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

joseph_li

WAGNER, Richard (1813–83)
Götterdämmerung: Dawn and Siegfried’s Rhine Journey; Siegfried’s Death and Funeral Music. Lohengrin: Preludes to Acts I & III. Die Meistersinger von Nürnberg: Overture. Das Rheingold: Entry of the Gods into Valhalla. Rienzi: Overture. Siegfried: Forest Murmurs. Tannhäuser: Overture. Die Walküre: Ride of the Valkyries; Wotan’s Farewell and Magic Fire Music. 《诸神的黄昏》：黎明与齐格弗里德的莱茵之旅；齐格弗里德之死与葬礼音乐。《罗恩格林》：第一幕与第三幕前奏曲。《纽伦堡的名歌手》：序曲。《莱茵的黄金》：众神进入瓦尔哈拉。《黎恩济》：序曲。《齐格弗里德》：森林絮语。《唐豪瑟》：序曲。《女武神》：女武神的骑行；沃坦的告别与魔火音乐。
EMI Gemini 586248-(2). BPO, Tennstedt

This bargain Gemini two-CD set comprises two early digital collections (1981 and ’83) of Wagner’s orchestral music which were quite a sonic revelation in the early days of compact disc. With steely metallic cymbal clashes in the Ride of the Valkyries and a splendid thwack at the opening of the Entry of the Gods into Valhalla, the sense of spectacle is in no doubt. The sound could ideally be more opulent in the middle and bass (the brass is also a bit dry), but the brilliance is demonstrable. There is plenty of weight – the climax of Siegfried’s Funeral March has massive penetration – and fine detail too, especially in the atmospheric Forest Murmurs. Tennstedt amalgamates something from the combined Furtwängler and Klemperer traditions with his broad, spacious reading, and the playing throughout is of the finest quality, always maintaining a high level of tension. The opening and closing sections of the Tannhäuser Overture are given a restrained nobility of feeling without any loss of power or impact. Similarly, the richly contoured string melody at the opening of Rienzi is elegiacally moulded, and later, when the brass enter in the allegro, there is no suggestion of the bandstand. In the Act I Lohengrin Prelude, Tennstedt lingers in the pianissimo sections, creating radiant detail, then presses on just before the climax.

这套超值的双子座双CD合集包含两张早期的数字录音选集（1981年和1983年），收录了瓦格纳的管弦乐作品，在CD问世初期堪称音响效果的革命之作。从《女武神的骑行》中金属质感十足的铙钹碰撞，到《众神进入瓦尔哈拉》开头震撼的击打声，恢弘场面感毋庸置疑。若中低频能更丰润（铜管音色也略显干涩）则更理想，但辉煌音效已然彰显。整体音质浑厚有力——《齐格弗里德的葬礼进行曲》高潮段落极具穿透力——细节亦精妙，尤以氛围感十足的《森林絮语》为甚。滕斯泰特融合了富特文格勒与克伦佩勒的传统，以宽广舒展的诠释风格统领全局，演奏始终保持极高水准，张力十足。《唐豪瑟》序曲首尾段落被赋予内敛而崇高的情感表达，力量与冲击分毫未减；《黎恩济》序曲开头弦乐旋律轮廓丰润，哀歌般绵延，随后快板段落铜管介入时毫无乐队演奏台的痕迹；《罗恩格林》第一幕前奏曲中，滕斯泰特在极弱乐段流连，营造璀璨细节，继而于高潮前陡然推进。


Der fliegende Holländer (complete, DVD version)  《漂泊的荷兰人》
DG DVD 073 4433. Rundgren, Ligendza, McIntyre, Bav. State Op. Ch. & O, Sawallisch
Der fliegende Holländer (complete, CD version)
DG 437 778-2 (2). Weikl, Studer, Sotin, Domingo, Seiffert, Ch. & O of German Op., Berlin, Sinopoli

The Bavarian State Opera production has taken some time to reach us on DVD. It was recorded in May 1974 and the production filmed the following autumn. The adaptation by the Czech director Václav Kâslík is the second to appear on film (there was a monochrome and highly individual version in 1964 by Joachim Herz) and it succeeds in gripping the viewer visually as successfully as does Wolfgang Sawallisch musically. Indeed Sawallisch is the reason to investigate this set, for he gets gloriously eloquent playing from his wonderful Bavarian forces. No complaints about the soloists either: Catarina Ligendza makes an excellent Senta and Donald McIntyre is an effective Dutchman. The colour is as good as can be expected for a performance now 35 years old.

Sinopoli’s CD version is also an intensely involving performance, volatile in the choice of often extreme speeds. The choral singing is electrifying, and the line-up of principals is arguably finer than any other. Cheryl Studer is a deeply moving Senta, not just immaculate vocally but conveying the intense vulnerability of the character in finely detailed singing. Bernd Weikl is a dark-toned, firmly focused Dutchman, strong and incisive. Hans Sotin is similarly firm and dark, nicely contrasted as Daland, and the luxury casting may well be judged from the choice of Plácido Domingo as an impressive, forthright Erik and Peter Seiffert as a ringing Steersman. Full, vivid sound and a top choice in this opera.

这部巴伐利亚国家歌剧院的制作历经多年才以DVD形式面世。演出录制于1974年5月，同年秋季完成拍摄。捷克导演瓦茨拉夫·卡斯里克的改编版本是第二部歌剧电影（1964年约阿希姆·赫尔兹曾推出极具个人风格的黑白版本），其视觉感染力与沃尔夫冈·萨瓦利施执棒的音乐表现同样出色。事实上萨瓦利施正是这套影碟的推荐理由——他麾下的巴伐利亚乐团奏出无比动人的音色。演唱阵容亦无可挑剔：卡特琳娜·利根扎饰演的森塔极为出色，唐纳德·麦金泰尔演绎的荷兰人形象鲜明。对于已诞生35年的演出，画质已属上乘。

西诺波利的CD版本同样极具感染力，速度处理常趋极端，充满戏剧张力。合唱部分震撼人心，主演阵容或许堪称史上最佳。谢丽尔·斯图德以完美嗓音诠释森塔一角，不仅唱功无懈可击，更通过细腻入微的演唱传递出角色深层的脆弱感。贝恩德·魏克尔用暗哑音色塑造出坚定果决的荷兰人形象，汉斯·索汀同样以坚实暗沉的嗓音精彩诠释达兰德。豪华阵容还体现在普拉西多·多明戈饰演的刚毅埃里克与彼得·塞弗特饰演的嘹亮舵手。音效饱满鲜活，是本剧首选版本。


DVD：
https://115cdn.com/s/swwrslg3hq9?password=3377&#
Wagner - Der fliegende Hollander - Wolfgang Sawallisch, Bayerisches Staatsorchester; Rundgren, Ligendza, McIntyre [DVD9]
磁链：magnet:?xt=urn:btih:922204FACCCAC40ACB31068D15464F56F8E62E38


CD：
https://115cdn.com/s/swwrslr3hq9?password=3377&#
Wagner - Der fliegende Holländer - Giuseppe Sinopoli; Weikl, Studer, Sotin, Domingo [DG]等2个文件(夹)

joseph_li

Lohengrin (complete, CD version) 《罗恩格林》
DG 437 808-2 (3). Jerusalem, Studer, Meier, Welker, Moll, Schmidt, V. State Op. Ch., VPO, Abbado

That Abbado’s speeds are generally faster than Solti’s rival Decca set (with the Act III Prelude a notable exception) means that the complete opera is squeezed on to three instead of four discs, giving it a clear advantage. As Elsa, matching her earlier Bayreuth performance on Philips, Cheryl Studer is at her sweetest and purest, bringing out the heroine’s naïvety more touchingly than Jessye Norman (on Solti’s Decca set), whose weighty, mezzo-ish tone is thrillingly rich but is more suited to portraying other Wagner heroines than this. Though there are signs that Siegfried Jerusalem’s voice is not as fresh as it once was, he sings commandingly, conveying both beauty and a true Heldentenor quality. Where Plácido Domingo for Solti, producing an even more beautiful tone, tends to use full voice for such intimate solos as In fernem Land and Mein lieber Schwann, Jerusalem sings them with tender restraint and gentler tone. Among the others, Waltraud Meier as Ortrud and Kurt Moll as King Heinrich are both superb, as fine as any predecessors; and though in the role of Telramund, Hartmut Welker’s baritone is not ideally steady, that tends to underline the weakness of the character next to the positive Ortrud.

阿巴多的整体速度普遍快于索尔蒂的Decca竞争对手版本（第三幕前奏曲是显著例外），使得全剧仅用三张而非四张CD容纳，优势明显。饰演艾尔莎的谢丽尔·斯图德延续了她在飞利浦唱片拜罗伊特现场中的表现，以最甜美纯净的音色演绎女主角的天真特质，比杰西·诺曼（索尔蒂Decca版）更动人——后者厚重如女中音的华丽音色虽震撼，却更适合其他瓦格纳女主角。齐格弗里德·耶路撒冷的嗓音虽不及巅峰时期清亮，但演唱仍具权威性，兼具美感与真正的英雄男高音特质。相较索尔蒂版中用饱满嗓音处理《在远方国度》《亲爱的天鹅》等私密咏叹的普拉西多·多明戈，耶路撒冷以克制的柔情演绎这些段落。其他角色中，瓦尔特劳德·迈尔饰演的奥特鲁德与库尔特·莫尔饰演的海因里希国王皆臻至境，不逊任何前任；哈特穆特·韦尔克演绎的泰拉蒙德虽因嗓音稳定性欠佳略显逊色，却恰强化了角色在强势奥特鲁德对比下的软弱性。  


Parsifal (complete, CD version) 《帕西法尔》
DG 477 6006 (4). Domingo, Meier, Struckmann, Selig, Bankl, Anger, V. State Op. Ch. & O, Thielemann

Christian Thielemann conducts an incandescent account of Parsifal, recorded live at a sequence of performances at the Vienna State Opera in June 2005. The performance is crowned by the magnificent singing and acting of Plácido Domingo in the title-role. It is astonishing that in his sixties he can produce such glorious, cleanly focused tone, powerful and even youthful-sounding, in keeping with the character of the young hero. Even in a live account his voice remains fresh to the end of this long opera. Comparably fine is the Kundry of Waltraud Meier, in glorious voice, attacking even the most exposed top notes with freshness, clarity and precision. Though the others are rather less impressive, they all sing well, with Franz-Josef Selig darkly powerful if occasionally unsteady as Gurnemanz and Falk Struckmann as Amfortas initially gritty-toned, later focusing more cleanly in Act III. Wolfgang Bankl is an excellent Klingsor, attacking the role incisively, while Ain Anger as Titurel completes a well-balanced team. Thielemann remains the hero, alongside Domingo, bringing dedication to this quasi-religious score combined with passion and dramatic bite. He keeps speeds flowing well, while letting the music breathe spaciously, with the choral singing magnificent throughout, and with the recording – made in collaboration with Austrian Radio – vividly atmospheric. This now takes pride of place for this opera, even ahead of Karajan’s deeply spiritual and equally dedicated account.

克里斯蒂安·蒂勒曼指挥的《帕西法尔》炽烈澎湃，2005年6月维也纳国家歌剧院的系列现场演出实况录音。普拉西多·多明戈以辉煌的演唱与演技为标题角色加冕，年过六旬仍能迸发出如此纯净有力、甚至饱含青春气息的英雄音色，令人惊叹。纵是现场录音，他的嗓音在这部长剧中始终鲜活。瓦尔特劳德·迈尔饰演的昆德丽同样出色，以饱满音质精准冲击每个高音弱唱。其他演员稍逊但仍表现上乘：弗朗茨-约瑟夫·泽利希的古内曼兹嗓音暗沉有力（偶有波动），法尔克·施特鲁克曼饰演的安福塔斯前两幕音质粗粝，第三幕转向清透。沃尔夫冈·班克尔是犀利的克林索尔，安·安格尔饰演的提图雷尔完善了均衡阵容。蒂勒曼与多明戈同为灵魂人物，将宗教般的虔诚与戏剧激情注入总谱，速度流畅而呼吸绵长，合唱全程恢弘。奥地利广播电台协作录制的音效极具临场感，此版现已超越卡拉扬深邃灵性的演绎，成为本剧首选。


https://115cdn.com/s/swwrsqq3hq9?password=3377&#
Wagner - Lohengrin - Claudio Abbado, VPO; Jerusalem, Studer, Meier, Welker [DG]等4个文件(夹)

joseph_li

Die Meistersinger von Nürnberg (complete, DVD version)  《纽伦堡的名歌手》
DG DVD 073 4160 (2). Jerusalem, Weikl, Prey, Haggender, Clark, Schiml, Schenk, Bayreuth Festival Ch & O, Stein (Director: Wolfgang Wagner; V/D: Brian Large)

It is extraordinary largesse that we are so spoilt for choice with DVDs of Die Meistersinger, and several alternative versions will give great satisfaction. Wolfgang Wagner’s production in 1984 assembled an exceptionally starry cast, with not a single weak link and with many strengths. This DVD offers a recording, made live but without an audience. The exception is the great Quintet in Act III, which appears to have been recorded separately with the singers miming their roles, a small flaw in what is otherwise an immaculate and revelatory film, directed by Brian Large. Wolfgang Wagner’s sets and costumes are grandly traditional, and add greatly to the impact of the piece. Siegfried Jerusalem as Walther is one of the most heady-timbred of Heldentenoren, and sings with heroic tone in the Prize Song, making a magnificent climax. Bernd Weikl is a characterful, strong-toned Sachs and Mari Anne Haggender is a vivacious Eva, singing very sweetly, shading her tone down beautifully for the Quintet. Hermann Prey as Beckmesser is both characterful and unusually mellifluous of tone, not guying the character too much, and Manfred Schenk as Pogner, Graham Clark as David and Marga Schiml are all first rate. An outstanding version, with Horst Stein pacing the massive work splendidly.

如此丰富的《名歌手》DVD版本实属罕见，多套制作皆可令人满意。沃尔夫冈·瓦格纳1984年制作的这版汇集了全明星阵容，无一短板且亮点纷呈。本DVD采用无观众现场录制，仅第三幕五重唱疑似单独补录（歌手对口型），这一微小瑕疵无损于布莱恩·拉吉执导的这部精湛而具启示性的影片。传统风格的布景与华服极大增强了戏剧感染力：齐格弗里德·耶路撒冷以极具魅力的英雄男高音音色诠释瓦尔特，在《获奖之歌》中爆发出辉煌高潮；贝恩德·魏克尔塑造的萨克斯个性鲜明、嗓音铿锵；玛丽·安妮·哈格恩德的埃娃活泼甜美，五重唱时音色处理尤为细腻；赫尔曼·普雷饰演的贝克梅瑟既富特色又罕见地圆润，未过度丑化角色；曼弗雷德·申克（波格纳）、格雷厄姆·克拉克（大卫）与玛尔加·席姆尔均属一流。霍斯特·施泰因对这部鸿篇巨制的节奏把控绝佳，堪称典范版本。  


The Mastersingers of Nuremberg (CD version, sung in English) 《纽伦堡的名歌手》（英语演唱）
Chan. (ADD) 3148 (4). Remedios, Curphey, Hammond-Stroud, Bailey, Dempsey, Mangin, Sadler’s Wells Ch. & O, Goodall

This recording of The Mastersingers in English, made by the BBC at Sadler’s Wells in February 1968, marks an iconic moment in the history of opera in England. That is so not just because Goodall here demonstrates how strong the team of Sadler’s Wells singers was in Wagner, but the whole project pointed the way forward to the emergence in due course of English National Opera at the Coliseum, a genuine ‘Volksoper’ rival to the grand international company at Covent Garden.

Goodall had been hibernating for many years, having earlier made a name for himself conducting (among much else) the first performance of Benjamin Britten’s Peter Grimes. It was then an inspired choice to have him conduct Wagner at Sadler’s Wells, and he seized it eagerly, as this glowing performance amply demonstrates in every bar. Goodall himself patiently helped to train the singers of the 1960s Sadler’s Wells company in singing Wagner as he wanted it. His speeds are almost always very slow, but the singers respond superbly, revelling in the expansiveness instead of finding it a trial.

Alberto Remedios was then at his peak as a Wagner tenor, pure and unstrained throughout, rising magnificently to the challenge of the Prize Song in Act III, an exhilarating moment which sends you away joyfully, as the audience here plainly felt. Norman Bailey too was an outstanding Sachs, firm and focused, the wise philosopher; Noel Mangin is a clear-toned Pogner, and Gregory Dempsey is a bright, lively David, well contrasted with Remedios, while Derek Hammond-Stroud is a delightfully characterful Beckmesser, pointing the humour infectiously, though maybe the voice is too firm and strong for this character.

The women in the cast are not quite on this level, but Margaret Curphey as Eva sings with winning firmness and purity, and Ann Robson is a lively Magdalene. It is striking that not one of the singers has even the suspicion of a wobble, and the excellent casting equally involves the other Masters and the Nightwatchman sung by Stafford Dean. Consistently adding to the glow of the performance is the singing of the chorus and the playing of the orchestra. It is astonishing, remembering the variable quality of latter-day companies, that the team at Sadler’s Wells in the 1960s was so fine, quite a revelation. The radio recording captures the atmosphere thrillingly, a credit to the 1968 engineers, as well as to those making this transfer.

BBC于1968年2月在萨德勒之 Wells剧院录制的英语版《名歌手》，标志着英国歌剧史上的里程碑。此录音不仅展现了古多尔指挥下萨德勒之 Wells歌手阵容演绎瓦格纳的雄厚实力，更预示了日后英国国家歌剧院在伦敦大剧院的崛起——这座真正意义上的"人民歌剧院"与科文特花园的国际名团分庭抗礼。  

蛰伏多年的古多尔曾因执棒布里顿《彼得·格莱姆斯》首演成名，此次执棒瓦格纳堪称神启之选。他耐心训练1960年代的歌手，以近乎凝滞的速度催生出恢弘演绎——演员们非但不以为苦，反在绵长乐句中尽显风采。阿尔贝托·雷梅迪奥斯正值巅峰，纯净无瑕的嗓音在第三幕《获奖之歌》达到壮丽高潮；诺曼·贝利演绎的萨克斯坚实深邃，尽显哲人智慧；诺埃尔·曼根（波格纳）音色清朗，格雷戈里·邓普西（大卫）明亮活泼，与雷梅迪奥斯形成绝妙对比；德里克·哈蒙德-斯特劳德将贝克梅瑟的滑稽特质演绎得极具感染力（虽嗓音或许过于刚劲）。  

女角稍逊但仍出色：玛格丽特·柯菲的埃娃演唱坚定纯净，安·罗布森的玛德琳娜活泼生动。全体演员无一音准瑕疵，配角阵容同样精彩（斯塔福德·迪恩饰演守夜人）。合唱团与乐队的表现始终为演绎增色。1960年代萨德勒之 Wells剧院的超群水准令人惊叹，BBC电台录音完美捕捉现场氛围，1968年的录音师与后期转制人员功不可没。


DVD：
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Wagner - Die Meistersinger von Nurnberg - Horst Stein, Orchester der Bayreuther Festspiele; Jerusalem, Weikl, Prey [DVD9]
磁链：magnet:?xt=urn:btih:31E9AC825D888460083AF13D63634562C1F3EB9E

CD：
Qobuz没找到，俄网只有MP3格式的磁链，居然还是死链。

joseph_li

Der Ring des Nibelungen (DVD version)  《尼伯龙根的指环》
Das Rheingold  《莱茵的黄金》  
Warner DVD 2564 62318-2. Tomlinson, Clark, Finnie, Von Kannen, Hölle, Kang, Svendén, Bayreuth Festival O, Barenboim (Director: Harry Kupfer; V/D: Horant H. Hohlfeld)
Die Walküre  《女武神》  
Warner DVD 2564 62319-2 (2). Elming, Secunde, Tomlinson, Finnie, Evans, Hölle, Bayreuth Festival O, Barenboim (Director: Harry Kupfer; V/D: Horant H. Hohlfeld)
Siegfried  《齐格弗里德》  
Warner DVD 2564 62320-2 (2). Jerusalem, Clark, Tomlinson, Von Kannen, Evans, Kang, Svendén, Bayreuth Festival O, Barenboim (Director: Harry Kupfer; V/D: Horant H. Hohlfeld)
Götterdämmerung  《诸神的黄昏》  
Warner DVD 2564 62321-2 (2). Jerusalem, Evans, Brinkmann, Bundschuh, Kang, Von Kannen, Bayreuth Festival O, Barenboim (Director: Harry Kupfer; V/D: Horant H. Hohlfeld)

Harry Kupfer’s Bayreuth production of the Ring cycle, recorded in 1991 and 1992, involves minimal stylized sets, evocatively lit. Generally conventional costumes, with occasional modern touches as in male characters wearing trilbies (not everybody’s choice), result in a cycle which tells the complex story of each part of the tetralogy as clearly and graphically as possible. Under the direction of Wolfgang Wagner each section was filmed as a straight performance in the Festspielhaus but without an audience, giving more air to the sound.

Rheingold opens in a shimmering green light with the Rhinemaidens dancing and the gold shining from a great cavity in the river bed. Alberich is characterfully sung by Günter von Kannen with firm, clear tone, as he steals the gold. The gods, waiting to enter the newly built Valhalla, are pictured in a simple, bare setting, and are again controversially depicted, with many of them wearing green fronds, and with John Tomlinson in dark glasses as Wotan, their powerful leader. Linda Finnie sings with fresh, clear tone as Fricka and Graham Clark makes a picturesque Loge, preening himself in a blond wig. The giants, Fasolt and Fafner (Matthias Hölle and Philip Kang both excellent) are then portrayed as genuinely gigantic figures with prosthetic arms and enormous bodies. Wotan’s and Loge’s coup in stealing the gold back from Alberich in Nibelheim is then atmospherically portrayed, and so is the handing of the gold to the giants in payment for their work, including the Tarnhelm and the Ring. The Rainbow Bridge in the final scene is suggested by vertical strip lighting in the relevant colours, illuminating Daniel Barenboim’s powerful conducting, a thrilling conclusion.

Die Walküre benefits not just from an excellent cast with no weak links but from the thrustful conducting of Daniel Barenboim, giving full weight to the big moments like the opening of Wotan’s Farewell in Act III. The Kupfer settings are similar to those in Rheingold, with space-age implications in the minimal sets, evocative lighting and clever use of long perspectives. Poul Elming as Siegmund (wearing fatigues!) comes out with ringing top notes, yet sings with the most tender emotion on greeting Sieglinde, beautifully sung by Nadine Secunde. Linda Finnie as Fricka makes the role seem nobler than usual, opposite the compelling Wotan of John Tomlinson. Anne Evans sings magnificently as Brünnhilde, fresh and bright, with clear, firm tone.

In Siegfried the Harry Kupfer production ingeniously conveys such tricky moments as the arrival of the bear in Act I and the flying of the Woodbird in Act II very graphically without descending into unwanted comic effects. Here the light soprano, Hilde Leidland, sings freshly and clearly. Graham Clark as the shifty Mime is splendidly contrasted with the strong Siegfried of Siegfried Jerusalem, the most mellifluous Heldentenor of his generation. As the Wanderer, John Tomlinson remains a tower of strength, poignantly struck down at his defeat at the hands of the callous Siegfried. The climax of Act III with Anne Evans at her peak as Brüunnhilde is exhilarating, aided by Daniel Barenboim’s powerful conducting.

Götterdämmerung opens with the Norns literally weaving their thread, and with Anne Evans in radiant voice singing superbly opposite the fine, clear Siegfried of Siegfried Jerusalem. The clarity of sound in the Rhine Journey is a delight, and in the Gibichung Hall scenes the Hagen of Philip Kang is genuinely sinister. Eva-Maria Bundschuh as Gutrune sings very sweetly, though Bodo Brinkmann as Gunther is too wobbly. The Alberich of Günter von Kannen is again excellent, and Barenboim brings out the darkness of the score most compellingly. In the calling of the Vassals in Act II the Bayreuth Chorus makes the most of its brief moment, all, like Siegfried himself, wearing boiler suits. The final Immolation scene is vividly done, with Anne Evans rising superbly to the challenge, though Kupfer’s device, after the fall of Valhalla, to have members of a modern audience watching TV sets is an odd intrusion for the final curtain, and one not welcomed by I.M.

哈里·库普弗1991-1992年执导的拜罗伊特《指环》制作采用极简风格布景与氛围灯光，服装大体传统但偶现现代元素（如男性角色戴软呢帽，未必符合所有观众口味）。在沃尔夫冈·瓦格纳监制下，全剧于节日剧院无观众录制，音场更为通透。  

开场处莱茵少女在幽绿光影中起舞，河床巨洞中的黄金熠熠生辉。冈特·冯·坎南以坚实音色生动演绎盗金的阿尔贝里希。众神在空荡场景中等待进入新建的瓦尔哈拉——约翰·汤姆林森饰演的沃坦戴墨镜统领众神（部分角色身披绿叶的设定引发争议）。琳达·芬妮饰演的弗丽卡音色清亮，格雷厄姆·克拉克的金发洛格形象鲜明。法索尔特与法夫纳（马蒂亚斯·赫勒与菲利普·康格）通过巨型假肢呈现震撼体态。沃坦与洛格从尼伯龙根夺回黄金的诡计、向巨人交付包括隐身盔与指环在内的赎金等场景均极具戏剧张力。终场的彩虹桥以彩色光条象征，丹尼尔·巴伦博伊姆的强力指挥将这一幕推向高潮。  

除全员出色的演员阵容外，巴伦博伊姆充满张力的指挥（如第三幕《沃坦的告别》开场）赋予全剧厚重质感。库普弗延续《莱茵的黄金》的太空感极简布景，巧用纵深透视与灯光。波尔·埃尔明（穿野战服！）饰演的齐格蒙德高音嘹亮，与娜丁·塞昆德饰演的齐格琳德柔情二重唱尤为动人。琳达·芬妮的弗丽卡比常规演绎更显高贵，与汤姆林森极具压迫感的沃坦形成精彩对峙。安妮·埃文斯饰演的布伦希尔德音色清透有力，演唱堪称典范。  

库普弗以巧妙手法呈现第一幕熊的出场与第二幕林鸟飞翔等棘手场景，避免滑稽效果。希尔德·莱德兰饰演的林鸟女高音清亮。格雷厄姆·克拉克的狡黠米梅与齐格弗里德·耶路撒冷（同代最圆润的英雄男高音）塑造的勇猛齐格弗里德形成绝妙对比。约翰·汤姆林森饰演的流浪者沃坦巍然屹立，最终被无情齐格弗里德击败的场面悲怆动人。第三幕高潮处，巅峰状态的安妮·埃文斯与巴伦博伊姆雷霆万钧的指挥交相辉映。  

开场时命运女神具象化地纺织命运之绳，安妮·埃文斯音色辉煌，与耶路撒冷清澈的齐格弗里德对唱精彩绝伦。《莱茵之旅》段落音效剔透，菲利普·康格饰演的阴森哈根令人不寒而栗。埃娃-玛丽亚·邦舒饰演的古特鲁妮甜美可人，但博多·布林克曼的贡特尔嗓音不稳。冈特·冯·坎南的阿尔贝里希依然出色，巴伦博伊姆深刻挖掘总谱中的黑暗特质。第二幕召唤部众场景中，身着工装的拜罗伊特合唱团短暂而震撼亮相。终场《焚毁》场景气势恢宏，埃文斯完美驾驭这一高难度唱段，但库普弗让现代观众观看电视的收尾设计略显突兀（IM对此并不赞赏）。


DVD：
https://115cdn.com/s/swwrs7y3hq9?password=3377&#
Wagner - Der Ring Des Nibelungen - 4 Gotterdammerung (Barenboim-Bayreuther) [DVD9]等4个文件(夹)

磁链：
Das Rheingold：magnet:?xt=urn:btih:6282743E7338A7864647B38675A61C31C01946CB
Die Walkure：magnet:?xt=urn:btih:8F77531A4C062179CE2E8FE6D3CDC4CB0912E082
Siegfried：magnet:?xt=urn:btih:0A9C4D4A5BEDA278882C06BDCF7CED21475CB19E
Gotterdammerung：magnet:?xt=urn:btih:06E425282A3E366622E07AF09E74ACC6769FE727

CD：
https://115cdn.com/s/swwrsiz3hq9?password=3377&#
Wagner - Der Ring des Nibelungen - Danie Barenboim, Chor & Orchester der Bayreuther Festspiele [Teldec 1991-92]

joseph_li

Der Ring des Nibelungen (complete, CD version)  《尼伯龙根的指环》
Decca (ADD) 455 555-2 (14). Nilsson, Windgassen, Flagstad, Fischer-Dieskau, Hotter, London, Ludwig, Neidlinger, Frick, Svanholm, Stolze, Böhme, Hoffgen, Sutherland, Crespin, King, Watson, Ch. & VPO, Solti
Testament 141 412 9 (14). 1955 Bayreuth recording, cond. Keilberth (details below)

It would be to take the easy option to suggest that the top choice for Wagner’s epic Ring cycle on CD is Solti’s pioneering version for Decca, especially now it is so nicely packaged and relatively inexpensive. Indeed, it is hard to go wrong with that choice, the peak of achievement for the conductor and many of his cast, commanding and magnificent.

Also, readers might also be interested to hear Deryck Cooke’s ‘An introduction to the Ring’, released in conjunction with the Solti Ring, a scholarly lecture, with its riveting discourse demonstrating just how many of the leading ideas in the Ring develop from one another, springing from an original germ (Decca 443 581-2 (2)).

Decca have also reissued Boehm’s fine (1967) Bayreuth Festival set, which captures the unique atmosphere and acoustic of the Festspielhaus very vividly. Birgit Nilsson as Brünnhilde and Wolfgang Windgassen as Siegfried are both a degree more volatile and passionate than they were in the Solti cycle. Gustav Neidlinger as Alberich is also superb, as he was in the Solti set, and the only major reservation concerns the Wotan of Theo Adam in a performance searchingly intense and finely detailed, but often unsteady of tone even at that period. The sound, only occasionally restricted, has been vividly transferred (Decca 478 2367 (14)).

However, Testament have released Joseph Keilberth’s recordings, taken live from the 1955 Ring cycle at Bayreuth, which was the very first recording in stereo, some years before the Decca set, which was recorded in the studio. This earlier set had been languishing in the archives, and it was thanks to the enterprise of Stewart Brown of Testament that finally, after much negotiation, the cycle appeared.

When Wieland Wagner invited Keilberth to conduct the Ring at Bayreuth, he was consciously aiming to present a reading manifestly contrasted with that of Hans Knappertsbusch’s spacious and contemplative version. Keilberth, by contrast, is urgent and passionate, and the thrust of the performance makes the result intensely exciting, inspiring the great Wagnerian singers in the cast to give of their finest. Testament have released the complete cycle at mid-price, and the individual operas are discussed below. However, in the complete boxed set, the first version of Götterdämmerung with the original cast is included and, fine though that is, the cast of the second cycle of the Ring at Bayreuth is even finer – see below.

若将索尔蒂为Decca录制的划时代《指环》版本作为首选推荐，或许是最稳妥的选择——尤其如今该套装包装精美且价格亲民。这套录音堪称指挥与多数主演的巅峰成就，恢弘壮丽，确实难以挑剔。  

此外，乐迷或许会对德里克·库克与索尔蒂版同步发行的《指环导聆》感兴趣（Decca 443 581-2 (2)）。这部学术性讲座通过扣人心弦的解析，揭示剧中核心动机如何从原始细胞衍生发展，极具启发性。  

Decca还再版了伯姆1967年拜罗伊特音乐节现场录音（Decca 478 2367 (14)），生动捕捉了节日剧院独特的氛围与声学效果。比尔伊特·尼尔森的布伦希尔德与沃尔夫冈·温德加森的齐格弗里德比索尔蒂版更具爆发力与激情。古斯塔夫·奈德林格的阿尔贝里希同样出色（与索尔蒂版持平），唯一主要争议在于特奥·亚当饰演的沃坦——尽管演绎深刻细腻，但即便在当时嗓音已显不稳。音质偶有局限，但转制效果鲜活。  

然而Testament唱片公司发行的约瑟夫·凯尔伯特1955年拜罗伊特音乐节现场录音更具历史意义。这套早于Decca录音室版本数年的立体声开山之作，经Testament创始人斯图尔特·布朗多方协商才得以重见天日。  

当维兰德·瓦格纳邀请凯尔伯特执棒拜罗伊特《指环》时，他刻意追求与汉斯·克纳佩茨布什沉静冥想的版本形成反差。凯尔伯特的诠释充满紧迫感与激情，戏剧张力令全体瓦格纳歌唱家迸发出最佳状态。Testament以中价发行全集套装，其中《诸神的黄昏》包含首轮演出阵容（已属精品），但第二轮阵容更为耀眼——详见下文分剧评述。  


Das Rheingold (complete, CD version)  《莱茵的黄金》
Testament (ADD) SBT2 1390 (2). Hotter, Neidlinger, Lustig, Weber, Bayreuth Festival O, Keilberth

Keilberth’s complete recording of the Ring cycle emerges on disc for the first time, half a century late, as a constant revelation. The first astonishing thing is the clarity of the voices and the cleanness of the separation between them, scarcely rivalled by any more recent recordings. Vivid and immediate, the three Rhinemaidens are sharply defined in contrast with each other, with directional effects very clear. It means that the orchestra is relatively recessed, but the atmospheric beauty of the Bayreuth orchestra’s playing is well caught, and the big climaxes come over vividly, as for example Donner’s smiting of the anvil (even though no metallic clattering is conveyed). Another thrilling moment comes in Wotan’s final monologue with the first emergence of the Sword Theme. Keilberth’s conducting throughout is electrically intense, far more dynamic than that of his fellow Bayreuth conductor, Hans Knappertsbusch.

凯尔伯特这套尘封半世纪的《指环》全集录音首度面世便持续带来震撼。最惊人的是声部清晰度与分离度——任何现代录音都难企及：三位莱茵少女音色鲜明各异，方位感极其精准。虽乐队相对后缩，但拜罗伊特乐团音色的氛围美感尽显，唐纳锤击铁砧（尽管缺乏金属碰撞声）等高潮段落依然震撼。沃坦终场独白中"剑之动机"的首次浮现更令人战栗。凯尔伯特的指挥充满电流般的张力，远比同僚克纳佩茨布什动态强烈。  


Die Walküre (complete, CD version)  《女武神》
Testament SBT4 1391 (4). Varnay, Hotter, Brouwenstijn, Vinay, Greindl, Bayreuth Festival O, Keilberth

Hans Hotter’s interpretation of the role of Wotan is well known from a number of versions, but here he not only sings with urgency, his voice is in wonderfully fresh condition, perfectly focused. ‘Wotan’s Farewell’ has never been more powerfully presented, with his agony over having to punish his favourite daughter most movingly conveyed. Astrid Varnay as Brünnhilde is similarly moving, and so are Gré Brouwenstijn as Sieglinde and the darkly baritonal Ramón Vinay (Toscanini’s choice as Otello) singing Siegmund, with Josef Greindl massive of voice as Hunding. The end of Act I, when the twins fall into each other’s arms, brings another great orgasmic moment, and the recording, originally made by Decca and now beautifully reprocessed, far outshines in quality the radio recordings of Bayreuth that have appeared on various labels.

汉斯·霍特的沃坦虽有多版传世，但此版嗓音状态极佳且演绎紧迫。《告别》一幕对爱女施罚的痛楚从未如此撼人，阿斯特丽德·瓦尔奈的布伦希尔德同样动人。格蕾·布劳文斯泰因的齐格琳德与男中音质感的拉蒙·维奈（托斯卡尼尼钦点的奥赛罗饰演者）饰唱的齐格蒙德形成绝配，约瑟夫·格莱恩德尔的洪丁嗓音浑厚。第一幕终场双胞胎相拥时的情欲爆发堪称神演，经Decca精心修复的音质远超其他厂牌发行的拜罗伊特广播录音。  


Siegfried (complete, CD version)   《齐格弗里德》
Testament SBT4 1392 (4). Windgassen, Kuen, Hotter, Varnay, Neidlinger, Bayreuth Festival O, Keilberth

Fine as the recording of the 1955 Walküre is in the Testament processing, the Siegfried of that year is even more impressive, with even greater weight in the orchestral sound, with the brass and timpani astonishingly vivid. In this section of the Ring cycle that is particularly important, when Wagner more than ever relies on darkened orchestration. The voices are vividly caught too, with a wonderful sense of presence, and Wolfgang Windgassen as Siegfried (also the Siegfried of the Solti cycle) is in gloriously fresh voice, superbly contrasted with the mean-sounding but comparably well-focused tenor of Paul Kuen as Mime. Gustav Neidlinger too is clear and incisive as Alberich, with Josef Greindl darkly majestic as Fafner. The duetting of Varnay and Windgassen as Siegfried and Brünnhilde then makes a thrillingly passionate conclusion in Keilberth’s thrustful reading.

1955年《女武神》已属佳品，但同年《齐格弗里德》更胜一筹——铜管与定音鼓惊人鲜活的厚重管弦音响，在瓦格纳刻意幽暗的配乐中尤为重要。人声录制同样惊艳：沃尔夫冈·温德加森（亦为索尔蒂版齐格弗里德）嗓音清亮饱满，与保罗·库恩饰演的尖刻米梅形成绝妙反差。古斯塔夫·奈德林格的阿尔贝里希锋利清晰，约瑟夫·格莱恩德尔的法夫纳暗沉威严。瓦尔奈与温德加森的二重唱在凯尔伯特激情推动下，将终幕推向炽烈高潮。  


Götterdämmerung (complete, CD version of 2nd cycle recording) 《诸神的黄昏》（第二轮演出CD版）
Testament (ADD) SBT4 1433 (4). Mödl, Windgassen, Hotter, Ilosvey, Neidlinger, Greindl, Brouwenstijn, Bayreuth Festival Ch. & O, Keilberth

Recorded in 1955 during the second cycle of the Ring at Bayreuth under Keilberth, this is an important supplement to the complete Keilberth cycle that Testament issued earlier, with arguably two important cast-changes making it even more attractive: Martha Mödl instead of Astrid Varnay, more powerful if less girlish, and Hans Hotter as Gunther certainly finer than Hermann Uhde, who was rested in order to sing in the Bayreuth Fliegende Holländer. Wolfgang Windgassen as Siegfried is again remarkable, not just for his unstrained power but for the moments of tenderness.

Keilberth’s conducting is incandescent, more urgent than Hans Knappertsbusch or Furtwängler, making the big dramatic moments totally thrilling, surging with excitement, with the fulfilment of the final scene movingly caught. The impact is all the greater thanks to the excellent stereo sound obtained by the Decca engineers, even if the string focus can be a little fizzy. As before, words are astonishingly clear.

此版1955年拜罗伊特二轮演出实况，作为Testament早前发行凯尔伯特全集的补遗，两处关键换角更具吸引力：玛尔塔·莫德尔替代瓦尔奈饰演布伦希尔德（虽少少女感但更富力量）；汉斯·霍特接替赫尔曼·乌德（转演《漂泊的荷兰人》）饰演的贡特尔更为出色。温德加森的齐格弗里德不仅爆发力惊人，柔情时刻亦令人动容。凯尔伯特的指挥如烈焰般炽热，比克纳佩茨布什或富特文格勒更具紧迫感，终场救赎场景感人至深。Decca工程师打造的优异立体声效（纵使弦乐稍显毛躁）与惊人的台词清晰度，将戏剧冲击力推向极致。


https://115cdn.com/s/swwrsvi3hq9?password=3377&#
Wagner - An Introduction to Der Ring des Nibelungen - Deryke Cooke, Georg Solti, VPO [DECCA]等5个文件(夹)

joseph_li

Tannhäuser (complete (Dresden) DVD version, plus Paris Bacchanale) 《唐豪瑟》（德累斯顿版DVD，含巴黎版酒神节）
DG DVD 073 4446 (2). Wenkoff, G. Jones, Weikl, Sotin, Bayreuth Festival Ch. & O, C. Davis (Stage Director: Götz Friedrich; V/D: Thomas Olofsson)

This 1978 Tannhäuser was the first time a production had been filmed complete at Bayreuth; considering that, the visual balance and the sound are remarkably impressive. Obviously the artists were aware that history was being made, and the concentration and tension of the performance are unmistakable. The sets are not opulent but are faithful to the composer’s intentions, and Sir Colin Davis’s conducting is full of inspiration and vitality. The star performance is Dame Gwyneth Jones’s gloriously sung Elisabeth and Venus, but Spas Wenkoff is strong in the title-role and Bernd Weikl is a superb Wolfram. The production offers the original Dresden version, plus the Paris Bacchanale, handled with effective eroticism. All in all, a remarkable achievement.

1978年拜罗伊特制作的《唐豪瑟》成为首部完整录制的瓦格纳歌剧影片，其画面平衡与音效之精良令人惊叹。艺术家们显然意识到正在创造历史，演出中凝聚的专注力与张力扑面而来。布景虽不奢华却忠实于作曲家本意，科林·戴维斯爵士的指挥充满灵性与活力。格温妮丝·琼斯女爵同时饰演伊丽莎白与维纳斯，堪称璀璨演绎；斯帕斯·文科夫的唐豪瑟强而有力，贝恩德·魏克尔的沃尔夫兰超凡脱俗。本制作采用德累斯顿原版，辅以巴黎版酒神节段落，情色氛围处理恰到好处。整体而言，这是非凡的艺术成就。  


Tannhäuser (complete (Paris) CD version) 《唐豪瑟》（全剧，巴黎版CD）  
DG 427 625-2 (3). Domingo, Studer, Baltsa, Salminen, Schmidt, Ch. & Philh. O, Sinopoli

Plácido Domingo as Tannhäuser for Sinopoli brings balm to the ears, producing sounds of much power as well as beauty. Sinopoli here makes one of his most passionately committed opera recordings, warmer and more flexible than Decca’s Solti version, always individual, with fine detail brought out, always persuasive and never wilful. Agnes Baltsa is not ideally opulent of tone as Venus, but she is the complete seductress. Cheryl Studer – who sang the role of Elisabeth for Sinopoli at Bayreuth – gives a most sensitive performance, not always even of tone but creating a movingly intense portrait of the heroine, vulnerable and very feminine. Matti Salminen in one of his last recordings makes a superb Landgrave and Andreas Schmidt a noble Wolfram, even though his legato could be smoother in O Star of Eve.

西诺波利麾下的普拉西多·多明戈以兼具力量与美感的嗓音诠释唐豪瑟，堪称听觉盛宴。西诺波利在此呈现了其歌剧录音生涯中最富激情的演绎，比Decca索尔蒂版更温暖灵活且个性鲜明——细节精妙、始终具有说服力而不显乖张。阿格妮丝·巴尔莎的维纳斯音色虽非极致丰润，却将诱惑特质展现无遗。谢丽尔·斯图德（曾为西诺波利在拜罗伊特演唱伊丽莎白）塑造出敏感动人的女主角形象，嗓音虽偶有不均但脆弱柔美的气质令人动容。马蒂·萨尔米宁在生涯后期贡献了卓越的领主演绎，安德烈亚斯·施密特饰演高贵的沃尔夫兰（唯《晚星颂》连音可更流畅）。  


Tristan und Isolde (complete, DVD version) 《特里斯坦与伊索尔德》
DG DVD 073 4439 (2). Jerusalem, Meier, Hölle, Struckmann, Bayreuth Festival Ch. & O, Barenboim
Tristan und Isolde (complete, CD version)
EMI 9 6686402(3) (3). Stemme, Domingo, Fujimura, Pape, Bär, ROHCG Ch. & O, Pappano

Barenboim’s DVD is not a recording of a live performance but was made over a seven-day period, without an audience, in 1995. The result is very successful indeed, having the best of both worlds and offering an inherent spontaneity. The production is plain and the performance not voluptuous either, but with a splendid partnership of Siegfried Jerusalem at his finest and the rich-voiced Waltraud Meier also at her freshest, and the casting topped by Matthias Hölle’s resonant bass as King Mark. Barenboim is in his element and the Bayreuth Festival Orchestra provide a richly intense backing

When Plácido Domingo suggested to EMI that as a culmination to his unique career he would like to record Tristan und Isolde, the record company boldly took up the challenge and with luxury casting produced what is instantly recognizable as a classic recording, worthy successor to the great Furtwängler version of 1952 with Flagstad as Isolde. The glory of this set is not only the radiant singing of Domingo, still in glorious, full-throated voice in his sixties, but the warmly understanding conducting of Antonio Pappano with the Covent Garden Orchestra, more volatile than that of Furtwängler but just as concentrated. Domingo, at once heroic and lyrical, not only offers the most beautiful assumption on disc since Windgassen for Boehm at Bayreuth in 1966, but he sings with a passion beyond that of most Heldentenoren, and he is matched by the tenderly girlish Isolde of Nina Stemme. Hers may not be a big, noble soprano like those of Flagstad or Birgit Nilsson, and in Act II she comes to sound a little stressed, but with fine projection and subtle shading her portrait is the more passionate and more feminine. Mihoko Fujimura as Brangäne is clear and tender too – her warnings in the love duet creep exquisitely on the ear – and René Pape as King Mark is unmatched by any contemporary. Olaf Bär with his lieder-like command of detail is a fine Kurwenal, with such stars as Ian Bostridge as the Shepherd and Rolando Villazón as the Young Sailor filling in smaller parts. The set includes a bonus CD-ROM with libretto and synopsis.

巴伦博伊姆的DVD并非现场录制，而是1995年历时七天无观众拍摄的成果，兼具自发性与精雕细琢。制作风格朴素，演绎亦非浓艳路线——齐格弗里德·耶路撒冷（巅峰状态）与嗓音丰厚的瓦尔特劳德·迈尔（最佳音质时期）组成黄金搭档，马蒂亚斯·赫勒饰唱的马克王低沉浑厚。巴伦博伊姆如鱼得水，拜罗伊特节日乐团提供浓烈厚重的伴奏。  

当多明戈向EMI提出以《特里斯坦》为其传奇生涯加冕时，唱片公司大胆应允并集结顶级阵容，成就了堪比1952年富特文格勒/弗拉格斯塔德经典版的杰作。本套装的荣耀不仅在于六旬的多明戈仍保持辉煌嗓音，更在于安东尼奥·帕帕诺与科文特花园乐团充满理解力的温暖演绎——比富特文格勒更具波动性却同样凝练。多明戈兼具英雄气概与抒情特质，其演唱超越绝大多数英雄男高音的激情，妮娜·斯特姆以少女般柔美的伊索尔德与之辉映。她的嗓音虽非弗拉格斯塔德或尼尔森式的宏大类型（第二幕稍显紧绷），但凭借出色的投射与细腻层次塑造出更富激情与女性特质的形象。藤村实穗子的布兰甘特清澈温柔（爱情二重唱中的警告宛如耳畔絮语），勒内·帕佩的马克王无出其右。奥拉夫·巴尔以艺术歌曲般的细节把控诠释库文纳尔，伊恩·博斯特里奇（牧羊人）与罗兰多·维拉宗（年轻水手）等明星甘当绿叶。套装附赠含剧本与 Synopsis 的CD-ROM。


DVD：
Tristan und Isolde：https://115cdn.com/s/swwrs5r3hq9?password=3377&#
Wagner - Tristan und Isolde - Daniel Barenboim, Bayreuth Festival; Jerusalem, Meier, Hölle, Struckmann [DVD9]
Tannhäuser没找到
磁链：magnet:?xt=urn:btih:4E88333D1FE2FABBFB8BFA2E5A94B9487D08F536

CD：
https://115cdn.com/s/swwrs4k3hq9?password=3377&#
Wagner - Tannhauser - Giuseppe Sinopoli, PO; Domingo, Studer, Baltsa, Salminen [DG]等5个文件(夹)

joseph_li

WARLOCK, Peter (1894-1930)
Capriol Suite (for strings) 《卡普里奥尔组曲》（弦乐版）
Naxos 8.550823. Bournemouth Sinf., Richard Studt (with Concert: English String Music)

This is just about the finest available performance of Warlock’s masterly Capriol Suite. There is a memorable account conducted by Vernon Handley on Chandos (CHAN 8808), but that uses the full orchestral score, whereas the Naxos version sounds just as the composer conceived it. The rest of the programme is a splendid collection of English string works which includes Britten’s Frank Bridge Variations, Holst’s St Paul’s Suite and Vaughan Williams’s Dives and Lazarus. Demonstration sound.

这可能是沃洛克杰作《卡普里奥尔组曲》现有最出色的演绎。钱多斯唱片（CHAN 8808）由弗农·汉德利指挥的版本固然令人难忘，但该版采用全管弦乐配器，而拿索斯版则完全遵循作曲家原初的弦乐构思。专辑其余曲目同样精彩，汇集了英国弦乐经典：布里顿《弗兰克·布里奇主题变奏曲》、霍尔斯特《圣保罗组曲》以及沃恩·威廉斯《财主与拉撒路》。音质堪称示范级。


https://115cdn.com/s/swwrlmy3hq9?password=3377&#

Warlock - Capriol Suite, Serenade & Moeran - Serenade in G, Nocturne - Vernon Handley, Ulster Orchestra [Chandos]等2个文件(夹)

joseph_li

WAXMAN, Franz (1906–67)
Rebecca (complete film score)  《蝴蝶梦》（完整电影配乐）  
Naxos 8.557549. Slovak RSO, Adriano

Rebecca (1940) is regarded as Waxman’s finest score and it is easy to hear why. Waxman sweeps you immediately into the world of Daphne du Maurier’s bestseller. The score is an integral part of Hitchcock’s film, with the Rebecca theme used to portray the ghostly presence of Max de Winter’s dead first wife. Throughout, the music brilliantly portrays the often haunting and creepy atmosphere of this gothic fantasy. It is not all gloomy though, with numbers such as the Lobby Waltz providing a haunting piece of nostalgia. Adriano (and others) have made a splendid job of assembling this score, some of which had to be reconstructed from the soundtrack, while other music, not used in the final film, is also restored here. Both the performance and recording are very good and, at super-bargain price, this is an obvious acquisition for all film-music aficionados.

1940年的《蝴蝶梦》被视为瓦克斯曼的巅峰配乐之作，其卓越之处不言而喻。瓦克斯曼以音乐瞬间将听众带入达芙妮·杜穆里埃的畅销小说世界。这套配乐是希区柯克电影不可分割的部分，主题旋律《丽贝卡》如幽灵般萦绕，刻画了德温特先生亡妻的阴魂不散。音乐贯穿始终地呈现哥特式幻想的诡谲氛围——从幽闭的曼德雷庄园到琼·芳登饰演的羞涩新娘的内心惶惑。忧郁中亦不乏《大厅圆舞曲》等怀旧段落点缀。阿德里亚诺团队出色地整合了这份配乐（部分需从音轨重建），并收录了未用于成片的删减段落。演绎与录音俱佳，超值价位更使其成为影乐爱好者的必藏之选。


https://115cdn.com/s/swwrsk43hq9?password=3377&#
Waxman, Franz - Rebecca - Viktor Šimčisko, Slovak RSO [Naxos]

joseph_li

WEBER, Carl Maria von (1786–1826)
Clarinet Concertos 1, Op. 73; 2, Op. 74; Clarinet Quintet, Op. 34 (version for clarinet and strings)  单簧管协奏曲第1号（Op.73）、第2号（Op.74）；单簧管五重奏（Op.34，单簧管与弦乐改编版）
Sony SACD 88697 37632-2. Fabio di Càsola, Russian Chamber Philharmonic, St Petersburg, Juri Gilbo

It was a celebrated contemporary clarinettist, Heinrich Baermann, who attracted Weber to the instrument. He had a special clarinet made with ten keys to extend the instrument’s range, and Weber wrote a total of ten pieces for him to play on it, all of them delightfully tuneful, and with roulades galore to test the virtuosity of the player, who here comes up trumps. Such enticing works, admirable show-pieces too, have received many recordings, notably scintillating accounts of the two Concertos from our own Emma Johnson (on ASV), but Martin Fröst on BIS (SACD) is hardly less seductive, and he, like the light-hearted Sabine Meyer (on HMV), also offers the arrangement of the Quintet. However, Fabio di Càsola’s performances are dazzling and Juri Gilbo’s persuasive partnership in slow movements is romantic in the best Weberian operatic style. The twirly-whirly Menuetto capriccio of the arranged Quintet is deliciously done, and the closing giocoso is also wonderfully infectious. Then the performances are capped by the bravura scales in the final jaunty Allegro polacca of No. 2. The SACD sound is splendidly atmospheric, so this can be strongly recommended.

韦伯因单簧管演奏家海因里希·贝尔曼而钟情于这种乐器，甚至为其特制十键单簧管以拓展音域，并为之创作了十部作品。这些旋律优美的杰作充满考验技巧的华丽乐段，而本辑演奏者完美驾驭。虽然同类录音众多——如艾玛·约翰逊（ASV版）璀璨的协奏曲演绎，或马丁·弗罗斯特（BIS的SACD版）与萨宾·梅耶（HMV版）的迷人诠释——但法比奥·迪·卡索拉的演奏依然耀眼夺目。尤里·吉尔博在慢乐章的协奏充满韦伯式歌剧浪漫风格，改编版五重奏中《随想小步舞曲》的螺旋音型处理精妙，终章《嬉游曲》亦极具感染力，尤以第二协奏曲末乐章《波兰风格快板》的炫技音阶最为精彩。SACD录音氛围绝佳，强烈推荐。  


Symphonies 1 in C; 2 in C. Die drei Pintos: Entr’acte. Silvana: Dance of the Young Nobles; Torch Dance. Turandot: Overture; Act II: March; Act V: Funeral March  C大调第1、第2交响曲；《三个平托斯》：间奏曲；《西尔瓦娜》：青年贵族之舞、火炬舞；《图兰朵》：序曲；第二幕进行曲；第五幕葬礼进行曲
Naxos 8.550928. Queensland PO, Georgiadis

Weber wrote his two Symphonies in the same year (1807) and, though both are in C major, each has its own individuality. The witty orchestration and operatic character of the writing are splendidly caught in these sparkling Queensland performances, while in the slow movements the orchestral soloists relish their solos, for all the world like vocal cantilenas. The recording is in the demonstration class, and the disc is made the more attractive for the inclusion of orchestral excerpts from two little-known operas and incidental music from Turandot. The Entr’acte from the incomplete Die drei Pintos was put together by Mahler from Weber’s sketches.

韦伯两部同调性（C大调）交响曲均作于1807年，却各具特色。昆士兰交响乐团以闪耀的演奏捕捉到作品中机智的配器与歌剧化特质，慢乐章中的独奏段落如歌咏般动人。录音堪称示范级，搭配冷门歌剧选段及《图兰朵》戏剧配乐更显超值。其中《三个平托斯》间奏曲由马勒根据韦伯手稿补遗完成。  


Overtures: Abu Hassan; Der Beherrscher der Geister (Ruler of the Spirits); Euryanthe; Der Freischütz; Jubel; Oberon; Preciosa  序曲集：《阿布·哈桑》《精灵之王》《欧丽安特》《自由射手》《庆典》《奥伯龙》《普雷西奥莎》
EMI Encore (ADD) 5 75644-2. Philh. O, Sawallisch

Weber overtures represent some of the most attractive and memorable overtures in the classical repertoire, yet choosing just one collection is not easy. None is ideal. There is Karajan’s DG collection which includes some of the most beautifully played examples of this repertoire – the masterful Oberon and Der Freischütz are peerless – yet it may be said that Karajan lacks some of the romantic excitement found in these vibrant works. Sawallisch’s 1958 selection has the advantage of the Philharmonia at their peak. The orchestral playing is superb and the excitement of Der Freischütz, the Turkish colourings of Abu Hassan and the contrasts of Euryanthe (the timpanist notably) are presented with a strong sense of the individual character of each piece. There is real orchestral virtuosity in The Ruler of the Spirits and the spectacular appearance of God Save the Queen as the apotheosis of Jubel will cheer anyone up. The snag is the over-bright, sharply focused recording, with a very light bass. Another collection worth considering is Ansermet’s, on a newly released Australian Decca Eloquence CD (480 0123). What the performances lack in polish they more than make up for in lusty spirit and are presented in vintage Decca sound. The CD also includes the delightful Weber Bassoon Concerto in F.

韦伯序曲是古典曲目中最富魅力的存在，但选集版本难以尽善尽美。卡拉扬DG版（含《奥伯龙》《自由射手》的至尊演绎）虽演奏精美，却稍欠浪漫激情；萨瓦利施1958年与巅峰时期的爱乐乐团合作，以超凡技艺呈现《自由射手》的激昂、《阿布·哈桑》的土耳其色彩及《欧丽安特》的对比张力（定音鼓尤为突出），但录音高音过亮、低频偏薄。安塞美新近发行的澳大利亚Decca版（480 0123）虽精细度稍逊，但勃发的活力与古董级Decca音效相得益彰，另附赠精彩的韦伯《F大调巴松管协奏曲》。


https://115cdn.com/s/swwrsdw3hq9?password=3377&#
Weber, Carl Maria von - 2 Clarinet Concertos; Concertino; Grand Duo Concertant - Emma Johnson [ASV]等6个文件(夹)
雄辩系列 4800123 这张没找到。

joseph_li

Clarinet Quintet (Grand Quintetto) in B flat, Op. 34  降B大调单簧管五重奏
Australian Decca Eloquence (ADD) 476 2447. De Peyer, Melos Ens. – HUMMEL: Piano Quintet; Piano Septet

Weber’s Clarinet Quintet was written at a time when the clarinet was still fighting for acceptance as a solo instrument; even though Mozart, Beethoven and Schubert had used its novel colours with the utmost felicity, there remained plenty of scope for more virtuosic treatment. This Weber undertook in his concertos and in the Quintet, which is delightful music as well as being a willing vehicle for the soloist’s display of pyrotechnics. Gervase de Peyer is in his element, immaculate and brilliant, and given superb support from the Melos Ensemble. The 1959 recording is unbelievably warm and vivid.

韦伯创作这部五重奏时，单簧管尚未完全确立独奏乐器地位——尽管莫扎特、贝多芬与舒伯特已极尽精妙地运用其新颖音色，但仍有炫技空间亟待开发。韦伯通过协奏曲与这部五重奏实现了这种可能，作品既是令人愉悦的乐章，又为独奏家提供了施展火力的舞台。杰尔维斯·德·佩耶的演绎堪称完美，技艺无瑕且光彩夺目，梅洛斯合奏团的协奏亦属顶级水准。1959年的录音有着难以置信的温暖与鲜活感。  


Der Freischütz (complete, DVD version)  《自由射手》
Arthaus mono DVD 01 271. Kozub, Frick, Saunders, Mathis, Grundheber, Blankenheim, Minetti, Sotin, Krause, Hamburg State Op. Ch. & PO, Ludwig (Director: Rolf Liebermann; V/D: Joachim Hess)

A fascinating early example of filmed opera in remarkably vivid colour, dating from 1968. The cast pre-recorded the music in mono within an attractive acoustic, then acted and sang the opera on stage, miming very successfully to the pre-recording. The production and sets are traditional, very much so. But the principals are excellent singers every one, with Gottlob Frick’s melodramatic portrayal of Kaspar almost stealing the show. If, as Kilian, Franz Grundheber’s Act I aria is a bit too self-satisfied, the main problem is that Max, the hero (Ernst Kozub), although he sings ardently, looks so morose throughout the opera that one wonders what Agathe can see in him. However, both she (the sweet-voiced Arlene Saunders) and the delightful Ännchen (a young Edith Mathis), are charmers in their central scenes, which contain the heroine’s two most famous arias, very well sung. The Wolf’s Glen scene, dominated by a sinister Samiel (Bernhard Minetti), is staged quite spectacularly, with an impressive storm, even if it is not as rivetingly scary as the famous Keilberth audio recording. However, the opera’s closing scene, with Hans Sotin magnificently commanding as the Hermit who intervenes to provide the happy ending, is very successful. In all – allowances being made for the dated production – this is most enjoyable and a considerable achievement when one realizes it is over 40 years old! There is, for once, a good accompanying booklet, with synopsis and full documentation.

这部1968年摄制的歌剧电影以惊人的鲜艳色彩成为早期影像化歌剧的典范。演员们先在优质声场中预录单声道音频，再通过精准对口型完成舞台表演。传统风格的制作与布景中，主演阵容堪称豪华：戈特洛布·弗里克以戏剧性演绎将卡斯帕尔塑造成抢戏反派，阿尔琳·桑德斯（阿加特）与年轻的艾迪特·马蒂斯（安琴）分别以甜润嗓音完美呈现女主角的两首著名咏叹调。尽管男主角马克斯（恩斯特·科祖布）始终愁容满面，但"狼谷"场景中阴森的萨米尔（伯恩哈德·米内蒂）与震撼的暴风雨效果仍具冲击力，汉斯·索汀饰演的隐士则以威严嗓音成就圆满结局。考虑到年代局限，这套附赠完整解说册的制作仍堪称非凡成就。  


Der Freischütz (complete, CD version)  《自由射手》
Teldec 4509 97758-2 (2). Orgonasova, Schäfer, Wottrich, Salminen, Berlin R. Ch., BPO, Harnoncourt

Harnoncourt’s electrifying and refreshing version of this operatic warhorse was recorded live at concert performances in the Philharmonie in Berlin in 1995, and the engineers have worked wonders in conveying the atmosphere of a stage performance rather than a concert one, not least in the Wolf’s Glen scene, helped by recording of a very wide dynamic range. Harnoncourt clarifies textures and paces the drama well, making it sound fresh and new. The cast is first rate, with Orgonasova singing radiantly as Agathe, not just pure but sensuous of tone, floating high pianissimos ravishingly. Christine Schäfer, sweet and expressive, makes Ännchen into far more than just a soubrette character, and Erich Wottrich as Max is aptly heroic and unstrained, if hardly beautiful. The line-up of baritones and basses is impressive too, all firm and clear, contrasting sharply with one another, a team unlikely to be bettered today. A clear first choice among modern, digital recordings.

哈农库特1995年柏林爱乐大厅音乐会现场录音为这部歌剧经典注入令人振奋的新鲜感。工程师奇迹般还原了舞台演出的氛围（尤其动态范围惊人的"狼谷"场景），哈农库特通过清晰的织体处理与精准节奏把控赋予作品新生。奥尔加诺索娃的阿加特音色既纯净又性感，弱音高音宛如天籁；克里斯蒂娜·谢弗将安琴提升超越轻浮女仆形象；埃里希·沃特里希的马克斯虽音质欠美但英雄气概十足。男中低音阵容同样坚若磐石，彼此音色对比鲜明，堪称当代难以超越的演绎，是现代数字录音的首选版本。


DVD：
https://115cdn.com/s/swwrsm53hq9?password=3377&#
Weber - Der Freischütz - Leopold Ludwig, Philharmonic State Orchestra Hamburg; Kozub, Frick, Saunders [DVD5]

CD：
https://115cdn.com/s/swwrsm63hq9?password=3377&#
Weber, Carl Maria von - Clarinet Quintet, Op. 34 & Mozart - Clarinet Trio, K. 498 - Melos Ensemble, de Peyer, Aronowitz [BnF 24-96]等3个文件(夹)
第一张单簧管五重奏雄辩系列没找到，找到Alto厂牌，版本没问题，BnF不太确定。

joseph_li

sickworm119 发表于 2025-8-19 07:50
早上起来突然发现多了5楼，往前翻了2页又没感觉出来多了啥，强迫症患者总觉得心里哪哪都不太得劲儿。。。 ...

大概率是被卡住审核的内容通过了造成的，不着急的话，可以等两天再转存，网管有时没那么及时处理，这个帖子里的资源是长期有效的。

joseph_li

joseph_li 发表于 2025-8-8 18:14
Rosamunde Overture (Die Zauberharfe), D.644, & Incidental Music, D.797 (complete) 《罗莎蒙德》序曲（ ...

补海顿的《创世记》，很好听。

https://115cdn.com/s/swwrqmh3hq9?password=3377&#
Haydn - Die Schopfung, etc - Karl Munchinger, VPO [DECCA]

zzxjiao

感谢楼主建造如此浩大的工程

joseph_li

WEBERN, Anton (1883–1945)
Collected works: Disc 1: (i) Im Sommerwind; 5 Movements for String Quartet (orchestral version), Op. 5; Passacaglia, Op. 1; 6 Pieces for Large Orchestra, Op. 6. Arrangements of: Bach: Musical Offering: Fugue; Schubert: 6 German Dances, D.820
Disc 2: (i) 5 Pieces for Orchestra (1913); Symphony, Op. 21; Variations for Orchestra, Op. 30; (i; v) Das Augenlicht, Op. 26; Cantatas (i; iii; v) 1, Op. 29; (i; iii–v) 2, Op. 31; (i; iii) 3 Orchesterlieder (1913–24)
Disc 3: (ii; vi) Concerto for 9 Instruments, Op. 24; (ii) 5 Pieces for Orchestra, Op. 10; (ii; vi) Piano Quintet; Op. posth. Quartet, Op. 22 (for piano, violin, clarinet & saxophone); (ii–iii; v; vii) 5 Canons on Latin Texts, Op. 15; (ii; v) Entflieht auf leichten Kähnen, Op. 2; (ii; vii) 2 Lieder, Op. 8; 4 Lieder, Op. 13; 6 Lieder, Op. 14; (ii–iii) 5 Geistliche Lieder, Op. 15; 5 Canons, Op. 16; 3 Lieder, Op. 18; (ii; v) 2 Lieder, Op. 19; (ii–iii) 3 Volkstexte, Op. 17
Disc 4: (iii; viii) 3 Gedichte (1899–1903); 8 frühe Lieder (1901–4); 3 Avenarius Lieder (1903–4); 5 Dehmel Lieder (1906–8); 5 George Lieder, Op. 3; 5 George Lieder, Op. 4; 4 George Lieder (1908–9); 4 Lieder, Op. 12; 3 Jone Gesänge, Op. 23; 3 Jone Lieder, Op. 25
Disc 5: (ix) 6 Bagatelles for String Quartet, Op. 9; (Langsamer) Slow Movement for String Quartet (1905); 5 Movements for String Quartet, Op. 5; (ix–x) 3 Pieces for String Quartet (1913); (ix) Rondo for String Quartet (1906); String Quartet (1905); String Quartet, Op. 28; String Trio, Op. 20; Movement for String Trio, Op. posth. (1925)
Disc 6: (xi–xii) Cello Sonata (1914); 2 Pieces for Cello & Piano (1899); 3 Small Pieces for Cello & Piano, Op. 11; (xiii–xii) 4 Pieces for Violin & Piano, Op. 7; Piano: (xiv) Kinderstück (1924 & 1925); (xv) Movement (1906); (xiv) Piece (1925); (xv) Sonata Movement (Rondo) (1906); (xiv) Variations, Op. 27
全集：第1碟：(i)《夏日微风》；弦乐四重奏五乐章（管弦乐版），作品5；《帕萨卡利亚》，作品1；大型管弦乐六首，作品6。改编作品：巴赫《音乐的奉献》：赋格；舒伯特：六首德国舞曲，D.820  
第2碟：(i) 管弦乐五首（1913）；《交响曲》，作品21；《管弦乐变奏曲》，作品30；(i; v)《目光》，作品26；康塔塔：(i; iii; v) 第一号，作品29；(i; iii–v) 第二号，作品31；(i; iii) 三首管弦乐艺术歌曲（1913–24）  
第3碟：(ii; vi) 九件乐器协奏曲，作品24；(ii) 管弦乐五首，作品10；(ii; vi) 钢琴五重奏；遗作：四重奏，作品22（钢琴、小提琴、单簧管与萨克斯管）；(ii–iii; v; vii) 拉丁文本五首卡农，作品15；(ii; v)《乘轻舟逃离》，作品2；(ii; vii) 艺术歌曲两首，作品8；艺术歌曲四首，作品13；艺术歌曲六首，作品14；(ii–iii) 宗教歌曲五首，作品15；卡农五首，作品16；艺术歌曲三首，作品18；(ii; v) 艺术歌曲两首，作品19；(ii–iii) 民间文本三首，作品17  
第4碟：(iii; viii) 诗歌三首（1899–1903）；早期艺术歌曲八首（1901–4）；阿韦纳里斯诗歌三首（1903–4）；德默尔艺术歌曲五首（1906–8）；乔治诗歌艺术歌曲五首，作品3；乔治诗歌艺术歌曲五首，作品4；乔治艺术歌曲四首（1908–9）；艺术歌曲四首，作品12；约讷颂歌三首，作品23；约讷艺术歌曲三首，作品25  
第5碟：(ix) 弦乐四重奏小品六首，作品9；弦乐四重奏《慢板》（1905）；弦乐四重奏五乐章，作品5；(ix–x) 弦乐四重奏三首（1913）；弦乐四重奏《回旋曲》（1906）；弦乐四重奏（1905）；弦乐四重奏，作品28；弦乐三重奏，作品20；弦乐三重奏乐章，遗作（1925）  
第6碟：(xi–xii) 大提琴奏鸣曲（1914）；大提琴与钢琴小品两首（1899）；大提琴与钢琴小曲三首，作品11；(xiii–xii) 小提琴与钢琴小品四首，作品7；钢琴：(xiv)《儿童小品》（1924 & 1925）；(xv) 乐章（1906）；(xiv) 小品（1925）；(xv) 奏鸣曲乐章（回旋曲）（1906）；(xiv) 变奏曲，作品27  
DG 457 637-2 (6). (i) BPO; (ii) Ens. Intercontemporain; (i-ii) cond. Boulez; (iii) Oelze; (iv) Finley; (v) BBC Singers; (vi) Aimard; (vii) Pollet; (viii) Schneider; (ix) Emerson Qt; (x) McCormick; (xi) Hagen; (xii) Maisenberg; (xiii) Kremer; (xiv) Zimerman; (xv) Cascioli

This monumental DG set goes far further than the earlier Sony collection in its illumination of Webern as one of the great musical pioneers of the twentieth century. The first point is that where the earlier set limited itself to the numbered works, this one covers so much more (on six discs instead of three) with a far fuller portrait presented in the early works. Both sets include such offerings as the arrangements of Bach (the Ricercar from the Musical Offering) and Schubert (a collection of waltzes). Boulez’s interpretations of the numbered works have developed too, with the Berlin Philharmonic exceptionally responsive, bringing out often unsuspected warmth and beauty. The point and purposefulness of these performances is particularly helpful in making such thorny late inspirations as the two Cantatas so much more readily approachable. The vocal soloists have been chosen ideally, with the fresh-toned Christiane Oelze taking on the majority of songs, but with Françoise Pollet and Gerald Finley equally assured. Nor could the starry list of instrumental contributors be bettered, including as it does such luminaries as the Emerson Quartet and Krystian Zimerman; and the recordings, made over a period of years, are uniformly excellent.

这套DG的鸿篇巨制比早先索尼的合集更进一步，展现了韦伯恩作为二十世纪伟大音乐先驱的全貌。首要区别在于：索尼版仅收录编号作品，而此版以六碟容量涵盖更广（包括大量早期作品），呈现更完整的创作肖像。两版均收录巴赫（《音乐的奉献》赋格）与舒伯特（圆舞曲集）改编曲目。布列兹对编号作品的诠释亦有所发展，柏林爱乐展现出非凡的默契，常能挖掘出意想不到的温暖与美感。这些演绎的精准与目的性尤其有助于降低《两首康塔塔》等艰涩晚期作品的接受门槛。人声独唱阵容堪称理想——清亮的克里斯蒂安·厄尔泽担纲多数艺术歌曲，而弗朗索瓦兹·波莱与杰拉尔德·芬利同样出色。器乐演奏者名单更是群星璀璨，包括埃默森四重奏与克里斯蒂安·齐默尔曼等名家；历年录制的音质亦始终保持着卓越水准。


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Webern, Anton - Complete Webern - Pierre Boulez [DG]等2个文件(夹)

joseph_li

WEILL, Kurt (1900–1950)
Die Dreigroschenoper (The Threepenny Opera) (complete) 《三便士歌剧》
Decca 430 075-2. Kollo, Lemper, Milva, Adorf, Dernesch, Berlin RIAS Chamber Ch. & Sinf., Mauceri

On Decca there are obvious discrepancies between the opera-singers, René Kollo and Helga Dernesch, and those in the cabaret tradition, notably the vibrant and provocative Ute Lemper (Polly Peachum) and the gloriously dark-voiced and characterful Milva ( Jenny). That entails downward modulation in various numbers, as it did with Lotte Lenya, but the changes from the original are far less extreme. Kollo is good, but Dernesch is even more compelling. The co-ordination of music and presentation makes for a vividly enjoyable experience, even if committed Weill enthusiasts will inevitably disagree with some of the controversial textual and interpretative decisions.

在Decca的版本中，歌剧演唱家（如勒内·科洛和海嘉·德内施）与卡巴莱传统歌手（尤其是充满活力且极具挑衅性的乌特·兰佩尔饰演的波莉·皮丘姆，以及嗓音深沉、个性鲜明的米尔瓦饰演的珍妮）之间存在明显差异。这导致部分曲目需降调处理，正如当年洛特·莲娅的版本一样，但相较原版改动幅度小得多。科洛表现不俗，而德内施更为出彩。音乐与演绎的协调配合营造出鲜活生动的观赏体验——尽管忠实的魏尔乐迷难免会对某些颇具争议的文本处理和艺术抉择持有异议。


https://115cdn.com/s/swwrqob3hq9?password=3377&#
Weill, Kurt - Die Dreigroschenoper - John Mauceri, RSO Berlin; Lemper, Kollo, Milva [DECCA]

joseph_li

WIDOR, Charles-Marie (1844–1937)
Organ Symphonies: 1 in C min.: Méditation (only); 2 in D; 3 in E min.: Prélude, Adagio & Finale; 4 in F min., Op. 13/1–4; 5 in F min.; 6 in G min., Op. 42/1–2; 9 in C min. (Gothique), Op. 70  管风琴交响曲**：第1号C小调（仅《沉思曲》）；第2号D大调；第3号E小调（前奏曲、慢板与终曲）；第4号F小调，作品13/1–4；第5号F小调；第6号G小调，作品42/1–2；第9号C小调（《哥特式》），作品70
Warner Apex 2564 62297-2 (2). Marie-Claire Alain (Cavaillé-Coll organs, Saint-Étienne de Caen & Église de Saint-Germain-en-Laye)

For this Apex reissue Warner have combined two sets of recordings, from 1970 and 1977, which jointly offer an impressive overall coverage of this repertoire. Marie-Claire Alain contents herself with playing just the Méditation from the uneven First Symphony, and only three movements from the Third. Here the Saint-Germain organ sounds very orchestral and the colouring of the gentle Adagio (a perpetual canon) is very effective. The later Symphonies are more impressive works than the earlier group of Op. 13. The Fifth is justly the most famous. These are classic, authoritative performances, given spacious analogue sound with just a touch of harshness to add a little edge in fortissimos.

华纳此次的Apex再版将1970年与1977年的两组录音合并，完整呈现了这套曲目的精华。玛丽-克莱尔·阿兰仅选录了水准参差的《第一交响曲》中的《沉思曲》，以及《第三交响曲》的三个乐章。圣日耳曼教堂管风琴在此展现出极富交响性的音色，而柔板乐章（一段永续卡农）的层次渲染尤为动人。较之早期的作品13组曲，后期交响曲更具震撼力，其中《第五交响曲》的盛名实至名归。这些演绎堪称经典权威，模拟录音的宏大空间感中略带一丝粗粝，恰为强奏段落增添锋芒。


https://115cdn.com/s/swwrqo73hq9?password=3377&#
Widor, Charles-Marie - Organ Symphonies - Marie-Claire Alain [Warner]

joseph_li

WIENIAWSKI, Henryk (1835–80)
(i) Violin Concertos 1–2; (ii) Caprice in A min. (arr. Kreisler); Obertass-Mazurka, Op. 19/1; Polonaise de concert 1 in D, Op. 4; Polonaise brillante 2, Op. 21; Scherzo-tarantelle, Op. 16  (i) 第一、二小提琴协奏曲；(ii) A小调随想曲（克莱斯勒改编）；《奥贝塔斯玛祖卡》，作品19/1；《音乐会波兰舞曲第一号》D大调，作品4；《华丽波兰舞曲第二号》，作品21；《谐谑塔兰泰拉》，作品16
EMI (ADD) 5 66059-2. Perlman, with (i) LPO, Ozawa; (ii) Sanders

Perlman gives scintillating performances, full of flair, and is excellently accompanied. The recording, from 1973, is warm, vivid and well balanced. It is preferable to Perlman’s digital remake of the Second Concerto. The mid-priced reissue includes a mini-recital of shorter pieces, often dazzling, but losing some of their appeal from Perlman’s insistence on a microphone spotlight. Samuel Sanders comes more into the picture in the introductions for the two Polonaises, although the violin still remains far too near the microphone. Even so, brilliant all the same.

帕尔曼的演绎闪耀着灵动的才情，协奏部分亦精彩绝伦。这张1973年的录音温暖鲜活，声部平衡极佳，比他后来数码重录的《第二协奏曲》更胜一筹。中价再版专辑还收录了多首短篇小品集锦，虽常现炫技华彩，但因帕尔曼执意突出麦克风近场效果，部分曲目魅力稍减。两首波兰舞曲的引子部分让钢琴家塞缪尔·桑德斯有了更多表现空间，不过小提琴仍过分贴近麦克风。即便如此，整体演绎依然光彩夺目。


https://115cdn.com/s/swwrqok3hq9?password=3377&#
Wieniawski, Henryk - Works for Violin - Itzhak Perlman, LPO, Seiji Ozawa, Samuel [Warner]

joseph_li

WILLIAMS, Grace (1906–77)
(i) Carillons for Oboe & Orchestra; (ii) Trumpet Concerto. Fantasia on Welsh Nursery Tunes; (iii) Penillion; (iv) Sea Sketches (for string orchestra) (i) 双簧管与乐队《钟琴》；(ii) 小号协奏曲；《威尔士童谣幻想曲》；(iii) 《佩尼林》；(iv) 弦乐队《海景素描》
Lyrita (ADD) SRCD 323. (i) Camden; (ii) Snell; both with LSO; (iii) RPO; all cond. Groves; (iv) ECO, Atherton

It is good to have this attractive programme of works restored to the catalogue, all by a woman composer who (rarely among twentieth-century female musicians) glowingly shows that she believes in pleasing the listener’s ear. No barbed wire here, and no lack of imaginative resource either, particularly in the memorably individual Sea Sketches, a masterly suite of five contrasted movements which catch the sea’s unpredictability as well as its formidable energy. Grace Williams focuses her scene-painting more acutely than is common, while the two slow sections, the seductive Channel sirens and the Calm sea in summer, are balmily, sensuously impressionistic, the former taking a somewhat unpromising idea and turning it into true poetry. The other works here range attractively from the simple – and at one time quite well-known – Welsh Tunes Fantasia (which is a good deal more than a colourfully orchestrated potpourri) through two crisply conceived concertante pieces, to Penillion, written for the National Youth Orchestra of Wales. ‘Penillion’ is the Welsh word for stanza, and this is a set of four colourful, resourceful pieces, easy on the ear but full of individual touches; although Williams does not use any folk material, she retains the idea of a central melodic line (on the trumpet in the first two pieces) in stanza form. The trumpet and oboe concertante pieces – superbly played by soloists from the LSO of the early 1970s – both show the affection and understanding of individual instrumental timbre which mark the composer’s work. Excellent performances throughout (especially the vivid sea music) and very good analogue sound. This CD is surely an ideal representation of the composer at her most appealing.

这套迷人作品集的重现令人欣喜——出自一位坚信音乐应取悦听众的女作曲家之手（在二十世纪女性音乐家中实属罕见）。这里既无刺耳的噪音实验，亦不乏想象力：尤以个性鲜明的《海景素描》为甚，这部由五个对比乐章组成的精湛组曲，既捕捉了海洋的变幻莫测，又展现了其磅礴能量。格蕾丝·威廉姆斯的音画描绘比寻常更锐利，而两个慢板乐章——诱惑的《海峡塞壬》与《夏日平静的海》——既带着朦胧的印象派感官美，前者更将看似平淡的动机化为真正的诗篇。其余作品同样引人入胜：从质朴（曾颇负盛名）却远非简单管弦拼贴的《威尔士童谣幻想曲》，到两部构思精炼的协奏风格小品，再到为威尔士国家青年乐团创作的《佩尼林》。“佩尼林”在威尔士语中意为诗节，这组由四首色彩斑斓、技法丰富的短曲构成的作品，虽未直接引用民谣素材，却以诗节形式保留了核心旋律线（前两曲由小号呈现）。由1970年代初伦敦交响乐团独奏家精彩演绎的小号与双簧管协奏曲，均展现出作曲家对乐器音色的细腻把控。全辑演奏出色（尤以生动的海洋音乐为甚），模拟录音效果上佳，堪称这位作曲家最具魅力风格的完美诠释。


这张碟没找到

joseph_li

WILLIAMSON, Malcolm (1931–2003)
Concerto grosso; Our Man in Havana: Suite. Santiago de Espada Overture; Sinfonietta  大协奏曲；《哈瓦那特派员》组曲；《圣地亚哥·德·埃斯帕达》序曲；小交响曲
Chan. 10359. Iceland SO, Gamba

Our Man in Havana, based on Graham Greene’s novel, is among the most colourful of post-war British operas, with its catchy Cuban rhythms and its tunes first cousin to those in Broadway musicals. Until this excellent disc, the first of a projected Williamson series, not a note of it had been recorded, and this suite of four substantial movements makes one long for a full-scale stage revival. The Concerto grosso and Sinfonietta are both exercises in Williamson’s attractive brand of neoclassicism, and the Overture, Santiago de Espada, written in 1956, well before the rest, is even more approachable, one of Williamson’s first essays in tonality after his early experiments with serialism. Rumon Gamba conducts fresh, crisp performances with the Iceland Symphony Orchestra, very well recorded.

根据格雷厄姆·格林小说创作的《哈瓦那特派员》堪称战后英国歌剧中最富色彩的一部，其朗朗上口的古巴节奏与百老汇音乐剧式的旋律相映成趣。在这张优秀的唱片问世前（计划中威廉姆森系列的首辑），该作从未被录音，而这套四乐章组曲令人热切期待全剧的舞台复排。《大协奏曲》与《小交响曲》均展现了作曲家迷人的新古典主义风格，而早在1956年创作的《圣地亚哥·德·埃斯帕达》序曲（远早于其他作品）更显平易近人——这是威廉姆森早期序列实验后回归调性的首次尝试。鲁蒙·甘巴指挥冰岛交响乐团的演绎清新利落，录音效果极佳。  


(i) Organ Concerto; (ii) Piano Concerto 3; (iii) Sonata for 2 Pianos  (i) 管风琴协奏曲；(ii) 第三钢琴协奏曲；(iii) 双钢琴奏鸣曲
Lyrita (ADD) SRCD 280. Composer (piano or organ), with (i–ii) LPO; (i) Boult; (ii) Dommett; (iii) Richard Rodney Bennett

There are few more immediately rewarding couplings of post-war keyboard concertos than this (and one could wish the Piano Concerto was better accompanied). Williamson composed them both in the early 1960s, and they represent two clearly contrasted sides of his creative character. The Organ Concerto, written in tribute to Sir Adrian Boult, uses the conductor’s initials, ACB, as a dominating motive, and though some of the writing – for the orchestra as well as the organ – is spectacular, it is essentially a tough and ambitious piece, with the two powerful outer movements framing a beautiful and lyrical Largo for strings and organ alone. Piano Concerto No. 3 in four movements has immediate attractions in the catchy melodies and snappy rhythms, which ought to make it a popular success in the line of the Rachmaninov Concertos. Unfortunately, the performance has an accompaniment that is less than punchy, and the red-bloodedness of the writing is not fully realized. The performance of the Organ Concerto is quite different in every way. Excellent recording. The remarkable Sonata for Two Pianos, inspired by the composer’s stay in Sweden, encapsulates in six continuous sections (and just seven and a half minutes of music) a Swedish winter and the arrival of spring ‘with the serenity of a great release into a world of warmth and light’. The performance is definitive.

鲜有战后键盘协奏曲合集能如本辑般令人即刻沉醉（尽管钢琴协奏曲的协奏部分本可更富冲击力）。两首协奏曲均创作于1960年代初，鲜明对比了威廉姆森创作性格的两面：《管风琴协奏曲》以阿德里安·布尔特爵士姓名首字母ACB为核心动机，虽不乏管风琴与乐队的炫技段落，本质仍是部刚劲宏大的作品——两个强有力的外乐章包裹着仅为弦乐与管风琴而作的抒情广板；而四乐章的《第三钢琴协奏曲》凭借抓耳的旋律与利落节奏，本应如拉赫玛尼诺夫协奏曲般广受欢迎，可惜伴奏未能充分展现谱面的热血气质。管风琴协奏曲的演绎则全面胜出，录音精湛。灵感源自瑞典旅居的《双钢琴奏鸣曲》堪称非凡，六段连续章节（仅七分半钟时长）浓缩了瑞典寒冬与"如释重负般迎向温暖光明的春日降临"，此番演绎堪称终极诠释。


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Williamson, Malcolm - Orchestral Works Vol.2 - Rumon Gamba, Iceland SO [Chandos 24-96]等3个文件(夹)

joseph_li

WIRÉN, Dag (1905–86)
(i–ii) Miniature Suite (for cello & piano), Op. 8b; (ii) (Piano) Improvisations; Little Suite; Sonatina, Op. 25; Theme & Variations, Op. 5; (iii) 3 Sea Poems; (iv; ii) 2 Songs from Hösthorn, Op. 13  (i–ii) 小套曲（大提琴与钢琴），作品8b；(ii) 钢琴《即兴曲》；《小套曲》；《小奏鸣曲》，作品25；《主题与变奏》，作品5；(iii) 《三首海之诗》；(iv; ii) 《秋之角》两首歌曲，作品13
BIS CD 797. (i) Thedéen; (ii) Bojsten; (iii) Jubilate Ch., Riska; (iv) Högman

Dag Wirén was a miniaturist par excellence and few of the individual movements recorded here detain the listener for more than two or three minutes. The early (and inventive) Theme and Variations, Op. 5, is the longest work. Although it is slight, the Sonatina for Piano often touches a deeper vein of feeling than one might expect to encounter. Good performances from all concerned, and the usual truthful BIS recording.

达格·维伦是当之无愧的微型曲大师，本辑收录的单个乐章大多仅两三分钟时长。早期作品《主题与变奏》（作品5）虽构思精巧，却是其中最长的篇章。看似轻巧的《钢琴小奏鸣曲》却常流露出超乎预期的深沉情感。全体演奏者表现上乘，BIS厂牌一贯的真实录音品质得以延续。


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Wiren, Dag - Chamber Music, Vol. 1 - Stockholm Arts Trio [BIS]等2个文件(夹)