夏至将至,六月的北京已经很热了。由文化部艺术局和中国歌剧研究会联合主持召开的“1984年全国歌剧座谈会”,从六月十二日至二十四日在北京举行。全国各地的歌剧导演、编剧、作曲家、演员及音乐理论工作者到了一百多人。他们无一不在认真地思索着这些问题:中国的新歌剧到底该怎么办?歌剧创作要上去,关键在哪里?要不要讲时代性?如果没有观众,没有经费,这门艺术如何生存下去,求得发展? 象这样的大型歌剧座谈会,五十年代曾举行过。1981年底的那次虽然还近在眼前,但代表们仍怀着极大的兴趣参加这次活动,因为事先知道,歌剧研究会的同志已从各地近两年半中创作的一百三十部新歌剧中挑选了七部,供参加座谈会的代表观摩和进行讨论。这样,好坏勿论,至少不至于“空对空”地空 As the summer solstice is approaching, Beijing in June is already hot. The 1984 National Opera Symposium, co-chaired by the Arts Bureau of the Ministry of Culture and the China Opera Research Society, was held in Beijing from June 12 to 24. Opera directors, screenwriters, composers, actors and music theorists across the country reached over 100. They are all serious thinking about these issues: the Chinese new opera in the end how to do? Opera to go up, the key is where? Or to talk about the times? Without the audience, there is no funding, the art of how to survive, seeking Developments like this Large-scale opera symposium was held in the 1950s. Although the exhibition was close at the end of 1981, the delegates took great interest in participating in the event because it was known in advance that the comrades of the Opera Research Society had already started their studies from around 130 in the past two and a half years Seven new operas were selected for observation and discussion at the symposium participants. In this way, good or not, at least not “empty” empty