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It is Pretty hopeless as a venue for opera,it took 17 years to build,its architect was forced to resign and it was never properly finished inside,None of this matters,The Sydney Opera House,by the reclusive Danish architect Jorn Utzon,is the mother and father of all modern landmark buildings.It has come to define not only a city,but an entire nation and continent.
作为一个演出歌剧的地方，它让人相当泄气：它用了17年时间才造完；它的建筑师被迫辞职；它的内部装修始终没有彻底做好。但这些都无关紧要。丹麦建筑师约恩·乌特松的这一作品——悉尼歌剧院——是所有现代杰出建筑的鼻祖。它已经不仅仅标志着一座城市，而且象征着一个国家和一个大洲。
[2] Beyond that,it is a global expression of cultural modernity.Everyone in the world with media access knows what the Sydney Opera House looks like.First designed in 1956 and finally declared complete in 1973,the opera house was the single best-known modern building in the world until the arrival of Frank Gehry's equally extraordinary Bilbao（注：
西班牙港市） Guggenheim in 1997.But it will outlive the Guggenheim as an international architectural icon--because it did all the difficult work first.
[2]除此以外，悉尼歌剧院还是文化现代性的一种全球表述。世界上每个有机会接触媒体的人都知道悉尼歌剧院是什么样子。这座最初于1956年设计于1973年宣布最后完工的建筑一直是全世界最著名的现代建筑，直到另一座同样杰出的建筑——弗兰克·格里设计的毕尔巴鄂的古根海姆博物馆——在1997年落成。但是，作为国际建筑的偶像，悉尼歌剧院将超越古根海姆博物馆而名垂青史，因为它是开路先锋。
[3] In the pantheon（注：
（罗马的）万神殿；伟人祠；经典） of classic modern buildings,Utzon's creation has the status of myth（注：[miθ]n神话；虚构的事；神秘）.The myth states that the unknown architect,then in his thirties,submitted rough sketches to the competition judges,that he ig nored most of the rules,that his design was only selected after being plucked at the last moment from the reject pile by one of the judges,and that the design was unbuildable（注：
被摧毁的；无法实现的）.
[3]在现代建筑的经典之中，乌特松的这一创造颇具神秘色彩。传闻说，当时这位名不见经传的建筑师向评委会递交设计草案时只有30来岁；他对大多数规则都置之不理；他的设计方案是在最后一刻由一位评委从淘汰的纸堆中抽出来的；以及他的设计根本无法变成现实。
[4] But Sydney is remarkable for another reason:it is a complete one-off.It does not fit into any stylistic or chronological category（注：
按照年代顺序的分类）.None of Utzon's other buildings -churches,government departments,houses-looks anything like it,and architects to day who try to copy his concept always end up looking very second-rate indeed.It is"modern",certainly,but it is an expressive modernism that was quite at odds with the rectilinear（注：
a（14-15世纪英国哥特式建筑）以垂直线条为特征的，垂直式的） "international style" of its time.It has more in common with the work of the American maverick（注：
n自行其是的人；特异见者） genius Frank Lloyd Wright,for whom Utzon worked briefly.Of course its location is an enormous help,sitting as it does on a promontory（注：
n海角；岬角） with water on three sides and the famous Sydney Harbour Bridge as a picture-postcard backdrop.But Utzon masterfully exploited the site as nobody else could.
[4]但悉尼歌剧院之所以引人注目有另一个原因：它完全是独一无二的。它无法归入任何一种按照风格或年代编排的分类。乌特松的其他作品，如教堂、政府大楼、寓所与悉尼歌剧院显然不同；那些今天试图抄袭他的创作概念的人最终实在只能落入二流。它当然很“现代”，却是一种富于表现力的现代主义，与同时代的垂直式的“国际风格”相去甚远。它与美国怪才弗兰克·劳埃德·赖特的作品有较多的共同点，乌特松曾短期为赖特工作过。当然，这座建筑有着得天独厚的地理位置：它高踞一个岬角，三面环水，美术明信片般的背景是著名的悉尼港大桥。但是，乌特松对这个位置的巧妙利用无人可比。
[5]Utzon left Australia in high dudgeon（注：
n愤怒；愤恨）in 1966,never to return,before he could finish designing the interiors.
[5]1966年，乌特松在极度的愤怒中离开了澳大利亚，再也没有回头，当时，他还没有完成这座建筑的内部设计。
[6] As with Sir Christopher Wren at St Paul's Cathedral,Utzon was humiliated and removed from overseeing the final stages of his masterwork.But for all his manifold difficulties,which other contemporary architect can claim an equivalent achievement? The Sydney Opera House showed us that anything is possible,and it demonstrated that sheer,seductive beauty for its own sake is nothing to be ashamed of.
[6]正像圣保罗大教堂的设计师克里斯托弗·雷恩爵士一样，乌特松遭到羞辱并被辞退，失去了监督他本人杰作最后阶段施工的机会。他遇到了数不清的困难，但是，哪一位当代建筑师能够取得同样的成就？悉尼歌剧院使我们看到，任何事情都是可能出现的；它表明，它无愧于它为自己而展现出的纯粹、富有魅力的美丽。