2022年12月六级第3套长篇阅读匹配原文翻译及答案

A) In 1913, classical music sparked a riot in Paris. Igor Stravinsky was introducing his revolutionary "Rite of Spring" ballet to the world, with its discordant melodies and unorthodox choreography (编舞), and the purists in the crowd expressed their disapproval loud and clear. It might have been classical music's version of the time Bob Dylan went electric at the Newport Folk Festival. "The noise, fighting, and shouting in the audience got so loud," NPR's music reporter Miles Hoffman said of the Stravinsky debut, "that the choreographer had to shout out the numbers to the dancers so that they knew what they were supposed to do."

1913年，古典音乐在巴黎引发了一场骚乱。伊戈尔·斯特拉文斯基向世界介绍了他革命性的芭蕾舞剧《春之祭》，其中不和谐的旋律和非正统的编舞（编舞）引得观众中的纯粹主义者们明确表达了不满。这也许是古典音乐版本的鲍勃·迪伦在纽波特民谣音乐节上改用电吉他的事件。NPR音乐记者迈尔斯·霍夫曼在谈到斯特拉文斯基的首演时说：“观众中的噪音、打斗和喊叫声越来越大，编舞不得不大声喊出节拍数字，好让舞者知道该做什么。”

B) It's difficult to imagine a similar disturbance occurring today within America's sacred symphony halls. In fact, it's hard to picture any kind of disruptive activity at all (unless someone's cell phone happens to go off, and then you'd better watch your back). A mannerly aura (氛围) hangs over most classical proceedings, and many of the genre's biggest supporters would have it no other way.

很难想象今天在美国神圣的音乐厅里会发生类似的骚动。事实上，很难想象任何具有破坏性的活动（除非有人的手机碰巧响了，那你最好小心点）。礼貌的氛围笼罩着大多数古典音乐活动，而该流派的许多最大支持者也更愿意如此。

C) Today, Western audiences for classical music and opera and ballet are almost always well dressed, older, respectful, achingly silent and often very wealthy (one has to be able to afford most tickets). But as many of America's most storied "highbrow" (高雅的) institutions struggle financially -- the Philadelphia Orchestra's much-publicized rebound from bankruptcy is just one recent example -- classical music fans and theorists are wondering how the medium can weave itself into the 21st century's cultural fabric without sacrificing its integrity.

如今，西方古典音乐、歌剧和芭蕾舞的观众几乎总是衣着得体、年龄较大、彬彬有礼、极其安静且通常非常富有（必须能负担得起大多数门票）。但随着美国许多最负盛名的“高雅”（高雅的）机构在财务上挣扎——费城交响乐团从破产中大幅复兴的广为人知案例只是最近一例——古典音乐爱好者和理论家们正在思考，这种艺术形式如何能在不牺牲其完整性的情况下融入21世纪的文化结构。

D) For example, should we feel OK "clapping" during classical music events, even if nobody else is? Why shouldn't we cheer for something great, like we do at a rock concert? The Huffington Post recently ran a Great Debate on this issue and many commenters came out on the side of silence. "There is no more rewarding experience in life than being part of an audience where everybody is leaning forward in silence, thoroughly carried away by a great performance of a masterpiece," one commenter wrote. "Why is it so difficult for folks to develop an appreciation and understanding for the mannerisms and traditions of classical music?" asked another.

例如，我们是否应该觉得在古典音乐活动期间“鼓掌”是可以的，即使其他人都没鼓掌？为什么我们不应该为精彩之处欢呼，就像在摇滚音乐会上那样？《赫芬顿邮报》最近就这个问题进行了一场大辩论，许多评论者都支持保持沉默。“生活中没有什么比成为观众的一员更令人满足的体验了，所有人都在寂静中身体前倾，完全沉浸在一部杰作的精彩表演中，”一位评论者写道。“为什么人们如此难以培养对古典音乐的风格和传统的欣赏和理解呢？”另一位评论者问道。

E) The truth is that classical music audiences weren't always so polite. Robert Greenberg, an award-winning composer, said that when Beethoven first performed his 7th Symphony, audiences forced the orchestra to perform encores (重演) of certain movements immediately, applauding wildly. And in the last few decades, he said, many audiences at opera performances have abandoned pretenses, yelling "Bravo" when they feel like it.

事实是，古典音乐观众并非总是如此有礼貌。获奖作曲家罗伯特·格林伯格说，当贝多芬首次演奏他的第七交响曲时，观众们强行要求乐团立即重演（重演）某些乐章，并热烈鼓掌。他说，在过去几十年里，许多歌剧表演的观众也抛弃了做作，想喊“Bravo”时就喊出来。

F) "I don't think there's anything wrong with an audience showing their enthusiasm for a proper moment by applauding, showing their joy," Greenberg said, noting that the stuffiness in concert halls is "one aspect of contemporary concert etiquette" he doesn't understand. "Instead of waiting half an hour to show enthusiasm, why not show it every eight or nine minutes?"

“我认为观众在适当的时刻通过鼓掌来表达对音乐的热情，展示他们的喜悦，这没什么不对，”格林伯格说，并指出音乐厅里的拘谨是他不理解的“当代音乐会礼仪的一个方面”。“与其等半小时才表达热情，为什么不在每八九分钟就表达一次呢？”

G) Until the rules about behavior and clothing change, it's hard to imagine multitudes of young people filling concert halls on their own accord. They're probably more likely to head to Central Park to watch a free performance with a bottle of wine and their friends. "I think anyone should be able to come into a performance dressed any way they like, and be comfortable any way they like, sitting in that seat ready to enjoy themselves," Greenberg said. "Because it's enjoyable."

除非关于行为和着装的规则改变，否则很难想象大量年轻人会自愿涌满音乐厅。他们更可能带着一瓶酒和朋友们去中央公园观看免费演出。“我认为任何人进入演出场所时都可以穿任何他们喜欢的衣服，以任何他们喜欢的方式感到舒适，坐在座位上准备享受自己，”格林伯格说。“因为这是享受。”

H) Greenberg stressed that he doesn't want people to start respecting the music less, and he's not suggesting that we "dumb down" the experience. Rather, it's about opening up "access". When operas first instituted subtitles (字幕) during shows, he said, many purists didn't like the idea, believing that the audience should instead study the works before attending. But now it's commonplace to find titles on the seatback in front of you—choose a language, sit back, and understand what's going on.

格林伯格强调，他并非希望人们开始减少对音乐的尊重，他也不是建议我们“降低”体验的标准。相反，这是关于开放“准入”途径。他说，当歌剧在演出中首次引入字幕时，许多纯粹主义者不喜欢这个主意，认为观众应该事先研究作品。但现在，发现你前面的座椅靠背上就有字幕（可选择语言）已是司空见惯——坐回去，就能理解发生了什么。

I) Allison Vulgamore, president of the Philadelphia Orchestra, is certainly looking to the future. She says certain "classics concerts" dedicated to the old masters will always exist, but not every program has to feature Beethoven and Brahms—or even a stage and seats. "We're trying to introduce different kinds of concerts in different ways," she said. "We are an interactive society now, where people like to learn."

费城交响乐团总裁艾莉森·瓦尔加莫尔无疑在展望未来。她说，某些致力于古典大师的“经典音乐会”将永远存在，但并非每个节目都必须有贝多芬和勃拉姆斯——甚至不一定需要舞台和座位。“我们正试图以不同的方式引入不同种类的音乐会，”她说。“我们现在是一个互动社会，人们喜欢学习。”

J) As the Philadelphia Orchestra rebounds from its financial straits, it is also aiming to experiment, without alienating the loyalists. Vulgamore pointed to Cirque de la Symphonic, a recent offering in which jugglers (玩杂耍的人) and acrobats (杂技演员) interacted with musicians. An upcoming collaboration with New York City's Ridge Theatre, meanwhile, will feature a "suspended dance installation" and other theatrical elements occurring in conjunction with an orchestral piece.

随着费城交响乐团从财务困境中复兴，它也旨在进行实验，同时不疏远忠实支持者。瓦尔加莫尔提到了最近的一场演出“交响马戏团”，其中玩杂耍的人（玩杂耍的人）和杂技演员（杂技演员）与音乐家互动。与此同时，即将与纽约市里奇剧院的合作将包含一个“悬浮舞蹈装置”以及其他与管弦乐作品结合的戏剧元素。

K) The orchestra also continues to offer $25 annual memberships to Philadelphia students, who can buy rush tickets to every concert on the schedule. "Students line up for the concerts they want, and we get roughly 300 or 350 kids a night coming to these. They take any of the open seats available, 5 minutes before the concert starts," Vulgamore said. "It's like the running of the bulls, that energy when the doors open."

该乐团还继续向费城的学生提供25美元的年费会员资格，他们可以购买日程表上每场音乐会的折扣票。“学生们排队购买他们想要的音乐会门票，每晚大约有300或350名学生前来观看。他们在音乐会开始前5分钟随便坐任何可用的空位，”瓦尔加莫尔说。“就像奔牛节一样，门打开时的那种能量。”

L) Greenberg thinks that youthful energy needs to be harvested. Conductors don't have to be arrogant and untouchable- they can be accessible. Perhaps there could even be a "bit of humor" about them, he suggested, and an abandoning of pretension within the high-art institutions themselves. "On one hand, these organizations are all saying the same thing: we want more general audiences, to break down cultural barriers," he said. "But then they come up with some very snooty (目中无人的) thing that makes you crazy."

格林伯格认为这种青春活力需要被引导。指挥家不必傲慢且难以接近——他们可以平易近人。他建议，也许他们甚至可以带点“幽默感”，并且高雅艺术机构本身也要摒弃装腔作势。“一方面，所有这些机构都在说同一件事：我们想要更多普通观众，打破文化障碍，”他说。“但接着他们又会做出一些非常目中无人（目中无人的）的事情，让人抓狂。”

M) John Terauds, a critic who has covered Toronto's classical music scene extensively, also wants to do away with the stuffiness. He suggested that the warmer an audience is, the better the musicians themselves will respond. "But the producer or organizer has to let everyone know it's OK," he said. "It's OK to enjoy yourself." At the Toronto Symphony Orchestra, for example, conductor Peter Oundjian often stops between pieces, taking a moment to talk about the composer or the music in a very amiable way. And some nights, Terauds said, "at least a third" of the audience consists of students who have purchased cheaper tickets. On these nights, the energy of the room drastically shifts. It becomes a less intimidating place.

约翰·特劳兹是一位广泛报道多伦多古典音乐界的评论家，他也希望摒弃拘谨。他建议说，观众越热情，音乐家本身的表现就越好。“但制作人或组织者必须让大家知道这没关系，”他说。“享受自己没关系。”例如，在多伦多交响乐团，指挥家彼得·昂德吉安经常在曲目之间停顿一下，以非常亲切的方式谈论作曲家或音乐。特劳兹说，有些晚上，“至少三分之一”的观众是购买了便宜门票的学生。在这些晚上，整个房间的氛围会发生巨大变化。它变得不那么令人生畏。

N) Back in February, Terauds wrote on his blog about how going to classical performances can be intimidating. Certain people "think they have to dress up," he wrote. "They think they have to know something about the music before they go. And, I'm sure, sitting in a seat, trembling in fear that this might be the wrong time to applaud, is also one of the factors."

今年早些时候，特劳兹在博客上写道，参加古典音乐演出可能会让人望而生畏。他写道，有些人“认为他们必须盛装打扮”。“他们认为在去之前必须了解一些音乐知识。而且，我敢肯定，坐在座位上，为这可能是鼓掌的错误时机而颤抖，也是因素之一。”

O) Everyone in the classical world agrees on the need for increased "accessibility," but achieving it is often easier said than done. Nowadays, there are unknown, unorthodox opera singers wowing (博得...的喝彩) viewers on TV programs like "America's Got Talent" and "The Voice". What can higher institutions do with any of that? And if they appeal to these outlets, do they risk compromising the integrity or the intelligence of the music?

古典音乐界所有人都认同增加“可及性”的必要性，但实现这一点往往说起来容易做起来难。如今，有不知名、非正统的歌剧演唱家在《美国达人秀》和《美国好声音》等电视节目上赢得观众喝彩（博得...的喝彩）。高等机构能对此做什么呢？如果他们求助于这些平台，是否会危及音乐的完整性或艺术性？

P) Vulgamore seems to understand this. She thinks an organization can have it both ways, claiming the new while keeping the old. And as she reorganizes the Philadelphia Orchestra, she will attempt to do just that. "The world's most respected musicians brought together as an orchestra will always exist," she said. "But it's essential that we be willing to experiment and fail."

瓦尔加莫尔似乎理解这一点。她认为一个机构可以两者兼得，在保持传统的同时拥抱创新。在她重组费城交响乐团的过程中，她将尝试这样做。“世界上最受尊敬的音乐家组成的乐团将永远存在，”她说。“但至关重要的是，我们要愿意尝试并接受失败。”