英语翻译戏剧家 Lloyd WebberA standard criticism of Lloyd Webber,esp

英语翻译
戏剧家 Lloyd Webber
A standard criticism of Lloyd Webber,especially from drama critics,is that his music is
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derivative—a gloss on his betters when it is not an outright theft.Since most drama critics are,
to put it charitably,nonmusical,this is an odd criticism,and one that smacks of received
opinion:"Puccini-esque" is a term one encounters often in criticism of Lloyd Webber's music,but aside from "Growltiger's Last Stand," which parodies the first-act love duet from Madama
Butterfly,there is precious little Puccini in Cats.
Indeed,Lloyd Webber has always been more highly regarded by music critics,who not only
know the repertoire he is alleged to be pilfering,but also can place him correctly in a
dramatic-operatic context.Far from being the love child of Puccini and Barry Manilow,as some
would have it,Lloyd Webber is more correctly seen as a kind of latter-day Giacomo Meyerbeer,
the king of the Paris Opera in the mid-19th century,whose name was synonymous with
spectacle.But a little ignorance goes a long way,and with "Memory" the notion that Lloyd
Webber is a secondhand pastiche artist—if not an outright plagiarist—got its start.
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This is partly Lloyd Webber's own fault.His melodies sometimes skirt perilously close to
earlier classical and Broadway sources,and while the showbiz axiom that "good writers borrow,
great writers steal" may well apply,it is also true that some of his tunes,both large and small,
evoke earlier sources.

Lloyd Webber是一个颇具争议的人,本文的立场对他主要持一种肯定的态度,认为他虽然被很多评论家认为抄袭了很多或者说借鉴了很多前人的作品,尤其有很多早期古典音乐和百老汇音乐的影子,但是他都运用的非常巧妙,可以和19世纪中期 的巴黎歌剧之王--Giacomo Meyerbeer相媲美,演艺圈有一个至理名言“good writers borrow,great writers steal”非常适用于他