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

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661
 楼主| 发表于 2025-7-26 13:21 | 只看该作者 来自 中国
OFFENBACH, Jacques (1819–80)
(i) Cello Concerto (Concerto militaire). Les Fées du Rhin: Overture, Ballet & Grande Valse. Orphée aux enfers: Overture. Le Voyage dans la Lune: Ballet des Flocons de neige (i) 大提琴协奏曲("军事协奏曲")、《莱茵仙女》序曲、芭蕾与盛大圆舞曲、《地狱中的奥菲欧》序曲、《月球之旅》雪花芭蕾
DG 477 6403. Les Musiciens du Louvre, Minkowski, (i) with Pernoo

Long before he scored his big success as a composer of operettas with Orpheus in the Underworld, Offenbach was renowned as the ‘Liszt of the Cello’, an outstanding virtuoso. This 45-minute Concerto militaire is the most important of his compositions from that period, here recorded complete for the first time. After the composer’s death, the score, badly edited, had the three movements sold separately, and it has been thanks to the outstanding detective work of the editor, Jean-Christophe Keck, that the Concerto has now been fully restored. Both the first movement and the finale introduce military themes, with timpani prominent in both, and with the main theme of the finale anticipating the style of Offenbach’s operettas. That finale, 20 minutes long, offers a wide range of invention, including one funeral procession episode. The sound, recorded live in Grenoble, tends to be plummy, but there is ample detail to bring out the fine quality of the performance by both the soloist, Jérôme Pernoo, and the orchestra of period instruments under Marc Minkowski. The sparkling fill-ups add to the attractions of the disc, with the ballet from Les Fées du Rhin offering the first version of what later became the Barcarolle in the Tales of Hoffmann.

早在以《地狱中的奥菲欧》成为轻歌剧大师之前,奥芬巴赫便以"大提琴界的李斯特"闻名遐迩。这部45分钟的《军事协奏曲》是其早期最重要的创作,本专辑首次呈现完整录音。作曲家去世后,这部乐谱曾被拙劣编辑并拆分为三个乐章单独出售,多亏编辑让-克里斯托夫·凯克的卓越考据工作,协奏曲终得完整复原。首乐章与终乐章均引入军乐主题,定音鼓贯穿始终,终乐章主旋律已预示其轻歌剧风格。长达20分钟的终章展现出丰富的创意,包含葬礼进行曲段落。格勒诺布尔现场录音虽略显沉闷,但充分展现了独奏家杰罗姆·佩尔诺与马克·明科夫斯基执棒的古乐团精湛演绎。加演曲目更添光彩,《莱茵仙女》芭蕾段落首次呈现了后来成为《霍夫曼的故事》中《船歌》的原始版本。


Gaîté Parisienne 《巴黎人的欢乐》
Australian Decca Eloquence (ADD) 476 2724. ROHCG O, Solti – GOUNOD: Faust: ballet music. RESPIGHI: Rossiniana

Solti’s 1959 Gaîté Parisienne is the most brilliant committed to disc. While I.M. feels that the music-making is just that bit too hard driven, there is no doubting the sheer virtuosity of this remarkable orchestra and their bravura is infectious. Solti is far from unstylish here, but rather than allowing Offenbach’s brand of champagne to bubble up to the surface gradually, Solti tends to whack you over the head with it! Exciting music-making, never dull, and vintage Decca sound.

索尔蒂1959年录制的《巴黎人的欢乐》堪称唱片史上最辉煌的版本。虽然I.M.认为演绎稍显用力过猛,但这支杰出乐团展现的炫技魅力令人倾倒。索尔蒂的诠释绝非缺乏格调,但他选择用香槟直接浇醒听众,而非任其自然升腾气泡!激动人心的演绎绝无冷场,搭配典型的DECCA黄金之声。


Overtures: Barbe-Bleue; La Belle Hélène; La Grande Duchesse de Gérolstein; Le Mariage aux lanternes; Orfée aux enfers (with ADAM: Si j’étais Roi. BOIELDIEU: Le Calife de Bagdad; La Dame Blanche. HÉROLD: Zampa) 序曲集《蓝胡子》《美丽的海伦》《热罗尔坦公爵夫人》《灯笼婚礼》《地狱中的奥菲欧》(另含亚当《若我为王》、布瓦尔迪厄《巴格达酋长》《白衣夫人》、埃罗尔德《赞帕》)
Australian Decca Eloquence mono 476 2757. LPO, Martinon

Martinon’s LP collection of Offenbach overtures is quite the best ever committed to disc and now it has made it on to CD. Under Martinon, these overtures explode like a shaken bottle of ice-cold champagne, with the Can-can finales of Orfée and La Grande Duchesse going like the devil. While no one has captured the whirlwind Offenbach spirit as Martinon does, it is for the elegance that one especially relishes this collection, with the simple, folk-like tunes of Barbe-Bleue so beautifully phrased, and so gentle, it makes the sharply pointed strings in the lively finale even more effective. Nowhere is this rhythmic sharpness more apparent than in the deliciously crisp finale of the rare Le Mariage aux lanternes, a work of Mozartian charm. The engaging oboe tune in La Belle Hélène is beautifully phrased, and in that opera’s famous waltz you can see how Offenbach once beat Johann Strauss in a waltz-writing competition. In the rollicking good tune at 1 minute 27 seconds in La Grande Duchesse (‘I love the military’), the strings play with carefree vivacity as well as polish. Decca has handsomely coupled the Offenbach items with Martinon’s contemporary LP of once popular French overtures, with the orchestra giving of their very best. The White Lady is especially enjoyable, with a delightful bassoon passage underpinning the second subject. The early 1950s sound is vivid, but rather too bright: the original LXT LP (before it was re-cut) was undoubtedly warmer and sounded better balanced, but this transfer is well ahead in sound compared to the edgy Ace of Clubs and Eclipse LP versions, last seen around 30 years ago. This reissue needs to be snapped up before it disappears again.

马蒂农的奥芬巴赫序曲黑胶专辑历来被奉为最佳演绎,如今终以CD形式面世。在他棒下,这些序曲如冰镇香槟般喷薄而出,《地狱中的奥菲欧》与《热罗尔坦公爵夫人》的康康舞终曲如魔鬼般狂野。虽无人能及马蒂农捕捉奥芬巴赫旋风般神韵的功力,但本辑最令人回味的是那份优雅——《蓝胡子》中民歌风的质朴旋律被演绎得如此柔美,使得终章弦乐的锐利迸发更具冲击力。罕见的《灯笼婚礼》终章将节奏锐度展现得淋漓尽致,充满莫扎特式的魅力。《美丽的海伦》中迷人的双簧管旋律处理精妙,著名圆舞曲段落更印证了奥芬巴赫曾在圆舞曲创作比赛中击败小约翰·施特劳斯的轶事。当《热罗尔坦公爵夫人》进行至1分27秒那句欢快的"我热爱军队"时,弦乐既保持着无拘无束的活力又不失精致。DECCA贴心地搭配了马蒂农同期录制的法国序曲集,乐团状态极佳,《白衣夫人》中巴松管对第二主题的衬托尤为动人。1950年代初的录音鲜活但过于明亮:原始LXT黑胶(未经重制前)无疑更温暖平衡,但本次转制仍远胜三十年前Ace of Clubs和Eclipse黑胶版的尖锐音质。此再版专辑值得即刻珍藏。


https://115cdn.com/s/swwdwcy3hq9?password=3377&#
French Opera Overtures (Offenbach, Herold, Boieldieu, Adam) - Jean Martinon [DECCA]等2个文件(夹)

第二张langong2004兄已经在第439楼发过。
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662
发表于 2025-7-26 13:21 | 只看该作者 来自 上海浦东新区
joseph_li 发表于 2025-7-25 22:45
Piano Concerto 20 in D min., K.466; (i) Piano Concerto for 3 Pianos in F, K.242; (ii) Rondo in C, K. ...

没DVD,油管视频望梅止渴一下吧

通过百度网盘分享的文件:07 Piano Concerto 20, Concerto for ...
链接:https://***.com/s/1NgBcRyJDeGC5FHf1nQxXVA?pwd=0yu9


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663
 楼主| 发表于 2025-7-26 13:21 | 只看该作者 来自 中国
La Belle Hélène (complete, DVD & CD versions) 《美丽的海伦》
TDK DVD DV-OPLBH; CD Virgin 5 45477-2 (2). Lott, Beuron, Sénéchal, Le Roux, Naouri, Todorovitch, Ch. & Musiciens du Louvre, Grenoble, Minkowski (Stage Director: Laurent Pelly)

The new production of La Belle Hélène staged by Laurent Pelly, with costumes by Chantal Thomas, retains all the mythological characters, but they appear to Hélène as in her dream of being the most beautiful woman in the world and falling in love with the virile young Paris. Her double bed, to which she retires at the beginning, becomes the focus of the action until Act III, which takes place on the beach at Naples, from where she finally sails away with Paris. The whole production fizzes and has touches of romantic naughtiness which only the French can bring off with real style. There is an additional ‘Behind the Scenes’ sequence, narrating the background to this brilliantly successful production.

Favouring brisk speeds and light textures, using the period instruments of Les Musiciens du Louvre, Marc Minkowski gives a winning sparkle to this delectable send-up of the classical story. He also has the benefit of offering a more complete, more authentic text than any predecessor. It was recorded after the highly successful stage production at the Châtelet Théâtre in Paris in September 2000, when Felicity Lott was hailed as an outstanding star in the role of Hélène. That is true, even if vocally there are moments when her voice is not at its sweetest, not as rounded as it might be; but her feeling for the idiom and her characterization are unerring. Outstanding in the cast is the seductively honeyed tenor of Yann Beuron as Paris. His ‘Judgement of Paris’ solo in Act I has rarely been matched, with exquisite pianissimo singing in the final stanza, enhanced by Minkowski’s persuasive rubato. An excellent supporting cast, including such stalwarts of the repertory as Michel Sénéchal and François Le Roux. Although the CDs are in every way recommendable, the live performance on DVD is sheer delight, adding an extra dimension to Offenbach’s scintillating score.

洛朗·佩利执导的新版《美丽的海伦》由尚塔尔·托马斯负责服装设计,保留了所有神话角色,但这些人物皆以海伦梦境中的形象出现——她幻想自己成为世间最美的女子,与阳刚的年轻帕里斯坠入爱河。开场时她退场的那张双人床成为前三幕的焦点,直至第三幕场景转至那不勒斯海滩,她最终与帕里斯扬帆远去。整部制作充满活力,带有唯有法国人才能驾驭的浪漫俏皮感。附赠"幕后花絮"片段,讲述这部成功制作的背景故事。

马克·明科夫斯基率领卢浮宫音乐家古乐团,以轻快的速度与透明的音质,为这部古典故事戏谑版赋予迷人光彩。其采用的文本也比以往任何版本更完整、更权威。录音源自2000年9月巴黎夏特莱剧院大获成功的舞台制作,当时费莉西蒂·洛特因饰演海伦被誉为耀眼明星。尽管某些唱段嗓音未达最甜美圆润的状态,但她对风格的把握与角色塑造无可挑剔。演员阵容中,扬·伯龙以蜜糖般诱人的男高音诠释帕里斯最为出彩,第一幕的"帕里斯的裁决"独唱段落罕逢敌手,最终诗节的极弱音处理辅以明科夫斯基精妙的弹性速度更显绝妙。配角阵容同样卓越,包括米歇尔·塞内夏尔、弗朗索瓦·勒鲁等经验丰富的歌唱家。尽管CD版已属上乘之选,DVD现场演出更添魅力,为奥芬巴赫闪耀的总谱赋予立体维度。


Les Contes d’Hoffmann (The Tales of Hoffmann; complete, CD version) 《霍夫曼的故事》
Decca (ADD) 417 363-2 (2). Sutherland, Domingo, Tourangeau, Bacquier, R. Suisse Romande & Lausanne Pro Art Ch., SRO, Bonynge

Offenbach’s final work, Les Contes d’Hoffmann, was a posthumous triumph for the composer. In this marvellous opéra comique, Offenbach fully captured the sense of the grotesque in the E. T. A. Hoffmann stories as well as a sense of irony and humour. Of course Offenbach was nothing if not a man of the theatre, so the work is highly theatrical and entertaining, brimming with good tunes, rollicking choruses and many instantly memorable numbers. Offenbach longed to write one serious masterpiece and in this story of disillusioned love at its centre he achieved it, sadly dying before the work was performed. It survived in somewhat corrupt forms, but Bonynge’s solution to the textual problems is undoubtedly the most successful. This recording, from 1971, is one of the supreme achievements of the many Sutherland/Bonynge/Decca recordings. Joan Sutherland gives a virtuoso performance in four heroine roles, not only as Olympia, Giulietta and Antonia, but also as Stella in the Epilogue, which is given even greater weight by the restoration of the Quartet, a magnificent, thrilling climax. Bonynge opts for spoken dialogue, and puts the Antonia scene last, as being the more substantial. His direction is unfailingly sympathetic, while Sutherland is impressive in each role, notably as the doll Olympia and in the pathos of the Antonia scene. As Giulietta she hardly sounds like a femme fatale, but still produces beautiful singing. Domingo gives one of his finest performances on record (his famous Kleinzach aria in the Prologue goes with a real swing) and so too does Gabriel Bacquier. Huguette Tourangeau is outstanding as La Muse and Nicklausse. It is a memorable set in every way, with a superb supporting cast, with such people as Hugues Cuénod adding much character and an authentic flavour to the performance as a whole. The Decca recording is outstanding, rich, full and vividly atmospheric.

奥芬巴赫的绝笔之作《霍夫曼的故事》成为作曲家身后的辉煌胜利。在这部杰出的谐歌剧中,他完美捕捉了E.T.A.霍夫曼小说中的怪诞感,同时融入反讽与幽默。这位深谙剧场之道的作曲家以高度戏剧化的手法,呈现了大量优美旋律、欢快合唱与令人过耳难忘的唱段。奥芬巴赫渴望创作一部严肃杰作,最终借由这个关于幻灭爱情的故事得偿所愿,却遗憾未能亲见作品上演。该作现存版本多有讹误,而波宁吉对文本问题的处理无疑最成功。这套1971年录音是萨瑟兰/波宁吉/Decca黄金组合的巅峰成就之一。琼·萨瑟兰一人分饰四位女主角——机械玩偶奥林匹亚、交际花朱丽叶塔、病弱少女安东尼娅,以及尾声的斯特拉,修复的四重唱段落更将终幕推向壮丽高潮。波宁吉采用对白形式,并将安东尼娅场景置于最后以强化戏剧分量。他的指挥始终饱含共鸣,萨瑟兰则在不同角色间游刃有余,无论是机械玩偶的精准花腔还是安东尼娅的凄婉咏叹皆令人叹服。多明戈献出其录音生涯最佳表演之一(序幕中著名的"小查克"咏叹调充满活力),加布里埃尔·巴基耶同样出色。于盖特·图朗若作为缪斯女神与尼克劳斯的双重演绎堪称典范,雨果·屈埃诺等配角亦为全剧注入鲜明个性与地道韵味。Decca录音效果辉煌饱满,氛围感栩栩如生。


‘The World of Offenbach’: Overtures: La Belle Hélène; La Fille du tambour-major; Orpheus in the Underworld. Excerpts: Le Papillon; Contes d’Hoffmann; La Grande Duchesse; La Périchole; Robinson Crusoé 序曲:《美丽的海伦》《鼓手长的女儿》《地狱中的奥菲欧》。选段:《蝴蝶》《霍夫曼的故事》《热罗尔坦公爵夫人》《佩里绍莱》《鲁滨逊漂流记》

Decca Australian Eloquences 480 5318. Crespin, Sutherland, Domingo, Sumi Jo, Tourangeau; Various Orchestras, cond. Ansermet, Bonynge, Lombard

Opening and closing delightfully with the Barcarolle, and vividly recorded, this is an Unmissable and generous ‘lucky dip’ to match and even surpass ‘The World of Borodin’, creating an unforgettably entertaining 74 minutes. The overtures and operatta excerpts are equally diverting, marvellously sung, and are topped off with Sumi’s Jo’s sparkling Valse tyrolienne.

以《船歌》作为开场与终曲的这张精选集,凭借生动的录音成为不可错过的娱乐盛宴,74分钟的时长甚至超越了"鲍罗丁的世界"系列。序曲与轻歌剧选段同样精彩纷呈,演唱水准精湛,尤其须见优子演绎的《蒂罗尔圆舞曲》更添璀璨光彩。


DVD:
https://115cdn.com/s/swwdw083hq9?password=3377&#
Offenbach, Jacques - La Belle Helene - Marc Minkowski, Theatre Musical de Paris, Lott, Beuron, Sénéchal [DVD9]

CD:
https://115cdn.com/s/swwdw233hq9?password=3377&#
Offenbach, Jacques - La Belle Helene - Marc Minkowski, Theatre Musical de Paris, Lott, Beuron, Sénéchal [Virgin]等3个文件(夹)
最后一张不是雄辩系列,但内容基本一致。
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664
发表于 2025-7-26 13:22 | 只看该作者 来自 上海浦东新区
joseph_li 发表于 2025-7-25 22:49
Idomeneo (complete, DVD version) 《伊多梅纽斯》
Arthaus DVD 101 079. Lewis, R. Davies, Goeke, Betle ...

Idomeneo (complete, DVD version) 有吗?谢谢!

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665
 楼主| 发表于 2025-7-26 13:23 | 只看该作者 来自 中国
今天又卡了4个审核
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666
发表于 2025-7-26 13:32 | 只看该作者 来自 上海浦东新区
joseph_li 发表于 2025-7-25 22:50
Die Zauberflöte (DVD version) 《魔笛》
TDK DVD DVWW-CLOPMF. Cotrubas, Schreier, Gruberová, Ta ...

补DVD
通过百度网盘分享的文件:24-1 Die Zauberflote - V. State Op....
链接:https://***.com/s/1msbPtegP67sbUfVGqSUeeA?pwd=z314


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 楼主| 发表于 2025-7-27 21:27 | 只看该作者 来自 中国
感谢 wpx426 补档,
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 楼主| 发表于 2025-7-27 21:27 | 只看该作者 来自 中国
ORFF, Carl (1895–1982)
Carmina Burana (DVD version) 《布兰诗歌》
RCA DVD 74321 852859. Popp, Van Kesteren, Prey, Bav. R. Ch., Munich R. O, Eichhorn (Video Producer: Jean-Pierre Ponnelle)
Carmina Burana (CD version)
Sony (ADD) SBK 47668. Harsanyi, Petrak, Presnell, Rutgers University Ch., Phd. O, Ormandy

This fine RCA recording of Carmina Burana, conducted by Kurt Eichhorn in 1975, with outstanding soloists, has been issued previously on CD, and here it is treated to an imaginative staging for DVD by Jean-Pierre Ponnelle. The main background set is a ruined church, against which the singers are seen in medieval costume, with action, sometimes surreal, invented to illustrate each section of the work, a technique which seems to anticipate the virtual reality of our digital age. So the roasted swan episode is introduced by a drunken monk, with a large swan in the background actually being roasted on a spit, and Lucia Popp is in a medieval wimple looking and sounding enchanting. Hermann Prey is the superb baritone soloist, taking the main burden, and the choir is bright and lively. As a supplementary item comes a long interview with Orff himself – in German with English subtitles – in which he talks animatedly about key childhood experiences and how he came to write Carmina Burana.

On CD, Ormandy and his Philadelphians have just the right amount of panache to bring off this wildly exuberant picture of the Middle Ages by the anonymous poets of former days, and there is no more enjoyable analogue version. It has tremendous vigour, warmth and colour and a genial, spontaneous enthusiasm from the Rutgers University Chorus, men and boys alike, that is irresistible. The soloists are excellent, but it is the chorus and orchestra who steal the show; the richness and eloquence of the choral tone is a joy in itself. This is quite splendid – one of Ormandy’s most inspired recordings and, even if you already have the work in your collection, this exhilarating version will bring additional stimulation.

这张由库尔特·艾希霍恩于1975年指挥、RCA出品的优秀《布兰诗歌》录音,凭借出色的独唱阵容曾发行过CD版本,如今经由让-皮埃尔·蓬内尔匠心独运地搬上DVD舞台。主场景设定在一座残破的教堂前,身着中世纪服饰的歌唱演员们置身其中,每个乐段都配以时而超现实的编排动作进行视觉化呈现——这种手法仿佛预示了当今数字时代的虚拟现实技术。例如"烤天鹅"段落由醉酒的修道士引出,背景中一只真实的天鹅正在烤架上旋转炙烤;露琪亚·波普戴着中世纪头饰,其扮相与歌喉同样令人陶醉。赫尔曼·普雷作为杰出的男中音独唱承担了主要唱段,合唱团则展现出明亮活泼的演绎。特别收录还包括对奥尔夫本人的长篇访谈(德语原声配英文字幕),这位作曲家生动讲述了童年关键经历及《布兰诗歌》的创作渊源。

在CD版本中,奥曼迪指挥费城乐团以恰到好处的华丽风格,完美呈现了这部由古代匿名诗人们创作的、充满狂放中世纪风情的作品,堪称模拟录音时代最令人愉悦的版本。罗格斯大学合唱团的男女成员们展现出势不可挡的蓬勃活力、温暖色彩与自然流露的欢欣热情,演奏部分具有惊人的力度与丰富表现力。独唱演员虽出色,但真正夺人耳目的是合唱团与乐团的演绎——那丰沛动人的合唱音色本身便是无上享受。这张堪称辉煌的录音是奥曼迪最具灵感的代表作之一,即便您已收藏该作品,这个激动人心的版本仍能带来全新的艺术体验。


DVD:
https://115cdn.com/s/swwd43a3hq9?password=3377&#
Orff, Carl - Carmina Burana - Kurt Eichhorn, Munchner Rundfunkorchester, Popp, Van Kesteren, Prey [DVD9]

CD:
https://115cdn.com/s/swwd43x3hq9?password=3377&#
Orff, Carl - Carmina Burana - Eugene Ormandy, Philadelphia Orchestra; Presnell, Harsanyi, Petrak [Sony]等2个文件(夹)
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669
 楼主| 发表于 2025-7-27 21:29 | 只看该作者 来自 中国
ORMANDY, Eugene, with Philadelphia Orchestra
HOLST: The Planets (suite) (with Mendelssohn Club of Philadelphia Ch.). DEBUSSY: La Mer
EuroArts DVD 2072268 (Producer: Tobius Möller; V/D: Kirk Browning)

This superb DVD brings a frisson of pleasure to see and hear Ormandy conduct the Philadelphia Orchestra in their old home, the Academy of Music where he (and Stokowski before him) made so many of their recordings. It is, of course, not like an academy but a very handsome auditorium, here displaying warmly glowing acoustics. The programme was made for showing on TV in Munich, and Ormandy (who was 78 at the time) makes a charming introductory speech in fluent German. He was born in Hungary, emigrating to the USA at the age of 22. He first conducted the orchestra in 1931, taking over at short notice after Stokowski had left and Toscanini was the interim maestro. He then became the orchestra’s principal conductor in 1938 and continued until 1980, ‘an artistic tenure unique in the history of American orchestras’.

Ormandy recorded The Planets on disc for RCA, but the recording was fiercely brilliant and did little justice to the orchestral sound. Not so here. This live recording, superbly played, not only demonstrates the famous string-sound, but also the richness of the orchestra’s overall sonority, heard at its most overwhelming in the glorious performance of the big tune at the centre of Jupiter, which Ormandy takes at a nobly expansive pace, pointing the different layers of the climax tellingly. This follows a powerful Mars and a fleet Mercury, with Holst’s imaginative orchestration then demonstrating every orchestral section, the strings and solo horn in a peaceful Venus with rapt translucent textures, the crisply vigorous brass in Uranus, the massed horns in the outer sections of Jupiter. The performance is at its finest in the restrained melancholy of Saturn, deeply felt and somehow personal in its communication, while the ethereal singing of the superb Mendelssohn Club Choir in Neptune is truly mystic in Ormandy’s hands, and beautifully tapers off at the close. The comparably atmospheric La Mer also shows the orchestra’s richness of colour and texture and descriptively moves towards a fine climax, without being quite as memorable as The Planets. This is however an indispensable DVD that will give enormous satisfaction for the sheer quality of the orchestral playing. The sound is not sharply detailed but naturally balanced, and the cameras range over the orchestra most tellingly so that the listener really feels involved with the playing.

这张出色的DVD带来双重愉悦——既能目睹奥曼迪指挥费城乐团的珍贵影像,又能聆听他们在老巢"音乐学院音乐厅"的演奏(此处曾见证他与前任指挥斯托科夫斯基录制无数经典)。这座外形远非学院派而极尽华美的演奏厅,此刻正焕发着温暖辉煌的声学魅力。该节目原为慕尼黑电视台制作,时年78岁的奥曼迪以流利德语作了亲切开场——这位22岁自匈牙利移民美国的指挥家,1931年因斯托科夫斯基突然离职、托斯卡尼尼临时执棒后临危受命,自1938年起正式执掌乐团直至1980年,创下"美国交响乐团史上绝无仅长的艺术任期"。

奥曼迪曾为RCA录制《行星组曲》黑胶唱片,但过分锐利的音效未能充分展现乐团特质。本次现场录音则截然不同:不仅完美呈现该团著名的弦乐音色,更彰显整体音响的丰沛层次——尤其在《木星》核心旋律的恢弘演绎中,奥曼迪以庄严从容的速度推进,将高潮的立体声部层次刻画得淋漓尽致。继雷霆万钧的《火星》与风驰电掣的《水星》之后,霍尔斯特精妙的配器让各声部竞放异彩:《金星》中弦乐与圆号独奏营造出空灵静谧的透明质感,《天王星》铜管声部迸发 crisp vigor( crisp vigor),《木星》外围段落则汇聚了雄浑的圆号群奏。演绎至《土星》时达到艺术巅峰,那克制的忧郁被赋予深切个人化的表达;而门德尔松俱乐部合唱团在《海王星》中缥缈的吟咏,经奥曼迪雕琢出真正的神秘主义气质,尾声渐弱处理更是美得令人屏息。同场收录的《大海》虽在氛围营造与音色层次上同样展现乐团实力,其高潮处理亦属上乘,但艺术感染力稍逊于《行星组曲》。这张DVD仍堪称不可或缺的珍品,仅凭乐团精湛技艺就足以带来无上满足。音效虽非纤毫毕现却拥有自然的平衡度,镜头对乐团的诗意调度更让观者产生强烈的临场共鸣。

DVD:
没找到,找到的CD不是同一版本,有兴趣可以听听。

https://115cdn.com/s/swwd4323hq9?password=3377&#
Ormandy, Eugene & Philadelphia Orchestra - Debussy - La Mer, Afternoon of a Faun, Danse and Nocturnes [Sony]等2个文件(夹)
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670
 楼主| 发表于 2025-7-27 21:32 | 只看该作者 来自 中国
PAGANINI, Niccolò (1782–1840)
Violin Concertos 1–6; 24 Caprices, Op. 1; Duo merveille; Introduction & Variations on ‘Di tanti palpiti’ from Rossini’s Tancredi; Introduction & Variations on ‘Nel cor più non mi sento’ from Paisiello’s La molinara; Maestoso sonata sentimentale; Perpetuela; La primavera; Sonata with Variations on a Theme by Joseph Weigl; Sonata Napoleone; Le streghe (Variations on a Theme by Süssmayr), Op. 8; Variations on ‘God Save the King’; Variations on ‘Non più mesta’ from Rossini’s La Cenerentola.
DG 463 754-2 (6). Accardo, LPO, Dutoit

Paganini’s music, while rarely embracing deep emotional depths, occupies a secure place in the repertoire on account of its virtuoso brilliance – often thrillingly exciting when played in the right hands – combined with a seemingly endless supply of good tunes. The Accardo/Dutoit Paganini cycle remains a secure first choice: the Concertos are brilliantly and imaginatively played and well recorded. Indeed, these accounts do not fall down in any department. The individual discs are contained in an excellently packaged DG bargain box.

帕格尼尼的音乐虽然鲜少触及深刻的情感内涵,却因其炫技性的华彩——在恰当的演绎下往往令人热血沸腾——加之似乎永不枯竭的优美旋律,在经典曲目中占据稳固地位。阿卡多/迪图瓦联袂演绎的这套帕格尼尼全集仍是当之无愧的首选:这些协奏曲不仅以充满灵性的精湛技巧呈现,录音品质亦属上乘。事实上,这套录音在任何方面都无懈可击。单张唱片被收纳于DG唱片公司精心设计的超值套装盒中。


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Paganini, Nicolo - Salvatore Accardo Complete Recordings - Charles Dutoit, LPO [DG 24-96]等5个文件(夹)
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671
 楼主| 发表于 2025-7-27 21:34 | 只看该作者 来自 中国
PALESTRINA, Giovanni Pierluigi da (1525–1594)
Lamentations of Jeremiah, Book 3 (complete) 《耶利米哀歌第三卷》
Hyp. CDA 67610. Westminster Cathedral Ch., Baker

This is the Third Book of Palestrina’s settings for Maundy Thursday, Good Friday and Holy Saturday, very beautifully sung at Westminster Cathedral and superbly recorded. The variety of the music is much wider than one might have expected, and in Lectio III for Good Friday (Aleph. Ego vir videns paupertatem meam) the trebles rise up into the heavens ecstatically. A memorable disc indeed, showing Palestrina at his most inspirational.

此为帕莱斯特里纳为濯足节、受难节和圣周六所谱写的第三卷哀歌,由威斯敏斯特大教堂合唱团以极富美感的方式演绎,录音效果亦堪称卓越。音乐的变化幅度远超预期——在受难节第三课(Aleph. Ego vir videns paupertatem meam)中,童声高音部以狂喜之态直入云霄。这张令人难忘的唱片,展现了帕莱斯特里纳最具灵性的创作境界。


Missa Hodie Christus natus est. Motets: Alma redemptoris mater; Canite tuba; Deus tu conversus; Christe, redemptor omnium; Hodie Christus natus est; Magnificat Primi toni; O admirabile commercium; O magnum mysterium; Tui sunt coeli 《今日基督诞生弥撒》。经文歌:《慈母救主》《吹响号角》《主啊,求祢回转》《基督,万世救主》《今日基督诞生》《第一调式尊主颂》《何等奇妙的交换》《何等伟大奥迹》《诸天属祢》
Hyp. CDA 67396. Westminster Cathedral Ch., Baker

Vividly set against the cathedral acoustic, warm but clear, this performance of the Christmas music brings out better than most rival versions the exuberance of the cries of ‘Noë’ (Nöel) that dramatically punctuate the piece, reflecting individual joy in welcoming the birth of Christ. The nine other items, all relating to Advent and Christmas, culminate in the Magnificat Primi toni with its rich textures, framed before and after by the plainsong antiphon, Hodie Christus natus est.

在温暖而清晰的大教堂声学环境中,这张圣诞音乐专辑以鲜活的演绎,比多数竞争版本更出色地突显了作品中戏剧性穿插的"Noë"(圣诞)欢呼声所蕴含的蓬勃喜乐——这欢鸣体现着迎接基督降生的个体喜悦。其余九首与将临期及圣诞相关的作品,以织体丰厚的《第一调式尊主颂》为高潮,前后均以单声圣咏《今日基督诞生》作为框架。


‘The Essential Palestrina’: Missa Assumpta est Maria ( with Plainchant: Assumpta est Maria); Motet: Assumpta est Maria. Missa Brevis; Missa Papae Marcelli; Missa Sicut lilium inter spinas. Motet: Sicut lilium inter spinas 《圣母升天弥撒》(含单声圣咏《圣母升天》);经文歌《圣母升天》。《短弥撒》《教宗玛策禄弥撒》《如荆棘中百合弥撒》。经文歌《如荆棘中百合》
Gimell CDGIM 204 (2). Tallis Scholars, Phillips

This highly recommendable and well-documented box joins together two CDs recorded by the Tallis Scholars between 1981 and 1989. As is their practice, this group records the Masses together with the motets on which they are based, even if they are by other composers. Their account of the most celebrated of Palestrina’s works, the Missa Papae Marcelli, brings a characteristically eloquent and moving performance. A most rewarding collection, excellently recorded.

这套极具推荐价值且资料完备的合辑汇集了塔利斯学者合唱团1981至1989年间录制的两张CD。该团延续其一贯传统,将弥撒曲与所依据的经文歌(即使出自其他作曲家之手)一并收录。他们对帕莱斯特里纳最负盛名的作品《教宗玛策禄弥撒》的诠释,呈现出该团标志性的动人演绎,极富表现力。这套录音精良的精选集堪称艺术瑰宝。


https://115cdn.com/s/swwd4z43hq9?password=3377#
Palestrina, Giovanni Pierluigi da - Lamentations - Martin Baker, Westminster Cathedral Choir [Hyperion]等5个文件(夹)
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672
 楼主| 发表于 2025-7-27 21:35 | 只看该作者 来自 中国
PARRY, Hubert (1848–1918)
(i) The Birds: Bridal March. (ii) English Suite; Lady Radnor’s Suite (both for strings); Overture to an Unwritten Tragedy; Symphonic Variations  (i)《鸟》组曲:新娘进行曲 (ii) 英国组曲;拉德诺夫人组曲(均为弦乐作品);《未写就的悲剧》序曲;交响变奏曲
Lyrita (ADD) SRCD 220. (i) LPO; (ii) LSO; Boult

Before Chandos, Hyperion and Dutton began championing British music in the 1980s, it was Lyrita who promoted English music and they produced many fine, classic – even pioneering – recordings. The superb quality of this particular disc was typical of the high standards they almost always achieved. Not that this is the greatest of great music but, when performed and recorded as persuasively as it is here, it does make one feel that its neglect is our loss. The Bridal March comes from Parry’s equivalent to Vaughan Williams’s Wasps, a suite of incidental music for The Birds, also by Aristophanes. Here the rich, nobilmente string melody asserts itself strongly over any minor contributions from the woodwind aviary. The two Suites of dances for strings have some charming genre music and the Overture is very strongly constructed. But best of all is the set of variations with its echoes of Brahms’s St Antony set and its foretastes of Enigma: a big work in a small compass. Boult’s advocacy is irresistible and the CD transfer demonstrates the intrinsic excellence of the analogue recordings, with gloriously full string-sound.

在Chandos、Hyperion和Dutton于1980年代开始推广英国音乐之前,Lyrita唱片公司早已致力于弘扬英格兰音乐,并制作了许多优秀、经典甚至具有开创性的录音。这张唱片的卓越品质正是他们几乎始终如一的高水准典范。虽然这些作品并非最伟大的音乐瑰宝,但如此富有说服力的演绎与录音,确实让人感到它们的被忽视是我们的损失。《新娘进行曲》选自帕里为阿里斯托芬《鸟》创作的配乐组曲——这部作品相当于他的《黄蜂》,正如沃恩·威廉斯那部著名作品。此处高贵丰盈的弦乐旋律完全盖过了木管乐器的次要点缀。两套弦乐舞曲组曲包含迷人的风俗音乐,序曲结构则极为坚实。但最出色的当属那组变奏曲——既有布拉姆斯《圣安东尼变奏曲》的回响,又预见了《谜语变奏曲》的风格:这是一部浓缩的宏大之作。鲍尔特爵士的诠释令人无法抗拒,CD转制完美呈现了模拟录音的内在品质,尤其是那辉煌饱满的弦乐音色。


Symphonies 1–5; Symphonic Variations
Chan. 9120-22 (3). LPO, Bamert

The rehabilitation of Parry has long been overdue. Chandos have now done this remarkable British nineteenth-century ‘English Renaissance’ musician full justice by recording the complete set of his symphonies. Bamert proves a masterly interpreter and takes us convincingly through the symphonic terrain of a highly influential composer of whom Elgar declared, ‘He is our leader – no cloud of formality can dim the healthy sympathy and broad influence he exerts upon us. Amidst all the outpourings of modern English music the work of Parry remains supreme.’

Parry began work on his First Symphony in 1880. Only a few weeks previously he had made his acquaintance with Brahms’s First, and it had an obvious influence on him, not least in the grand main theme of his own finale. Bamert immediately demonstrates his response to the composer’s music in the way the opening Con fuoco sails off with a powerful thrust in the first movement. His control of the overall structure with its interrelated thematic material is most convincing, through the eloquent Andante and the Scherzo with its double trio, until he brings the finale to an impressively up-beat conclusion.

The Second Symphony opens confidently (with distinct Mendelssohnian associations) and Brahms’s influence reappears in the main lyrical idea of the finale. In between there is a reminder of Dvořák in a Scherzo and of Schumann in the romantic warmth of the Andante. But for all its eclecticism and occasional long-windedness, notably in the finale, Parry finds his own voice, and the music has a genuine vital flow. Bamert’s advocacy holds the listener’s attention and the orchestra responds with obvious relish.

The Third Symphony is the most immediately approachable of the symphonies, with bold melodies, often like sea-shanties, and its forthright structure. Yet it is No. 4 which proves even more rewarding, a larger-scale and more ambitious work which, amazingly, was never performed at all between the first performance of the revised version in 1910 and the present recording. The bold opening, in its dark E minor, echoes that of Brahms’s First Piano Concerto, leading to an ambitious movement lightened by thematic transformation that can take you in an instant into infectious waltz-time. The elegiac slow movement and jolly and spiky Scherzo lead to a broad, noble finale in the major key. Bamert again proves a masterly interpreter, bringing out the warmth and thrust of the writing – akin to that of Elgar, but quite distinct. The sound is rich and full to match the outstanding playing.

The Fifth and last of Parry’s symphonies is in four linked movements, terser in argument than the previous two in the series and often tougher, though still with Brahmsian echoes. After the minor-key rigours of the first movement, Stress, the other three movements are comparably subtitled Love, Play and Now, with the Scherzo bringing echoes of Berlioz, and the optimistic finale opening with a Wagnerian horn-call.

帕里音乐价值的重估早已迟来多时。Chandos唱片公司通过录制其全套交响曲,为这位19世纪英国"文艺复兴"时期的杰出音乐家正名。指挥家巴梅特展现出大师级的诠释力,引领我们穿越这位对埃尔加产生深远影响的作曲家的交响版图——埃尔加曾宣称:"他是我们的领袖,任何形式的拘谨都无法削弱他带来的健康共鸣与广泛影响。在现代英国音乐的浩瀚洪流中,帕里的作品始终居于至高地位。"

帕里于1880年着手创作《第一交响曲》。就在几周前,他刚接触布拉姆斯的《第一交响曲》,这对其产生了显著影响,尤其体现在终乐章宏伟主题的构思上。巴梅特通过第一乐章"Con fuoco"(炽热地)强劲推进的开篇,立即展现出对作曲家音乐语言的精准把握。从抒情的行板到带有双重三声中部谐谑曲,指挥家对主题关联性结构的掌控极具说服力,终乐章更以令人振奋的昂扬尾声作结。

《第二交响曲》以充满门德尔松特质的自信开篇,终乐章的主要抒情主题再现布拉姆斯的影响。其间谐谑曲令人想起德沃夏克,而行板乐章浪漫的温暖则带有舒曼痕迹。尽管存在折衷主义倾向且终乐章略显冗长,帕里仍确立了自己的声音,音乐始终保持着真实的生命力。巴梅特的诠释牢牢抓住听众注意力,乐团也展现出明显的演奏热忱。

《第三交响曲》是其中最平易近人的一部,拥有如船歌般直率的旋律与清晰的结构。但更具艺术价值的当属《第四交响曲》——这部规模更宏大、野心勃勃的作品令人震惊地自1910年修订版首演后,直到本次录音前从未被演出过。阴暗的E小调开篇令人联想到布拉姆斯《第一钢琴协奏曲》,随后通过主题变形瞬间转入令人沉醉的圆舞曲节奏。哀歌式的慢板与活泼尖锐的谐谑曲,最终导向大调宽广庄严的终曲。巴梅特再次证明其大师级诠释力,充分展现作品中的温暖与推进力——近似埃尔加却独具特色。丰沛的录音质感与出色的演奏相得益彰。

作为帕里最后一部交响曲,《第五交响曲》由四个连贯乐章组成,比前两部更简洁精炼且更具力度,但仍带有布拉姆斯余韵。继小调严峻的第一乐章"压力"之后,其余三个乐章分别题为"爱"、"游戏"和"当下"——谐谑曲带有柏辽兹式的回响,乐观的终曲则以瓦格纳式的圆号召唤开篇。


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Parry, Hubert - Adrian Boult conducts Parry [Lyrita]等3个文件(夹)
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673
 楼主| 发表于 2025-7-27 21:37 | 只看该作者 来自 中国
(i) Blest Pair of Sirens; I was Glad (anthems); (ii) Invocation to Music (An Ode in Honour of Henry Purcell); (iii) The Lotus-Eaters; (iv) The Soul’s Ransom(i)  《天使之音》《我甚欢欣》(赞美诗);(ii)《音乐礼赞》(亨利·珀塞尔颂歌);(iii)《食莲者》;(iv)《灵魂的救赎》
Chan. 241-31 2-for-1 (2). (i) L. Symphony Ch., LSO, Hickox; (ii) Dawson, Davies, Rayner Cook; (iii iv) Jones; (iv) Wilson-Johnson; (ii iv) LPO Ch., LPO, Bamert

Here is an outstanding collection of some of Parry’s finest choral music, with two of his most popular anthems, admirably conducted by Richard Hickox, used on the second disc to frame what is perhaps his most influential and powerful work, the Invocation to Music, a superb setting of Robert Bridges’s Ode in Honour of Purcell. Parry’s inspiration was at its peak, and the flowing, richly melodic lyrical style was to anticipate the Elgar of the Coronation Ode and even Gerontius. The soloists here are splendid, with the passionate central soprano and tenor duet, Love to Love calleth, followed by the magnificent bass Dirge, and the very Elgarian chorus, Man, born of desire, later to be capped by the glorious closing apotheosis, Thou, O Queen of sinless grace, which Matthias Bamert moves on arrestingly to its final climax.

The first disc pairs The Lotus-Eaters, a setting for soprano, chorus and orchestra of eight stanzas from Tennyson’s choric song of that name, with The Soul’s Ransom. Subtitled Sinfonia Sacra, and using biblical texts, with its sequence of solos and choruses it forms a broadly symphonic four-movement structure (lasting around 45 minutes) with references back not only to Brahms and the nineteenth century but to much earlier choral composers, notably Schütz. Della Jones is the characterful soloist in both works, to be joined by David Wilson-Johnson in the latter piece. The singing throughout is first class, warmly sympathetic, as is the orchestral playing, and Matthias Bamert is in his element in this repertoire, as is the Chandos recording team.

此专辑汇集了帕里最杰出的合唱作品,由理查德·希科克斯出色执棒。第二张唱片以两首广受欢迎的赞美诗为框架,核心曲目当属其最具影响力与震撼力的《音乐礼赞》——这部为罗伯特·布里奇斯《珀塞尔颂歌》谱写的杰作,展现了帕里创作巅峰期的灵感,其流畅丰盈的抒情旋律甚至预示了埃尔加《加冕颂》与《杰隆修斯》的风格。独唱阵容堪称辉煌:激情澎湃的女高音与男高音二重唱《爱召唤着爱》之后,是气势恢宏的男低音《挽歌》,以及极具埃尔加特质的合唱《欲望诞生的人类》,最终在女高音独唱《圣洁恩宠的女王》的荣光中达到高潮,马蒂亚斯·巴梅特以扣人心弦的手法推进至最终强音。

首张唱片将《食莲者》(为丁尼生同名诗作八节谱写的女高音、合唱与管弦乐作品)与《灵魂的救赎》配对呈现。后者副标题为《神圣交响曲》,采用圣经文本,通过独唱与合唱的交替构成约45分钟的四乐章交响结构,不仅呼应布拉姆斯等19世纪作曲家,更溯及许茨等早期合唱大师。黛拉·琼斯在两部作品中均展现出个性鲜明的演唱,后作中她与大卫·威尔逊-约翰逊联袂献声。合唱与乐队演奏始终保持着温暖共情的一流水准,巴梅特对此类曲目的驾驭游刃有余,Chandos录音团队的技艺同样精湛。


The Chivalry of the Sea 《海上骑士精神》
Dutton CDLX 7172. BBC Ch. & SO, Lloyd-Jones (with KELLY: Elegy ‘In Memoriam Rupert Brooke’. ELKINGTON: Out of the Mist) – ELGAR: The Spirit of England. GURNEY: War Elegy

Parry wrote this cantata in 1916 to commemorate the loss of HMS Invincible when she exploded with many victims at the Battle of Jutland. The piece, which has many fine qualities, is saddled with a very poor poem, full of oddly archaic language, by the then Poet Laureate, Robert Bridges. Nonetheless, what matters is the quality of Parry’s music, not just elegiac but including vigorous passages and one sequence in sea-shanty rhythm. It comes on a fascinating disc, offering first recordings of five war-inspired works.

帕里1916年创作的这部康塔塔,为纪念日德兰海战中爆炸沉没的"无敌号"战舰及众多罹难者而作。尽管时任桂冠诗人罗伯特·布里奇斯提供的诗作文辞古奥、质量平庸,但帕里的音乐仍展现出非凡品质——不仅有哀悼段落,更包含激昂篇章与船歌节奏的段落。本唱片极具历史价值,收录了五部战争题材作品的世界首录。


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Parry, Hubert - Soul's Ransom, Lotos-Eaters, Invocation to Music etc. - Bamert, LPO & Hickox, LSO [Chandos]
第二张在第380楼发过。
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674
 楼主| 发表于 2025-7-27 21:38 | 只看该作者 来自 中国
PÄRT, Arvo (born 1935)
Cantus in Memory of Benjamin Britten; Festina lente (for string orchestra & harp); Fratres; Summa (for string orchestra)  《纪念本杰明·布里顿的颂歌》;《渐速》(为弦乐团与竖琴而作);《弟兄们》;《总集》(为弦乐团而作)
Telarc CD 80387. Manning, Springuel, Gleizes, I Fiamminghi, Werthen

For all the repetitions involved in Pärt’s minimalist progressions there are no more hypnotic examples of his curiously compelling, ritualistic writing than this sequence of six settings of a very simple monastic chorale which he calls Fratres. We hear it first slowly swelling up from a piano-pianissimo on strings, with unobtrusive decorative percussion, then sink away again. Then follow variants featuring first a solo violin, then for a carefully blended wind octet, for eight cellos used in their higher register, then returning to a string group and quickening to achieve the flavour of an elegant baroque dance, further adapted to the more economical texture of a string quartet, and finally rustling on the cello with the piano tolling a bell-like accompaniment until a closing climax builds and abates. The Britten tribute and Festina lente for strings and harp ad libitum are used as interludes. The playing here has great atmosphere and concentration, while Telarc’s glowing sound adds to the sensuous playing beauty.

尽管帕特极简主义的音乐进程充满重复性,但这组被他命名为《弟兄们》的六段式修道院圣咏改编曲,仍以其独特的仪式化写作手法创造出令人着迷的催眠效果。我们首先听到弦乐以极弱音缓缓浮现,伴随若隐若现的装饰性打击乐,而后又逐渐消逝。随后呈现的变奏版本依次展现:独奏小提琴的演绎、精心调和的木管八重奏、运用高音区的八把大提琴组合,最终回归弦乐群并加速形成优雅巴洛克舞曲风格。继而简化为弦乐四重奏的精炼织体,直至大提琴的沙沙声与钢琴钟鸣般的伴奏共同推向高潮后归于沉寂。穿插其间的《布里顿挽歌》与可自由加入竖琴的《渐速》作为间奏曲。演奏充满深邃意境与高度专注力,而Telarc唱片公司辉煌的录音更强化了这种感官之美。

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Part, Arvo - Fratres - I Fiamminghi, Rudolf Werthen [Telarc]
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675
 楼主| 发表于 2025-7-27 21:39 | 只看该作者 来自 中国
PAVAROTTI, Luciano (tenor)
‘The Great Decca Recordings’:
Decca (ADD) 476 7148 (2)

An excellent anthology, originally released to coincide with the Gramophone ‘Artist of the Year’ award, which Pavarotti received in 1991. Included are items from Pavarotti’s vintage period with Bonynge and Sutherland: La Fille du régiment with those astonishing high Cs (nine of them!) thrills as always and in his equally successful role in L’elisir d’amore, Una furtiva lagrima does not descend into sentimentality as it so often does. His ability to sing a beautiful legato line is well displayed in the I Puritani number, while all the show-stoppers – La donna è mobile and the like – are unlikely to disappoint (his splendid Nessun dorma must now be opera’s most famous recording). The Puccini and Verdi items provide more meaty weight and contrast with the lighter, popular numbers, which include such little gems as Rossini’s La danza, Leoncavallo’s Mattinata and the irrepressible Funiculì Funiculà. With warm and vivid Decca sound, and texts and translations, it all adds up to a very attractive programme.

这套出色的选集最初为配合帕瓦罗蒂1991年荣获《留声机》杂志"年度艺术家"奖项而发行。收录了帕瓦罗蒂与波宁吉、萨瑟兰合作黄金时期的经典唱段:《军中女郎》中令人屏息的九个高音C依旧震撼人心,《爱之甘醇》里《偷洒一滴泪》的演绎也成功避免了流于滥情的常见弊病。他在《清教徒》咏叹调中展现的完美连音技巧,以及《女人善变》等脍炙人口的返场曲目(其中辉煌的《今夜无人入睡》堪称歌剧史上最著名的录音)都堪称典范。普契尼与威尔第选段为这套轻快流行的曲目增添了戏剧性对比,罗西尼《舞曲》、莱昂卡瓦洛《晨歌》以及热情奔放的《缆车之歌》等精品小调亦收录其中。DECCA温暖生动的录音品质,配合原文歌词与译文,共同构成极具吸引力的音乐盛宴。


‘Pavarotti’s 30th Anniversary Concert’ (1991)
Decca DVD 071 140-9
Pavarotti and James Levine (piano) in Recital (1992) (DVD version
Decca DVD 074 3071
‘Pavarotti in Central Park’ (26 June 1993, with NYPO (members), Leone Magiera)
Decca DVD 071 180-9

Pavarotti in Three Concerts (complete, DVD collection)
Decca DVD 074 3221

Pavarotti made his stage début at the Teatro Municipale, in the town of Reggio Emilia, in a performance of La Bohème. He had a star-studded cast with him on 29 April 1991 to celebrate the 30th anniversary of that first appearance, and there is plenty to enjoy here. Pavarotti himself sets the adrenalin running by opening with Recondita armonia, and the Tosca duet which follows with Raina Kabaivanska retains the passionate atmosphere. If Mozart’s Là ci darem (Furlanetto and Pace) then falls a little flat, both these artists show their paces later, Patrizia Pace with Enzo Dara in the duet from L’elisir d’amore and Furlanetto in the stirring Lucia di Lammermoor sextet.

One of the slight snags with a concert like this is the outsize personality of Pavarotti himself, but he does not dwarf Piero Cappuccilli in the duet from La forza del destino, or the dark mezzo of Shirley Verrett in the famous Ai nostri monti from Il trovatore. For a final encore the whole cast join in to sing the exhilarating opening scene of La traviata, concluding a very happy occasion.

One does not think of Pavarotti as a recitalist in songs with piano, and here he acknowledges that by including several popular arias, which are very well received by the audience. He is not a Mozartian stylist, but he sings the aria from Così pleasingly enough; but one of the highlights of the programme is a warm-hearted M’appari from Flotow’s Martha. Predictably at home in Bellini and Rossini, Pavarotti then surprises with his imaginative response to the three well-chosen Respighi items, especially the engaging Pioggia. Sibella’s La Girometta (the name of a young girl) is another hit with the audience. On the whole this is enjoyable because of the strength of Pavarotti’s personality and the way he conveys his enjoyment. Needless to say James Levine accompanies flawlessly. But many items are short and the vociferous applause becomes a problem. In the bonus section ‘Pavarotti and the Italian Tenor’, he talks and illustrates the background of singing in Italy and then introduces some of his celebrity predecessors with the help of old movie clips and photos, and the silent film of Caruso miming the Prologue to Pagliacci to his 78-r.p.m. record is rather effective.

Pavarotti gave his concert in New York’s Central Park in 1993 to an audience of half a million people. He is well up to form in the usual favourites and, as always, has a few novelties, with the popular numbers featuring the excellent Harlem Boys’ Choir. Interestingly, he repeats some of the successes of his New York recital, notably Sibella’s La Girometta, Denza’s Occhi di fata and Mascagni’s Serenata, and his encores include Pourquoi me réveiller from Massenet’s Werther and Di Capua’s O sole mio, besides the usual three Puccini arias, Recondita Armonia, E lucevan le stelle (from Tosca) and of course Nessun dorma, which he can sing marvellously ten times out of ten.

帕瓦罗蒂的舞台首演是在雷焦艾米利亚市立剧院出演《艺术家的生涯》。1991年4月29日,为庆祝首演三十周年,他与全明星阵容同台献艺,本场演出精彩纷呈。帕瓦罗蒂以《奇妙的和谐》开场瞬间点燃全场激情,随后与雷娜·卡拜万斯卡合作的《托斯卡》二重唱延续了炽热氛围。虽然随后莫扎特《让我们携手同行》(由富尔拉内托与帕斯演绎)略显平淡,但这两位艺术家在后半场大放异彩——帕特里齐亚·帕斯与恩佐·达拉合作的《爱之甘醇》二重唱,以及富尔拉内托参演的激昂《拉美莫尔的露琪亚》六重唱都令人难忘。

此类音乐会难免受帕瓦罗蒂巨星气场的影响,但他并未压制皮耶罗·卡普契利在《命运之力》二重唱中的表现,与雪莉·薇瑞特演绎的《回到我们的山间》(选自《游吟诗人》)也相得益彰。终场返演时全体演员共同献唱《茶花女》欢腾的开场场景,为这场盛会画上圆满句号。

人们通常不将帕瓦罗蒂视为艺术歌曲演唱家,对此他心知肚明,因而加入了多首广受欢迎的咏叹调,观众反响热烈。虽非莫扎特风格专家,但他演绎的《女人心》选段仍颇具魅力;而弗洛托《玛尔塔》中深情款款的《恍如一梦》堪称全场亮点。在擅长的贝里尼与罗西尼作品之后,帕瓦罗蒂对三首选粹雷斯皮基歌曲的创意诠释令人惊喜,特别是生动的《雨之歌》。西贝拉的《少女吉罗梅塔》同样赢得满堂喝彩。整体而言,这场演出因帕瓦罗蒂强大的个人魅力及其感染力而精彩。詹姆斯·莱文的钢琴伴奏自然无懈可击,但多数曲目篇幅较短,频繁的热烈掌声反而成为干扰。特别收录环节"帕瓦罗蒂与意大利男高音传统"中,他通过讲解配合历史影像资料,追溯意大利声乐传统,尤其卡鲁索为《丑角》序录制的默片影像与78转唱片同步播放的效果颇具感染力。

1993年帕瓦罗蒂在纽约中央公园为五十万观众举办的演唱会中,不仅完美演绎经典曲目,更携手卓越的哈莱姆童声合唱团带来新意。有趣的是他重现了纽约独唱会部分成功曲目,包括西贝拉《少女吉罗梅塔》、登扎《精灵之眼》与马斯卡尼《小夜曲》,返场曲目除惯例的三首普契尼咏叹调《奇妙的和谐》《星光灿烂》及《今夜无人入睡》外,还有马斯奈《维特》选段《为何唤醒我》与迪·卡普阿《我的太阳》——这些作品他总能完美演绎。


DVD:
https://115cdn.com/s/swwd4fn3hq9?password=3377&#
Pavarotti, Luciano - The The Three Concerts DVD Collection [3DVD9]

CD:
https://115cdn.com/s/swwd4f33hq9?password=3377&#
Pavarotti, Luciano - Pavarotti's Greatest Hits [DECCA]
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676
 楼主| 发表于 2025-7-27 21:40 | 只看该作者 来自 中国
PEARS, Peter (tenor)
‘Anniversary Tribute’  《百年诞辰纪念特辑》
Decca mono/stereo 478 2345 (6)

Peter Pears was one of the most important and influential tenors of the last century, especially through his relationship with the composer, Benjamin Britten. He recorded a vast range of repertoire, and this valuable collection, released in time for the centenary of the singer’s birth, demonstrates just how wide his repertoire was. Of course, his role as Britten’s muse for over thirty years not only shaped the works themselves, but also their performance. With Britten, they recorded all his major works for Decca and of course they are all classic, definitive performances. It must have been a challenge what to include and what not to include from this vast source, and it is a tribute to Decca’s Raymond MacGill that this set has been planned so intelligently. Extracts from most of Britten’s operas are included here, as well as an extract from the legendary recording of the War Requiem, and also the early recording of the Serenade for Tenor, Horn and Strings, clearly dubbed from an LP, but a performance fresher and even more haunting than his later remakes. In the following Seven Sonnets of Michelangelo and The Holy Sonnets of John Donne, Pears presents this music with compelling intensity. Pears’s voice may well not strike everyone as the most beautiful of sounds, but so astute is his characterization and formidable his musical intelligence that he is able to portray the comic flavour of Albert Herring with as much conviction as the haunting melancholy of Death in Venice. Even late in his recording career, in such items as Canticle V (recorded in 1976), there is something compelling in his delivery, even if it can’t match the freshness of the earlier recordings. Tippett was one of the many other twentieth-century composers Pears became associated with, and here he offers a compelling version of his Boyhood’s End and The Heart’s Assurance. Pears’s account of Vaughan Williams’s On Wenlock Edge is masterful (also dubbed from an LP recording, dating from 1945). Richard Rodney Bennett’s Tom O’Bedlam’s Song, written especially for Pears, receives a superb performance and is one of the many highlights found in this collection. Britten’s interest in folksong resulted in some very Britten-esque arrangements of folk music, which may not be every one’s cup of tea, but the examples included here are all very distinctive and enjoyable. However, all lovers of English song will find much to relish here, with items such as Ireland’s The Trellis and the cycle, The Land of Lost Content, especially beautiful; but the songs of Frank Bridge and Peter Warlock, Delius and Moeran are no less compelling. Pears’s superb insight into musical expression made him a natural singer of Lieder, and excerpts from his classic recordings of Schubert and Schumann songs are included, as well as a première release of Schubert’s Ganymed. Indeed, there are many rarities sprinkled throughout this collection, many appearing on CD for the first time. Rainier’s Cycle for Declamation is hardly something one comes across every day, but its inclusion here is welcome. Another joy of this set is the superb accompaniments of Benjamin Britten; but in a selection of baroque songs, by Dowland, Rosseter, Pilkington and Morley, Julian Bream accompanies most sensitively on the lute, adding another very appealing colour to this collection. Pears sings this repertoire most beautifully and they are among the highlights of this set. In these large-scale readings (by today’s standards) of Bach and Purcell, Pears brings his unique insight into these famous works and makes one long to hear the complete performance. All in all, a superb tribute to one of the most characterful and important singers of the twentieth century.

彼得·皮尔斯作为上世纪最具影响力与重要性的男高音之一,其与作曲家本杰明·布里顿的深厚情谊尤为世人称道。这位歌唱家留下了浩瀚的录音遗产,这套为纪念其百年诞辰而发行的珍贵合辑,全面展现了其艺术视野的广度。三十余年间作为布里顿的灵感缪斯,他不仅塑造了作品本身,更定义了演绎标准。他与布里顿为DECCA录制的所有重要作品,皆已成为权威经典版本。从如此浩瀚的录音中遴选曲目本非易事,DECCA制作人雷蒙德·麦吉尔的策划堪称睿智——合辑不仅收录布里顿多数歌剧选段,还包括传奇录音《战争安魂曲》精华段落,以及早年录制的《小夜曲》(显然转录自黑胶唱片),其演绎比后期重录版本更富清新感与萦绕心头的魔力。在随后的《米开朗基罗十四行诗》与《约翰·邓恩圣十四行诗》中,皮尔斯以摄人心魄的强度诠释这些作品。

皮尔斯的嗓音或许并非人人称羡的完美音色,但其精妙的人物刻画与非凡的音乐智慧,令其既能传神演绎《阿尔伯特·赫林》的喜剧色彩,又能深刻呈现《魂断威尼斯》中萦绕不散的死亡哀愁。即便在1976年录制《颂歌五》的晚期阶段,其演绎仍具震撼力,虽不及早年录音的鲜活灵动。他与蒂皮特等二十世纪作曲家的合作同样成果丰硕,合辑中《少年终章》与《心灵确证》的演绎令人叹服。皮尔斯对沃恩·威廉斯《温洛克边缘》的诠释堪称大师手笔(1945年黑胶录音转录),而理查德·罗德尼·贝内特专为其创作的《疯汤姆之歌》更成为本套合辑众多亮点之一。

布里顿改编的民谣作品虽非人人欣赏,但选录曲目皆独具魅力。所有英伦艺术歌曲爱好者都将在此找到心头所好——爱尔兰《藤架》与组曲《失落的乐土》尤为动人,布里奇、沃洛克、戴留斯与莫伦的歌曲同样精彩。皮尔斯对音乐表达的深刻洞见使其成为艺术歌曲的自然诠释者,合辑收录其经典的舒伯特与舒曼歌曲选段,更有舒伯特《伽倪墨得斯》的首度发行录音。诸多罕见录音散落其间,不少系首度CD化面世,如雷尼耶的《朗诵组曲》这类稀世珍品。另一惊喜来自布里顿出神入化的钢琴伴奏,而在道兰德、罗塞特等文艺复兴作曲家歌曲中,朱利安·布里姆的鲁特琴伴奏更添一抹动人音色。皮尔斯对这些古乐的演绎堪称本套合辑的璀璨明珠,其对巴赫与普赛尔作品(以当代标准而言的"大编制"诠释)的独特见解,令人对完整录音心驰神往。这套合辑以宏阔视野,致敬了二十世纪最具个性与重要性的歌唱大师。


https://115cdn.com/s/swwd4fh3hq9?password=3377&#
Pears, Peter - Anniversary Tribute [DECCA]
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677
 楼主| 发表于 2025-7-27 22:04 | 只看该作者 来自 中国
连续几天忘记标记了,如无特别说明,后续都是DeepSeek翻译。DeepSeek除了内容多了以后会偷懒,故意跳着翻译以外,翻译水平碾压Google翻译。

帕瓦罗蒂三大音乐会被5盘判定违规,给个磁链,5盘可秒:

magnet:?xt=urn:btih:6C6FEBF9312763349A71C3F2666F4E835CA84B25


补一个第627楼的高码:

https://115cdn.com/s/swwd4733hq9?password=3377&#
Myaskovsky - Complete Symphonies – Evgeny Svetlanov, USSR SO [Alto 24-96]

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678
发表于 2025-7-28 07:18 | 只看该作者 来自 上海浦东新区
joseph_li 发表于 2025-7-27 21:29
ORMANDY, Eugene, with Philadelphia Orchestra
HOLST: The Planets (suite) (with Mendelssohn Club of P ...

Holst The Planets: https://www.youtube.com/watch?v=YtphY-4xjQw
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679
发表于 2025-7-28 10:06 | 只看该作者 来自 江苏苏州

估计楼主把这个DVD资源给遗漏掉了!没看到分享,也没看到说有还是没有!
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680
 楼主| 发表于 2025-7-28 23:20 | 只看该作者 来自 中国
PENDERECKI, Kzysztof (born 1933)
(i) Anaklasis; (ii–iii) Capriccio for Violin & Orchestra; (iii-iv) Cello Concerto; (iii) De natura sonoris I & II; The Dream of Jacob; Emanationen for 2 String Orchestras; Fonogrammi; (iii; v) Partita for Harpsichord & Orchestra; (iii) Threnody for the Victims of Hiroshima; (i) Symphony; (iii-vi) Canticum canticorum Salomonis  (i)《折射》; (ii-iii)《小提琴与乐队随想曲》; (iii-iv)《大提琴协奏曲》; (iii)《声音的本质》第一号与第二号; 《雅各布的梦》; 《双弦乐队辐射》; 《音素》; (iii; v)《羽管键琴与乐队帕蒂塔》; (iii)《广岛受难者挽歌》; (i)《交响曲》; (iii-vi)《所罗门雅歌》
EMI Gemini (ADD) 3 81508-2 (2). (i) LSO; (ii) Wilkomirska; (iii) Polish Nat. RSO; (iv) Palm; (v) Blumenthal; (vi) Kraków Philh. Ch.; all cond. composer

For those who admire such athematic music this inexpensive anthology, in authoritative performances under the composer’s own direction, makes a splendid introduction to Penderecki’s music. Anaklasis is an inventive piece for strings and percussion, and De natura sonoris is also brilliant in its use of contrasts. Wilkomirska proves a superb soloist in the Capriccio and so does Palm in the Cello Concerto. The beautiful and touching Threnody for 52 Strings is the composer’s best-known piece, and it is here given a magnificent performance. The Dream of Jacob of 1974 is as inventive as the rest, but sparer. Penderecki’s music relies for its appeal on the resourceful use of sonorities and his sound-world is undoubtedly imaginative, albeit limited. The choral work is a setting of a text from the Song of Solomon for large orchestra and sixteen solo voices. But the Symphony is the most ambitious work here. It was commissioned by a British engineering firm and first performed in Canterbury Cathedral. That setting influences the range of sumptuous orchestral colours devised by the composer, though you could argue that this work is a series of brilliant orchestral effects rather than a symphonic argument. However, with such a committed performance it is certainly memorable. The 1970s recordings are excellent and this EMI Gemini is an undoubted bargain.

对于那些欣赏这类非主题性音乐的听众而言,这张由作曲家亲自指挥、演绎权威且价格低廉的选集堪称绝佳的彭德雷茨基入门指南。《折射》是一部为弦乐与打击乐创作的创新之作,《声音的本质》同样以鲜明的对比运用而精彩。维尔科米尔斯卡在《随想曲》中展现出卓越的独奏水准,帕姆在《大提琴协奏曲》中的表现亦堪称完美。作曲家最著名的作品——为52件弦乐器而作的感人至深的《广岛受难者挽歌》,在此获得了震撼人心的演绎。1974年创作的《雅各布的梦》与其他作品一样充满创意,但更为简练。彭德雷茨基的音乐魅力源于对音响效果的巧妙运用,其声景世界虽显局限,却无疑充满想象力。合唱作品是为大型乐队与十六位独唱人声所写的《所罗门雅歌》选段。但本辑中最宏大的作品当属《交响曲》。这部受英国工程公司委托创作的作品首演于坎特伯雷大教堂,其建筑环境深刻影响了作曲家对丰富管弦乐色彩的构思,尽管有人可能认为这部作品更像一系列华丽的管弦乐效果而非交响性论述。然而在如此倾注的演绎下,它绝对令人难忘。1970年代的录音效果出色,这张EMI双子星系列无疑是超值之选。


Symphony 7 (Seven Gates of Jerusalem) 《第七交响曲(耶路撒冷七门)》
Naxos 8.557766. Pasichniyk, Mikolaj, Marciniec, Tesarowicz, Carmei, Warsaw Nat. Ch. & PO, Wit

Only after the first performance of this magnificent work, designed to celebrate the third millennium of the city of Jerusalem, did Penderecki decide to include it among his symphonies. It is a massive cantata in seven movements, setting Psalms in Hebrew, with Penderecki handling colossal forces with thrilling mastery. He was right to underline the symphonic element in this way, as the sequence of movements brings together the choral and symphonic elements in his work very effectively. The figure ‘7’ is used obsessively, not least in seven-note themes.

The very opening is shattering in its impact, setting Psalm 48, while the longest of the seven movements is the fifth, Lauda Zion, setting Psalm 147, a Scherzo introduced by timpani and percussion. With striking and immediately attractive themes it brings a colossal climax as powerful as anything Penderecki has written. At its peak it is interrupted by the sixth movement, setting a declamation of words from the Book of Ezekiel, representing the word of God, reinforced by a distinctive bass trumpet solo. The seventh movement then rounds the work off with a triumphant setting of Psalm 48. Performances under Antoni Wit are superb, strong and intense, with an excellent chorus and team of soloists.

直到这部为庆祝耶路撒冷建城三千年创作的宏伟作品首演后,彭德雷茨基才决定将其纳入自己的交响曲序列。这部大型康塔塔包含七个乐章,以希伯来语演唱《诗篇》,作曲家以令人战栗的掌控力调度着庞大规模的演出阵容。他通过这种方式强调交响属性是恰当的——乐章的连贯编排将合唱与交响元素完美融合。数字"7"被反复运用,尤其体现在七音符主题中。

开篇《诗篇48》的演绎具有粉碎性的冲击力,七个乐章中最长的第五乐章《赞美锡安》以定音鼓与打击乐引入谐谑曲段,取材自《诗篇147》。鲜明而直击人心的主题推动着如彭德雷茨基笔下任何作品般强大的高潮。在巅峰处,第六乐章以《以西结书》宣叙词打断,代表上帝之言,并由独特的低音小号独奏强化。终章则以《诗篇48》的凯旋式演绎圆满收束。安托尼·维特指挥下的演出精彩绝伦,合唱团与独唱家阵容表现出的力量与激情令人叹服。

https://115cdn.com/s/swwd5sa3hq9?password=3377&#
Penderecki, Krzysztof - Collection - Antoni Wit [Naxos]等2个文件(夹)
Naxos出版了不少Antoni Wit 指挥的 Krzysztof Penderecki 作品,收集到20辑,不知道还有多少没收集到。
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