中央实验歌剧院最近在首都上演了该院新创作的歌剧“刘胡兰”。在我们的新歌剧创作许久以来几乎陷于停滞的状况中,这一新作的上演无疑地是值得大大予以注意的。在我国,新歌剧是一门年轻的艺术。我们还是在不断的摸索中来探求着建立我们的新歌剧艺术的道路的。虽然时间不长,从事新歌剧创作的人也不多,但是尽管如此,我们在新歌剧的创作中还是取得了一些经验,也吸取了一些教训。这样,每当我们新歌剧作者们从事一部新作品的创作时,便不能不碰到一些在新歌剧创作道路上急需解决的新问题。那么,在新的歌剧“刘胡兰”的作者们究竟为他们的工作提出了什么新的任务,他们又是如何去完成这些任务的呢? The Central Experimental Opera recently staged a newly created opera Liu Hulan in the capital. The staging of this new work undoubtedly deserves a great deal of attention in a time of near-stagnation in the creation of our new opera. In our country, the new opera is a young art. We are constantly exploring ways to explore the road to building our new opera art. Although not long, there are not many people engaged in the creation of new operas. Nevertheless, we have gained some experience and learned some lessons in the creation of new operas. In this way, every time a new opera writer is engaged in the creation of a new work, he can not help but encounter some new problems which are urgently needed to be solved on the road to new opera creation. So, what new tasks do the authors of the new opera “Lau Huan Lan” put forward for their work and how are they going to accomplish these tasks?