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23. 戏剧家Lloyd Webber A standard criticism of Lloyd Webber, especially from drama critics, is that his music is derivativea 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 Webbers music, but aside from Growltigers 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 artistif not an outright plagiaristgot its start. This is partly Lloyd Webbers 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. As drama critic John Simon wrote after the premire of Phantom: Its not so much that Lloyd Webber lacks an ear for melody as that he has too much of a one for other peoples melodies.... I predict that Gershwin and Rodgers, let alone Puccini and Ravel , have nothing to fear from him. Other critics have been less subtle: Webbers music isnt so painful to hear, if you dont mind its being so soiled from previous use, wrote Michael Feingold of the Village Voice. | 
