Penguin Guide to 1000 Finest Classical Recordings - Must-Have CDs and DVDs

joseph_li

(i) A Mass of Life (sung in German); (ii) Requiem
Chan. 9515 (2). (i) Rodgers, Rigby, Robson; (ii) Evans; (i–ii) Coleman-Wright; Waynflete Singers, Bournemouth Ch. & SO, Hickox

Hickox gives a glowing account of this ambitious setting of a German text drawn from Nietzsche’s Also sprach Zarathustra. He is helped by excellent singing and playing from his Bournemouth forces, and by fine solo singing, notably from the soprano, Joan Rodgers. The full and atmospheric Chandos recording confirms the primacy of this version even over the excellent earlier recordings. The Requiem, half an hour long, makes the ideal coupling, emerging as a fine example of Delius’s later work, not as distinctive in its material as the Mass, but with an element of bleakness tempering the lushness of the choral writing. Here too – with Rebecca Evans this time as soprano soloist – Hickox conducts a most persuasive performance, ripely recorded.

希科克斯对这部雄心勃勃的改编作品赞不绝口，该改编作品改编自尼采的《查拉图斯特拉如是说》的德语文本。伯恩茅斯乐团的出色演唱和演奏，以及女高音琼·罗杰斯的精彩独唱，都为这部作品增色不少。Chandos录音饱满而富有氛围，甚至超越了之前的优秀录音，证明了这个版本的重要性。长达半小时的《安魂曲》与这部作品完美融合，成为戴利厄斯后期作品的典范之作。虽然其素材不如《弥撒曲》那样独特，但其中的凄凉元素与华丽的合唱部分相得益彰。这部作品同样精彩——丽贝卡·埃文斯担任女高音独唱——希科克斯的指挥和录音也堪称完美，令人信服。

(i) Sea Drift. Songs of Farewell; (i–ii) Songs of Sunset
Chan. 9214. (i) Terfel; (ii) Burgess; Bournemouth Symphony Ch., Waynflete Singers, Southern Voices, Bournemouth SO, Hickox

In this second recording of Delius’s masterpiece Hickox finds even more magic, again taking a spacious view – which keeps the flow of the music going magnetically. Bryn Terfel adds to the glory of the performance, the finest since Beecham, as he does in the Songs of Sunset, with Sally Burgess the other characterful soloist. The Songs of Farewell, helped by incandescent choral singing, complete an ideal triptych, presented in full and rich Chandos sound.

在戴留斯杰作的第二次录音中，希科克斯展现出更多魔力，再次展现出开阔的视野——这使得音乐的流动充满磁性。布莱恩·特菲尔的演绎为这场演出锦上添花，堪称自比彻姆之后最精彩的演出，如同他在《落日之歌》中的表现一样，另一位个性鲜明的独唱家莎莉·伯吉斯也参与其中。《告别之歌》在炽热的合唱声中完美呈现，构成了一幅完美的三联画，并以饱满丰富的Chandos音色呈现。
（源于Google翻译）


https://115cdn.com/s/sww7pot3hq9?password=3377&#
Delius, Frederick - A Mass of Life, Requiem - Richard Hickox, Bournemouth SO [Chandos]等2个文件(夹)

joseph_li

DÉSORMIÈRE, Roger, with the Paris Conservatoire Orchestra
Concert: IBERT: Divertissement. IPPOLITOV-IVANOV: Caucasian Sketches: Suite 1. TCHAIKOVSKY: The Sleeping Beauty: Suite, Op. 66. SCARLATTI: The Good-Humoured Ladies: ballet (arr. TOMMASINI)
Testament mono SBT 1309

Désormière was a stylist, and it shows in every bar. The 1951 recording of Divertissement, produced by John Culshaw (with the exception of Martinon’s effervescent stereo version, with the same orchestra), remains unsurpassed in terms of sheer character and style, though there have been performances since that have been played with greater polish and been better recorded. Lovers of the sound of an authentic French-sounding orchestra (now long since gone) should consider this CD. The rest of the items are similarly individual: the Procession of the Sardar from the Caucasian Sketches, with its bright percussion effects, is particularly jaunty and catchy in Désormière’s hands, and what The Sleeping Beauty lacks in rich sound it more than makes up for in theatricality. The Good-Humoured Ladies is deliciously pointed, the effect emphasized by the dry, up-front recording. Testament have also released another Désormière CD, which couples similarly characterful performances of Delibes’s Coppélia and Sylvia ballet suites with Poulenc’s Les Biches, the latter receiving one of its finest performances from the early LP era (SBT 1294).

德索米尔是一位风格鲜明的音乐家，这一点在每一小节都体现得淋漓尽致。1951年由约翰·卡尔肖制作的《嬉游》（除了马丁农与同一乐队合作的充满活力的立体声版本外），其纯粹的个性和风格至今仍无与伦比，尽管此后也出现了一些演奏得更精良、录音更精良的演出。喜欢纯正法式管弦乐队（如今早已不复存在）的乐迷应该考虑这张CD。其余曲目也同样独具特色：《高加索速写》中的《萨达尔游行》（Procession of the Sardar）以其明亮的打击乐效果，在德索米尔的演奏下显得格外轻快动听；《睡美人》虽然音色略显丰满，但其戏剧性却足以弥补。《好脾气的女士们》则以干脆利落的录音方式，将这种效果进一步凸显。 Testament 还发行了另一张 Désormière 的 CD，其中将德利布的《葛蓓莉亚》和《西尔维娅》芭蕾舞组曲与普朗克的《母牛》融合在一起，同样具有鲜明的特色，后者是早期 LP 时代最精彩的表演之一（SBT 1294）。


这张碟找不到。对于Testament厂牌的碟，我暂时还没找到太好的寻找途径，貌似Qobuz上没有这个厂牌。如有了解，请不吝告知，谢谢！

joseph_li

DITTERSDORF, Carl Ditters von (1739–99)
Harp Concerto in A (arr. Pilley)
Decca (ADD) 425 723-2. Robles, ASMF, Brown – BOIELDIEU; HANDEL: Harp Concertos, etc.

Dittersdorf’s Harp Concerto is a transcription of an unfinished keyboard concerto with additional wind parts. It is an elegant piece, thematically not quite as memorable as the Boïeldieu coupling, but captivating when played with such style.

迪特斯多夫的《竖琴协奏曲》改编自一首未完成的键盘协奏曲，并添加了管乐声部。这首乐曲优雅动人，主题上不如布耶尔迪厄的联奏曲那样令人难忘，但以这种风格演奏却引人入胜。

https://115cdn.com/s/sww7p7y3hq9?password=3377&#
Dittersdorf, Carl Ditters von & Handel & Boieldieu & Mozart & Gliere & Rodrigo - Harp Concertos - Marisa Robles & Ellis, Brown etc. [DECCA]

joseph_li

补充第342楼的资源：

https://115cdn.com/s/sww78t73hq9?password=3377&#
Désormière, Roger - Complete Decca Recordings [DECCA]

joseph_li

DONIZETTI, Gaetano (1797–1848)
Don Pasquale 《唐·帕斯夸莱》(DVD version)
Arthaus DVD 101303. Desderi, Giordano, Gatell, Cassi, Teatro Municipale di Piacenza Ch., Luigi Cherubini O, Muti (Director: Andrea De Rosa; V/D: Gabriele Cazzola)

Don Pasquale (CD version)
Decca (ADD) 475 8490 (2). Corena, Sciutti, Oncina, Krause, V. State Op. Ch. & O, Kertész – CIMAROSA: Il maestro di cappella

This live Arthaus recording from the 2006 Ravenna Festival is rather special. First it includes an unforgettable characterization of Don Pasquale himself from the veteran buffo, Claudio Desderi. Now in his sixties, he is still in fine voice, warm-toned in lyrical passages and with wonderful articulation in the famous patter-duet with the excellent Dottore Malatesta, Mario Cassi, at the end of Act III. Norina (Lauro Giordano), who studied with Maria Chiara, enters the action as a pretty, demure young thing, but becomes increasingly formidable as the opera progresses. But she is fully equal to the vocal bravura demanded of her, particularly in the closing scene. Francisco Gatell is her very convincing lover: he has a pleasingly light tenor voice which is at its finest in the nocturnal serenade at the end of the last Act. But the opera is dominated by Desderi’s dignified portrayal of Pasquale, and it is given greater pathos than usual by his touching dismay at his increasingly untenable position, especially after Norina has slapped him. The Ravenna production is handsome, traditional in the best sense, and Muti keeps the action alive through every moment of Donizetti’s miraculous score, which seems to get better and better as the opera proceeds. The recording and camerawork cannot be faulted.

Fernando Corena was an outstanding performer, and even if – on CD – he can’t quite produce the semiquavers accurately, his sheer musical personality carries him through exuberantly. Graziella Sciutti is charming from beginning to end, bright-toned and vivacious, and remarkably agile in the most difficult passages. Juan Oncina (as often on record) sounds a bit strained, but the tenor part is very small; Krause makes an incisive and characterful Malatesta. Kertész directs proceedings with plenty of energy and the 1964 recording is excellent, with plenty of atmosphere and sparkle. The Cimarosa bonus makes this set especially attractive.

这段2006年拉文纳音乐节的Arthaus现场录音尤为珍贵。首先，资深喜剧男低音克劳迪奥·德赛德里塑造的唐帕斯夸尔令人难忘——时年六旬的他嗓音状态极佳，抒情段落音色温暖，在第三幕终场与杰出男中音马里奥·卡西（饰演马拉泰斯塔医生）那段著名的急板二重唱中，吐字更是精妙绝伦。师从玛丽亚·基亚拉的诺丽娜饰演者劳拉·乔丹初登场时是位娇羞可人的少女，随着剧情推进逐渐显露出强悍本色，但完美驾驭了所有高难度唱段，尤其在终场场景表现惊艳。弗朗西斯科·加泰尔以清亮的抒情男高音成功塑造了这位令人生信服的情人，末幕夜曲咏叹调尤为动人。不过整部歌剧始终笼罩在德赛德里庄严的帕斯夸尔形象之下，当诺丽娜掌掴他后，角色愈发窘迫的处境被演绎出罕见的悲情色彩。拉文纳这版制作精美，秉承了最纯正的传统风格，穆蒂的指挥让多尼采蒂这部愈演愈妙的杰作始终充满戏剧张力。录音与摄影均属上乘。

费尔南多·科雷纳是位杰出的演绎者，尽管CD录音中他的十六分音符未必精准，但蓬勃的艺术个性足以弥补。格拉齐耶拉·休蒂自始至终甜美动人，音色明亮活泼，超高难度乐段仍能保持惊人灵活性。胡安·昂西纳（如同其多数录音）嗓音略显紧绷，不过这个男高音角色本就戏份有限；克劳斯塑造的马拉泰斯塔则锋芒毕露、个性鲜明。克尔特斯以充沛的活力统领全局，1964年的录音效果出色，氛围感与光泽感俱佳。额外附赠的奇马罗萨作品更令这套唱片颇具吸引力。
（源于DeepSeek翻译）

DVD：
https://115cdn.com/s/sww789x3hq9?password=3377&#
Donizetti, Gaetano - Don Pasquale -  Riccardo Muti,  Orchestra Giovanile Luigi Cherubini; Desderi, Giordano, Gatell [DVD9]

CD：
https://115cdn.com/s/sww789u3hq9?password=3377&#
Donizetti, Gaetano - Don Pasquale - Istvan Kertesz, Wiener State Orchestar, Corena, Oncina [DECCA]

多尼采蒂的精选作品必然以歌剧为主，这个清单里所有的曲目都是。

joseph_li

L’elisir d’amore 《爱情灵药》(CD version)
Decca 475 7514 (2). Sutherland, Pavarotti, Cossa, Malas, Amb. S., ECO, Bonynge

Joan Sutherland makes Adina a more substantial figure than usual, full-throatedly serious at times, at others jolly, like the rumbustious Marie with her comic talents which came out delicately in her recording and stage performances of La Fille du régiment, fully on display here. In the key role of Nemorino, Luciano Pavarotti proves ideal, vividly portraying the wounded innocent. Spiro Malas is a superb Dulcamara, while Dominic Cossa is a younger-sounding Belcore, more of a genuine lover than usual. Bonynge points the skipping rhythms delectably, and the recording is sparkling to match. What helps to makes this recording so special, apart from the superb ensemble work – often very exciting – is the inclusion of the addition written for Malibran, the first interpreter of the role of Adina. Malibran was furious her part was not bigger, and she got her husband to write an extra aria. Richard Bonynge found it and had it orchestrated, and this show-stopper of an aria, ‘Nel Dolce incanto’, is gloriously performed by Sutherland.

琼·萨瑟兰将阿迪娜这一角色塑造得比通常版本更为丰满立体——时而以浑厚嗓音倾注深情，时而如《军中女郎》里那个欢脱的玛丽般俏皮可人，其录音室与舞台表演中细腻的喜剧天赋在此展露无遗。帕瓦罗蒂饰演的关键角色内莫里诺堪称完美，将纯情少年遭受情伤的形象演绎得活灵活现。斯皮罗·马拉斯将杜卡马拉诠释得精彩绝伦，而多米尼克·科萨饰演的贝尔科雷则呈现出更年轻的声线特质，比寻常版本更具真情实感。波宁吉对跳跃节奏的处理精妙绝伦，录音效果亦如水晶般剔透生辉。除却激动人心的精湛群戏演绎外，此版录音的非凡之处更在于收录了为初代阿迪娜扮演者玛丽布兰增补的咏叹调——这位女高音曾因戏份不足勃然大怒，遂令其夫创作了增补唱段《甜蜜的魔法》。波宁吉发掘此曲并重新配器，萨瑟兰以辉煌的演唱将这首轰动全场的咏叹调推向极致。
（源于DeepSeek翻译）

https://115cdn.com/s/sww78xh3hq9?password=3377&#
Donizetti, Gaetano - L'Elisir d'Amore - Bonynge, ECO; Sutherland, Pavarotti, Cossa, Malas [DECCA 24-96]等2个文件(夹)

joseph_li

La Fille du regiment 《军中女郎》 (DVD version)
Virgin DVD 5099951900298. Natalie Dessay, Juan Diego Flórez, Alessandro Corbelli, Felicity Palmer, Donald Maxwell, ROHCG Ch. & O, Campanella (Director: Laurent Pelly; V/D: Robin Lough)
La Fille du régiment (CD version)
Decca (ADD) 414 520-2 (2). Sutherland, Pavarotti, Sinclair, Malas, Coates, ROHCG Ch. & O, Bonynge

Natalie Dessay establishes her star quality from her very first entry and vivaciously dominates Donizetti’s delightful opera throughout. She is deliciously funny and often audacious in her variety of comic business, and she sings both brilliantly and movingly. In short, she is an unforgettably enchanting Marie, unlikely to be surpassed. Juan Diego Flórez as the opera’s hero, Tonio, also sings and acts superbly, throwing off his famous repeated high Cs in ‘Pour mon âme’ effortlessly. He creates an appealing lover figure for Marie. Moreover Laurent Pelly’s production and staging are full of imaginative detail without making the comedy too broad. Coupled with unexpectedly original sets, excellent costumes and splendidly alive musical direction from Bruno Campanella, this version is for DVD what the famous Sutherland/Pavarotti version is for CD.

On Decca CD too, a fizzing performance of a delightful Donizetti romp that has achieved classic status, for both its comedy and fine singing. It was with this cast that the piece was revived at Covent Garden, and Sutherland immediately showed how naturally she took to the role of a tom-boy. Marie is a vivandière, in the army of Napoleon, and the jolly, almost Gilbertian, plot involves her translation back to a noble background from which as an infant she was lost. The original French version favoured by Richard Bonynge is fuller than the Italian revision and, with a cast that at the time of the recording sessions was also appearing in the theatre, the performances could hardly achieve higher spirits with keener assurance. Sutherland is in turn brilliantly comic and pathetically affecting, and no better sampler of the whole set need be suggested than near the end of the opera when Marie is reunited with her army friends (including the hero). Pavarotti is an engaging hero and his sequence of high Cs at the end of his aria, ‘Pour mon âme’, must count as among the most dashing ever recorded. Monica Sinclair makes a formidable Countess, and even if the French accents are often suspect it is a small price to pay for such a brilliant, happy opera set.

娜塔莉·德赛甫一亮相便展露巨星风采，以灵动演技贯穿多尼采蒂这部妙趣横生的歌剧。她将喜剧表演处理得妙趣横生又大胆泼辣，唱腔既华丽炫技又感人至深——这位令人过目难忘的玛丽亚，堪称难以超越的经典演绎。胡安·迭戈·弗洛雷兹饰演的男主角托尼奥同样唱演俱佳，在《为我的灵魂》中那串著名的高音C挥洒自如，成功塑造出令人倾倒的恋人形象。洛朗·佩利的制作与舞台调度充满奇思妙想却不过度夸张，配合极具创意的布景、精美的戏服，以及布鲁诺·坎帕内拉生机勃勃的音乐统领，使这版DVD足以比肩萨瑟兰/帕瓦罗蒂的传奇CD录音。

DECCA的CD版本同样精彩，这部多尼采蒂的欢快之作因其喜剧魅力与精湛演唱已成为经典。正是凭借这套阵容，该剧在科文特花园重现辉煌——萨瑟兰一开嗓就展现出"假小子"角色的浑然天成。作为拿破仑军队中的随军女商贩，玛丽亚从失散贵族千金到重归本真的欢乐剧情（近乎吉尔伯特式闹剧）在理查德·博宁吉推崇的法语原版中更为完整。录制期间全组演员正参与剧院演出，表演状态之酣畅、把握之精准可谓登峰造极。萨瑟兰时而滑稽耀眼时而惹人怜惜，最精彩的缩影当属歌剧尾声玛丽亚与军中同伴（包括男主角）重聚的段落。帕瓦罗蒂塑造的男主角魅力十足，咏叹调《为我的灵魂》结尾那组高音C堪称录音史上最潇洒的演绎。莫妮卡·辛克莱尔诠释的伯爵夫人气场慑人，即便法语发音偶有瑕疵，对于如此璀璨欢愉的歌剧录音而言实属瑕不掩瑜。
（源于DeepSeek翻译）

DVD：
https://115cdn.com/s/sww78xm3hq9?password=3377&#
Donizetti, Gaetano - La Fille du regiment - Laurent Pelly, Royal Opera House; Dessay, Florez [DVD9]

CD：
https://115cdn.com/s/sww78xs3hq9?password=3377&#
Donizetti, Gaetano - La Fille du Regiment - Bonynge, Royal Opera House; Sutherland, Pavarotti, Sinclair [DECCA 24-96]等2个文件(夹)

joseph_li

Lucia di Lammermoor 《拉美莫尔的露琪亚》(CD version)
Decca (ADD) 410 1932 (3). Sutherland, Pavarotti, Milnes, Ghiaurov, Davies, Tourangeau, ROHCG Ch. & O, Bonynge

Lucia di Lammermoor is the role which catapulted Joan Sutherland to international fame and it was hardly surprising that ten years after her first recording of the role (with Pritchard conducting) Decca wanted to re-record the role with which she is inseparably associated. Though some of the girlish freshness of voice which marked the 1961 recording has disappeared, the detailed understanding has been intensified, and the mooning manner which in 1961 was just emerging had been counteracted. There has been no one in recent years to outshine Sutherland in this role and, rightly, for this recording she insisted in doing the whole of the Mad Scene in a single session, making sure it was consistent from beginning to end. Power is here as well as delicacy, and the rest of the cast is first rate. Pavarotti, not as sensitive as he can be through much of the opera (though still sounding superb), proves magnificent in his final scene. The text is absolutely complete and the recording first class in the vivid, Decca manner. It is now available in a beautifully packed hard-back book version to celebrate the fiftieth anniversary of Sutherland’s 1959 Covent Garden performance, complete with all the pictures included in the original box set, as well as a bonus CD featuring excerpts from Lucia from earlier recordings, from Paris (1959) with Nello Santi, as well as from her complete 1961 recording with Pritchard.

In addition Regis have now reissued at budget price an excellent transfer of this 1959 collection (RRC 1364). As we said in our original review, no rave notice could really exaggerate the quality of this singing, which includes the exquisite first recording made by Sutherland of the Lucia Mad Scene which has not been surpassed by either of her complete recordings of the opera (1961, as above, and 1971). In fact this disc (which includes also Ancor non giunse … Regnava nel silenzio from Lucia and the delectable Ah! tardai troppo … O luce di quest’anima from Linda di Chamounix, plus two additional Verdi arias which show a comparable level of memorability) must be set on a pedestal as one of the finest and most dramatically thrilling displays of coloratura ever recorded. The youthful freshness of the voice is extremely appealing, and the tonal beauy is often quite magical. With an excellent stereo recording and fine accompaniments from the Paris Conservatoire Orchestra, conducted by Nello Santi, this remains one of the gramophone’s great recital discs. As if this were not enough, Regis have added two arias from Handel’s Alcina, recorded by Sutherland later.

《拉美莫尔的露琪亚》是使琼·萨瑟兰蜚声国际的代表作，因此在首度录制该角色（由普里查德指挥）十年后，DECCA唱片公司决定为这位与角色血肉相连的女高音重制录音实属必然。虽然1961年录音中标志性的少女般清丽音色已有所褪减，但对角色的精深理解却更为浓烈，当年初现的朦胧唱腔也得到修正。近数十年来无人能超越萨瑟兰对这一角色的诠释——为此她坚持将整场疯癫场景一气呵成录制的做法堪称明智，确保了戏剧张力的连贯性。刚柔并济的演唱之外，其余演员阵容同样顶尖：帕瓦罗蒂虽在剧中多数段落未完全释放敏感特质（仍保持绝佳音色），却在终场迸发出惊人表现力。全剧文本完整无删节，DECCA标志性的鲜活录音品质堪称典范。为纪念萨瑟兰1959年在科文特花园剧院首演五十周年，现推出精装书册版套装，除原版盒装全部剧照外，更附赠收录1959年巴黎场（桑蒂指挥）及1961年普里查德版全剧录音选段的Bonus CD。

此外，Regis厂牌近期以平价再版了这套1959年传奇录音（编号RRC 1364）。正如我们原版乐评所述，任何溢美之词都难以尽述这些演唱的艺术价值——其中包括萨瑟兰初试啼声的露琪亚疯癫场景录音，其成就甚至超越了她后来两个全剧版本（1961年版及1971年版）。这张堪称花腔演唱史上最震撼人心的唱片还收录了《四周多么寂静》选段、《夏莫尼的琳达》中迷人的咏叹调，以及两首同样令人难忘的威尔第咏叹调。青春气息扑面而来的嗓音极具感染力，音色之美常如魔法般摄人心魄。在桑蒂执棒巴黎音乐学院管弦乐团的精湛伴奏与出色立体声录音加持下，这始终是唱片史上最伟大的独唱专辑之一。Regis更额外增补了萨瑟兰后期录制的两首亨德尔《阿尔辛娜》咏叹调，可谓锦上添花。
（源于DeepSeek翻译）

https://115cdn.com/s/sww781p3hq9?password=3377&#
Donizetti, Gaetano - Lucia di Lammermoor - Bonynge, Royal Opera House; Sutherland, Pavarotti, Milnes [DECCA Opera]等2个文件(夹)

joseph_li

Lucrezia Borgia 《卢克雷齐娅·波吉亚》(CD version)
Decca (ADD) 421 497-2 (2). Sutherland, Aragall, Horne, Wixell, London Op. Voices, Nat. PO, Bonynge

Sutherland is in her element here – and what a wonderful score it is too, full of touches which make Donizetti’s best operas so enjoyable. The last Act in particular is especially impressive, from its lusty opening chorus, the brilliant and jolly Brindisi (theatrically interrupted by death-tolling bells), a very touching duet between mother and son, and a breathtaking coloratura, show-stopping final aria. Sutherland is impressive throughout, achieving real pathos in the, let’s face it, generally unsympathetic role of Lucrezia Borgia. Marilyn Horne has the odd moment of unsteadiness in the early parts of the opera, but she is impressive in the brilliant Brindisi of the last Act (a popular number since the days of 78-r.p.m.). Aragall sings stylishly too, and although Wixell’s timbre is hardly Italianate, his is a commanding Alfonso. The recording is characteristically full and brilliant in the best Decca tradition.

萨瑟兰在此歌剧中如鱼得水——而且这首乐谱也非常出色，充满了让多尼采蒂最佳歌剧如此赏心悦目的细节。最后一幕尤其令人印象深刻，从充满活力的开场合唱，到精彩欢快的《布林迪西》（戏剧性地被丧钟的鸣响打断），再到母子之间感人至深的二重唱，以及令人叹为观止的华彩终曲咏叹调。萨瑟兰自始至终都令人印象深刻，在卢克雷齐娅·博尔吉亚这个——说实话，总体来说并不讨喜的角色——中展现出真正的悲情。玛丽莲·霍恩在歌剧的早期部分偶尔会显得有些不稳，但她在最后一幕精彩绝伦的《布林迪西》中的表现令人印象深刻（这首自78转/分的时代以来就广受欢迎）。阿拉加尔的演唱也极具风格，尽管威克塞尔的音色很难说是意大利风格，但他却堪称一位指挥家般的阿方索。这张唱片完美地继承了 Decca 的传统，内容丰富、精彩纷呈。
（源于Google翻译）

https://115cdn.com/s/sww78113hq9?password=3377&#
Donizetti, Gaetano - Lucrezia Borgia - Bonynge, National PO; Sutherland, Aragall, Horne [DECCA]

joseph_li

Maria Stuarda 《玛丽亚·斯图亚特》(CD version)
Decca (ADD) 425 410-2 (2). Sutherland, Tourangeau, Pavarotti, Ch. & O of Teatro Comunale, Bologna, Bonynge

In this Decca recording of Donizetti’s tellingly dramatic opera on the conflict of Elizabeth I and Mary Queen of Scots, the contrast between the full soprano Maria and the dark mezzo Elisabetta is underlined by some transpositions, with Tourangeau emerging as a powerful villainess in this slanted version of the story. Pavarotti turns Leicester into a passionate Italian lover, not at all an Elizabethan gentleman. As for Sutherland, she is at her most fully dramatic too, and the great moment when she flings out the insult ‘Vil bastarda!’ at her cousin brings a superb snarl. (Sutherland, who had often been criticized for her diction, cannot be faulted here – she positively spits out her words!) Richard Bonynge directs an urgent account of an unfailingly enjoyable opera – full of superb tunes and exciting show-stopping arias. Unusually for Decca, the score is slightly cut, but this remains the most generally recommendable version of this marvellously dramatic work.

Fans of opera in English should investigate Janet Baker’s fine performance, now on Chandos’s ‘Opera in English’ label (CHAN 3017). It was a role she chose for her farewell performance to the London stage in 1982, and the role of the tragic queen was one of her most powerful creations. The rest of the cast, which includes John Tomlinson and Rosalind Plowright, is superb as well. The performance is also available on a Warner DVD (50467 0828), in John Copley’s excellent production.

在这套DECCA录制的多尼采蒂戏剧杰作中，伊丽莎白一世与苏格兰玛丽女王的冲突通过声部对比得到强化——女高音玛丽亚的饱满音色与女中音图朗若饰演的暗黑版伊丽莎白形成鲜明反差，后者在此偏颇叙事中化身极具压迫感的反派。帕瓦罗蒂将莱斯特塑造成激情四射的意大利情人，全然不见英伦绅士风度。而萨瑟兰也展现出最饱满的戏剧表现力，当她向表妹厉声辱骂"卑贱的私生女！"时，那声完美的怒音咆哮堪称绝唱（这位常因咬字遭诟病的女高音此次无可挑剔——字句简直如利箭般喷射而出！）。波宁吉以紧迫的张力指挥这部旋律华美、咏叹调高潮迭起的歌剧，虽DECCA罕见地略作删节，此版仍是这部戏剧瑰宝最值得推荐的演绎。

钟情英语歌剧的乐迷不应错过珍妮特·贝克在Chandos厂牌"英语歌剧"系列（编号CHAN 3017）中的精湛诠释——1982年她选择这部悲剧女王角色作为伦敦舞台告别演出，其塑造的悲情女王形象堪称艺术巅峰。约翰·汤姆林森与罗莎琳德·普劳莱特等黄金阵容同样出色。该制作另有华纳DVD版本（50467 0828），收录约翰·科普利打造的经典舞台呈现。
（源于DeepSeek翻译）

DVD：
https://115cdn.com/s/sww7jwb3hq9?password=3377&#
Donizetti - Maria Stuarda - Charles Mackerras, English National Opera; Baker, Plowright, Tomlinson [DVD9]

CD：
https://115cdn.com/s/sww782v3hq9?password=3377&#
Donizetti, Gaetano - Maria Stuarda - Bonynge, Teanro Comunale di Bologna; Sutherland, Tourangeau, Pavarotti [DECCA]

joseph_li

DOVE, Jonathan (born 1959)
Sacred Choral Music: Bless the Lord, O my soul; Ecce beatam lucem; I am the day; In beauty may I walk; Into thy hands; Missa brevis; Wellcome, all wonders in one sight; (i) Run, shepherds, run!. Seek him that maketh the seven stars; The Star Song; The Three Kings
Hyp. CDA 67768. Wells Cathedral Ch., Matthew Owens; Jonathan Vaughn (organ); (i) with Wells Cathedral School Chapel Ch.

The richness of Jonathan Dove’s choral writing and his vividly colourful (yet sometimes sparing) use of the organ is heard again and again throughout this collection, so stirringly and beautifully sung by Wells Cathedral Choir, and recorded in the spectacular resonance of the Cathedral Church of St Andrew in Wells. The opening ‘paean of praise’, Bless the Lord, and the highly individual Missa brevis both demonstrate the composer at his most compelling, and the ‘Agnus Dei’ of the latter is profoundly moving. I am the day has a minimalist structure but after a mysterious opening is ‘dancing and playful’ and then quotes from the hymn, ‘O come, O come Emmanuel’. The a cappella Wellcome, all wonders in one sight reflects the singing of the shepherds at Christ’s birth., and the lightly rhythmic Star Song with its ‘twinkling’ organ part is another Christmas setting – of a poem by Robert Herrick. The Three Kings radiantly features two solo sopranos with the choir. But perhaps the most unusual setting is Run, shepherds, run, which introduces ‘audience’ participation, here a vigorous refrain from the second choir. Ecce beatam lucem is movingly serene, while Seek him that maketh the seven stars again features the organ, creating ‘a musical image of the night sky’. The closing Into thy hands ends the programme in quiet dedication and calm. The composer suggests that ‘it does not reach an ending, but simply, in trust, surrenders itself’.

乔纳森·道夫丰富的合唱创作手法及其对管风琴既绚丽多彩（有时又极为克制）的运用，在这张由韦尔斯大教堂合唱团倾情献唱的专辑中得到了淋漓尽致的展现。录音于圣安德鲁大教堂恢弘的声学空间里，每一首都激荡人心、美不胜收。开篇的赞歌《称颂主》与极具个人特色的《短弥撒》展现了作曲家最扣人心弦的创作功力，后者中的《羔羊经》段落更是感人至深。《我是白昼》采用极简结构，神秘开场后转入"舞蹈般欢快"的段落，并巧妙引用了圣诗《以马内利来临歌》的旋律。无伴奏合唱《万般奇景齐显现》模仿了牧羊人在基督诞生时的歌唱，而带有轻盈律动的《星辰颂》则以管风琴"闪烁"般的音效为特色，同为罗伯特·赫里克的圣诞诗篇谱曲。《三王来朝》璀璨夺目地运用了两位女高音独唱与合唱团的交织。但最别出心裁的当属《奔跑吧牧羊人》，作品中引入"观众"参与——此处由第二合唱团演绎的激昂副歌令人振奋。《看呐，这蒙福之光》流淌着动人的静谧，《寻找创造七星之主》再次启用管风琴，营造出"夜空般的音乐图景"。终曲《交托你手》以虔诚的静默为整张专辑画上句点，作曲家坦言"它并非走向终结，而是怀着信靠之心将自己全然交付"。
（源于DeepSeek翻译）

https://115cdn.com/s/sww7jlp3hq9?password=3377&#
Dove, Jonathan - Choral Music - Wells Cathedral Choir [Hyperion]

joseph_li

The Adventures of Pinocchio 《木偶奇遇记》(DVD version)
Opus Arte DVD OA 101 D2 (2). Simmonds, Summers, Plazas, Bottone, Broadbent, Clayton, Ch. & O of Opera North, Parry (Director: Martin Duncan; Sets & Costumes: Francis O’Connor)

In this operatic version in two substantial Acts, Jonathan Dove with his librettist, Alasdair Middleton, gives a much fuller idea of the story of Pinocchio, as told by Carlo Collodi, starting with the moment when Geppetto the woodman finds a talking log in the forest. He is about to chop it up when it speaks to him, demanding that he preserve it, later demanding that he bring out the secret it contains – nothing less than the puppet, Pinocchio, who kicks him as his legs appear.

Generally the scenes follow the development of Pinocchio from rebellious puppet to kind and considerate boy. One important detail in the story (much exploited by Disney) that the opera ignores completely is the varying length of Pinocchio’s nose, depending on the number of lies he is telling: in the opera, no doubt for the convenience of the costume department, Pinocchio’s nose remains long from beginning to end.

Dove’s writing is characteristically colourful and vigorous, with inventive instrumentation; and the sharp, jazzy syncopations add to the attractiveness of the invention which is generally easily lyrical. The performance, filmed live, is conducted very ably by David Parry. Victoria Simmonds is excellent in the title-role, wearing a very convincing costume, with Jonathan Summers a pleasing Geppetto. A very welcome issue of a most attractive new opera.

在这部由两幕构成的歌剧版本中，作曲家乔纳森·道夫与编剧阿拉斯代尔·米德尔顿对卡洛·科洛迪原著《木偶奇遇记》进行了更完整的呈现。故事从樵夫杰佩托在森林里发现一根会说话的木头开始——当他正要劈开木头时，木头突然开口要求他保全自己，继而命令他释放其中蕴藏的秘密：正是那个双腿刚成形就踢打主人的木偶匹诺曹。

全剧基本遵循了木偶从叛逆到成长为善良体贴男孩的发展脉络。不过歌剧完全省略了原著中一个重要情节（该情节被迪士尼大加渲染）：根据说谎次数变化的匹诺曹长鼻子——在歌剧中，或许出于服装部门便利考虑，木偶的鼻子自始至终保持着固定长度。

道夫的创作延续了一贯绚烂生动的风格，配器手法充满巧思。尖锐而富有爵士味的切分音节奏，更强化了这些本就极具歌唱性的创新段落的魅力。大卫·帕里执棒的现场演出录像展现出精湛的指挥功力，维多利亚·西蒙兹以极具说服力的造型出色诠释了主角，乔纳森·萨默斯则塑造了一个令人愉悦的杰佩托形象。这部迷人的新歌剧问世，着实令人欣喜。
（源于DeepSeek翻译）

https://115cdn.com/s/sww7jq63hq9?password=3377&#
Dove, Jonathan - Adventures of Pinocchio - David Parry, Orchestra of Opera North; Simmonds, Summers, Plazas [DVD9]

joseph_li

DOWLAND, John (1563–1626)
Complete Solo Lute Music (collection)
BIS-SACD 1724 not compatible. Jakob Lindberg (8-course or 10-course lute or 8-course orpharion)

Jakob Lindberg, a superb lutenist, provides us here with the complete solo lute and orpharion music of John Dowland, including two closing Pavans from J. D. Mylius’s Thesaurus gratiarum, which has only recently been discovered. The orpharium, a flat-backed, wire-strung instrument, is used to atmospheric effect in the eleven works for which it was intended. This music can be dipped into at pleasure, for it is offered on a single SACD with an incredible playing time of four and a quarter hours (apparently achieved by using DVD technology for an audio-only SACD). Lindberg’s playing is peerless and the result is totally realistic. One can pick out any one of the 92 items virtually instantaneously. A remarkable achievement, very well documented, and the ease of access gives Lindberg a lead over his competitors.

杰出的鲁特琴演奏家雅各布·林德伯格（Jakob Lindberg）在此为我们呈现了约翰·道兰德（John Dowland）全部的独奏鲁特琴与奥法里翁琴作品集，其中包括两首来自J.D.迈琉斯《恩典宝库》的终曲帕凡舞曲——这些曲目直至近年才被重新发现。奥法里翁琴（一种平背金属弦乐器）在其专属的十一首作品中营造出极具氛围感的音效。这套音乐精品可随心选赏，因其以单张SACD形式发行却实现了惊人的四小时十五分钟播放时长（据悉是采用DVD技术制作的纯音频SACD）。林德伯格的演奏堪称无懈可击，整体效果逼真至极。92首曲目皆可瞬间精准定位，这项非凡的成就不仅配有详尽解说，其便捷的选曲功能更使林德伯格在同行竞争中独占鳌头。


14 Ayres and 4 Lute Lessons, including: Awake sweet love; Can she excuse my wrongs?; Come again! Sweet love; Fine knacks for ladies; Go crystal tears; Semper Dowland, semper dolens; Sorrow stay; Tell me true love; Captain Candish’s Galliard Lady Laiton’s Almain; and more
Alto ALC 1048. James Bowman (countertenor), Robert Spencer (lute) (with 4 songs by Thomas Campion; 3 by John Danyel; 2 by Philip Rosseter)

This is another splendid super-bargain collection, originally issued as an LP on SAGA and much praised at the time (late 1970s). It plays for 71 minutes and contains songs from all three Bookes, and more besides, as well as some lute solos, played in exemplary fashion by Robert Spencer. In most respects this makes an ideal introduction to Dowland’s art since it includes many of his most popular songs. Moreover they are sung with wonderful artistry by James Bowman, whose countertenor timbre is ravishing, and who brings sensitivity and intelligence to each song, and characterizes them far more tellingly than many of his colleagues in other collections. There is no lack of contrast and each phrase is floated with imagination. Amazingly for a record over 30 years old, the recording has outstanding realism and a natural presence. A true bargain.

这又是一套超值的精品合集，最初由SAGA公司于1970年代末以黑胶唱片形式发行，当时便广受赞誉。整套专辑时长71分钟，收录了道兰德三本《歌集》中的精选曲目及其他作品，还包括罗伯特·斯宾塞（Robert Spencer）以典范水准演绎的鲁特琴独奏曲。就多数层面而言，这是领略道兰德艺术的理想入门之选——因其囊括了这位作曲家众多脍炙人口的声乐作品。更值得一提的是，这些歌曲由詹姆斯·鲍曼（James Bowman）以惊人的艺术造诣演唱：他那令人沉醉的假声男高音音色，为每首歌曲倾注了细腻的悟性，其诠释深度远超其他合集中的多数同行。专辑中曲目对比鲜明，每个乐句都流淌着诗意的想象。令人惊叹的是，这张已问世三十余年的唱片仍保持着卓越的录音真实度与自然临场感，堪称真正的超值之选。
（源于DeepSeek翻译）

https://115cdn.com/s/sww7xov3hq9?password=3377&#
Dowland, John - Complete Music For Solo Lute - Jakob Lindberg [BIS SACD]等3个文件(夹)

joseph_li

DUKAS, Paul (1865–1935)
(i) L’Apprenti sorcier; La Péri (with Fanfare); (ii) Polyeucte Overture; Symphony in C; (iii) Piano Sonata; La Plainte, au loin, du faune; Prélude élégiaque
Chan. 2-for-1 241-32. (i) Ulster O; (ii) BBC PO; Y. P. Tortelier; (iii) Fingerhut

Dukas is primarily known for one of the most popular works in the repertoire, L’Apprenti sorcier. It is a brilliant orchestral show-piece which brilliantly conjures up the image of a hapless sorcerer’s apprentice as his spell gets out of control. It is a tone-poem par excellence and fully deserves its fame. However, one must not overlook the composer’s other works, including the splendid Symphony which, like the Chausson Symphony, is influenced in form by Franck and in spirit by Wagner – but in a language which is totally French. It is an impressive piece with some especially imaginative writing for brass. Tortelier’s account is a clear primary recommendation (especially as Walter Weller’s Decca account and Martinon’s EMI version are no longer available), as is his Polyeucte Overture, an early piece with Wagnerian echoes.

Dukas’s La Péri was written for Diaghilev in 1912, and again Yan Pascal Tortelier gives a very good performance of this colourfully imaginative score (including the introductory Fanfare, which precedes the tinglingly magical opening), with plenty of atmosphere and feeling. L’Apprenti sorcier is equally successful, though there is much competition for this work. Excellent Chandos recording in all four orchestral works ensures their success. Margaret Fingerhut’s collection of the piano music is recommendable too, a distinguished survey, with the large-scale Sonata particularly authoritative. The Scherzo is quite dazzling and the Lisztian finale very commanding indeed. The Prélude élégiaque, written in 1910 to commemorate Haydn’s death, and La Plainte, au loin, du faune are both more into the world of Debussian impressionism. Indeed, the latter piece was written a decade later as a Tombeau de Claude Debussy for Debussy, and it even includes quotations from L’Après-midi. They are both played very evocatively. An inexpensive and excellent survey of this fastidious composer’s output.

Australian Decca Eloquence have issued Ansermet’s outstanding version of L’Apprenti sorcier. The performance is relaxed yet has a cumulative effect: one has a feeling of real calamity before the magician hurriedly returns at the end to put right the mischief his apprentice has wrought. It is coupled with a brightly vivid account of La Péri – full of character and personality, and exceptionally vivid stereo sound from the late 1950s, plus recommendable versions of the Chausson Symphony and Roussel Symphonies 3 & 4 (480 0041).

杜卡斯最为人熟知的作品当属演出曲目中最受欢迎的《魔法师的弟子》。这首出色的管弦乐炫技作品生动描绘了倒霉学徒的咒语失控后手忙脚乱的场景，堪称交响诗典范，其盛名实至名归。然而这位作曲家的其他作品同样不容忽视，包括那部壮丽的《C大调交响曲》——如同肖松的交响曲般，其结构受弗朗克影响，精神内核则承袭自瓦格纳，但音乐语言始终保持着纯粹的法兰西特质。这部杰作中尤其展现了铜管乐段落的非凡想象力。托特里耶的诠释堪称首选推荐（特别是沃尔特·韦勒的Decca版与马蒂农的EMI版本已绝版），其《波流克特序曲》同样值得关注，这部早期作品回荡着瓦格纳式的余韵。

杜卡斯为佳吉列夫创作的芭蕾《仙女》完成于1912年，扬·帕斯卡尔·托特里耶对此部色彩绚烂的乐谱（包含导奏《号角华彩》及随后晶莹剔透的魔法开场）的演绎极具氛围感与表现力。其《魔法师的弟子》版本同样出色，不过该作品竞争版本众多。Chandos唱片为这四部管弦乐作品提供的优质录音确保了演绎的成功。玛格丽特·芬格赫特的钢琴作品集亦值得推荐，这套权威录音中，尤以规模宏大的《降e小调钢琴奏鸣曲》最为夺目：谐谑曲乐章璀璨生辉，李斯特风格的终章气势磅礴。1910年为纪念海顿逝世所作的《悲歌前奏曲》与《远方牧神的叹息》则更贴近德彪西式的印象主义世界——后者实为十年后创作的《纪念德彪西墓》，其中甚至引用了《牧神午后》的旋律片段，两曲皆以极具意境的方式呈现。这套平价精品堪称这位精益求精的作曲家创作全貌的完美指南。

澳大利亚Decca雄辩系列重新发行了安塞美诠释的《魔法师的弟子》经典版本。演绎从容不迫却富有层次推进感，当魔法师最终匆忙归来收拾残局时，听众能真切感受到灾难降临的震撼。此版搭配的《仙女》演绎同样精彩——个性鲜明、栩栩如生，1950年代末的立体声录音效果异常逼真，同专辑还收录了肖松交响曲与鲁塞尔第三、第四交响曲的推荐版本（480 0041）。
（源于DeepSeek翻译）

https://115cdn.com/s/sww7x7v3hq9?password=3377&#
Dukas, Paul - The Essential - Margaret Fingerhut - Yannick Nézet-Séguin, BBC PO, Fingerhut [Chandos]
雄辩系列这张没找到。

joseph_li

DURUFLÉ, Maurice (1902–86)
(i; ii; v) Requiem, Op. 9; (iii; iv; v) Messe Cum jubilo, Op. 11; (ii) 4 Motets on Gregorian Themes, Op. 10; (v) (Organ) Prélude et fugue sur le nom d’Alain, Op. 7
Warner Apex 2564 61139-2. (i) Bouvier, Depraz, Philippe Caillard Ch., LOP; (ii) Stéphane Caillat Ch.; (iii) Soyer; (iv) O Nat. de l’ORTF; all cond. composer; (v) Duruflé-Chevalier (organ)

Duruflé wrote his Requiem in 1947, overtly basing its layout and even the cut of its themes on the Fauré masterpiece. A clear first choice is almost impossible to make; however, the Apex budget reissue is particularly valuable as it offers a spontaneously dedicated performance under the direction of the composer that blossoms into great ardour at emotional peaks. The less familiar but no less beautiful Messe Cum jubilo receives a comparably inspirational account, its gentler passages sustained with rapt concentration, with beautiful playing from the French Radio Orchestra. The soloists in both works rise to the occasion, and the choral singing combines passionate feeling with subtle colouring. The composer proves a splendid exponent of his own works, as does his daughter playing the Prélude et Fugue on the organ of Soissons Cathedral. The spaciously atmospheric recordings were made between 1959 (the Requiem) and 1971. Not to be missed.

迪吕弗莱于1947年创作了《安魂曲》，其编排甚至主题的剪接都明显借鉴了福莱的杰作。要做出一个明确的首选几乎是不可能的；然而，Apex唱片公司以低廉的价格发行的再版唱片尤为珍贵，因为它呈现了作曲家在指挥下自发投入的演奏，在情感巅峰时迸发出巨大的热情。另一部不太为人熟知却同样优美的《欢庆弥撒》也同样引人入胜，其柔和的乐段以全神贯注的演奏延续，并由法国广播交响乐团演奏得优美动听。两部作品中的独奏者都表现出色，合唱部分则将激情与细腻的色彩巧妙地融合在一起。作曲家本人也证明了自己是其作品的杰出诠释者，他的女儿在苏瓦松大教堂的管风琴上演奏《前奏曲与赋格》也同样出色。这两部充满空间感的录音录制于1959年（《安魂曲》）至1971年之间。不容错过。
（源于Google翻译）


https://115cdn.com/s/sww7x433hq9?password=3377&#
Duruflé, Maurice - Requiem, 4 Motets, Mass etc. - Duruflé [Warner]等2个文件(夹)

joseph_li

DUTILLEUX, Henri (born 1916)
(i) Cello Concerto (Toute un monde lointain). Trois strophes sur le nom de Sacher
BIS SACD 1777. Christian Poltéra; (i) ORF V. RSO, Jac van Steen (with LUTOSLAWSKI: Cello Concerto)

Rostropovich’s classic coupling of these concertos under the composer has long reigned supreme and still remains beyond criticism. But this fine studio version from Vienna under Jac van Steen with the Swiss-born Christian Poltéra, a soloist of consummate artistry, will more than satisfy the discerning listener. The BIS recording has characteristic presence and definition, as usual, enhanced by SACD.

罗斯特罗波维奇在作曲家的指挥下对这些协奏曲的经典演绎早已占据了主导地位，至今仍无可非议。但这套由雅克·范·斯滕（Jac van Steen）与技艺精湛的瑞士独奏家克里斯蒂安·波尔特拉（Christian Poltéra）在维也纳演绎的精美录音室版本，定会让挑剔的听众大饱耳福。BIS录音一如既往地保留了其独特的现场感和清晰度，SACD的运用更是锦上添花。

Symphonies 1–2
Chan. 9194. BBC PO, Y. P. Tortelier

Marvellously resourceful and inventive scores, which are given vivid and persuasive performances by Yan Pascal Tortelier and the BBC Philharmonic Orchestra. The engineers give us a splendidly detailed and refined portrayal of these complex textures – the sound is really state of the art. A most rewarding pairing.

配乐精彩绝伦，创意非凡，扬·帕斯卡尔·托特里耶和BBC爱乐乐团的演绎生动逼真，令人信服。工程师们对这些复杂的音效进行了细致入微、精妙绝伦的诠释——音效堪称一流。这绝对是一场令人难忘的合作。
（源于Google翻译）


https://115cdn.com/s/sww7x4t3hq9?password=3377&#
Dutilleux, Henri & Lutoslawski - Cello Concerto - Christian Poltéra, Jac van Steen [BIS 24-44.1]等3个文件(夹)

joseph_li

DVOŘÁK, Antonín (1841–1904)
(i) Cello Concerto in B minor, Op. 104 (no. 2). In Nature’s Realm; The Water Goblin
Telarc TEL 32927-02. (i) Bailey; Indianapolis SO, Märkl

Very few music lovers are aware that Dvořák wrote an earlier cello concerto before his masterpiece in B minor, which he was inspired to compose after hearing Victor Herbert’s second concerto for that instrument. The early work is not without considerable merit, but the later work is almost certainly the greatest of all concertos for the instrument, alongside the quite different, nostalgic work by Elgar. Until now we have strongly recommended the DG recording by Rostropovich and Karajan, and that remains very fine. But this new version by Zuill Bailey and Jun Märkl, with the excellent Indianapolis Symphony Orchestra, has all the additional electricity and conveyed communicative warmth of live performance, and grips the listener from the very opening bars. The great tune, first heard on the horn, is gloriously played by Robert Danforth and later again taken up rapturously by the soloist, and the horns distinguish themelves in their chorale in the second movement. The woodwind, too, are exquisite at the opening of the slow movement, and Bailey plays the gently romantic closing section of the finale very touchingly indeed. Altogether this is superb, and the two symphonic poems, the lyrical In Nature’s Realm, and the sinister picture of The Water Goblin, are vividly realized.

鲜有乐迷知道，德沃夏克在创作其不朽的B小调大提琴协奏曲之前，还写过一首更早期的大提琴协奏曲。他正是在聆听了维克多·赫伯特的第二首大提琴协奏曲后受到启发，才创作了这部杰作。那首早期作品并非没有相当高的价值，但这部后期作品，连同埃尔加那首风格迥异、充满怀旧色彩的作品一起，几乎可以肯定是有史以来最伟大的大提琴协奏曲。迄今为止，我们一直强力推荐罗斯特罗波维奇与卡拉扬合作的DG唱片录音，那版演绎依然非常出色。但祖尔·贝利（Zuill Bailey）与君·马克尔（Jun Märkl）携手杰出的印第安纳波利斯交响乐团带来的这个新版本，拥有现场演奏所特有的那种额外的活力与传达出的亲切暖意，从开篇起就引人入胜。由圆号首次奏出的伟大旋律，在罗伯特·丹福思（Robert Danforth）的演奏下辉煌无比，随后又由独奏家如痴如醉地再次演绎；在第二乐章中，圆号声部也在其圣咏般的段落里表现非凡。木管乐器在慢板乐章开篇的演奏同样精致优美，而贝利在终乐章结尾那段温柔浪漫的段落中，演奏得极其动人。总而言之，这是一场极致的演绎。另外两首交响诗——抒情的《自然王国》（In Nature’s Realm）和描绘阴森水妖形象的《水妖》（The Water Goblin）——也得到了生动的呈现。
（源于DeepSeek翻译）

https://115cdn.com/s/sww72793hq9?password=3377&#
Dvorak - Cello Concerto; Tchaikovsky Rococo Variations - Rostropovich, Karajan, BPO [DG]等2个文件(夹)
罗斯特罗波维奇&卡拉扬DG这张，企鹅三四星带花。

joseph_li

[ 本帖最后由 joseph_li 于 2025-6-26 10:58 编辑 ]\n\nSlavonic Dances 1–16, Op. 46/1–8; Op. 72/1–8
Sony (ADD) SBK 89845. Cleveland O, Szell

In Szell’s exuberant and marvellously played set of the complete Slavonic Dances the balance is close (which means that pianissimos fail to register), but the character of the playing is unforgettable and, for all the racy exuberance, one senses a predominant feeling of affection and elegance. The warm acoustics of Severance Hall, Cleveland, ensure the consistency of the orchestral sound.

塞尔演奏的这套《斯拉夫舞曲全集》热情奔放、精彩绝伦，平衡度堪称完美（这意味着极弱音难以捕捉），但演奏的特色令人难忘。尽管充斥着活泼奔放的元素，但人们仍然能感受到一种主导性的情感与优雅。克利夫兰塞弗伦斯音乐厅温暖的音响效果确保了管弦乐音色的一致性。

(i) Slavonic Dances, Op. 46/1, 3 & 8; Op. 72/9 & 10; (ii) Symphonic Variations, Op. 78
Decca (ADD) 475 7730. Kertész, with (i) Israel PO; (ii) LSO – SMETANA: Bartered Bride Overture, etc.

Kertész made this very successful Dvořák/Smetana coupling in the early 1960s and, alongside the symphonies, it remains a superb reminder of what a fine conductor he was. The Israel Philharmonic Orchestra was not at the time one of the world’s most polished, but here the playing is irresistible in its high spirits and vivacious colouring. The furiants go with the wind, but Kertész maintains the underlying lyricism of the music. The fine performance of the splendid Symphonic Variations was recorded later, in 1970, and the sound quality is even finer. With the outstanding Smetana coupling, this makes an excellent pairing.
凯尔特斯在20世纪60年代初创作了这套德沃夏克/斯美塔那作品，非常成功。这套作品与交响曲一起，至今仍能完美地展现出他是一位多么优秀的指挥家。当时，以色列爱乐乐团并非世界顶级乐团，但这部作品以其高昂的热情和鲜活的色彩令人难以抗拒。狂暴的旋律随风而逝，但凯尔特斯始终保留着音乐中潜在的抒情性。精彩的交响变奏曲于1970年录制完成，音质更加出色。与斯美塔那作品的出色结合，成就了绝妙的配乐。（源于Google翻译）




https://115cdn.com/s/sww7xrq3hq9?password=3377&#
Dvorak - Slavonic Dances - George Szell, Cleveland Orchestra [Sony 24-96]等3个文件(夹)

DECCA张找到了Qobuz链接，但是下不下来。

joseph_li

Symphonic Poems: The Golden Spinning Wheel; The Noon Witch; The Water Goblin; The Wild Dove
Sup. SU 4012. Czech PO, Mackerras

Dvořák’s four symphonic poems are all based on gruesome folk tales, but so richly colourful is the composer’s use of the orchestral palette, especially the woodwind, the ear is constantly diverted, and the music is overflowing with Czech melodies. As the evocative opening of The Water Goblin immediately shows, Sir Charles Mackerras gives marvellously atmospheric performances, and there is plenty of contrasting melodrama at the close, when the Goblin murders the baby of the kidnapped heroine. The Czech Philharmonic Orchestra is on top form throughout, and there is plenty of warm, tender playing, especially from the strings, with the orchestra given a lovely bloom from the acoustic of Prague’s Rudolfinum. The Golden Spinning Wheel (a favourite of Sir Thomas Beecham’s) opens with appropriately golden horn fanfares. This narrative brings the mutilation of the heroine, Dornicka, but she is magically restored at the close to provide, for once, a happy ending to the story. The Noon Witch, sinisterly characterized by a solo bass clarinet, again involves the murder of a child, but The Wild Dove involves a widow/poisoner, and the Dove represents the soul of the poisoned husband, and causes the conscience-stricken widow to commit suicide. Mackerras creates a vivid narrative flow throughout all four works and his pacing is wonderfully sympathetic and flexible, and this CD won the Gramophone’s Orchestral Award in 2010.

德沃夏克的四部交响诗均取材于令人毛骨悚然的民间故事，但作曲家对管弦乐，尤其是木管乐器的运用却如此丰富多彩，令人耳目一新，音乐中充斥着捷克的旋律。正如《水妖》引人入胜的开场所展现的那样，查尔斯·马克拉斯爵士的演奏营造出绝妙的氛围，而结尾处，水妖杀死了被绑架女主角的婴儿，则充满了对比鲜明的戏剧性情节。捷克爱乐乐团自始至终都保持着极佳的状态，演奏温暖而柔情，尤其是弦乐部分，在布拉格鲁道夫音乐厅的音响效果下，乐团的演奏更是锦上添花。《金纺车》（托马斯·比彻姆爵士的挚爱之作）以恰如其分的金色号角声开场。这段叙事讲述了女主角多尔尼卡被肢解的故事，但她在结尾处神奇地复活，为故事带来了一个圆满的结局。 《正午女巫》以低音单簧管独奏的阴险笔触为特色，同样涉及谋杀一名儿童。而《野鸽》则涉及一位寡妇/投毒者，鸽子象征着中毒丈夫的灵魂，并导致良心受创的寡妇自杀。麦克拉斯在四部作品中营造出生动的叙事流畅，节奏感十足，富有同情心且灵活多变。这张CD荣获2010年《留声机》管弦乐奖。


Symphony 7 in D min., Op. 70
Decca Eloquence 480 5019. LSO, Monteux – ELGAR: Enigma Variations

Pierre Monteux’s account of the Seventh has always been a strong contender at medium price. His performance, if perhaps originally not a first choice, is very much a favourite: it is exciting, idiomatic and pleasingly tinged with geniality. The orchestral playing is first class, and the Decca recording has stood the test of time. The beautiful opening and closing pages of the Poco adagio and the brilliant finale are highlights of a reading which, if it has a slightly mannered effect here and there, is very satisfying overall.

However this reissue is even more celebrated for its coupling, Elgar’s Enigma Variations with its unforgettable performance of Nimrod .

皮埃尔·蒙特克斯（Pierre Monteux）的《第七交响曲》演绎一直是中等价位的有力竞争者。他的演绎，或许最初并非首选，如今却广受青睐：激动人心，地道地道，并略带亲切感。管弦乐演奏堪称一流，Decca 的录音也经受住了时间的考验。《小柔板》优美的开头和结尾，以及精彩的终曲，是这部作品的亮点，尽管其中略显矫揉造作，但总体而言非常令人满意。

然而，这部再版更令人称道的是它将埃尔加的《谜语变奏曲》与令人难忘的《宁录》演绎完美结合。
（源于Google翻译）

https://115cdn.com/s/sww7xa63hq9?password=3377&#
Dvorak - Symphonic Poems - Charles Mackerras, Czech PO [Supraphon]等2个文件(夹)

huzuoan

楼主：今天一开始好像就漏了他 - DOWLAND, John (1563–1626)