簡介
diamanda的照片Diamanda Galás (born August 29, 1955) is an American-born avant-garde performance artist, vocalist, keyboardist, and composer of Greek heritage.
Known for her expert piano as well as her distinctive, operatic voice, which has a three and a half octave range, Galás has been described as "capable of the most unnerving vocal terror". Galás often shrieks, howls, and seems to imitate glossolalia in her performances. Her works largely concentrate on the topics of suffering, despair, condemnation, injustice and loss of dignity. Critic Robert Conroy has said that she is "unquestionably one of the greatest singers America has ever produced", and comparisons are frequently made between her and another singer of Greek origin, Maria Callas.
She has worked with many avant-garde composers, including Iannis Xenakis, Vinko Globokar and John Zorn. She made her performance debut at the Festival d'Avignon in France as the lead in Globokar's opera, Un Jour Comme Un Autre. The work was sponsored by Amnesty International.
DG經常在她的表演中使用尖叫、低嚎與聖徒舌語等技藝，她作品題材大多與痛苦、絕望、控罪、不公和失去尊嚴有關。樂評家羅伯特·康羅伊曾稱她為“無可置疑的美國史上最出色的歌唱家之一”，而DG也頻繁的被拿來和美籍希臘女高音歌唱家瑪麗亞·卡拉斯比較。DG曾與伊安尼斯·西恩亞奇斯、文高·格博加和約翰·祖恩等實驗先鋒派作曲家合作。她的首次演出是在法國亞維農藝術節上主演格博加的歌劇《另一天》。
傳記
Galás was born to Greek Orthodox parents. Raised in San Diego, California, she studied both jazz and classical music from an early age, training which reveals itself throughout all her work. She studied a wide range of musical forms, as well as visual-art performance, before moving to Europe. There she made her performance debut at the Festival d'Avignon in France in 1979, performing the lead in the opera, "Un Jour comme un autre," by composer Vinko Globokar, based upon the Amnesty International documentation of the arrest and torture of a Turkish woman for alleged treason.
Her work first garnered widespread attention with the controversial 1991 live recording of the album Plague Mass (1984 - End of the Epidemic) in the Cathedral of Saint John the Divine in New York. With it, Galás attacked the Roman Catholic Church (ande society in general) for its indifference to AIDS using biblical texts. In the words of Terrorizer Magazine, "The church was made to burn with sound, not fire.". Plague Mass was a live rendition of excerpts from her Masque Of The Red Death trilogy which began as a response to and indictment of the effects of AIDS on th "silent class". After production of the trilogy's first volume began, Galás' brother, playwright Philip-Dimitri Galás, contracted HIV. It is important to note that Galás did not begin this work due to her brother's illness. However, this tragic situation inspired the artist to redouble her efforts, resulting in the development of the aforementioned performance. During the period of these recordings, Galás had we are all HIV+ tattooed upon her knuckles; an artistic expression of disillusionment and disgust with the ignorance and apathy surrounding the AIDS epidemic. Her brother, who died during the trilogy's final production, reportedly appreciated her efforts.
她1991年頗具爭議性的在紐約神聖約翰大教堂的現場演出（也出了唱片）《瘟疫彌撒》引起了社會的廣泛關注，DG在演出中引用聖經條文來抨擊了羅馬天主教會（同時也是社會普遍現象）的歧視愛滋病患者的行為。用“恐怖主義者”雜誌的話說，“教堂被這音樂點燃了。”《瘟疫彌撒》是她反映人們對愛滋病患的歧視的唱片《紅死魔的假面》三部曲中精彩片段的現場演繹。當《紅死魔的假面》三部曲中的第一部製作完成時，DG的哥哥劇作者菲利普德米特里·格拉斯感染了愛滋病毒。值得一提的是雖然DG並不是因為她的哥哥的疾病而開始製作《紅死魔的假面》，但是這不幸的事使得這位藝術家加倍努力並最終在上述的演出中獲得了發展。在錄音期間，DG在肘部紋上了“我們都感染了愛滋病”字樣的紋身來藝術化地表達對愛滋病患者所遭到的無視與冷漠的厭惡。她的哥哥在三部曲的最後一部的製作過程中逝世，據報導他死前十分感激DG付出的努力。
In 1994, Galás collaborated with Led Zeppelin bassist John Paul Jones, a longtime admirer of the singer. The resultant record, The Sporting Life, while containing much of Galás's trademark vocal gymnastics, is probably the closest she has ever come to rock music, and is comprised of nearly all original material.
1994年，DG與齊柏林飛艇的貝斯手（同時也崇拜她已久）約翰·保爾·瓊斯合作並製作了唱片《運動著的生命》。雖然《運動著的生命》中一如既往地充滿了DG的招牌人聲試驗，但它可以說是DG有史以來與搖滾樂進行的最親近的一次接觸，裡面收錄的幾乎所有都是原創的材料。
Galás also performs as a blues artist interpreting a wide range of songs into her unique piano and vocal styles, beginning with Let My People Go, from volume 3 of the Masque trilogy, You Must Be Certain of the Devil. This aspect of her work is perhaps best represented by her 1992 album, The Singer, where she covered the likes of Willie Dixon, Roy Acuff, and Screamin' Jay Hawkins while accompanying herself on piano. For that album, she also recorded several traditional songs as well as the rarely heard Desmond Carter-penned version of Gloomy Sunday. Many of the traditionals recorded for The Singer were historically sung by the black slaves of the southern United States. Galás, however, sung these songs for the daily struggle of People With AIDS (PWAs). Galás used many of her selections both within and outside of blues repertoire resulting in numerous song cycles: Reap What You Sow, Malediction and Prayer: Concert for the Damned, Frenzy: Concert for Aileen Wuornos, Burning Hell, La Serpenta Canta, Songs of Exile, Guilty Guilty Guilty, Les chansons malheureuses, Valentine's Day Massacre, and You're My Thrill. Some song selections have sometimes been categorized as "homicidal love songs". She also focuses on the death penalty. The above mentioned "Frenzy: Concert for Aileen Wuornos," was dedicated to the executed serial killer, and features cover versions of Phil Ochs's "Iron Lady" and Hank Williams' "I'm So Lonesome I Could Cry".
DG也作為一個藍調藝術家表演，從假面三部曲第三部《你要相信有惡魔》中的《讓我的人民走》開始，她用她獨一無二的鋼琴風格和唱腔重新演繹了一大批歌曲，1992年的唱片《歌者》或許最好地表現了她這方面的工作成果。在該唱片中DG也錄製了幾首古典歌曲例如鮮為人知的迪斯門得·卡特版本的《黑色星期天》.《歌者》中的許多古典歌曲都曾歷史上被美國南部黑奴廣為傳唱，然而DG卻是為了愛滋病患者們日常生活所付出的艱辛而演繹這些歌曲。DG不管是不是藍調地選擇了某一特定類別的歌曲：《收割你的耕耘》、《咒與祈》、《為被詛咒者的音樂會，狂熱》、《艾蓮·烏爾諾之歌》、《煉獄》、《流亡之歌》、《罪》、《情人節大屠殺》和《你使我興奮》等，一些經常會被分類為“殺人狂情歌”的曲目。DG也相當關注死刑，上面提到的》《艾蓮·烏爾諾之歌》就是為被處死的連環殺手所作的。另外她還翻唱了菲爾·奧克斯的《鐵女士》和漢克·威廉斯的《寂寞使我掉淚》。
Galás has published one book, 1996's The Shit of God (ISBN 185242432X). It contains many of her original writings, and was published because, she says, many people cannot understand her on the records.
DG在1996年出版了一本書《上帝的垃圾》。書中收錄了許多她的原創文章，她說出版這書的原因是許多人並不理解她的音樂。
In 1997, Galás contributed her voice to the CD Closed on Account of Rabies, a double disc tribute to Edgar Allan Poe with various musicians, including Iggy Pop, Debbie Harry and Marianne Faithfull lending their voice to the tales of the legendary horror author. Galás read "The Black Cat" which became the longest recording on the compilation, reaching 36 minutes and 58 seconds.
1997年DG參與了《闔上雷碧思的賬本》的錄製，這是一張由多個音樂家通過朗誦埃德加·愛倫·坡的故事來向這位傳奇的恐怖小說作者致敬的雙碟CD。DG朗誦了其中最長的故事《黑貓》（長達36分58秒）。
In 2000, Galás worked with Recoil (former Depeche Mode member Alan Wilder's solo project), contributing her voice to the Liquid album. She's the leading vocalist on the album's first single "Strange Hours" for which she also wrote the lyrics, but she can be heard on the entire album as a backing vocalist.
In 2005, she was awarded Italy’s prestigious Demetrio Stratos International Career Award.
2000年，DG與瑞柯爾合作錄製了唱片《液體》。她是唱片的首支單曲《奇怪的時間》的主唱兼作詞人，但是唱片的其餘部分她都只擔當和聲。2005年她被頒發義大利著名的“德氏國際職業獎”。
In late 2003, Galás released the album "Defixiones, Will and Testament: Orders from the Dead," an 80-minute memorial tribute to the Armenian, Greek, Assyrian and Hellenic victims of the Turkish genocide. "Defixiones" refers to the warnings on Greek gravestones against removing the remains of the dead.
As of July 2007, Galás continues to tour her latest song cycles. Her newest record, Guilty Guilty Guilty, was released on Mute records on April 1, 2008. You're My Thrill is also set for release on Mute; however, a firm release date has not been made available.
2003年底，DG發行了唱片《詛咒、意志與舊約：逝者的命令》，這張80分鐘的唱片悼念了土耳其種族屠殺中受害的亞美尼亞人、格里克人、亞述人和古希臘人。“詛咒”指格里克石碑上對驚擾死者的警告。2007年6月，DG又開始了她的新曲巡演。她最近的專輯《罪》由“啞巴唱片公司”在2008年4月1日發行，《你使我興奮》也預定由它發行，但是尚未公布確定的發行日期。
Galás has interpreted poetry by Charles Baudelaire (on The Litanies of Satan), Paul Celan, Pier Paolo Pasolini, Henri Michaux, Gerard de Nerval, César Vallejo, Siamanto, and Adonis (on Defixiones).
DG還演繹了查理斯·保德萊（在《撒旦禱文》中）、保爾·西蓮、皮耶爾·保羅·帕索里尼、恆瑞·米喬治、傑哈德內瓦、巴列霍、希亞曼多和安東尼斯（在《詛咒》中）等的詩歌。
電影作品
diamandaShe was the voice of the dead in The Serpent and the Rainbow. "Le treizième revient" appears on the soundtrack to Derek Jarman's The Last of England. She also contributed her voice to Francis Ford Coppola's film Dracula (1992) and appeared on the film's soundtrack. Excerpts from Galás' "I Put a Spell On You" and Jane's Addiction's "Ted Just Admit It" appear on Oliver Stone's Natural Born Killers soundtrack, as "Sex Is Violent."
DG在《蛇與彩虹》中給死亡配音，在弗朗西斯·福特·科波拉的《驚情四百年》中配音和製作音樂。她的《我在你身上施加了魔咒》的截曲和“簡的嗜好”樂隊的《承認它吧泰迪》合在一起作為樂曲《性是暴力的》出現在奧利弗·斯通的《天生殺人狂》的電影原聲帶中。
評論
Susan McClary (1991) writes that Galás, "heralds a new moment in the history of musical representation," after describing her thus: "Galás emerged within the post-modern performance art scene in the seventies... protesting... the treatment of victims of the Greek junta, attitudes towards victims of AIDS... Her pieces are constructed from the ululation of traditional Mediterranean keening...whispers, shrieks, and moans."
蘇珊·麥凱麗寫DG“宣告了音樂表演史上的一個新的時期的到來，”後面又這樣地描述她：“她在70年代推動了後現代表演藝術的發展……抗議……希臘軍黨對待受害者的措施，（人們）對愛滋病患者的態度……她模仿傳統地中海人慟哭的音樂作品……輕語，尖叫和嗚咽。”
唱片
diamanda1982 - The Litanies of Satan - notable for "Wild Women with Steak-Knives (The Homicidal Love Song for Solo Scream)"
1984 - Diamanda Galás - AKA Panoptikon - AKA The Metalanguage Album
1986 - The Divine Punishment
1986 - Saint of the Pit
1988 - You Must Be Certain of the Devil
1989 - Masque of the Red Death Trilogy: The Divine Punishment & Saint of the Pit / You Must Be Certain of the Devil
1991 - Plague Mass (Live)
1992 - The Singer
1993 - Vena Cava (Live)
1994 - The Sporting Life, with John Paul Jones
1996 - Schrei X (Live)
1998 - Malediction & Prayer (Live)
2003 - La Serpenta Canta (Live)
2003 - Defixiones, Will and Testament (Live)
2008 - Guilty Guilty Guilty (Live)
2009 - You're My Thrill TBA Mute (Live)
1982-撒旦禱文-“狂野的鋸排刀女子”著名（尖叫獨唱的殺人狂愛情歌曲）
1984-Diamanda Galás -也作“圓形監獄”-也作“元語言唱片”
1986-聖罰
1988-你要相信有惡魔
1989-紅死魔的假面三部曲：聖罰和麻子聖人/你要相信有惡魔
1991-瘟疫彌撒（現場）
1992-歌者
1993-腔靜脈（現場）
1994-運動著的生命，與約翰·保爾·瓊斯合作
1996-呼喊X（現場）
1998-咒與祈（現場）
2003-香格里拉（現場）
2003-詛咒、意志與舊約（現場）
2008-罪（現場）
2009-你使我興奮 （待定）啞巴唱片公司（現場）
