lovebirds of the “Pa-Pa-Pa” duet. Soprano Wang Ye and baritone Geng Zhe displayed excellent comic timing and hilarious stage presence. Combined with their light-hearted phrasing and fluttering articulation, I couldn’t help but wear a beaming smile throughout.
        Pivoting to Italian opera, tenor Han Junyu sang La Traviata’s De’ miei bollenti spiriti, his tone creating a celestial presence, while the accompaniment seemed to orbit him like planets. This was the rosé of the evening, balancing the tragedy of Verdi’s opera with the aria’s glimmer of hope as it floated above the orchestra.
        Then came the reds. The tragically beautiful Parigi, o cara, sung by soprano Li Jingjing and Han Junyu, showcased excellent storytelling through both the singers’ stage presence and the orchestra’s dedicated phrasing.
        Our first French cabernet sauvignon of the evening arrived with tenor Li Shuang’s Flower Song from Carmen. It came at just the right moment, offering a welcome contrast to Han Junyu’s celestial imagery with something a little more down-to-earth. His voice suited Don José’s rustic character perfectly, while the gorgeous cello countermelody enriched the dolce, romantic atmosphere.
        The next two numbers truly showcased the versatility of Geng Zhe and Wang Ye. Geng Zhe was the true crowd-pleaser of the evening, engaging the audience in the ever-popular Toreador Song. It was thrilling to watch him transform from a flighty Papageno into a commanding bullfighter. Similarly, Wang Ye’s voice transformed from Papagena into liquid gold, shimmering alongside tender cello and viola soli in Vissi d’arte from Tosca.
        The first half concluded with an umami bomb: Au fond du temple saint from Bizet’s The Pearl Fishers. Bold and richly spiced, it was thrilling to hear the woodwind, brass and percussion raise the temperature in the concert hall. The duet steadily built tension and excitement, culminating in a loud cheer from the audience just before the interval.
        The second half offered something truly special for Australian audiences: China’s beloved tradition of Peking opera at its finest.
         Soprano Wang Qingshuang sounded like a choir of bells as she sang The North Wind Blows from The White-Haired Girl. The audience chattered with delight as she performed Who Doesn’t Praise My Beautiful Hometown, with many clearly feeling a rush of nostalgia for China’s beauty and history.
         The orchestra displayed an entirely different flavour as melodies were embellished with ornaments evocative of traditional Chinese instruments in Liang Xiao, Deep Friendship and excerpts from the Butterfly Lovers Violin Concerto. The violins were superb, combining the expressive qualities of traditional Chinese music-making with European classical virtuosity. The audience couldn’t help but hum along to the whimsical waltz and galloping polka of Deep Friendship.
        The chamber orchestra’s electricity was now fully on display and was led expertly by concertmaster Du Xuan in the crowd favourite, the Butterfly Lovers Violin Concerto. Du Xuan’s storytelling and clarity of artistic purpose had been quietly evident throughout the evening, making it a particular pleasure to see him take centre stage. His solo flourishes sparkled like morning dew, yet he effortlessly resumed his role as supportive leader when the sweeping violin melodies brought the work to its conclusion.
        The evening ended with a powerful rendition of Nessun dorma and the patriotic hymn My Motherland, performed by the full company and chorus. After a remarkable four encores, phone torches swayed throughout the hall, the audience sang along, and Geng Zhe appeared to hold back tears of joy.
        Overall, the evening was an electrifying success, particularly given the production’s relatively bare-bones presentation. Perhaps the China National Opera House’s Australian debut will spark discussions about a return to Sydney with a fully staged production or a more expansive program.

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 乐评参考翻译 

歌剧盛典（中央歌剧院 × 澳丰文化集团）

        来自北京歌剧舞台的群星，以一场令人回味无穷的歌剧盛宴，为澳大利亚观众献上了一次精彩绝伦的首秀。

评分：四星半（★★★★ ½）

演出地点：悉尼歌剧院音乐厅

演出时间：2026年7月19日

评论作者：Julia Magri

发表于：2026年7月21日

        中央歌剧院于周日晚在悉尼歌剧院音乐厅完成了令人惊艳的澳大利亚首秀。这场精心策划的《歌剧盛典》犹如一份设计巧妙的品酒单，上半场仿佛带领听众经历了一场从香槟到梅洛红酒的味觉之旅。

        音乐会以莫扎特经典作品《小夜曲》（Eine kleine Nachtmusik）华丽开场。从第一个和弦响起，室内乐团便展现出旺盛的生命力与饱满的激情。更难得的是，他们对速度的掌控极为精准，在保持作品灵动与惊喜感的同时，也兼顾了演奏的准确性与细腻层次。指挥袁丁深知何时给予乐队恰到好处的推动，

         随后便让音乐家们自由挥洒，共同创造属于舞台的魔法。随后登场的男低音宋沣润演唱了莫扎特歌剧《魔笛》中萨拉斯特罗的咏叹调《在这神圣的殿堂里》（In diesen heil’gen Hallen），如同一杯长相思白葡萄酒——清新、纯净，却又温暖宜人。他庄严而温和的舞台形象既忠实于角色风格，又能引发共鸣。

         接下来登场的是当晚的“灰皮诺”——《魔笛》中帕帕盖诺与帕帕盖娜的二重唱《Pa-Pa-Pa》。女高音王晔与男中音耿哲展现出极佳的喜剧节奏感和极富感染力的舞台表现。配合轻松自然的乐句处理与灵巧活泼的演唱，我几乎始终面带笑容。

        随后音乐转向意大利歌剧。男高音韩钧宇演唱了威尔第《茶花女》中的《我的热情在沸腾》（De’ miei bollenti spiriti）。他的音色仿佛带着一种圣洁而超然的光辉，而乐队则如同围绕着他运行的群星，为他的歌声构筑出广阔的音乐空间。这首咏叹调恰似当晚的一杯桃红葡萄酒，在威尔第歌剧悲剧底色之中，仍闪耀着一丝希望的光芒，轻盈地飘浮于乐队之上。

        随后，音乐进入“红酒时刻”。女高音李晶晶与男高音韩钧宇共同演绎《茶花女》中的《告别巴黎》（Parigi, o cara），无论是两位歌唱家的舞台表演，还是乐队富有情感的乐句塑造，都展现出出色的叙事能力，将人物情感娓娓道来。

        当晚第一杯“法国赤霞珠”则来自男高音李爽演唱的比才《卡门》中《花之歌》（La fleur que tu m’avais jetée）。它出现得恰到好处，与韩钧宇此前充满天国般诗意的演唱形成鲜明对比，带来了更接地气、更富人性色彩的表达。他的声音十分契合唐·何塞朴实真挚的性格，而优美的大提琴对旋律更进一步烘托出作品甜美而浪漫的氛围。

       接下来的两首作品真正展现了耿哲与王晔两位艺术家的多面性。耿哲无疑是全场最受观众欢迎的歌唱家之一，在《斗牛士之歌》中充分调动了现场气氛。看着他从活泼俏皮的帕帕盖诺，瞬间化身为气场十足的斗牛士，令人十分振奋。同样，王晔也完成了惊人的角色转换，她的声音从帕帕盖娜的轻盈灵动，变成了普契尼《托斯卡》中《为艺术，为爱情》（Vissi d’arte）里流淌着金色光泽的歌声，在大提琴与中提琴独奏旋律温柔的衬托下熠熠生辉。

        上半场最后以比才《采珠人》中的二重唱《在圣殿深处》（Au fond du temple saint）收尾，可谓一记“鲜味炸弹”。这首作品大胆浓烈、层次丰富，木管、铜管与打击乐不断推高音乐的热度，使整个音乐厅的气氛持续升温。随着音乐张力不断累积，在中场休息前最后一个音符尚未消散，观众便爆发出热烈的欢呼。

        下半场则为澳大利亚观众奉献了真正意义上的惊喜——充分展现了中国传统音乐艺术的独特魅力。

        女高音王庆爽演唱歌剧《白毛女》选段《北风吹》时，声音清澈空灵，如同一串串银铃齐鸣。随后，她演唱《谁不说俺家乡好》时，观众席间不时传来欣喜的低语，不少人显然被歌曲唤起了对中国壮美山河与悠久历史的美好向往。

        随后，乐团展现出截然不同的音乐风貌。在《良宵》《情深谊长》以及小提琴协奏曲《梁山伯与祝英台》选段中，旋律中大量装饰音的运用令人联想到中国传统民族乐器的演奏特色。小提琴声部表现尤为出色，将中国传统音乐的细腻韵味与欧洲古典音乐的精湛技巧完美融合。演奏《情深谊长》时，那富有童趣的圆舞曲与欢快奔放的波尔卡节奏，更令不少观众情不自禁地跟着轻声哼唱。

       此时，室内乐团的整体能量已被彻底释放。在首席杜玄的精彩带领下，小提琴协奏曲《梁山伯与祝英台》成为当晚最受观众欢迎的节目之一。事实上，杜玄整晚都以细腻的音乐叙事能力和清晰坚定的艺术表达默默支撑着整个乐团，因此看到他走到舞台中央担任独奏，更令人欣喜。他精巧华丽的独奏段落如晨露般晶莹闪耀，而当乐曲进入恢弘宽广的旋律时，他又自然而然地回归首席位置，继续引领整个乐队，将作品推向圆满终章。

        音乐会最终在《今夜无人入睡》（Nessun dorma）与爱国歌曲《我的祖国》的恢弘演绎中落下帷幕。全体独唱演员、合唱团与乐队共同呈现了这一高潮时刻。面对观众长时间的热情回应，乐团四次返场加演。音乐厅里，无数手机灯光随音乐轻轻摇曳，观众纷纷加入合唱，耿哲更一度强忍着激动的泪水。

         总体而言，这是一场极具感染力且令人振奋的成功演出。尤其考虑到此次演出采用的是相对简约的音乐会版制作，更显得难能可贵。或许，中央歌剧院此次澳大利亚首秀，将开启人们对于他们未来重返悉尼——无论是带来完整舞台版歌剧，还是更大规模演出项目的期待与讨论。