“Popularart”hasanumberofmeanings,impossibletodefinewithanyprecision,whichrangefromfolkloretojunk.Thepolesareclearenough,butthemiddletendstoblur.TheHollywoodWesternofthe1930’s,forexample,haselementsoffolklore,butisclosertojunkthantohighartorfolkart.Therecanbegreattrash,justasthereisbadhighart.ThemusicalsofGeorgeGershwinaregreatpopularart,neveraspiringtohighart.SchubertandBrahms,however,usedelementsofpopularmusic—folkthemes—inworksclearlyintendedashighart.ThecaseofVerdiisadifferentone:hetookapopulargenre—bourgeoismelodramasettomusic(anaccuratedefinitionofnineteenth-centuryopera)—and,withoutalteringitsfundamentalnature,transmuteditintohighart.Thisremainsoneofthegreatestachievementsinmusic,andonethatcannotbefullyappreciatedwithoutrecognizingtheessentialtrashinessofthegenre. Asanexampleofsuchatransmutation,considerwhatVerdimadeofthetypicalpoliticalelementsofnineteenth-centuryopera.Generallyintheplotsoftheseoperas,aheroorheroine—usuallyportrayedonlyasanindividual,unfetteredbyclass—iscaughtbetweentheimmoralcorruptionofthearistocracyandthedoctrinairerigidityorsecretgreedoftheleadersoftheproletariat.Verditransformsthisnaiveandunlikelyformulationwithmusicofextraordinaryenergyandrhythmicvitality,musicmoresubtlethanitseemsatfirsthearing.Therearescenesandariasthatstillsoundlikecallstoarmsandwereclearlyunderstoodassuchwhentheywerefirstperformed.Suchpieceslendanimmediacytotheotherwiseveiledpoliticalmessageoftheseoperasandcallupfeelingsbeyondthoseoftheoperaitself. OrconsiderVerdi’streatmentofcharacter.BeforeVerdi,therewererarelyanycharactersatallinmusicaldrama,onlyaseriesofsituationswhichallowedthesingerstoexpressaseriesofemotionalstates.Anyattempttofindcoherentpsychologicalportrayalintheseoperasismisplacedingenuity.Theonlycoherencewasthesinger’svocaltechnique:whenthecastchanged,newariaswerealmostalwayssubstituted,generallyadaptedfromotheroperas.Verdi’scharacters,ontheotherhand,havegenuineconsistencyandintegrity,evenif,inmanycases,theconsistencyisthatofpasteboardmelodrama.Theintegrityofthecharacterisachievedthroughthemusic:oncehehadbecomeestablished,Verdididnotrewritehismusicfordifferentsingersorcountenancealterationsorsubstitutionsofsomebodyelse’sariasinoneofhisoperas,aseveryeighteenth-centurycomposerhaddone.Whenherevisedanopera,itwasonlyfordramaticeconomyandeffectiveness. ItcanbeinferredthattheauthorregardsVerdi’srevisionstohisoperaswith_____.
A.regret that the original music and texts were altered
B.concern that many of the revisions altered the plots of the original work
C.approval for the intentions that motivated the revisions
D.puzzlement, since the revisions seem largely insignificant
正确答案是C