【课程导读】

近日，英国政府宣布，伦敦交响乐团新音乐厅建设计划取消，这一消息让英国音乐家们感到很扎心，因为疫情之下，他们的线下演出被纷纷叫停，英国脱欧也让他们出国演出的难度系数变高，炫酷音乐厅计划的流产无疑让他们的艰难处境雪上加霜。音乐厅计划到底为何流产？

【英文原文】

Scrapped Plans for London Concert Hall Sour Mood for U.K. Musicians
伦敦音乐厅计划告吹，英国音乐家感到沮丧
By Alex Marshall

Back in 2017, London music fans had high hopes for a reinvigoration of the city’s classical music scene. That year, the architects behind the High Line in New York, were appointed to design a world-class 2,000-seat concert hall in the city.

music scene 音乐界

早在2017年的时候，伦敦的乐迷们热切地希望古典乐坛能够在伦敦重振旗鼓。同年，伦敦计划建成一个能够容纳两千人的世界级音乐厅，设计工作由纽约高线公园的建筑师担任。

Now, the situation couldn’t be more different. London officials announced that plans for the new hall had been scrapped. The announcement was not unexpected. Few private funders came forward for the project, and Britain’s government was reluctant to back the project, which critics had decried as elitist, after years of cuts to basic services.

现在的情况则截然不同。伦敦市政府的官员们宣布，新音乐厅的建设计划已被取消。这个声明并没有令人感到意外。因为近年来基础服务的经费一度被削减，英国政府表示不再支持该项目，也很少有私人捐赠者愿意出资，此前还有评论家谴责这个计划有精英化倾向。

But some musical experts say the news is a blow to Britain’s classical musicians, already suffering from a pandemic-induced shutdown of their work, and Brexit, which has raised fears about their ability to perform abroad.

但是一些音乐专家表示，这一消息对英国的古典音乐家来说是一个打击。受疫情影响，他们已经饱受无法线下演出之苦。而英国脱欧，也让他们很担心出国演出是否会受阻。

The mood among musicians is low, especially because of changes to the rules governing European tours that came about because of Brexit. Before Britain left the European Union, classical musicians and singers could work in most European countries without needing visas or work permits, and many took last-minute bookings, jumping on low-cost flights to make concerts at short notice. Classical musicians now require costly and time-consuming visas to work in some European countries.

at short notice 在短时间内；立刻，即刻；一通知到就

音乐家感到心情低落，主要是因为脱欧之后，英国公民在欧洲旅行的相关管理规定发生了变化。在英国脱欧之前，古典音乐家和歌手无需签证和工作许可，就可以到大多数欧洲国家工作。很多人可以随时动身参加音乐会演出，他们临时订票，赶乘廉价航班。现在，他们为了到别的欧洲国家工作，需要费时又费力地办签证。

【外刊原文】

Scrapped Plans for London Concert Hall Sour Mood for U.K. Musicians
By Alex Marshall
@ The New York Times

Back in 2017, London music fans had high hopes for a reinvigoration of the city’s classical music scene.

That year, Simon Rattle, one of the world’s most acclaimed conductors, became the music director of the London Symphony Orchestra, and Diller Scofidio & Renfro, the architects behind the High Line in New York, were appointed to design a world-class 2,000-seat concert hall in the city.

Now, the situation couldn’t be more different.

On Thursday, just weeks after Rattle announced he would leave London in 2023 to take the reins at the Bavarian Radio Symphony Orchestra in Munich, London officials announced that plans for the new hall had been scrapped. Rattle had been the driving force behind the project.

In a news release announcing the decision, the City of London Corporation, the local government body overseeing the proposal, did not mention Rattle’s departure; the new hall would not go ahead because of the “unprecedented circumstances” caused by the coronavirus pandemic, the release said.

The announcement was not unexpected. Few private funders came forward for the project, and Britain’s government was reluctant to back the project, which critics had decried as elitist, after years of cuts to basic services.

But some musical experts say the news is still a blow to Britain’s classical musicians, already suffering from a pandemic-induced shutdown of their work, and Brexit, which has raised fears about their ability to to perform abroad.

“It’s a further confirmation of the parochialization of British music and the arts,” said Jasper Parrott, a co-founder of HarrisonParrott, a classical music agency, in a telephone interview.

The mood among musicians was low, Parrott said, especially because of changes to the rules governing European tours that came about because of Brexit. Before Britain left the European Union, classical musicians and singers could work in most European countries without needing visas or work permits, and many took last-minute bookings, jumping on low-cost flights to make concerts at short notice.

Classical musicians now require costly and time-consuming visas to work in some European countries, Parrott said. Changes to haulage rules also make it harder for orchestras to tour, he added: Trucks carrying their equipment are limited to two stops on the continent before they must return to Britain.

Deborah Annetts, the chief executive of the Incorporated Society of Musicians, said on Tuesday during a parliamentary inquiry into the new rules that she had been “inundated with personal testimony from musicians as to the work that they have lost, or are going to lose, in Europe as a result of the new visa and work permit arrangements.”

A British musician who wanted to play a concert in Spain would have to pay 600 pounds, or about $840, for a work permit, she said, adding that this would make such a trip unviable for many. She called upon the government to negotiate deals with European countries so cultural workers could move around more easily.

Parrott said he expected many British classical musicians would retrain for other careers, or move outside Britain for work, if the rules were not changed.

High profile departures like Rattle’s have only contributed to the impression of a sector in decline. On Jan. 22, Mirga Grazinyte-Tyla, a young Lithuanian conductor seen as a rising star, announced she would leave her post as music director of the Birmingham Symphony Orchestra at the end of the 2021-22 season. “This is a deeply personal decision, reflecting my desire to step away from the organizational and administrative responsibilities of being a music director,” she said in a statement at the time.

Manuel Brug, a music critic for Die Welt, the German newspaper, said in a telephone interview that, viewed from the continent, classical music in Britain seemed in a bad way, “with all this horrible news.”

The new London concert hall “was always a dream, but at least it was a dream,” he said.

Given recent developments, many British musicians and singers may have to consider moving to Europe if they wanted to succeed, he said.

Yet not all were downbeat about the future. British musicians could cope with the impact of the coronavirus, or Brexit — but not both at the same time, unless the government stepped in to help, said Paul Carey Jones, a Welsh bass baritone who has campaigned for the interests of freelance musicians during the pandemic.

“British artists are some of the best trained, most talented and most innovative and creative,” he said. “But what we’re almost completely lacking is support from the current government. So we need them to grasp the urgency of the situation.”

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E.03.08. Scrapped Plans for London Concert Hall Sour Mood for U.K. Musicians

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