看到厚厚四本「流轉之海」，其實有點擔心會不會半途而廢，或是要奮戰很久。
一翻開書頁，這些疑慮不再。
很奇怪，宮本輝歐吉桑的書，就是會讓我一直翻下去。

於是，為期一週，利用每天睡前的時間，讀完了《地上之星》，又不知不覺讀完半本《血脈之火》。


《地上之星》這段時間內，為了讓體弱的伸仁能夠健康成長，熊吾毅然捨棄大阪的事業，回到老家。
這本書裡頭最大的衝擊，應該是「上大道」伊佐男的出現。為了兒時舊事，一直怨恨著熊吾的伊佐男，總是在他身邊虎視眈眈。

不過，讀完《地上之星》，我感覺：
（不嚴肅不文藝的聯想）
1.熊吾這男人實在太幸運了。該說是吉星高照？還是太了解世事運作的道理，以致於許多困難都能迎刃而解？
2.熊吾（很多時候）真是大男人地令人抓狂。尤其是毆打妻子。外人都看不下去啊。連兒子都嚇到了。熊吾，你要何時才能戒除這個壞習慣呢？
3.伸仁真是傻人有傻福。
4.可憐之人必有可恨之處。可恨之人也必有可憐之處。背叛熊吾的會計井草，終究得了重病過世。嘴巴上憎恨井草，說要看其死態的熊吾，最後還是使出最後一把力，為之尋藥。主僕之情令人感傷感慨。
5.咳，宮本歐吉桑筆下的婦女，尤其是熊吾的妹妹，實在很「退化」。那個時代的女人，真的都這樣子嗎？
6.熊吾對時事的見解，當然反映了宮本歐吉桑的眼界。實在不得不佩服。



讀到熊吾的妹妹阿種因為舞廳被砸，又帶著一家子到大阪。

臉上出現三條線。一直重複歷史的蠢女人（黑）。（被熊吾同化了。）

但是：
熊吾，你究竟有多少財產啊？為什麼能幫音吉開腳踏車店、自己開舞廳，又幫別人搞定老婆跟細姨，這裡買一間房、那裡買一棟屋呢？

是不是該研究一下「松阪熊吾的投資學」？ -_-b
順便發展「松阪熊吾一百問」好了。

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嗯，這近兩週的時間，很不爭氣，只讀了一本書。


《潛海情深》（The Dive : A Story of Love and Obsession）

某一天，同事送了這本書給我，我也只是先拿回家放著。
開始上課後，才翻出這本書。

關於自由潛水的故事，很難不想到盧貝松的「碧海藍天」。
事實上，書中主角的偶像，也的確是碧海藍天的主角Jacques。
要不是因為這本書，我也不會知道Jacques最後竟是自殺身亡。


如果要從書中文字體會「碧海藍天」帶來的詩意感受，可能有點困難。
因為這是一本平鋪直敘的「內心告白」，還是個可以歸類於「大老粗」那樣的男人的內心告白。
一個「美女野獸配」的童話，只可惜這個童話以悲劇告終。

然而，在這樣淺顯的告白中，卻不免開始想像深海底下的寧靜，還有下潛時那令人屏息的緊張感。
不由得為之戰慄。

那藍色的海洋深處，應該連呼吸聲都聽不到（畢竟是自由潛水啊），實在很難想像對身心會產生多大的壓力。
像我這樣沒有空氣就會焦慮恐慌的人，一揣想自由潛水的狀態，真的是心臟快爆炸了，很緊張。


對海洋跟潛水有興趣的人，可以看看這本書。
別被嚇到就是。 :p
普通人應該不會想玩自由潛水吧（汗）。




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心情煩躁，最適合以讀書轉移注意力。

1

錦繡

主題跟《月光之東》一樣：情死、外遇、生死的領悟。
書信體小說，透過十年不見、意外重逢的離婚夫妻，揭開十年前丈夫與另一個女人殉情的真相。

有趣的是，這本書也算搭上了莫札特旋風。女主角正是因為莫札特的交響曲而領悟到生死原來是同一件事。


2

流轉之海

「流轉之海」五部曲的第一部。
算是暖身。要一口氣看完四部。還是要說：宮本輝歐吉桑的書實在太好看了！

剛開始看，對松阪熊吾這個男人實在沒有多大好感。常常一邊看一邊想：好，下一頁就讓你兒子死掉，讓你體會痛心的感覺！
（同事曰：妳的報復心好重！ XD ）


3

葡萄牙早、午、晚。

現在很流行的comic essay。
葡萄牙小鎮遊記。構想很有趣、小鎮的「tourists unfriendly」生活也很有趣。
可惜手寫字有點太小了，看得好辛苦。
很期待k.m.p.的新書（最新的一本是跟媽媽出門旅行的主題）。


4

想太多的豬之愛你呦



想太多的豬之心靈高湯

聽說是幾年前很流行的小豬。豬言豬語很可愛。
有空再來貼小豬話。
＊小豬部落格


5

西瓜的香氣

短篇故事集。很像恐怖小說選集。
精神的恐怖。

江國香織寫愛情以外的主題，比較有趣。

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原始出處：http://0rz.net/971Fk

Elisabeth Schwarzkopf, Opera Singer, Dies at 90

 











 

Elisabeth Schwarzkopf, the German-born soprano whose interpretations of Strauss and Mozart made her one of the most dazzling artists of her time, died yesterday at her home in Austria. She was 90.

Her death was reported by
Austrian state television. Citing a funeral home director, the
broadcaster, ORF, said Miss Schwarzkopf had died in the town of Schruns
in Austria's westernmost province, Vorarlberg. No cause of death was
given.

To her legions of admirers, Miss Schwarzkopf was a
peerless interpreter of Strauss's Marschallin, Mozart's Donna Elvira
and other operatic roles. But her image was tarnished in her later
years by revelations that she had lied about the extent of her
association with the Nazis during World War II.

Not only had she
performed for the Nazis, it was learned, but she had also been a member
of the party. In her defense, she said that for an artist needing work,
joining the party had been 「akin to joining a union.」

For a
singer of such unquestionable stature, Miss Schwarzkopf's work was
controversial. In her prime, she possessed a radiant lyric soprano
voice, impressive technical agility and exceptional understanding of
style. From the 1950』s until the 1970』s, she was for many listeners the
high priestess of the lieder recital, a sublime artist who brought
textual nuance, interpretive subtlety and elegant musicianship to her
work.

But others found her interpretations calculated, mannered
and arch (the 「Prussian perfectionist,」 one critic called her), and
complained that in trying to add textual vitality, Miss Schwarzkopf
resorted to crooning and half-spoken dramatic effects.

Connoisseurs and critics could be surprisingly divided about her basic vocal gifts.

Will Crutchfield, reviewing some live recordings of Miss Schwarzkopf in
recital, wrote in The New York Times in 1990: 「It was always clear that
she had a superior voice (a smooth, glamorous lyric soprano) and
superior technical command.」 Yet Peter G. Davis, writing in The Times
in 1981, described her career as 「a triumph of intelligence and
willpower over what was basically an unremarkable voice.」

The
consensus, however, was that in roles like the Marschallin and other
Strauss heroines (Ariadne in 「Ariadne auf Naxos,」 the countess in
「Capriccio」), as well as Mozart's Fiordiligi and Countess Almaviva and
Wagner's Eva and Elsa, she could sing incomparably, with shimmering
tone and richness and charismatic presence.

She was an
uncommonly beautiful woman, despite a visible gap between her two front
teeth that she never bothered to correct, with light hair and deep-set
gray eyes. For a time in her younger years she pursued a career as a
film actress and might have succeeded had she continued.

A
hard-working, self-challenging singer, she performed 74 roles in 53
operas, including Anne Trulove in the world premiere of Stravinsky's
「Rake's Progress」 in Venice in 1951. Her lieder repertory included
hundreds of songs by Schubert, Schumann, Mozart and Strauss, and she
was a pioneering champion of the songs of Hugo Wolf, which she sang
with insight and affecting beauty.

Olga Maria Elisabeth
Frederike Schwarzkopf was born on Dec. 9, 1915, in Jarotschin, Germany,
in what is now west-central Poland. Both her parents were Prussian.
Friedrich Schwarzkopf, her father, a classics schoolmaster, was an
easygoing intellectual. Her mother, the former Elisabeth Frohling, was
an efficient homemaker who took charge of her adored only child's
education and budding musical career.

Friedrich Schwarzkopf's
work as a teacher necessitated that the family move several times. When
Elisabeth was 13, they settled in Magdeburg, Germany, where she studied
piano, guitar, viola and organ and developed a naturally high, light
voice that kept her in demand for concerts at school and local amateur
performances.

The family moved to Berlin in 1933, the year Hitler
came to power. Miss Schwarzkopf attended the Berlin Royal Augusta
School and later won admission to the Hochschule für Musik. In 1934,
before beginning her formal training, she won a grant from the League
of National Socialist Students for a cycling and camping trip to
England, where she learned English. She retained a fondness for the
country, which after the war embraced her as an artist and made her a
Dame of the British Empire in 1992.

At the music school, students
were required to attend daily lectures on Hitler's National Socialist
movement, and in 1935, when she was nearly 20, Miss Schwarzkopf joined
the student association of the National Socialist Party. Alan
Jefferson, a Schwarzkopf biographer, said she became führerin of the
student organization and that one of her responsibilities as
ideological leader was to 「keep an eye on other students.」

Her
teacher at the Hochschule für Musik, Lula Mysz-Gmeiner, though
distinguished in her field, inexplicably believed that Miss Schwarzkopf
should be a contralto. It was not until after her formal training, in
1938, when she began singing with the Berlin State Opera, that Miss
Schwarzkopf came into her own vocally.

During this time she
gained a reputation as a singer fiercely determined to leap from the
small roles typically assigned a newcomer into substantive parts. The
director of the company, Wilhelm Rode, had won the favor of Joseph
Goebbels, the Nazi propaganda minister. One reason Miss Schwarzkopf
later gave for cooperating with the Nazis was that it was incumbent on
aspiring singers in the company to support the party.

But until
the 1980』s, she maintained that she had never officially joined the
Nazi Party. She denied having done so in three Allied questionnaires in
1945, a time during the occupation when former party members were
usually barred from public performance in Germany.

In 1982,
however, a music historian at the University of Vienna, Oliver
Rathkolb, published a doctoral dissertation that revealed details of
her party membership. The information had come from documents
discovered in the Allied Denazification Bureau in Vienna and
subsequently moved to the National Archives in Washington.

According
to these records, Miss Schwarzkopf applied for membership on Jan. 26,
1940, and was accepted on March 1 of that year, becoming Nazi member
No. 7548960. Scholars and authors have since placed her application for
party membership even earlier.

In an interview with The Times
in 1983, Miss Schwarzkopf denied she had been a party member. But when
told of these documents by The Times, she admitted that she had joined
the party. 「We thought nothing of it,」 she said. 「We just did it.」 In a
letter to The Times, she expanded on her explanation: 「It was akin to
joining a union, and exactly for the same reason: to have a job.」

In
other interviews, she quoted in her defense the first line of Tosca's
famous aria: 「Vissi d'arte,」 which translates, 「I lived for art.」

Discussion
of her Nazi past re-emerged briefly in connection with tributes to her
on her 80th birthday. Mr. Jefferson's biography, 「Elisabeth
Schwarzkopf,」 which came out at the time, raised debate about her
wartime role, depicting her as an ambitious singer who was focused on
furthering her career.

As a Nazi, Miss Schwarzkopf gave
performances at party functions and sang for Waffen SS troops at the
front. Some researchers believe she became a member of Goebbels's
Reichstheaterkammer, working in the propaganda ministry and appearing
in some films.

Still, if she had hoped that party affiliation
would quickly advance her career at the Berlin State Opera, it did not
work as planned. She was still expected to sing, sometimes nightly, bit
roles in 「Carmen,」 「Die Fledermaus」 and frothy operettas.

Her
breakthrough came with the dauntingly difficult coloratura role of
Zerbinetta in 「Ariadne auf Naxos,」 which she first sang in late 1940.
Her performance won the attention of Maria Ivogün, a noted exponent of
the role. Miss Ivogün was so impressed, she took on Miss Schwarzkopf as
a private student, coaching her in the high soprano repertory, and
training her as a lieder singer. Miss Schwarzkopf was soon engaged by
the Vienna State Opera.

She realized that her future lay with
the lyric soprano repertory. Engagements followed at the first postwar
Salzburg Festival in 1947, where she worked with the conductor Wilhelm
Furtwängler, and in subsequent summers, when she formed a close working
relationship with the conductor Herbert von Karajan. She also toured
with the Vienna State Opera in 1947, traveling to London, where she
performed in 「Don Giovanni」 and 「Fidelio」 at Covent Garden.

The
London performances were an enormous success, and she was invited to
join the newly founded Covent Garden company. She sang with the company
for the next five years, performing not just her German repertory but
also Violetta, Mimi, Gilda, and Massenet's Manon, all in English.

Her
career and repertory choices were now being shaped by Walter Legge,
then a music administrator and critic. Born in London in 1906, Legge
had no formal training in music but was musically astute. He had been
an assistant to Sir Thomas Beecham and was largely responsible for
forming the Philharmonia Orchestra and Chorus.

After the war,
Legge worked mainly for recording companies. It was during a scouting
trip to Vienna in search of new talent for EMI Records that the
severe-looking, bespectacled Legge first heard Miss Schwarzkopf in an
audition. Thus began an artistic partnership that grew into a life
partnership. Legge, then divorced from his first wife, Nancy Evans, a
mezzo-soprano, married Miss Schwarzkopf in 1953.

Opinion is
divided about the effect Legge had on Miss Schwarzkopf as an artist. He
tended to treat her as a musical and intellectual inferior. He was
capable of berating her in public when she failed to meet his approval.

But he introduced her to a wealth of repertory, especially the songs of
Hugo Wolf, and as artistic director of EMI Records, he supervised her
recordings, coaching her in detail and ensuring that the engineers
captured her voice at its best. Given Miss Schwarzkopf's association
with the Nazis, there was some trepidation about launching her American
career. Her debut in the United States was delayed until October 1953,
but that performance, a single sold-out song recital at Town Hall in
New York, captivated the critics.

This was followed in late 1954
by an American tour, which ended back at Town Hall. A critic for
Musical America wrote that Miss Schwarzkopf's singing at Town Hall had
「displayed the exquisite finish, technical mastery and interpretive
felicity that had marked her debut recital here last season.」

In the fall of 1956 she sang a recital at Carnegie Hall. It was the first time the hall had ever been sold out for a program of German lieder.

Miss Schwarzkopf's American operatic debut came in 1955 with the San Francisco Opera
as the Marschallin. Mildred Norton, a critic for The Saturday Review,
reported that a capacity audience had saluted a 「memorable new Princess
Werdenberg.」 Miss Schwarzkopf, she wrote, was 「a poised and vibrant new
personality with a vocal radiance and a personal grace.」

Her debut at the Metropolitan Opera
did not occur until October 1964, again as the Marschallin. Though
Raymond Erickson, a critic for The Times, noted less freshness and
bloom in Miss Schwarzkopf's voice (she was nearly 49), he said she had
「conquered her listeners, and the roar that filled the house when she
took her bows must be the kind that the most vain prima donna could ask
for.」

Outside the Metropolitan Opera House, there were scattered
protests over her wartime career, and Miss Schwarzkopf had a chilly
relationship with the Met's general manager Rudolf Bing, an
Austrian-born Jew. Besides her six performances of the Marschallin that
debut season, she sang only one more time at the Met, a Donna Elvira in
1966.

But she performed frequently in New York in recital and
with orchestras and continued to win devoted admirers around the world.
Many of her EMI recordings became immediate classics. Among them were
her Mozart song album with the pianist Walter Gieseking and her
Schubert song album with the pianist Edwin Fischer, both recorded in
1952; her 1957 recording of 「Rosenkavalier,」 conducted by Karajan, and,
one of her finest achievements, her 1959 recording of 「Capriccio,」
conducted by Wolfgang Sawallisch.

As her career slowed, she
began giving master classes, usually teaming with Legge, gaining a
reputation as an insightful but almost impossibly exacting coach. In
1977-78, she embarked on a swan song recital tour, mostly accompanied
by the pianist Geoffrey Parsons, who was her partner for her official
farewell recital in Zurich on March 19, 1979. Two days later, Legge,
who had become embittered that his talents were no longer sought by
recording companies, died of a heart attack at 72.

Miss
Schwarzkopf leaves no immediate survivors. Asked once whether she
regretted having had no children, she replied, 「I have 500 children,
the songs I sing.」

Daniel J. Wakin contributed reporting for this obituary.

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