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

joseph_li

BELLINI, Vincenzo (1801–35)
Beatrice di Tenda (CD version)
Decca (ADD) 433 706-2 (3). Sutherland, Veasey, Pavarotti, Ward, Opthof, Ambrosian Op. Ch., LSO, Bonynge

Beatrice di Tenda was Bellini’s last but one opera, coming after Sonnambula and Norma and before I Puritani (the latter written for Paris). It had an unfortunate birth, for the composer had to go to the law courts to wring the libretto from his collaborator, Romani, and it has been felt that the result is not dramatically compelling. The story involves a whole string of unrequited loves – X loves Y who loves Z who loves … and so on, and the culminating point comes when the heroine, Beatrice, wife of Filippo, Duke of Milan, is denounced falsely for alleged infidelity. Bellini always intended to revise the score, but failed to do so before his death. There is an impressive trial scene – closely based on the trial scene of Donizetti’s Anna Bolena – and the unfortunate Beatrice is condemned to death and executed despite the recantation of false witnesses. As it is, the opera remains essentially a piece for an exceptional prima donna with a big enough voice and brilliant coloratura. Joan Sutherland naturally made it her own, and though in this (1966) recording she indulges in some of the mooning one hoped she had left behind, the many dazzling examples of her art on the three CDs are a real delight. The other star of this set is Sutherland’s husband, Richard Bonynge, whose powers as a Bellini conductor are most impressive: just listen to the way he moulds the exhilarating Act I finale, with the beautifully sprung rhythms rushing headlong to a thrilling conclusion. The supporting cast could hardly be more impressive, with Pavarotti unusually responsive for a modern tenor. Outstanding recording too, vividly transferred to CD, with arias from Norma, I Puritani and La Sonnambula included as a bonus.

贝里尼的倒数第二部歌剧《贝亚特里切·迪·滕达》诞生于《梦游女》《诺尔玛》之后，为巴黎创作的《清教徒》之前。这部作品命运多舛：作曲家不得不诉诸法庭才从剧本合作者罗马尼手中取得剧本，最终呈现的戏剧张力也常被认为不尽如人意。剧情围绕多重单向爱恋展开——X爱慕Y，Y却钟情于Z，如此环环相扣。故事高潮在于米兰公爵菲利波之妻贝亚特里切遭人诬告不贞。贝里尼生前始终有意修订总谱，却未能如愿。剧中审判场景令人印象深刻（明显借鉴自多尼采蒂《安娜·博莱娜》的审判桥段），即便伪证者当庭翻供，不幸的女主角仍被判处死刑并处决。就本质而言，这部歌剧专为拥有宏亮嗓音与华丽花腔技巧的顶尖女高音而作。琼·萨瑟兰自然当仁不让——尽管在这套1966年录音中，她时而流露令人遗憾的拖沓腔调，但三张CD里璀璨夺目的演唱仍令人沉醉。另一亮点是萨瑟兰的丈夫理查德·博宁吉，其诠释贝里尼作品的指挥造诣令人叹服：第一幕终曲在他棒下层次分明，跃动的节奏如浪涛奔涌直至震撼收尾。配角阵容同样耀眼，其中帕瓦罗蒂作为现代男高音展现出罕见的细腻演绎。录音品质出类拔萃，转制CD后音效生动鲜活，更额外收录《诺尔玛》《清教徒》《梦游女》的经典咏叹调作为附赠曲目。
（源于DeepSeek翻译）

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Bellini, Vincenzo - Beatrice di Tenda - Richard Bonynge, LSO; Pavarotti, Joan Sutherland [DECCA 24-96]等2个文件(夹)

joseph_li

卡住两个要审核了

joseph_li

Norma (CD version)
DECCA(ADD) 470 413-2 (3). Sutherland, Horne, Alexander, Richard Cross, LSO Ch., LSO, Bonynge

It was a measure of Joan Sutherland’s (and Bonynge’s) concern for musical values that she deliberately surrounded herself with singers who match her own quality and not (like some divas have done) with singers who stand no chance of distracting one from the star’s glory. She is joined here by an Adalgisa in Marilyn Horne whose control of florid singing is just as remarkable as Sutherland’s own, and who sometimes even outshines the heroine in musical imaginativeness. But fine as Horne’s contribution is, Sutherland here marked a new level of achievement in her recording career. Accepting the need for a dramatic approach very much in the school of Callas, she then ensures at the same time that something as near as possible to musical perfection is achieved. Her old trouble of diction with the words masked is occasionally present, and on the whole Sutherland’s old account of ‘Casta Diva’ on her early recital disc, The Art of the Prima Donna, is fresher than this. But basically this is a most compelling performance, musically and dramatically, and in this Sutherland is helped by the conducting of her husband, Richard Bonynge. On this showing, there have been few finer Bellini conductors in the recording studio, for in many of the conventional accompaniment figures he manages to keep the musical interest alive with sprung rhythms, and with the subtlest attention to the vocal line. The other soloists are all very good indeed, John Alexander and Richard Cross both young, clear-voiced singers.

One cannot mention this opera without reference to Callas, of course. Her two commercial EMI recordings, one mono (5 62638-2 (3)), one stereo (5 66428-2 (3)), both supremely conducted by Serafin, have much to commend them. The earlier set finds Callas in better voice, but the later recording boasts a finer cast, with Corelli and Christa Ludwig adding much to the electricity which a Callas recording usually generates.

琼·萨瑟兰（以及波宁吉）对音乐价值的重视体现在她刻意选择与自身水准相当的歌手合作，而非像某些歌剧名伶那样，以衬托者的平庸来确保自己的光芒独占。此番与她联袂出演阿达尔吉萨的玛丽莲·荷恩，其华丽唱段的掌控力与萨瑟兰同样令人惊叹，甚至在音乐想象力方面偶有超越女主角的瞬间。然而尽管荷恩的演绎精彩绝伦，这张唱片仍标志着萨瑟兰录音生涯的新高度——她既吸收了卡拉斯流派的戏剧化表达精髓，又同时追求近乎完美的音乐完成度。虽然她早年咬字不清的老问题偶有浮现（相较之下，其早期精选辑《首席女高音的艺术》中的"圣洁女神"演绎反而更显清新），但整体而言，这版录音在音乐性与戏剧张力上都极具震撼力。其夫理查德·波宁吉的指挥功不可没：他以弹性节奏激活常规伴奏音型，对声乐线条的微妙处理，堪称唱片史上最杰出的贝里尼歌剧指挥之一。其他演唱者亦表现出色，约翰·亚历山大与理查德·克罗斯两位年轻歌者嗓音清亮动人。

谈及此剧必提及卡拉斯。她为EMI录制的两版（单声道5 62638-2 (3)与立体声5 66428-2 (3)）均由塞拉芬大师执棒，各具千秋：早期版本嗓音状态更佳，后期版本则因科莱利与克里斯塔·路德维希的加盟，更强化了卡拉斯唱片特有的艺术感染力。
（源于DeepSeek翻译）

https://115cdn.com/s/swws2hp3hq9?password=3377&#
Bellini, Vincenzo - Norma - Richard Bonynge, LSO; Sutherland, Horne, Alexander [Decca]等5个文件(夹)

joseph_li

I Puritani (CD version)
Decca (ADD) 417 588-2 (3). Pavarotti, Sutherland, Ghiaurov, Luccardi, Caminada, Cappuccilli, ROHCG Ch. & O, Bonynge

Ten years after her first recording of I Puritani, made in Florence, Joan Sutherland returned to this supremely enjoyable score of Bellini’s, an opera which requires, not one star but four great singers, which this 1973 recording certainly has. ‘Opera must make people weep, shudder, die through the singing,’ Bellini wrote to his librettist, and this sharply committed performance – with all the cuts opened up – brings to thrilling life the potentially limp story about Cavaliers and Roundheads. Sutherland’s singing here is brighter and fresher than in her earlier recording, with the lovely aria ‘Qui la voce’ no longer a wordless melisma, and the great show-piece, ‘Son vergin vezzosa’, is taken at a dangerously fast pace: the extra bite and tautness are exhilarating. Pavarotti, then the possessor of the most radiantly beautiful of tenor voices, shows himself a remarkable Bellini stylist, rarely if ever coarsening a legato line, unlike so many of his Italian colleagues. Ghiaurov and Cappuccilli make up a uniformly impressive cast list. The recording is vivid and atmospheric and one marvels at Bellini’s gorgeous melodies, some very exciting duets and one of the most thrilling of all operatic barn-storming finales, with Sutherland, Bonynge and all on electrifying form.

在佛罗伦萨完成《清教徒》首版录音十年后，琼·萨瑟兰重返这部贝里尼极具观赏性的歌剧杰作。这部需要四位巨星而非独挑大梁的作品，在1973年的录音中确实汇聚了顶级阵容。"歌剧必须让人闻声落泪、战栗、心碎"，贝里尼曾致信剧本作者如是说。这场充满锐气的全本演绎（所有删节段落均予恢复），将骑士党与圆颅党之间本可能乏味的故事演绎得摄人心魄。萨瑟兰的演唱较早年录音更显清亮鲜活，咏叹调"此处他的声音"不再是无词的华丽花腔，而炫技名段"我是娇羞少女"则以近乎危险的高速呈现——那种额外的犀利感与张力令人振奋。当时拥有最辉煌美声的帕瓦罗蒂，展现出非凡的贝里尼式演绎，其连贯的声线几乎从未像许多意大利同行那样变得粗糙。吉奥洛夫与卡普契利组成的阵容同样出色。录音效果既生动又富有氛围，令人惊叹于贝里尼笔下那些华美的旋律、激动人心的二重唱，以及歌剧史上最震撼的终场爆发——萨瑟兰、波宁吉与全体艺术家都处于巅峰状态。
（源于DeepSeek翻译）

https://115cdn.com/s/swws2b83hq9?password=3377&#
Bellini, Vincenzo - I Puritani - Richard Bonynge, LSO - Pavarotti, Sutherland, LSO [DECCA 24-96]等2个文件(夹)

joseph_li

La Sonnambula (CD version)
Decca (ADD) 448 966-2 (2). Sutherland, Monti, Elkins, Stahlman, Corena, Ch. & O of Maggio Musicale Fiorentino, Bonynge

This recording was one of the early Sutherland/Bonynge triumphs. It is, in fact, Richard Bonynge’s favourite opera, and although he recorded it again with an even starrier cast, this early version is perhaps marginally the finest. Sutherland is on top form. Her ‘Ah non giunge’ is fabulous, and this recording, unlike the later digital re-make, includes Bellini’s longer postlude, with the dramatic crashing chords which end the opera, but which were cut from the later recording. Bonynge’s conducting is in fact one of the great assets of this set, as outstanding in its way as his wife’s singing. If some commentators have taken a swipe at Bonynge’s conducting ability, this set proves that even early on in his career there was no question whatsoever of his tagging along on her coat-tails, for the playing and singing here, from a group not normally remarkable for alertness, has a crispness of discipline which had not been heard in opera sets from Italy for a long time. The Polonaise in Act II before Amina’s entry has a wonderful sparkle. The rest of the cast is no let-down. Nicola Monti has a charming voice, and though he does not always use it with imagination he gives continual enjoyment – which is more than you can often say about Bellini tenors. Both Sylvia Stahlman as Lisa and Margreta Elkins as Teresa sing most beautifully and with keen accuracy. Corena’s buffo-style Rodolfo has attractive vitality – indeed, at the time of the original review, we thought him rather coarse, but we would be glad to have some of his stylish singing character in today’s opera houses. The recording still sounds vividly dramatic and full, and this is a far better way of getting to know this curiously compelling opera than the new Decca DVD – spoilt by an unspeakably ghastly production.

这段录音堪称萨瑟兰与波宁吉早期的辉煌之作。事实上，这部《梦游女》是理查德·波宁吉最钟爱的歌剧，虽然后来他集结更璀璨的阵容重录过，但眼前这个早期版本或许更胜一筹。萨瑟兰正处于巅峰状态，她演唱的"Ah non giunge"简直无与伦比。与后来的数码重制版不同，这个录音完整保留了贝里尼原作中那段较长的终曲——那些极具戏剧性的铿锵和弦在后来的版本中被删减了。波宁吉的指挥堪称本套录音的瑰宝，其艺术成就与夫人的歌喉相比毫不逊色。若某些评论家曾质疑波宁吉的指挥造诣，这套录音足以证明：即便在其事业早期，他也绝非依附于妻子的声名。这个通常不以机敏著称的乐团在此展现了久违的精准度，其演奏焕发出意大利歌剧录音中多年未见的蓬勃生机。第二幕阿米娜登场前的波罗乃兹舞曲更是流光溢彩。其他演员同样不负众望：尼古拉·蒙蒂的嗓音充满魅力，虽偶欠创意却始终令人愉悦——这在贝里尼笔下的男高音中实属难得。饰演丽莎的西尔维娅·斯塔尔曼与饰演特蕾莎的玛格丽塔·埃尔金斯皆以精准美妙的歌喉见长。科雷纳用滑稽风格演绎的罗道夫伯爵活力四射——尽管原版乐评认为其处理略显粗粝，但如今我们反倒渴望在当代歌剧院中重觅这般独具风格的演唱。录音效果至今仍保持着生动的戏剧张力与饱满音质。相较于那套被拙劣制作毁掉的新版Decca DVD，这套录音无疑是领略这部迷人歌剧的绝佳选择。
（源于DeepSeek翻译）

https://115cdn.com/s/swws2ty3hq9?password=3377&#
Bellini, Vincenzo - Operas Collectors Edition -  Richard Bonynge, Sutherland [DECCA 10CD]
单独盒装的没找到，能找到的只有1980年版。大合集的第9/10张就是这个版本。

joseph_li

BERG, Alban (1885–1935)
(i) Violin Concerto. Passacaglia (realized by Borries & Venzago); Lulu: Symphonic Pieces. Piano Sonata, Op. 1 (orch. Verbey); 3 Pieces, Op. 6; Wozzeck: 3 Fragments. Der Wein (sung in (ii) French (iii) German). Transcription of Johann STRAUSS Jr: Wein, Weib und Gesang!
Chan. SACD CHSA 5074 (2). Gothenburg SO, Venzago, with (i) Keulen; (ii) Murray; (iii) McGreevy

An outstanding new collection of the key works of Berg, spanning the creative career of the composer, with a few novelties thrown in too. These include Theo Verbey’s superb orchestration of Berg’s solo Piano Sonata, which transforms the piece into virtually a new work. In the Passacaglia fragment (1913), each variation builds on the former one rather than on the original theme, and the result is an intense piece of orchestral writing, put together from the composer’s sketch by Christian von Borries. The concert aria, Der Wein (‘The Wine’) is heard here in two performances, one in the usual German by Geraldine McGreevy, and the other in French by the tenor, Robert Murray. The latter, in Baudelaire’s original French, is markedly sweeter in tone. The main orchestral works come off extremely well here: both the soloist and the conductor bring out all the colours which make up the Violin Concerto, and the orchestral suites from Wozzeck and Lulu have both intensity and atmosphere. The Three Pieces, Op. 6, have more warmth here than usual, though the finale has a fine sense of impending doom. The disc ends with Berg’s enjoyable arrangement of Strauss’s Wein, Weib und Gesang! Throughout, these performances benefit from superb Chandos SACD sound and excellent playing from the Gothenburg orchestra. The two CDs are offered for the price of one.

这是一部杰出的贝尔格重要作品新作集，涵盖了作曲家的整个创作生涯，并加入了一些新意。其中包括西奥·维尔贝伊为贝尔格的独奏钢琴奏鸣曲所作的精湛配器，这几乎使这首作品焕然一新。在帕萨卡利亚舞曲片段（1913）中，每个变奏都建立在前一个变奏之上，而非原主题之上，最终呈现出一部充满张力的管弦乐作品，由克里斯蒂安·冯·博里斯根据作曲家的草图进行拼凑。音乐会咏叹调《葡萄酒》（Der Wein）以两种方式演绎，一种由杰拉尔丁·麦格里维以惯用的德语演唱，另一种由男高音罗伯特·默里以法语演唱。后者以波德莱尔原版法语演唱，音色明显更加甜美。主要的管弦乐作品在这张专辑中展现得淋漓尽致：独奏家和指挥家都充分展现了小提琴协奏曲的全部色彩，而《沃采克》和《露露》的管弦乐组曲则既有张力又有氛围。《三首小品》（作品6）在这里比以往更加温暖，尽管终曲中弥漫着一种末日即将来临的微妙感觉。专辑以贝尔格改编的施特劳斯《葡萄酒，葡萄酒与歌》的优美乐章收尾！自始至终，这些演出都得益于Chandos SACD的卓越音质和哥德堡管弦乐团的精湛演奏。两张CD只需一张的价格。

Wozzeck (complete)
Decca 478 3408 (2). Waechter, Silja, Winkler, Laubenthal, Zednik, Jahn, Malta, Sramek, VPO, Dohnányi – SCHOENBERG: Erwartung

Dohnányi, with refined textures and superb playing from the Vienna Philharmonic, presents an account of Wozzeck, cast from strength, that is not only more accurate than any other on record but also more beautiful. At midprice, coupled with Schoenberg’s Erwartung, this is an outstanding set in every way.

多纳伊凭借维也纳爱乐乐团精湛的演奏，以细腻的质感演绎了《沃采克》，其演绎力之强，不仅比以往任何唱片都更精准，也更优美。这套唱片价格适中，搭配勋伯格的《期望》，无论从哪个角度来看，都是一套杰出的套装。


https://115cdn.com/s/swws2xm3hq9?password=3377&#
Berg, Alban - Orchestral Works - Gothenburg SO, Mario Venzago [Chandos 24-96]等3个文件(夹)

joseph_li

BERKELEY, Lennox (1903–89)
Divertimento in B flat, Op. 18; Partita for Chamber Orchestra, Op. 66; Serenade for Strings, Op. 12; (i) Sinfonia concertante for Oboe & Chamber Orchestra, Op. 84: Canzonetta (only). Symphony 3 in 1 Movement, Op. 74; Mont Juic (with Britten), Op. 9
Lyrita (ADD) SRCD 226. LPO, composer; (i) with Winfield

Lennox Berkeley was typical of the English composers whom Lyrita championed in the 1970s, and this beautifully planned collection introduces some of the most elegant and enjoyable music that he ever wrote. Chandos took over the Berkeley cause in the 1990s (and that of his son, Michael) but this is a very good place to start the music of the father. The Divertimento is enchanting, with its four stylish and highly inventive movements, while the String Serenade, similarly in four sections, is hardly less attractive and brings a beautiful Lento closing movement. In its rather weightier tone of voice the Partita belies that it was written originally with a youth orchestra in mind, while the fourth movement from the Sinfonia concertante makes a splendid interlude before the closing Symphony No. 3. This is a concise, one-movement work, slightly more austere in its lyricism, but with a popular element entering the finale. Here at times one has the feeling that the composer would have created an even stronger effect had he held the performance more tautly, but it remains a distinctive account. The recording, from the early 1970s, is first class, and the CD transfers only improve the sense of presence and realism. The programme opens with the charmingly spontaneous Mont Juic Suite which Berkeley wrote in collaboration with Benjamin Britten, two movements each (Berkeley contributing the opening pair), and the work was later published jointly as Berkeley’s Op. 9 and Britten’s Op. 12.

伦诺克斯·伯克利是20世纪70年代莱里塔所推崇的英国作曲家的典型代表，这张精心策划的合集介绍了他创作的一些最优雅、最令人愉悦的音乐。Chandos在20世纪90年代接手了伯克利音乐事业（以及他的儿子迈克尔），但这张合集是欣赏父亲音乐的绝佳起点。《嬉游曲》以其四个风格独特、极富创意的乐章令人陶醉；《弦乐小夜曲》同样分为四个部分，同样引人入胜，并以优美的慢板结尾。《帕蒂塔》略显厚重的音调掩盖了它最初是为青年管弦乐队创作的，而《交响协奏曲》的第四乐章则在第三交响曲的结尾前，构成了一段精彩的间奏。这是一部简洁的单乐章作品，抒情风格略显朴素，但在终乐章中融入了流行的元素。此处，有时人们会觉得，如果作曲家的演奏更紧凑一些，效果会更强烈，但这仍然是一次独特的诠释。这张录制于20世纪70年代初的唱片堪称一流，CD的转制更是提升了现场感和真实感。节目以魅力十足、随性的蒙特惠奇组曲开场，该组曲由伯克利与本杰明·布里顿合作创作，各有两个乐章（伯克利贡献了开头的两个乐章），后来以伯克利作品9号和布里顿作品12号的名义联合出版。（源于Google翻译）

没找到这张碟。感觉这个推荐名单比较偏爱Lyrita、Chandos以及Hyperion厂牌。Lyrita相对比较难找一些。

leitong

joseph_li 发表于 2025-6-4 14:32
BERKELEY, Lennox (1903–89)
Divertimento in B flat, Op. 18; Partita for Chamber Orchestra, Op. 66;  ...

企鹅推荐嘛，当然先紧着英国乐队演奏家唱片商，其实就是偏心眼儿。

Berkeley.MontJuic.Serenade.Divertimento.Partita.SymphonyNo3.LPO.Berkeley.1972.75.Lyrita.ape
15-C9yPCkA9hKiW89itWWWw?pwd=f6j4

langong2004

Berkeley conducts Berkeley LPO 1992

1evPTe3ncbSqcNsn6DchMTA?pwd=pt3m

joseph_li

BERLIOZ, Hector (1803–69)
Overtures: Béatrice et Bénédict; Benvenuto Cellini; Le Carnaval romain; Le Corsaire. Roméo et Juliette: Queen Mab Scherzo. The Trojans: Royal Hunt and Storm
RCA 9026 61400-2. Boston SO, Munch (with SAINT-SAËNS: Le Rouet d’Omphale)

Berlioz overtures encompass much of the extraordinary original writing which made their composer one of the outstanding geniuses of the early Romantic era. They are dazzlingly orchestrated, consistently melodic, and hugely enjoyable show-pieces for orchestra. This RCA collection ranks alongside Munch’s classic account of Daphnis and Chloé, and is undoubtedly one of the great recordings of the last century. It comprises, among other delights, dazzlingly brilliant performances of four favourite overtures: the virtuosity of the Boston players, especially the violins in Béatrice et Bénédict and Le Corsaire, is breathtaking. But it is for the wonderfully poetic and thrilling account of the Royal Hunt and Storm from Les Troyens that this CD earns its accolade. The horn solo is ravishing and the brass produce a riveting climax as the storm reaches its peak. Then the sense of rain-drenched countryside is magically evoked as the horn steals back in the closing bars. The early stereo (1958/9) is remarkable: one really feels the hall ambience, and John Pfeiffer’s remastering is expert. Romeo and Juliet was recorded in 1961, and again one marvels at the articulation of the Boston violins and horns. The Saint-Saëns bonus is the earliest recording of all (1957). It is beautifully played and, after a robust climax, has the most delicate pianissimo ending.

However, Sir Colin Davis also made an outstanding recording of Berlioz overtures, with the Dresden State Orchestra, and it includes such rarities as Le Roi Lear, Waverley and the masterful Les Francs-juges Overture with its memorable main theme and sonorous writing for brass. It too is a splendidly played and recorded CD, available on RCA (82876 65839-2), but the Munch recordings remain unique and indispensable classics.

柏辽兹的序曲作品凝聚了这位早期浪漫主义乐派杰出天才的非凡创作力。这些乐曲以炫目的配器、流畅的旋律和令人沉醉的管弦华彩著称。RCA这套录音与明希经典版《达芙妮与克罗埃》比肩而立，无疑是上世纪最伟大的录音遗产之一。唱片不仅收录了四部脍炙人口的序曲——其中《比阿特丽斯和本尼迪克》与《海盗》中波士顿交响乐团小提琴声部令人屏息的精湛技艺，更以《特洛伊人》中"皇家狩猎与暴风雨"的史诗演绎封神：圆号独奏如泣如诉，铜管声部在暴风雨高潮迸发出雷霆万钧之势，而尾声处圆号再度悄然浮现时，骤雨初歇的田园意境被演绎得宛若魔法。1958/59年的早期立体声录音效果惊人，音乐厅的空间感纤毫毕现，约翰·普菲弗的母带重制更显功力。1961年录制的《罗密欧与朱丽叶》中波士顿乐团小提琴与圆号的精准度同样令人叹服。圣桑作品作为附加曲目（1957年录音）在壮丽高潮后以极致弱奏收尾，堪称绝妙演绎。

科林·戴维斯爵士与德累斯顿国家管弦乐团合作的柏辽兹序曲集同样出色（RCA编号82876 65839-2），包含《李尔王》《威弗利》等珍稀曲目及铜管声部恢弘壮丽的《法兰克法官序曲》。虽同为演录俱佳的版本，但明希这些录音始终是不可替代的永恒经典。
（源于DeepSeek翻译）

https://115cdn.com/s/swwl3bc3hq9?password=3377&#
Berlioz, Hector - Harold in Italy; Overtures - Charles Munch, Boston SO [RCA SACD]等3个文件(夹)
明希版略有差异。科林·戴维斯版评为四星带花。

joseph_li

leitong 发表于 2025-6-4 14:57
企鹅推荐嘛，当然先紧着英国乐队演奏家唱片商，其实就是偏心眼儿。

Berkeley.MontJuic.Serenade.Diver ...

这版已经算是克制的咯，三四星带花更厉害。感谢补档。

joseph_li

langong2004 发表于 2025-6-4 14:58
Berkeley conducts Berkeley LPO 1992

1evPTe3ncbSqcNsn6DchMTA?pwd=pt3m

感谢补档，

joseph_li

(i) Harold in Italy. Les Troyens: Ballet Music
LSO Live LSO 0040. (i) Zimmermann; LSO, C. Davis

Sir Colin Davis again demonstrates here his supreme mastery as a Berlioz interpreter in a recording of Harold in Italy, recorded live with the magnificent soloist, Tabea Zimmermann, who is rightly balanced as part of the orchestra instead of being spotlit, for this is an inspired concertante symphonic poem and not a concerto. The Ballet Music from Les Troyens provides an attractive and warmly atmospheric bonus. The disc is made the more attractive by its bargain price.

柯林·戴维斯爵士在此再次展现其作为柏辽兹作品诠释者的至高造诣，这场《哈罗尔德在意大利》的现场录音中，他与杰出中提琴独奏家塔贝亚·齐默尔曼合作无间。齐默尔曼的演奏被恰如其分地融入乐团整体音响之中，而非刻意突显——因为这本质上是一部充满灵感的交响音诗，而非炫技协奏曲。作为加演曲目的《特洛伊人》芭蕾音乐更添温暖动人的氛围魅力。加之亲民的价格，使得这张唱片尤为超值。

Symphonie fantastique, Op. 14
Pentatone Surround Sound SACD PTC 5186-184. Concg. O, C. Davis

In 1974 Sir Colin Davis chose the Symphonie fantastique for his first (Philips) recording with the Amsterdam Concertgebouw Orchestra, and in so doing entirely superseded his earlier version with the LSO. Pentatone returned to the original quadraphonic master tape for this reissue, which is spectacularly realistic. Gounod wrote about this extraordinarily original symphony that ‘with Berlioz all impressions, all sensations – whether joyful or sad – are expressed in extremes to the point of delirium’. The results place the disc as a primary recommendation, comparable with Beecham’s EMI version.

1974年，科林·戴维斯爵士选择《幻想交响曲》作为他与阿姆斯特丹皇家音乐厅管弦乐团合作的首张（飞利浦）录音，这一版本完全超越了其早年与伦敦交响乐团合作的旧录。此次Pentatone唱片公司采用原始四声道母带进行重制，音效之逼真令人叹为观止。古诺曾评价这部极具独创性的交响曲："柏辽兹笔下所有的印象与感受——无论欢愉或悲伤——都被推向癫狂的极致"。这份录音成果使其成为该曲目的首选推荐版本，足以媲比比彻姆在EMI的经典演绎。

https://115cdn.com/s/swwln1t3hq9?password=3377&#
Berlioz, Hector - Harold in Italy; Ballet Music from Les Troyens - Colin Davis, LSO, Tabea Zimmermann [LSO]等4个文件(夹)
Philips《幻想交响曲》这张CD还是电驴时代收集的老古董，很有年代感。DECCA也出了SACD。

xunianfeng

joseph_li 发表于 2025-6-1 20:37
BANTOCK, Granville (1868–1946)
Caristiona; A Celtic Symphony; Cuchullan’s Lament; The Cyprian God ...

第一张无损
通过网盘分享的文件：Bantock, Granville - Omar Khayyam - Vernon Handley, BBC SO & Chorus [Chandos]
链接: https://***.com/s/1KsUu8Q1ufbXbeoIMQCEMRA?pwd=rk8r 提取码: rk8r
--来自百度网盘超级会员v7的分享

ouloy

盛赞楼主！

武陵渔家

楼主辛苦了，一天更新了这么多资源。

yithorn

感谢分享。
营养过剩了~