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《大西洋月刊》 第337卷 第6期 · 2026年6月6日 · 中文解读

歌剧天后丹妮丝·格雷夫斯告别舞台

The Diva · Soraya Nadia McDonald
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本文讲述了美国歌剧演唱家丹妮丝·格雷夫斯在结束其辉煌的表演生涯后,如何继续致力于推广黑人歌剧历史和文化。
原文开头
Denyce Graves is retiring from performing after a career as one of opera’s leading women. But there’s more work for her to do. By Soraya Nadia McDonald ILLUSTRATION BY DEBRA CARTWRIGHT When the curtain of New York’s Metropolitan Opera House rose for the closing matinee of Porgy and Bess in January, the boos that typically accompany the entrance of the show’s villains were a mere murmur. The nearly 4,000 people who packed the space to capacity—175 of them standing-room ticket holders who remained on their feet for the opera’s three-and-a-half-hour run time—had come to cheer. Thirty-one years before, Denyce Graves had made her Met debut in the title role of Georges Bizet’s Carmen. …
摘自《大西洋月刊》(The Atlantic)第337卷 第6期 · 2026年6月6日,Soraya Nadia McDonald。仅引用开头一小段供了解文章,版权归原刊所有,全文请阅读原刊。
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