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

joseph_li

wpx426 发表于 2025-7-30 10:45
补个DVD顶个贴吧，不忍看到沦落出首页啊

通过百度网盘分享的文件：11 The Fiery Angel - Kirov Op.  ...

哈哈，别纠结这个了，懂的自然懂，不懂放在首行也没用。
论坛自从去年下半年来了某克网盘地推以后，首页基本被一些炒冷饭信息霸屏，无论多好的资源，基本两三天在首页就见不到了。网管视若无睹，不过也能理解，这是个完全免费开放的平台，运作需要资金。

dftn888

“懂的自然懂，不懂放在首行也没用。” 正确，

joseph_li

PUCCINI, Giacomo (1858–1924)
La Bohème (DVD and CD versions) 《波希米亚人》
EMI DVD 2 17417-9. Gheorghiu, Vargas, Arteta, Tézier, Luisotti (Producer: Franco Zeffirelli)
DG 477 6600 (2). Netrebko, Villazón, Cabell, Daniel, Children’s Ch. & Bav. R. Ch. & SO, De Billy

Zefirelli’s extraordinary set, especially built for the Met. production of La Bohème, has already been used for over 300 performances over the years. It is still unsurpassed, and visitors walking on stage in the Act II street scene have felt they were actually in Paris itself. The opera opens and closes just as seductively in the house-top garret, while the snow in Act III is astonishing tangible. One wishes opera settings could always be realistic like this, instead of too often following producers’ crazily eccentric whims, with no connection to the music. Gheorghiu’s return to the Met. for this production was rightly celebrated. She sings gloriously, of course, but her portrayal of Mimì has matured, notably so in her acting in the opening scene, her first meeting with Rudolfo (Ramón Vargas), also singing ardently. Clearly this lovers’ meeting is not quite as innocent as it seems, although Rudolfo is equally complicit in hiding the key. Before that, the horseplay between the four Bohemians has been tingling with zest.Then the Café Momus of Act II is dazzling, with the interplay of a huge animated cast dominated by Ainhos Arteta’s sparklingly unpredictable Musetta. Marcello (Ludovic Tézier) joins Act III in the snow to sing in the memorable quartet, and the opera’s closing Act could not be more moving. Nicola Luisotti conducts Puccini’s greatest score with passion and much tenderness, and the recording projects the voices and orchestra with admirable realism. Altogether a triumph, and wonderfully enjoyable to watch and listen to.

The new DG recording on CD is the companion CD La Bohème for our time. The singing of the two stars, the glorious-voiced Anna Netrebko and the thrilling Rolando Villazón, is unforgettable. One needs to say little more, except that Nicole Cabell as Musetta and Boaz Daniel as Marcello are equally memorable, as is the vividly alive and expressive orchestral playing under Betrand de Billy. The recording has splendid reality and projection. The set comes in a handsome box with libretto.

为大都会歌剧院《波希米亚人》制作特别搭建的泽菲雷利舞台堪称非凡。这座布景多年来已承载三百余场演出，至今仍无出其右。当观众步入第二幕的街景舞台时，仿佛真实置身巴黎。歌剧院屋顶阁楼的启幕与终场同样摄人心魄，而第三幕的落雪场景更以惊人的实体感令人称绝。若歌剧布景总能如此写实，而非时常追随制作人那些与音乐毫无关联的荒诞奇想，该是何等幸事。安吉拉·乔治乌重返大都会参演本剧值得庆贺——她的演唱固然华美绝伦，但其咪咪角色的塑造已更臻成熟，尤其体现在与鲁道夫（拉蒙·瓦尔加斯饰，演唱同样炽烈）初遇的开幕戏中。显然这对恋人的邂逅并非表面那般纯真，尽管鲁道夫藏钥匙的举动同样暗藏心机。此前四位波希米亚人嬉闹的桥段更洋溢着蓬勃生机。第二幕的莫穆斯咖啡馆场景璀璨夺目，浩荡的演员群戏中，阿依诺阿·阿蕾塔诠释的缪塞塔以闪耀而难以捉摸的特质占据主导。马克罗（卢多维克·泰兹尔饰）在第三幕雪景中加入难忘的四重唱，终幕的感染力已达极致。指挥家尼古拉·路易索蒂以饱含激情与细腻的笔触驾驭普契尼最伟大的乐谱，录音工程更以惊人的真实感呈现人声与管弦乐。整体而言，这版制作堪称凯旋之作，视听体验皆令人沉醉。  

DG新发行的CD唱片堪称当代《波希米亚人》的标杆录音。两位巨星——拥有天籁嗓音的安娜·奈瑞贝科与极具爆发力的罗兰多·维拉宗——的演唱令人过耳难忘。妮可·卡贝尔演绎的缪塞塔与博阿兹·丹尼尔塑造的马克罗同样出色，伯特兰·德·比利棒下的乐团演绎更是鲜活生动。录音具有卓越的真实感与穿透力，精装盒内附剧本。


La Fanciulla del West (complete, CD version)  《西部女郎》
Decca (ADD) 421 595-2 (2). Tebaldi, Del Monaco, MacNeil, Tozzi, St Cecilia Ac., Rome, Ch. & O, Capuana

This is one of the most successful of all Tebaldi’s Puccini recordings for Decca. Here she gives one of her most warm-hearted and understanding performances on record, and Mario Del Monaco displays the wonderfully heroic quality of his voice to great – if sometimes tiring – effect. Cornell MacNeil as the villain, Sheriff Rance, sings with great precision and attack, but unfortunately lacks a villainous-sounding voice to convey the character fully. Jake Wallace’s entry and the song Che faranno i viecchi miei is one of the high spots of the recording, with Tozzi singing beautifully. Capuana’s expansive reading is matched by the imagination of the production, with the closing scene wonderfully effective in spectacular sound.

On DVD, Slatkin conducts a bitingly dramatic account of Puccini’s American opera with an understanding cast in Giancarlo del Monaco’s ultra-realistic production for the Met. in New York. In 1992, Sherrill Milnes was still an outstanding Rance, at once handsome and sinister, while Plácido Domingo is just as warmly expressive, both lyrical and heroic, as he is in the Covent Garden DVD of nine years earlier. As Minnie, the pretty and buxom Barbara Daniels with her bright, big soprano gives a characterful performance, even if her cheating in the poker game is no more convincing than usual. As Jake Wallace, the camp minstrel, Yanni Yannissis in his Act I solo is strong if a little tremulous. Bright, clear recording, bringing out the emotional tug behind Slatkin’s reading, powerfully so at the very end (DG 073 4023).

这是苔巴尔迪为DECCA录制的普契尼歌剧中最为成功的典范之一。她在此呈现了录音生涯中最温暖动人且富有洞察力的演绎，马里奥·德尔·莫纳科则极致展现了其嗓音的英雄气概——尽管偶尔略显声嘶力竭。康奈尔·麦克尼尔以精准凌厉的唱功诠释反派兰斯警长，可惜嗓音欠缺反派应有的阴鸷特质。杰克·华莱士的入场及咏叹调《我的老父们将如何》由托齐优美演绎，成为录音亮点之一。卡普阿纳宏大的解读与制作的想象力相得益彰，终幕在震撼音效中效果非凡。  

DVD版本中，斯拉特金指挥大都会歌剧院极具戏剧张力的《西部女郎》，詹卡洛·德尔·莫纳科的超写实制作搭配默契阵容。1992年的谢里尔·米尔恩斯仍是无可挑剔的兰斯，兼具英俊外貌与阴险气质，普拉西多·多明戈则如九年前科文特花园DVD版本般温暖动人，抒情与英雄气概并存。饰演明妮的芭芭拉·丹尼尔斯容貌甜美、体态丰腴，明亮宽厚的女高音赋予角色鲜明个性，尽管赌牌作弊的桥段依旧欠缺说服力。游吟歌手杰克·华莱士由雅尼·雅尼西斯演绎，第一幕独唱刚劲有力但稍显颤音。明亮的录音凸显斯拉特金诠释中的情感张力，终幕尤具冲击力（DG 073 4023）。
（源于DeepSeek翻译）

DVD：
https://115cdn.com/s/swwd81o3hq9?password=3377&#
Puccini - La Fanciulla del West - Leonard Slatkin, Metropolitan Opera; Daniels, Domingo, Milnes [DVD9]等3个文件(夹)
Anna Netrebko出演的《波西米亚人》出了蓝光

CD：
https://115cdn.com/s/swwd8rm3hq9?password=3377&#
Puccini - The Great Opera Collection [DECCA]等3个文件(夹)

joseph_li

Madama Butterfly (complete, CD version) 《蝴蝶夫人》
EMI 216487-2 (2). Gheorghiu, Kaufmann, Shkosa, Capitanucci, St Cecilia Ch. & O, Pappano

The linking in Puccini of the leading soprano, Angela Gheorgiu, and EMI’s star opera conductor, Antonio Pappano, makes for a resounding success. Pappano’s natural feeling for the phrasing and dynamic shading of Puccini’s great melodies is here enhanced by having an Italian chorus and orchestra, the St Cecilia forces of which Pappano is chief conductor. They follow his every nuance, and the wide-ranging recording brings out the subtlety of so many pianissimos which in earlier recordings came out as mezzofortes. Butterfly’s first entry from afar in Act 1 is ravishing. The moment when Butterfly through her telescope identifies Pinkerton’s ship returning is all the more overwhelming, while the passion of the great climaxes both in the love duet of Act 1 and in the tragic suicide aria of the closing pages underpins the superb singing of Gheorghiu. This may not be a role which she would ever take live on stage, at least not in a large opera-house, but, intelligent singer that she is, she has plainly thought through the role, bringing out emotional details from full-throated passion to tender expressiveness. Her vehemence in rebutting Sharpless’s hints at Pinkerton’s infidelity are as moving as her tenderness in so much of her singing, and the great aria, Un bel dì, has rarely been so richly or securely sung in a complete Butterfly, when too many divas are not quite steady under pressure.

Gheorghiu is well-matched with the Pinkerton of Jonas Kaufmann, equally secure and well focused. His may not be a very Italianate tenor-tone, but he seems totally comfortable in the Italian text and, like Gheorghiu, brings out many detailed subtleties. The firm Sharpless of Fabio Capitanucci and the well-balanced Suzuki of Enkelejda Shkosa add to the success of the set. With its refined digital recording it stands as an excellent first choice in a very competitive field.

普契尼歌剧女皇安吉拉·乔治乌与EMI当家指挥安东尼奥·帕帕诺的黄金组合缔造了这版辉煌的《蝴蝶夫人》。帕帕诺对普契尼旋律线条与力度层次的天然感悟力，因执棒其担任首席指挥的圣切契利亚管弦乐团而更显精妙——这支意大利乐团精准捕捉他每个细微处理。宽广的动态录音还原了无数弱音细节（过往录音常将其处理为中强力度），第一幕蝴蝶夫人自远处飘然而至的登场令人心醉。望远镜中认出平克顿军舰归来的瞬间极具冲击力，无论是第一幕爱情二重唱还是终场自杀咏叹调的情感爆发，皆因乔治乌的顶级演唱而震撼人心。虽非其舞台常演角色（至少非大剧院规模），这位智慧的歌者仍通过全情投入的演绎，将角色从炽烈到柔情的情绪层次悉数呈现：她驳斥夏普勒斯暗示平克顿负心时的激烈，与咏唱中的细腻温柔同样动人。经典咏叹调《晴朗的一天》在全集录音中罕有如此丰润稳定的演绎——太多女高音在高压演唱时难以保持音准。

乔治乌与乔纳斯·考夫曼饰演的平克顿堪称珠联璧合。考夫曼虽非典型意大利式男高音，却将意语台词诠释得游刃有余，并与乔治乌同样注重细节雕琢。法比奥·卡皮托努奇沉稳的夏普勒斯与恩克列达·什科萨层次分明的铃木，共同成就了这套杰作。精良的数字录音使其在激烈竞争中脱颖而出，成为首选推荐。


Manon Lescaut (complete, DVD version)  《曼侬·莱斯科》
EMI DVD 2 17420 9. Mattila, Giordani, Croft, Travis, Met. Op. Ch. & O, Levine (Stage Director: Gina Lapinsky; V/D: Brian Large)

Whether in the very realistic opening Amiens inn scene or in Geronte’s sumptuous apartment in Act II, the Met. production is characteristically spectacular, with superb costumes to match the sets, while the deportation in Act III is frighteningly realistic. The only let-down is the American wasteland of Act IV, which always seems an unrealistic ending, but that is Puccini’s miscalculation, not the Met.’s. Karita Mattila is a beautiful Manon, but we see her age as the opera progresses. She sings very affectingly indeed and is matched by the ardent Des Grieux of Marcello Giordani, with a tenor voice of comparably rich quality. Dale Travis makes a splendidly unlikeable Geronte. James Levine conducts with a flowing, passionate lyricism; indeed, the performance of the famous Intermezzo is an unforgettably passionate highlight. Very good sound completes this DVD’s many virtues.

James Levine again conducts a very desirable CD version of this opera. With Luciano Pavarotti as a powerful Des Grieux, Levine brings out all the red-blooded drama of Puccini’s first big success, while not ignoring the warmth and tender poetry. Pavarotti tackles his little opening aria, Tra voi belle, with a beefy bravado that misses the subtlety and point of Domingo, for example. But then he characteristically points word-meaning with a bright-eyed intensity that compels attention, and there is little harm in having as passionate a portrait of Des Grieux as Pavarotti’s. The rest of the cast is strong too, with Dwayne Croft a magnificent Lescaut who brings out the character with wry humour. The veteran Giuseppe Taddei is superbly cast as Geronte, very characterful and still full-throated, while Cecilia Bartoli makes the unnamed singer in the Act II entertainment into far more than a cipher (Decca 440 200-2 (2)).

无论第一幕逼真的亚眠小酒馆还是第二幕杰隆特奢华公寓，大都会制作皆以标志性壮观场景匹配华美戏服，第三幕流放场景更以骇人真实感取胜。唯第四幕美洲荒原的结局略显失真——此乃普契尼剧本之失，非制作之过。卡丽塔·玛蒂拉塑造了美丽的曼侬，其容颜随剧情渐显沧桑。她感人至深的演唱与马尔切洛·焦尔达尼激情洋溢的德·格里欧交相辉映，后者醇厚的男高音堪称绝配。戴尔·特拉维斯将惹人厌的杰隆特演绎得淋漓尽致。詹姆斯·莱文以流动的抒情激情执棒，著名的间奏曲演绎成为难忘高潮。优质音效为此DVD锦上添花。  

莱文指挥的CD版本同样不可多得（DECCA 440 200-2 (2)）。帕瓦罗蒂以磅礴声线诠释德·格里欧，莱文既突显普契尼首部大作的炽烈戏剧性，亦未忽视其温暖诗意。帕瓦罗蒂以豪放风格处理开场咏叹调《在你们美丽姑娘中间》，虽不及多明戈精妙，但其字句诠释的锐利感染力仍极具说服力——如此浓烈的德·格里欧形象本就可圈可点。德韦恩·克罗夫特以诙谐笔触塑造出鲜活的莱斯科，老将朱塞佩·塔代伊嗓音浑厚地将杰隆特演活，而塞西莉亚·巴托莉更将第二幕无名歌女唱段提升至超越符号的存在。


DVD：
https://115cdn.com/s/swwd8rx3hq9?password=3377&#
Puccini - Manon Lescaut - James Levine, Metropolitan Opera; Mattila, Giordani, Croft [DVD9]

CD：
https://115cdn.com/s/swwd8rj3hq9?password=3377&#
Puccini - Madama Butterfly - Antonio Pappano, Orchestra of National Academy of Santa Cecilia; Gheorghiu, Kaufmann [EMI]等2个文件(夹)

joseph_li

La Rondine (complete, DVD version)  《燕子》
EMI DVD 6 31618-9. Alagna, Gheorghiu, Brenciu, Oropesa, Ramey, Met. Op. Ch. & O, Armiliato (Director: Brian Large)
(i–iii) La Rondine (complete); (i; iii) Le Villi: Prelude; L’abbandono; La tregenda; Ecco la casa … Torna al felice; (i; iv) Song: Morire? (CD version)
EMI 6 40738-2 (2). (i) Alagna; (ii) Gheorghiu, Mula-Tchako, Matteuzzi, Rinaldi; (iii) L. Voices, LSO, Pappano; (iv) Pappano (piano)

It seems remarkable that EMI should have issued so close to each other two separate recordings, both with Gheorghiu and Alagna, of Puccini’s little-known but delightfully tuneful opera. The first performance has the advantage of Pappano’s conducting, with his ability to transform the work with his natural feeling for Puccini. But Marco Armiliato directs the Met. production sensitively and with hardly less lyrical warmth and vividness. Moreover the Metropolitan Opera sets are wonderfully elegant. The partnership of Gheorghiu, most moving in the Violetta-like role of the heroine, Magda, and Alagna as the stranger she falls in love with, brings ardently beautiful singing from both artists, and their passion, expressed both tenderly and passionately, is, if anything, finer, more mature in the second, live, Metropolitan Opera set. Consistently, Gheorghiu makes you share the courtesan’s wild dream of finding her young student lover. As Ruggero, the hero, Alagna winningly characterizes in his freshest voice. What will especially delight Puccinians in both sets is that he is given an extra aria about Paris, Parigi e un citta, which transforms his otherwise minimal contribution in Act I. The role of the poet, Prunier, is also memorable, thanks to the casting of the clear-toned William Matteuzzi on CD in what is normally a comprimario role. But Marius Brenciu on the DVD gives an attractively dapper characterization of this elusive character; while, under Pappano, Inva Mula-Tchako is well cast in the soubrette role of Lisette, bright, clear and vivacious, Lisette Oropesa at the Met. all but steals the part with her humour and charm. In the third Act Gheorghiu and Alagna put a seal on their Met. performance, wonderfully touching, when they have to make their final farewell, and their singing is totally memorable. The earlier set, however, adds excerpts from Le Villi, warm and dramatic, including two orchestral showpieces. Alagna also gives a ringing account of Roberto’s aria, as he does of the song, Morire? (with Pappano at the piano), the source of the extra aria for Ruggero included in the main opera.

EMI近乎同期发行两版由乔治乌与阿兰尼亚联袂演绎的普契尼冷门歌剧实属难得——这部作品旋律优美却鲜为人知。首版录音的优势在于帕帕诺的指挥，他以对普契尼天然的感悟力重塑全剧。而马尔科·阿尔米利亚托执棒的大都会制作同样细腻，抒情暖意与生动性毫不逊色。大都会歌剧院的布景更是极致典雅。乔治乌将薇奥莱塔式的女主角玛格达演绎得感人至深，阿兰尼亚则完美诠释她爱上的陌生青年，二人迸发的炽热咏唱堪称绝美，其柔情与激情交织的表演在大都会现场版中更显成熟精湛。乔治乌始终让观众共情于这位交际花追寻年轻学生恋人的痴梦，阿兰尼亚以清亮嗓音成功塑造了男主角鲁杰罗。两版录音中特别令普契尼乐迷欣喜的是，阿兰尼亚演唱了关于巴黎的增补咏叹调《巴黎是座城》，彻底改变了第一幕原本单薄的角色分量。诗人普律尼埃一角同样令人难忘：CD版中音色清澈的威廉·马特乌齐将这个次要角色提升至新高度，而DVD版马里乌斯·布伦丘则以潇洒气质精准拿捏角色神韵。帕帕诺棒下，因瓦·穆拉-恰科将侍女莉塞特活泼明亮的性格诠释得恰到好处，而大都会版的莉塞特·奥罗佩萨更以幽默魅力几乎抢尽风头。第三幕中乔治乌与阿兰尼亚的诀别场景将大都会版推向高潮，其动人演唱永驻心间。早期录音版额外收录《群妖围舞》选段，包含两首管弦炫技曲目，阿兰尼亚还激情演绎了罗伯托的咏叹调及歌曲《赴死？》（帕帕诺钢琴伴奏），后者正是剧中鲁杰罗增补咏叹调的来源。


Tosca (complete, CD version) 《托斯卡》
EMI mono 5 62890-2 (2). Callas, Di Stefano, Gobbi, Calabrese, La Scala, Milan, Ch. & O, De Sabata

There has never been a finer recording of Tosca than Callas’s first with Victor de Sabata conducting and Tito Gobbi as Scarpia. He makes the unbelievably villainous police chief into a genuine three-dimensional character, and Di Stefano, as the hero Cavaradossi was at his finest. The conducting of De Sabata is spaciously lyrical as well as sharply dramatic, and Walter Legge’s mono recording is superbly balanced. The new transfer brings enhanced sound that could almost be stereo, with the voices caught gloriously, and the mid-priced set includes a full libretto and translation.

However, Callas had a stereo successor in Gheorghiu (in partnership with Pappano) and her singing is also very compelling: she constantly sheds new light on one phrase after another. And her performance includes an account of the aria Vissi d’arte of velvet beauty. Gheorghu’s is undoubtedly another great performance significantly expanding on what we already know of her, as magnetic as Callas, rich and beautiful as well as dramatic (EMI 5 85644-2).

卡拉斯与维克多·德·萨巴塔指挥、蒂托·戈比饰演斯卡皮亚的《托斯卡》至今仍是无可超越的经典。戈比将令人发指的警长塑造成立体真实的角色，迪·斯特凡诺则处于嗓音巅峰期，完美诠释英雄卡瓦拉多西。德·萨巴塔的指挥兼具恢弘抒情性与锐利戏剧感，沃尔特·里格的单声道录音平衡绝佳。新版转录技术大幅提升音质，几近立体声效果，人声捕捉辉煌壮丽，中价版套装含完整剧本及译文。

然而卡拉斯之后，乔治乌与帕帕诺合作的立体声版本同样震撼：她不断为每个乐句注入新解，其中《为艺术为爱情》的演绎如天鹅绒般华美。这无疑是一次重大突破的演绎——如卡拉斯般摄人心魄，兼具丰润美感与戏剧张力（EMI 5 85644-2）。

DVD：
https://115cdn.com/s/swwd8033hq9?password=3377&#
Puccini - La Rondine - Marco Armiliato, Metropolitan Opera; Alagna, Gheorghiu, Brenciu [DVD9]

CD：
https://115cdn.com/s/swwd8cn3hq9?password=3377&#
Puccini - La Rondine - Antonio Pappano, LSO; Gheorghiu, Alagn, Matteuzzi [EMI]等3个文件(夹)
原文碟号出错，EMI 5 85644-2还是卡拉斯版。

joseph_li

Il Trittico: (i) Il Tabarro; (ii) Suor Angelica; (iii) Gianni Schicchi (CD version)  《三联剧》：(i) 《外套》(ii) 《修女安杰莉卡》(iii) 《贾尼·斯基基》
EMI 5 565 872-2 (3). (i; iii) Gheorghiu, Alagna; (i) Guelfi, Guleghina, Shicoff; (ii) Gallardo-Domâs, Manca di Nissa; (ii–iii) Palmer; (iii) Van Dam, Roni; (i–ii) L. Voices; (ii) Tiffin Boys’ Ch.; (i; iii) LSO; (ii) Philh. O; Pappano

No previous recordings of the three one-Acters in Puccini’s triptych bring quite such warmth or beauty or so powerful a drawing of the contrasts between each – in turn Grand Guignol melodrama, pure sentiment and high comedy. Pacing each opera masterfully, Pappano heightens emotions fearlessly to produce at key moments the authentic gulp-in-the-throat, whether for the cuckolded barge master, Michele, for Sister Angelica in her agonized suicide and heavenly absolution, or for the resolution of young love at the end of Gianni Schicchi.

Angela Gheorghiu and Roberto Alagna, as well as making a tiny cameo appearance in Il Tabarro as the off-stage departing lovers, sing radiantly as Lauretta and Rinuccio in Gianni Schicchi, with the happy ending most tenderly done. Maria Guleghina, well known for her fine Tosca, makes a warm, vibrant Giorgetta, and the touch of acid at the top of the voice adds character. Even more remarkable is the singing of the young Chilean soprano, Cristina Gallardo-Domâs as Sister Angelica. This is a younger, more tender, more vulnerable Angelica than usual, the dynamic shading brings pianissimos of breathtaking delicacy, not least in floated top-notes. The casting in the middle opera is as near flawless as could be. The Zia Principessa is sung with chilling power by Bernadette Manca di Nissa, her tone firm and even throughout. Felicity Palmer with her tangy mezzo tone is well contrasted as the Abbess. And she is just as characterful as the crabby Zita in Gianni Schicchi. Among the men, Carlo Guelfi makes a superb Michele in Il Tabarro, incisive, dark and virile. Neil Shicoff makes a fine Luigi, his nervy tenor tone adding character. As Gianni Schicchi, José Van Dam is in fine voice, with his clean focus bringing out the sardonic side of Schicchi, and his top Gs wonderfully strong and steady still. The recording is comfortingly sumptuous and atmospheric, very wide in dynamic range, with magical off-stage effects.

Warner provide a recommendable DVD of a traditional production of this opera from La Scala. Piero Cappuccilli as the barge master is well supported by the believably hard-voiced Sylvia Sass as Giorgetta, and the melodrama is brought off effectively. In the title-role of Suor Angelica, Rosalind Plowright is at her finest, both vocally and when commanding our sympathy; Dunja Vejzovic’s Princess is not as intimidating as she should be, but she sings well enough. The set for Gianni Schicchi is unrealistically spacious but Cecilia Gasdia is a rich-voiced Lauretta and, at the centre of the story, Juan Pons is a firm and believable Schicchi, although the staging of his final solo as a devil from hell is totally misguided in just the way that producers refuse to let well alone. But the veteran Gianandrea Gavazzeni conducts throughout with vitality and warmth, and altogether this has much to offer (Warner 5050467 0943-2).

普契尼这部三幕歌剧的过往录音，从未如此完美地呈现各剧之间的强烈对比——黑色惊悚剧、纯粹抒情剧与荒诞喜剧——同时又赋予它们同等的温暖与美感。帕帕诺以大师级的节奏把控，在每部剧的关键时刻将情感推向极致：无论是戴绿帽的船主米凯莱的爆发、修女安杰莉卡痛苦自杀后获得天赦的瞬间，还是《贾尼·斯基基》结尾年轻恋人终成眷属的温情时刻，都令人喉头哽咽。

安吉拉·乔治乌与罗伯托·阿兰尼亚除在《外套》中客串远去的恋人外，更在《贾尼·斯基基》中光芒四射地演绎劳蕾塔与里努乔，将幸福结局诠释得柔情似水。以托斯卡闻名的玛丽亚·古列吉娜，以温暖饱满的嗓音塑造了鲜活焦尔杰塔，高音区的一丝锐利更添角色棱角。智利女高音克里斯蒂娜·加利亚尔多马斯演绎的安杰莉卡尤为惊艳——比传统诠释更年轻、脆弱而柔美，弱音处理细腻到令人屏息，尤其飘渺的高音堪称绝唱。中剧《修女安杰莉卡》的选角近乎完美：贝尔纳黛特·曼卡·迪·尼萨以冷峻威严的嗓音诠释亲王嬷嬷，费莉西蒂·帕尔默用沙哑的女中音塑造出威严的修道院长，到了《贾尼·斯基基》中又化身刻薄的齐塔。男声中，卡洛·圭尔菲以锋利、阴暗而阳刚的嗓音成就了教科书级的米凯莱；尼尔·希科夫的神经质男高音为路易吉注入灵魂；何塞·范·达姆饰演的贾尼·斯基基嗓音状态绝佳，精准的咬字凸显角色讥诮本色，高音G依旧稳如磐石。录音动态恢弘，空间感惊人，幕后音效更添魔幻色彩。

华纳发行的斯卡拉歌剧院传统制作DVD同样值得推荐（Warner 5050467 0943-2）。皮耶罗·卡普契利饰演的船主与西尔维娅·萨斯粗粝嗓音塑造的焦尔杰塔相得益彰，黑色剧情张力十足。罗莎琳德·普劳莱特献演生涯最佳《修女安杰莉卡》，唱演俱佳；杜尼亚·韦伊佐维克的亲王嬷嬷威慑力稍逊但演唱达标。《贾尼·斯基基》布景过于宽敞，但塞西莉亚·加斯迪亚醇厚的劳蕾塔与胡安·庞斯扎实的斯基基撑起全场——尽管制作人将斯基基终场独白处理成地狱恶魔的创意堪称败笔。老牌指挥贾南德雷亚·加瓦泽尼以饱满激情统御全场，整体仍具观赏价值。


Turandot (complete, DVD version) 《图兰朵》
TDK DVD DVWW-CLOPTUR. Marton, Carreras, Ricciarelli, V. Sängerknaben, V. State Op. Ch. & O, Maazel (Director: Harold Prince; V/D: Rodney Greenberg)
Turandot (complete, CD version)
Decca (ADD) 414 274-2 (2). Sutherland, Pavarotti, Caballé, Pears, Ghiaurov, Alldis Ch., Wandsworth School Boys’ Ch., LPO, Mehta

Maazel’s spectacular 1983 Vienna State Opera version, recorded live, is outstanding in every way and is unlikely to be surpassed by modern versions (although Chen Kaige’s extravagant, stylized ‘Chinese’ version on Unitel, with Maria Guleghina very impressive in the title-role, has been highly praised elsewhere). But the Vienna State Opera set also has splendidly vivid oriental costumes, using masks on the chorus and most of the principal characters. Indeed it is exotically telling, with the set equally theatrical, its central staircase ideal for the enormously compelling scene where Turandot (Eva Marton) asks the three questions and José Carreras replies, with just the right degree of hesitation to keep the tension high. Marton was surely born to take the part of the heroine, singing with great power, and conveying her final change of heart most believably. Carreras also sings gloriously, creating the role of Calaf as both heroic and warmly sympathetic. Katia Ricciarelli is a very touching Liù, her voice creamily beautiful, and Ping, Pang and Pong (again exotically costumed and masked) bring an almost Gilbertian touch to their bizarre charcterizations. The Vienna State Opera Chorus sing gloriously in the big scenes and the orchestra play with the utmost vividness under Maazel’s thrilling direction. Very highly recommended.

Joan Sutherland gives an intensely revealing interpretation, making the icy princess far more human and sympathetic than ever before, while Pavarotti gives a performance equally imaginative, beautiful in sound, strong on detail. To set Caballé (as Liú) against Sutherland was a daring idea, and it works superbly well; Pears as the Emperor is another choice that works surprisingly well. Mehta directs a gloriously rich and dramatic performance, superlatively recorded, still the best-sounding Turandot on CD.

马泽尔1983年指挥维也纳国家歌剧院的现场录制版堪称空前绝后（尽管陈凯歌执导、玛丽亚·古列吉娜主演的Unitel版在其他媒体广受赞誉）。维也纳版以绚丽的东方戏服、合唱团与主演的面具营造出浓郁的异域风情，旋转阶梯式布景完美呈现"猜谜"场景的戏剧张力——伊娃·马顿饰演的图兰朵以雷霆嗓音震慑全场，何塞·卡雷拉斯饰演的卡拉夫则通过恰到好处的犹疑保持悬念。马顿简直是为此角而生，将公主最后的转变演绎得令人信服；卡雷拉斯的演唱兼具英雄气概与人性温暖；卡蒂娅·里恰雷利奶油般丝滑的嗓音将柳儿塑造得催人泪下；平庞彭三人组荒诞夸张的表演更添吉尔伯特式喜感。维也纳国家歌剧院合唱团在宏大场景中爆发惊人能量，马泽尔棒下的乐团演绎堪称教科书级。强烈推荐。

琼·萨瑟兰的录音版彻底颠覆了冰雪公主的形象，赋予角色前所未有的人性温度；帕瓦罗蒂的卡拉夫同样充满想象力与美感。将卡芭耶（柳儿）与萨瑟兰对垒是大胆而成功的创意，皮尔斯饰演的皇帝也意外地合适。梅塔指挥的这版演绎辉煌壮丽，录音效果至今仍是CD介质中的《图兰朵》音质标杆。


DVD：
https://115cdn.com/s/swwd80b3hq9?password=3377&#
Puccini - Turandot - Zubin Mehta, Valencian Community Orchestra; Guleghina, Voulgaridou, Berti [Blu-ray 2008]等2个文件(夹)

CD：
https://115cdn.com/s/swwd80w3hq9?password=3377&#
Puccini - Il Trittico (Il Tabarro, Suor Angelica, Gianni Schicchi) - Antonio Pappano; Alagna Gheorgiu Van Dam [EMI]等3个文件(夹)

joseph_li

以下几个视频分享被5盘判定含违规内容，若视频文件不完整，可以在5盘用以下磁链秒离。


Puccini - La Rondine - Marco Armiliato, Metropolitan Opera; Alagna, Gheorghiu, Brenciu [DVD9]：

magnet:?xt=urn:btih:FF6434B6AAA4F20BEA8E6F38913A928D7B6B13B1


Puccini - Turandot - Zubin Mehta, Valencian Community Orchestra; Guleghina, Voulgaridou, Berti [Blu-ray 2008]：

magnet:?xt=urn:btih:606840BA37EB60FEF9D3FE66F383196D202C334A


Puccini - Il Trittico - Gianandrea Gavazzeni, La Scala; Cappuccilli, Plowright, Pons [DVD9]：

magnet:?xt=urn:btih:7ED11DB3E8A98795DCEAC7B023C9BB79FD1F4274

wpx426

joseph_li 发表于 2025-7-29 11:39
Complete Mélodies  《艺术歌曲全集》
Decca 475 9085 (4). Lott, Dubosc, Kryger, Le Roux, Cachemaille ...

再补个DVD顺便顶顶贴
通过百度网盘分享的文件：6 Dialogues des Carmélites - Chœurs...
链接：https://***.com/s/1MlZ1bKzTtXcTHLexpTtt9g?pwd=1bzw

xzmumaren

这样的好帖子，要让更多的音乐爱好者看到

joseph_li

PURCELL, Henry (1659–95)
England, my England (film) 《英格兰，我的英格兰》（电影）
Isolde Films TP DVD 151. Callow, Ball, Redgrave, Shrapnel, Graham, Varcoe, Dawson, Argenta, Monteverdi Ch., E. Bar. Sol., Gardiner (TV Director: Tony Palmer)

When little is known about the life of Henry Purcell except the date of his death and his burial in Westminster Abbey, Tony Palmer has created a fantasy not just about the period but about its many great figures, from Milton and Locke to Pepys, Newton and Wren. The Great Plague and the Fire of London figure prominently, but over everything is the figure of Simon Callow, not just as Charles II but as himself, both tackling Shaw’s play, In Good King Charles’s Golden Days, at the Royal Court Theatre and quoting the jaundiced comments of John Osborne, co-author of the script, likening the 1680s to the 1880s. Michael Ball plays the part of the composer himself.

The musical side is presented splendidly, with John Eliot Gardiner directing his Monteverdi Choir and English Baroque Soloists with a starry line-up of soloists. The result is a kaleidoscope of impressions, carefully put together, which adds up to a most moving whole. The film ends with the finale of Benjamin Britten’s Variations and Fugue on a Theme of Purcell, The Young Person’s Guide, reflecting Palmer’s own career. Not surprisingly, the film, first shown on Christmas Day 1995 on Channel Four, became an instant prize-winner.

关于亨利·普赛尔的一生，人们所知甚少，除了他的逝世日期和他在威斯敏斯特教堂的安葬地。托尼·帕尔默不仅构建了关于那个时代的幻想，更塑造了从弥尔顿、洛克到佩皮斯、牛顿和雷恩等诸多伟大人物的群像。伦敦大瘟疫和伦敦大火在影片中占据重要地位，但西蒙·卡洛的身影贯穿始终——他不仅扮演查理二世，更以本人身份出现：既在皇家宫廷剧院演绎萧伯纳的戏剧《英王查理二世黄金时代》，又引用剧本合著者约翰·奥斯本将1680年代比作1880年代的尖锐评论。作曲家本人一角由迈克尔·鲍尔饰演。

音乐部分呈现得辉煌壮丽，约翰·艾略特·加迪纳指挥他的蒙特威尔第合唱团和英国巴洛克独奏家乐团，配以星光熠熠的独唱阵容。最终形成的是一幅精心拼贴的印象派马赛克，汇聚成感人至深的整体。影片以本杰明·布里顿《普赛尔主题变奏与赋格——青年管弦乐指南》终章作结，这恰是帕尔默自身艺术生涯的映照。这部1995年圣诞节在第四频道首映的影片旋即斩获大奖，实属情理之中。


Complete Sacred Music  宗教音乐全集
Hyp. CDS 44141/51 (11). Soloists, King’s Cons., King

The different categories of work here, Services, Verse Anthems, Motets (or Full Anthems) and devotional songs, cover the widest range of style and expression, with Robert King’s own helpful and scholarly notes setting each one in context. Generally the most adventurous in style are the Full Anthems, with elaborate counterpoint often bringing amazingly advanced harmonic progressions. Yet the Verse Anthems too include some which similarly demonstrate Purcell’s extraordinary imagination in contrapuntal writing. So though Volume 6 is confined to Verse Anthems and devotional songs, they too offer passages of chromatic writing which defy the idea of these categories as plain and straightforward. As the title suggests, the devotional song, Plung’d in the Confines of Despair, is a particularly fine example. Although all the earlier volumes are full of good things, Volume 7 is especially recommendable and contains the Music for the Funeral of Queen Mary of 1695, with drum processionals, the solemn March and Canzona for Brass and Funeral Sentences; it has the B flat Morning Service, two settings of the Coronation anthem, I Was Glad (one of them previously unrecorded), a magnificent Full Anthem, three Verse Anthems and two splendid devotional songs. Volume 8, too, is full of fine music. The opening Verse Anthem, In Thee, O Lord, Do I Put my Trust, opens with a very striking, slightly melancholy Sinfonia, with a six-note figure rising up from a ground bass which sets the expressive mood. The closing anthem, so appropriate from an island composer, They that Go Down to the Sea in Ships, is characteristically diverse, with Purcell helping the Lord ‘maketh the storm to cease’ and at the end providing a joyful chorus of praise. King’s notes and documentation closely identify each item, adding to one’s illumination.

There are plenty of key items in the final three volumes, including (in Volume 9) In Guilty Night and the dialogue cantata Saul and the Witch of Endor, with Susan Gritton, Rogers Covey-Crump and Michael George. An outstanding series, full of treasures, with King varying the scale of forces he uses for each item. Often he uses one voice per part, but he regularly expands the ensemble with the King’s Consort Choir or turns to the full New College Choir, which includes trebles. The individual discs are no longer available separately, but all 11 CDs come neatly packaged in cardboard sleeves.

本系列涵盖礼拜曲、经文赞美诗、经文歌（或称完整赞美诗）及灵修歌曲等不同类别，展现出最广博的风格与表现力光谱。罗伯特·金撰写的导赏文字兼具学术性与实用性，为每部作品厘清创作背景。总体而言，完整赞美诗在风格上最大胆，精致的对位法常带来惊人前卫的和声进行；而经文赞美诗中同样不乏展现普赛尔对位写作超凡想象力的杰作。因此，即便第六卷仅收录经文赞美诗与灵修歌曲，其中突破常规的半音阶段落，足以颠覆这些体裁平铺直叙的刻板印象。如题所示，灵修歌曲《坠入绝望深渊》正是绝佳例证。

虽前六卷皆属精品，第七卷尤值推荐——内含1695年为玛丽女王葬礼创作的《葬礼音乐》：包含鼓乐仪仗、庄严的铜管《进行曲与坎佐纳》及《葬礼短诗》；另有降B调《晨祷》、两版加冕赞美诗《我曾欢喜》（其一为首次录音）、一首宏伟的完整赞美诗、三首经文赞美诗及两首出色的灵修歌曲。第八卷同样佳作云集：开篇经文赞美诗《主啊，我寄望于你》以六音动机从固定低音攀升而出的忧郁交响曲启幕，奠定全曲基调；终曲《乘船入海者》出自岛国作曲家之手恰如其分，普赛尔既描绘上帝"使风暴平息"的壮景，终章又献上欢腾的赞歌合唱。金的详尽解说使每部作品脉络清晰，令听者豁然开朗。

最后三卷不乏核心作品：第九卷收录《罪恶之夜》与对话清唱剧《扫罗与隐多珥女巫》（由苏珊·格里顿、罗杰斯·科维-克伦普和迈克尔·乔治演绎）。这套杰出系列珍宝无数，金根据作品灵活调整编制：常采用单声部配置，亦适时加入国王合奏团合唱组，或启用含童声的新学院合唱团全团。单张唱片已停止零售，但全套11CD均以环保纸套精美封装。

DVD：
https://115cdn.com/s/swwm6a33hq9?password=3377&#
Henry Purcell – England, My England (Full Film) - Tony Palmer Films.mp4
抓自油管，清晰度不太好，将就看。

CD：
https://115cdn.com/s/swwm6ay3hq9?password=3377&#
Purcell, Henry - Complete Sacred Music - Robert King, the King's Consort [Hyperion]

joseph_li

《三声部奏鸣曲1-12；四声部奏鸣曲1-10；恰空舞曲；三首帕凡舞曲；基于固定低音的三声部曲》
Sonatas of 3 Parts: 1-12; 4 Parts: 1-10; Chacony; 3 Pavans; 3 Parts on a Ground
Chan. 0572/3. Purcell Quartet

In these Sonatas Purcell turns to a new concerted style which had been developed in Italy. Interspersed among the Sonatas are three earlier and highly chromatic Pavans and the famous Chacony. The playing is authoritative and idiomatic, and the artists are firmly focused in a warm but not excessively reverberant acoustic. This is Purcell at his finest.

在这套奏鸣曲中，普赛尔借鉴了意大利新兴的协奏风格。穿插其间的三首早期高半音阶帕凡舞曲与著名的《恰空舞曲》更添异彩。演奏极具权威性且原汁原味，艺术家们在温暖而不过分混响的声学环境中精准呈现。此乃普赛尔巅峰之作。


Complete Ayres for the Theatre: Abdelazar; Bonduca; Music in: Amphitryon; Distress’d Innocence; The Double Dealer; The Fairy Queen & Sonata while the Sun Rises; The Gordian Knot Unty’d; The Indian Queen and Symphony; King Arthur; The Man-Hater; The Married Beau; The Old Batchelor; The Prophetess or the History of Dioclesian; Timon of Athens; The Virtuous Wife. Overtures: to Sir Anthony Love; in G min. 《剧院歌曲全集》包含：《阿布德拉扎尔》《邦杜卡》及以下剧作配乐：《安菲特律翁》《受辱的纯真》《两面派》《仙后》与《日出奏鸣曲》《戈尔迪之结》《印度女王》及交响曲、《亚瑟王》《厌世者》《已婚的美男子》《老光棍》《女先知狄奥克莱西恩传》《雅典的泰门》《贞洁妻》；序曲：《献给安东尼·爱爵士》《G小调序曲》。
Hyp. CDS 44381/3. Parley of Instruments, Goodman

When Purcell died suddenly in 1695 he left much unpublished music. The most unexpected of these volumes was ‘A Collection of Ayres, Compos’d for the Theatre and upon other Occasions. These Ayres formed the first printed edition devoted entirely to the incidental music used in London theatres. The presentation here does not offer the suites as they would have been heard in the theatre. The overtures which begin each collection would have come halfway through the sequence of movements, placed between the movements which warned the audience that the play was about to begin (the ‘first music’ and ‘second music’) and those that marked the division of the play into Acts (the ‘act tunes’). These overtures are mostly structured in the two-section form established by Lully, opening usually with dotted rhythms. The suites for Purcell’s semi-operas, King Arthur, The Fairy Queen and The Indian Queen, interpolated some of the theatrical dances and song tunes (heard here without the words).

Roy Goodman’s aim in this recording is to present Ayres for the Theatre complete and to produce the effect of a concert performance of the suites under Purcell’s direction, primarily on strings, but using oboes and bassoons in some of the movements of Dioclesian and King Arthur. As Peter Holman comments in the notes, ‘Purcell’s music offers no shortage of minuet-like airs, but hornpipes are equally common, and throughout there is a preponderance of breezy, tuneful airs, some of which achieved the status of popular tunes. There are also many beautiful, soulful airs distinguished by Purcell’s unfailing ear for string sonorities.’ Abdelazar, of course, includes the rondeau made famous by Benjamin Britten’s variations.

The performances by Goodman and the authentic Parley of Instruments are thoroughly alive, stylish and responsive to the composer’s ready invention. The recording is in every way pleasing, clear, yet full-bodied.

1695年普赛尔猝然离世时，遗有多部未刊之作。其中最出人意表的当属《剧院歌曲及应景作品集》——这是首部完全收录伦敦剧院配乐的印刷版曲集。本辑并未按剧场实际演出顺序编排组曲：每套曲集开篇的序曲本应位于乐章序列中部，介于宣告戏剧开场的"第一音乐""第二音乐"与划分幕次的"幕间曲"之间。这些序曲多采用吕利确立的两段式结构，常以附点节奏起势。为《亚瑟王》《仙后》《印度女王》等半歌剧创作的组曲中，则穿插了剧场舞蹈与歌调旋律（本辑无人声演唱）。

罗伊·古德曼此番录音旨在完整呈现剧院歌曲，以弦乐为主（《狄奥克莱西恩传》与《亚瑟王》部分乐章加入双簧管与巴松管），复原普赛尔指挥下的音乐会组曲效果。如彼得·霍尔曼在解说中所言："普赛尔笔下不乏小步舞曲般的雅乐，但角笛舞曲同样常见，更有大量清新动人的旋律——其中不少曾风靡一时。诸多深沉优美的乐章更彰显作曲家对弦乐音色的绝妙把控。"《阿布德拉扎尔》中的回旋曲自不待言，因布里顿的变奏曲而广为人知。

古德曼与仿古乐团"乐器盛宴"的演绎充满生机，风格纯正，敏锐捕捉作曲家的即兴神思。录音效果通透饱满，堪称完美。


https://115cdn.com/s/swwm6aa3hq9?password=3377&#
Purcell, Henry - Complete Ayres for the Theatre - Parley of Instruments, Roy Goodman [Hyperion]等2个文件(夹)

joseph_li

Funeral Music for Queen Mary (with (i) Queen’s epicedium); March & Canzona on the Death of Queen Mary. Funeral Sentences: Man that is born of a woman; In the midst of life are we in death; Thou knowest, Lord, the secrets of our hearts. Anthems: Hear my prayer; Jehovah quam multi sunt. (ii) 3 (Organ) Voluntaries: in D min.; in G; in C  《玛丽女王葬礼音乐》（含 (i)《女王挽歌》)；《玛丽女王葬礼进行曲与坎佐纳》；葬礼短诗：《人为妇人所生》《我们活在死亡包围中》《主知晓我心隐秘》；赞美诗：《垂听我祈祷》《耶和华啊，敌人何其多》；(ii) 三首管风琴《即兴曲》：D小调、G大调、C大调
Naxos 8.553129. Oxford Camerata, Summerly; with (i) Lane; (ii) Cummings

On the Naxos CD this glorious, darkly intense funeral music is given an outstandingly fresh and clear rendition, vividly recorded, matching even the finest rival versions. The sharpness of focus in the sound means that Purcell’s adventurous harmonies with their clashing intervals are given extra dramatic bite in these dedicated performances, marked by fresh, clear soprano tone in place of boy trebles. The choice of extra items – full anthems with their inspired counterpoint rather than verse anthems – is first rate. Aptly, the extended solo song for soprano (with simple organ accompaniment), The Queen’s epicedium, is also included with the funeral music, sung with boyish tone by Carys-Ann Lane.

在这张Naxos唱片中，这套辉煌而阴郁凝重的葬礼音乐获得了极其清新透彻的演绎，录音鲜活生动，足以媲美任何顶尖版本。精准的声场聚焦令普赛尔大胆的和声与不协和音程在这些倾情演奏中更显戏剧张力——尤其以清亮的女高音替代传统童声高音部。选曲亦属上乘：选用对位法精妙的完整赞美诗而非分段式赞美诗作为附加曲目。女高音独唱曲《女王挽歌》（管风琴简易伴奏）被恰当地收录于葬礼音乐部分，由卡莉丝-安·莱恩以少年般的纯净音色演唱。  


Airs & Duets《咏叹调与二重唱》
Lyrichord LEMS 8024. Dooley, Crook, Instrumental Ens., Brewer (harpsichord)

Jeffrey Dooley (counter-tenor), a pupil and protégé of the late Alfred Deller, has a truly beautiful voice and takes naturally to this repertoire. Among his solo items Be welcome, then, great sir and the Divine Hymn (Lord, what is man) are quite ravishing, while Hark! the ech’ing air is delectably sprightly. Particularly engaging is One charming night from The Fairy Queen, with a pair of recorders. The tenor Howard Crook also has a disarmingly personable vocal line, and his solos, including Beauty, thou scene of love and the sombre Here let my life, are hardly less memorable, with the famous If music be the food of love splendidly sung. But it is when these two voices join together in duet that one’s senses are truly ravished, from the opening Let the fifes and the clarions and the similarly light-hearted Sacharissa’s grown old to Many, many such days (with its bassoon obbligato), and not forgetting Sound the trumpet. The celebration of the queen, Hail, gracious Gloriana, hail!, makes a well-chosen finale. The simple instrumental accompaniments are managed most stylishly, and this concert cannot be too highly recommended.

已故阿尔弗雷德·德勒的弟子、假声男高音杰弗里·杜利拥有真正美妙的嗓音，天然契合这套曲目。其独唱作品中，《恭迎尊驾》与《圣咏（主啊，世人算什么）》令人心醉神迷，《听！空谷回音》则灵巧欢快。尤为动人的是《仙后》选段《迷人良夜》，配以两支竖笛的婉转交织。男高音霍华德·克鲁克同样拥有亲切迷人的声线，其独唱曲目如《美啊，爱的光景》与阴郁的《此生止于此》同样难忘，名作《若音乐是爱的食粮》更被演绎得辉煌灿烂。  

但当两人声音合二为一时，才是真正摄人心魄的时刻：从开篇《让横笛与号角齐鸣》到同样轻快的《萨卡里莎已老去》，再到带有巴松管助奏的《愿日日如此》，更不必说《吹响号角》。赞颂女王的《万岁，荣光的格洛丽安娜！》作为终曲堪称点睛之笔。简约而考究的器乐伴奏为这场听觉盛宴锦上添花，实为不可错过的精品。


Dido and Aeneas (complete, CD version) 《狄朵与埃涅阿斯》
Decca (ADD) 466 387-2. Baker, Herincx, Clark, Sinclair, St Anthony Singers, ECO, Lewis

Janet Baker’s 1962 recording of Dido is a truly great performance. The radiant beauty of the voice is obvious enough, but the opening phrase of ‘When I Am Laid in Earth’ and its repeat a few bars later is a model of graduated mezza voce. Then, with the words ‘Remember Me’, delivered in a monotone, she subdues the natural vibrato to produce a white tone of hushed, aching intensity. Anthony Lewis and the ECO (Thurston Dart is a model continuo player) produce the crispest and lightest of playing which never sounds rushed. Herincx is a rather gruff Aeneas, but the only serious blemish is Monica Sinclair’s Sorceress. She over-characterizes in a way that is quite out of keeping with the rest of this production. Like most vintage Oiseau-Lyre recordings, this was beautifully engineered. And it is a welcome reissue on the Decca Legends label.

The outstanding mezzo, Sarah Connolly, is central to the success of the fine new ‘authentic’ Chandos version of Purcell’s operatic masterpiece, with period instrumentalists of the OAE accompanying, led by the violinist Margaret Faultless and with Elizabeth Kenny and Steven Devine directing. Connolly’s characterization is deeply moving, with fine tonal contrasts in Dido’s Lament. Gerald Finley too makes the most of the limited role of Aeneas with highly expressive singing. One young singer to note is Lucy Crowe as Belinda, with John Mark Ainsley as the Sailor, making up a cast with no weak link. First-rate recording, finely balanced to an apt scale (Chan. 0756).

珍妮特·贝克1962年录制的《狄朵》堪称绝世演绎。嗓音的璀璨之美自不待言，而《当我长眠地下》开篇乐句及其数小节后的重复，堪称渐进式半声唱法的典范。当以单音吟出"记住我"时，她压制天然颤音，营造出令人心碎的苍白音色。安东尼·路易斯与英国室内乐团（瑟斯顿·达特担任通奏低音）的演奏清脆灵动，毫无急促之感。赫林克斯塑造的埃涅阿斯略显粗犷，唯一明显瑕疵是莫妮卡·辛克莱饰演的女巫——其过度夸张的表演风格与整体制作格格不入。与大多数古董级"夜莺"厂牌录音一样，本辑录音工程精湛，此次由Decca传奇系列再版更显珍贵。

卓越的女中音莎拉·康诺莉是钱多斯新版"本真演绎"成功的关键，启蒙时代管弦乐团古乐演奏家们（由小提琴家玛格丽特·福尔特勒斯领衔，伊丽莎白·肯尼与史蒂文·德文联合指导）倾力伴奏。康诺莉对角色的刻画催人泪下，《狄朵的悲歌》中音色对比精妙绝伦。杰拉尔德·芬利亦以极具表现力的演唱，在埃涅阿斯这个有限角色中尽显风采。值得关注的新人露西·克劳饰演贝琳达，约翰·马克·安斯利饰演水手，整套阵容无懈可击。录音品质一流，声场平衡恰到好处（钱多斯编号0756）。


https://115cdn.com/s/swwm6a13hq9?password=3377&#
Purcell, Henry - Airs and Duets - Jeffrey Dooley, Howard Crook [Lyrichord]等4个文件(夹)

joseph_li

The Fairy Queen (complete, DVD version; combined with excerpts from Shakespeare’s A Midsummer Night’s Dream) 《仙后》
Opus Arte DVD OA1031D. Vocal cast: Crowe, Sampson, Lyon, Foster-Williams, Glyndebourne Ch., OAE, Christie. Actors: Sally Dexter, Joseph Millson, Desmond Barrit, Jotham Annan (V/D: Françoise Roussillon)
Arthaus DVD 100 200. Kenny, Randle, Rice, Van Allan, ENO Ch. & O, Kok (Director: David Pountney)
The Fairy Queen (complete, CD version)
DG Al Fresco 477 6733 (2). Harrhy, J. Smith, Nelson, Priday, Penrose, Stafford, Evans, Hill, Varcoe, Thomas, Monteverdi Ch., E. Bar. Sol., Gardiner

Recorded live at the Coliseum in London in 1995, the first DVD ENO production of The Fairy Queen, conducted by Nicholas Kok, was in essence a sparkling fantasy, thanks to the brilliant stage direction of David Pountney and the choreography of Quinny Sacks. The sequence of masques was treated as a series of circus turns and, thanks also to the fantastic costumes of Dunya Ramicova, the atmosphere of the circus is never far away, helping to hold together an episodic sequence of scenes, originally designed to back up a garbled version of Shakespeare’s A Midsummer Night’s Dream. Titania – Yvonne Kenny at her finest – and Oberon – the exotic Thomas Randle – stand out the more sharply as other-worldly figures, thanks to their glamorous costumes. A fun entertainment, as unstuffy a presentation of Purcell’s problematic masterpiece as could be, vividly filmed and recorded, but not really covering all the work’s inherent production problems.

Many will feel that these are finally resolved by the director of the splendid new Opus Arte Glyndebourne production which won a Gramophone award in 2010. The reconciling of Purcell’s score and its original play, performed by a full cast, is finally realized with a most imaginative production from Jonathan Kent that is gorgeous visually and most entertaining to watch; and the Purcell masques fit readily with the spoken narrative. The whole presentation combines charm and period musicality (with the admirable William Christie in charge). Among the singers, Carolyn Sampson (as usual) stands out. But the whole cast is excellent. In most respects visually and dramatically this is a triumph.

Gardiner’s CD performance, concentrating on the music, is also a delight from beginning to end for, though authenticity and completeness reign, scholarship is worn lightly and the result is consistently exhilarating, with no longueurs whatever. The fresh-toned soloists are first rate, while Gardiner’s regular choir and orchestra excel themselves, with Purcell’s sense of fantasy brought out in each succeeding number. Beautifully clear and well-balanced recording. Reissued at mid-price on DG’s Al Fresco label.

1995年伦敦科利瑟姆剧院现场录制的首版ENO制作DVD，在尼古拉斯·科克指挥下，凭借大卫·庞特尼惊艳的舞台导演与昆尼·萨克斯的编舞，本质上是一场流光溢彩的奇幻盛宴。杜尼亚·拉米科娃设计的奇幻服装令假面舞会段落始终弥漫马戏团氛围，巧妙串联起原本为支离破碎的《仲夏夜之梦》改编版服务的场景。身着华服的提泰妮娅（伊冯娜·肯尼巅峰演绎）与奥伯龙（异域风情的托马斯·兰德尔）更显超凡脱俗。这场趣味盎然的演出以最不刻板的方式呈现了普赛尔这部问题杰作，影像与录音生动鲜活，但仍未完全解决作品固有的制作难题。

许多人认为2010年荣获《留声机》大奖的Opus Arte格林德伯恩新版制作终成终极解决方案。乔纳森·肯特以绝妙想象力将普赛尔乐谱与原剧文本（由完整演员阵容呈现）完美融合，视觉华美、观赏性极强；普赛尔的假面舞会音乐与对白叙事浑然天成。整体制作兼具魅力与时代乐感（由令人敬佩的威廉·克里斯蒂执棒）。歌手阵容中，卡罗琳·桑普森（一如既往）尤为突出，但全体演员皆属上乘。无论视觉呈现还是戏剧效果，这版制作堪称全面胜利。

加迪纳的CD版专注于音乐本身，同样令人全程愉悦。虽秉持本真性与完整性，学术考据举重若轻，成果始终振奋人心，毫无冗长之感。音色清新的独唱家们表现一流，加迪纳的固定合唱团与乐团超常发挥，普赛尔的奇幻色彩在每个乐章中跃然而出。录音清晰优美，声场平衡。DG厂牌Al Fresco系列以中价再版发行。


DVD：
https://115cdn.com/s/swwm6g33hq9?password=3377&#
Purcell, Henry - The Fairy Queen - Nicholas Kok, Kenny, Randle, Rice, Van Allan [AVI]等2个文件(夹)

CD：
https://115cdn.com/s/swwm6a23hq9?password=3377&#
Purcell, Henry - The Fairy Queen - John Eliot Gardiner, English Baroque Soloists, Monteverdi Choir [DG]

joseph_li

RACHMANINOV, Sergei (1873–1943)
Piano Concertos 1–4; Rhapsody on a Theme of Paganini, Op. 43
Hyp. CDA 67501/2. Hough, Dallas SO, Litton
Piano Concertos 2 in C min., Op. 18; 3 in D min., Op. 30
Avie AV 2192. Simon Trpceski, RLPO, Petrenko

The vintage 1970s recordings by Ashkenazy, the LSO and Previn have long been our primary recommendation for the Rachmaninov concertos (Double Decca 444 839-2), but more recently Stephen Hough and Andrew Litton, recorded live on a Hyperion two-CD set, offer magnetic performances that reflect the thoughtfulness and care with which this masterly pianist approaches even the most frequently performed works, his interpretations refreshingly based on indications in the score rather than performing tradition. With Litton equally a devotee of the composer, this is strongly recommendable, even if the recording quality does not quite match another outstanding series of recordings by Simon Trpčeski and the Royal Liverpool Philharmonic Orchestra under their new conductor, Vasily Petrenko.

Trpceski’s playing combines dazzling brilliance with warmly natural phrasing with the natural ebb and flow so characteristic of the composer’s richly romantic melodic lines. Petrenko’s tempi are not dissimilar to Previn’s and his partnership with his soloist is all-embracing. The first-movement climax of the C minor Concerto is handled with complete spontaneity and the slow movement has an Elysian close. The opening theme of the D minor Concerto has an affecting simplicity; conversely, the more virtuosic of the composer’s two cadenzas is effectively used at the first-movement climax. Then the slow movement brings a wonderful surge of expressive feeling from the strings. Both works close thrillingly and the listener is left thoroughly satisfied, particularly as the well-balanced Avie recording is so natural, yet makes a splendid impact.

阿什肯纳齐与伦敦交响乐团、普列文合作的1970年代经典录音（Decca双碟444 839-2）长期被视为拉赫玛尼诺夫协奏曲的首选推荐。而近期斯蒂芬·霍夫与安德鲁·利顿在Hyperion的双CD现场录音则提供了更具磁性的演绎——这位大师级钢琴家对常演作品仍保持深思熟虑的态度，其诠释摒弃演奏传统，令人耳目一新地回归乐谱本真。利顿同样深谙作曲家精髓，这套录音虽音质略逊于西蒙·特普切斯基与瓦西里·佩特连科指挥的皇家利物浦爱乐乐团新录音，仍极具推荐价值。  

特普切斯基的演奏将炫目技巧与自然流畅的乐句处理完美结合，精准捕捉作曲家浪漫旋律特有的起伏律动。佩特连科的速度处理与普列文相近，与独奏家的配合天衣无缝。《c小调协奏曲》第一乐章高潮段落的处理浑然天成，慢乐章尾声宛如仙境；《d小调协奏曲》开篇主题以感人至深的简朴呈现，而在第一乐章高潮处则选用作曲家两段华彩中技巧更艰深者。慢乐章中弦乐声部的情感喷发摄人心魄，两部作品的终章都令人热血沸腾。Avie录音平衡自然又极具冲击力，令听者获得极致满足。  


The Isle of the Dead, Op. 29; The Rock, Op. 7; Symphonic Dances, Op. 45  《死之岛》Op.29、《岩石》Op.7、《交响舞曲》Op.45
Avie AV 2188. RLPO, Petrenko

This is the first time Rachmaninov’s three masterly symphonic poems have appeared on a single disc, and the arresting performances by Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra provide a truly unforgettable triptych, marvellously played and given full-blooded, demonstration-quality recording. There are excellent notes too, by Anthony Bateman, and he reveals that in 1893 Tchaikovsky saw the score of The Rock and was so impressed by its vivid, darkly colourful orchestration that he planned to conduct it on a European tour. But alas, his death in November of that year prevented that. It is no wonder that Tchaikovsky admired the work, for it is very Russian and is tragically based on Chekhov’s short story, ‘On the Road’. This tells of two travellers, a world-weary old man (lower strings) and a beautiful young woman (a tripping flute), who meet for one night during a snowstorm. Their dialogue reaches a passionate climax, but they part in the morning, without resolving the man’s problems. As a symbol for the work Rachmaninov chose the opening lines of a gloomy poem by Mikhail Lermontov, ‘Upon the breast of a gigantic rock a golden cloudlet rested for one night.’

The Isle of the Dead is also broodingly atmospheric, inspired by a painting by Arnold Böcklin depicting Charon, the ferryman of Greek mythology who rowed the souls of the dead across the river Styx to their final resting place. Charon’s oars are depicted by an insistent five-note motif in the lower strings. The Dies irae (a medieval chant that seemed to haunt the composer) eclipses the work’s secondary ardent theme representing life.

There are three Symphonic Dances which together form a kind of sinfonia. The work was written in America in 1940 and dedicated to Eugene Ormandy. The first movement opens with incisive chords, then develops a bold, jaunty rhythm for its immediately catchy main theme. But the languorous secondary theme is even more memorable, introduced on the melancholy alto saxophone and taken up richly (lusciously, as phrased by the Liverpool strings), moving to a climax. But again it is to be interrupted ominously by the Dies irae. The central waltz is spectral, apprehensive, even ghoulish in feeling, but has a more romantic centrepiece, before the music disintegrates. The finale is then completely taken over by the Dies irae. A tolling bell announces its appearance as a demonic dance, alternating with its transformation into a rather more exultant religious chant, which eventually provides a positive resolution. The Liverpool performance is tremendously compelling, and this is one of the finest non-concertante Rachmaninov CDs in the catalogue.

拉赫玛尼诺夫三部交响诗杰作首次集结于单张唱片。佩特连科与皇家利物浦爱乐乐团的震撼演绎构成令人难忘的三联画，演奏精湛，录音水准堪称示范级。安东尼·贝特曼的精彩解说透露：1893年柴可夫斯基曾审阅《岩石》总谱，对其阴暗浓烈的配器印象深刻，计划在欧洲巡演中指挥该作，可惜同年11月的猝逝使计划夭折。这部取材于契诃夫短篇《在路上》的作品极具俄罗斯特质：低音弦乐刻画厌世老翁，跳跃的长笛表现妙龄女子，暴风雪夜相遇的两人在激情对话后黯然分别。作曲家引用莱蒙托夫诗句"金色云朵在巨岩胸膛栖息一夜"作为题眼。

《死之岛》的阴郁氛围源自伯克林描绘冥河船夫的画作，低音弦乐固执的五音动机象征划桨动作。贯穿全曲的"末日经"圣咏（作曲家终生痴迷的中世纪旋律）最终吞噬了代表生命的副部主题。

1940年创作于美国的《交响舞曲》题献给奥曼迪，三乐章构成类交响曲结构。首乐章以犀利和弦开场，随后展开意气风发的主部主题，但中音萨克斯引入的忧郁副部更令人难忘。阴森的圆舞曲乐章中段闪现浪漫片段，终章完全被"末日经"主宰——钟声宣告恶魔之舞的降临，与宗教颂歌的变形交替出现，最终达成积极解决。利物浦乐团的演绎极具说服力，堪称现存拉赫玛尼诺夫非协奏曲唱片中的巅峰之作。


https://115cdn.com/s/swwm6gk3hq9?password=3377&#
Rachmaninov - Isle of the Dead, The Rock, Symphonic Dances - Vasily Petrenko, Royal Liverpool PO [Avie]等5个文件(夹)

joseph_li

Symphonies 1–3; The Isle of the Dead, Op. 29; The Rock, Op. 7; Symphonic Dances, Op. 45; (i–ii) The Bells, Op. 35
DG 477 9505 (4). Russian Nat. O, Pletnev; with (i) Marina Mascheriakova, Sergei Larin, Vladimir Chernov; (ii) Moscow State Chamber Ch. (with TANEYEV: (ii) John of Damascus, Op. 1)

In the First Symphony Mikhail Pletnev produces a range of sonority and clarity of articulation that we recognize from his keyboard playing, and there is a poetic vision alongside a splendid command of architecture. The symphony is quite outstanding in his hands, and so is The Isle of the Dead, which has a sense of inevitability and forward movement that recall both Rachmaninov himself and Koussevitzky. Pletnev also brings a fresh mind to the Second Symphony, with his approach very much controlled, giving a strong sense of onward current, less of the heart-on-sleeve emotion in the slow movement that we remember from Previn’s passionately committed performance (valid in a quite different way). The Rock too is imaginatively presented and fills out the disc impressively.

In the Third Symphony we are again reminded of the clarity and lightness of articulation experienced in Pletnev’s pianism, and the work’s feeling throughout is held in perfect control. It is a performance of quality, although it must be said that ensemble is endangered by some frenetically fast speeds in the exhilarating finale. Yet Pletnev can easily persuade you that his interpretative idiosyncrasies in the outer movements are spontaneous and right, and the opulent sound-world of this wonderful symphony is beautifully served by the Russian players (and in particular the strings). The coupling with the Symphonic Dances is similarly persuasive in a individually Russian way.

Again, The Bells comes in a performance that shows the music in an entirely new light. Pletnev has his finger on the composer’s pulse and always has special insights to bring to his music. He goes beyond the work’s vivid colours and lush sonorities and, without in any way indulging in over-characterization, gets singing and playing of impressive subtlety and intensity. The coupling of Taneyev’s John of Damascus is particularly valuable, and this fourth CD was given a Rosette by us when issued separately. The Taneyev work is a noble piece whose long neglect on the gramophone is at last rectified, and it is given a truly memorable performance; as with the rest of this seductive DG collection, the sound is first class.

米哈伊尔·普列特涅夫执棒下的《第一交响曲》展现出与钢琴演奏一脉相承的音色层次与清晰 articulation，诗性洞察力与宏大结构掌控相得益彰。其处理的《死之岛》具有拉赫玛尼诺夫本人与库塞维茨基式的宿命推进感。《第二交响曲》的演绎则体现出高度克制的理性思维，强调音乐流动的持续性，相较普列文版炽热外露的慢乐章情感（二者各有其美学价值）更显内敛。《岩石》的呈现同样充满想象力，为唱片画上圆满句号。  

《第三交响曲》再度彰显普列特涅夫标志性的清晰触键与轻盈质感，情感张力始终收放自如。尽管终乐章过快的速度稍显冒险，但其对首末乐章个性化诠释的自洽性令人信服，俄罗斯乐团（尤其是弦乐声部）完美呈现了这部杰作的瑰丽音画。与《交响舞曲》的搭配同样展现出独特的俄式说服力。  

《钟声》的演绎更颠覆传统认知。普列特涅夫直指作曲家灵魂核心，超越表象的华丽音色，以惊人的细腻强度实现人声与乐队的精妙平衡。搭配的塔涅耶夫《大马士革的约翰》尤为珍贵（该单辑曾获《留声机》玫瑰奖），这部长期被忽视的崇高之作终获应有的录音礼遇。整套DG录音的音质皆属顶级水准。  


Symphony 2 in E min., Op. 27
Unitel Classics DVD 2072258. Phd. O, Ormandy (with STRAVINSKY: The Firebird: Suite)

Ormandy pioneered the recording of the three Rachmaninov symphonies in stereo, and in most ways his performances remain unsurpassed. The original set is still available on Sony (SB2K 63257). But now comes a DVD to show us how his performances really sounded. Here is the echt-Philadelphia sound that was captured only fitfully on 78s and LPs. This Rachmaninov Second wipes the floor with any competitor: the rich, sumptuous string sonority, the wonderful, expressive wind and brass, and the total unanimity of attack that is still a source of amazement. Ormandy recorded the symphony some five times, the present issue in 1979 as part of his eightieth birthday celebrations. He is amazingly youthful and ardent, and the Stravinsky is no less dazzling. The sound is gorgeous throughout and the visual direction under Kirk Browning all one could wish for. Even among the finest of the fine, this stands out.

奥曼迪是立体声时代录制拉赫玛尼诺夫三部交响曲的开拓者，其诠释至今难被超越。原始录音仍以Sony版（SB2K 63257）流通，而新近发行的DVD则真实还原了其现场神韵。这是78转黑胶与密纹唱片都未能完整捕捉的"费城之声"典范——本版《第二交响曲》碾压所有竞争者：丰沛的弦乐洪流、极具表现力的管乐声部、至今令人惊叹的齐奏精准度。奥曼迪生前五次录制该作，本版为1979年其八十寿辰庆典现场，八旬大师仍迸发惊人激情，搭配的斯特拉文斯基作品同样璀璨。柯克·布朗宁的影像执导与绝美音质相得益彰，堪称经典中的经典。

DVD：
没找到，油管上的两个都只有声音没画面。

CD：
https://115cdn.com/s/swwm68o3hq9?password=3377&#
Rachmaninov - Symphonies, The Bells, Symphonic Dances - Mikhail Pletnev, Russian National Orchestra [DG]等2个文件(夹)

joseph_li

Morceaux de fantaisie, Op. 3; Sonata 2 in B flat min., Op. 36; Variations on a Theme of Chopin, Op. 22 《幻想小品集》Op.3、《降b小调第二钢琴奏鸣曲》Op.36、《肖邦主题变奏曲》Op.22  
Elan 82248. Rodriguez
Préludes, Op. 32/1–13; Sonata 1 in D min., Op. 28 《前奏曲》Op.32（1-13首）、《d小调第一钢琴奏鸣曲》Op.28
Elan 82244. Rodriguez

This is some Rachmaninov playing! Santiago Rodriguez is the real thing. For a moment one imagines that Rachmaninov himself is at the keyboard. Rodriguez has something of Pletnev about him: wonderful authority and immaculate technical control, tremendous electricity as well as great poetic feeling. Outstanding in every way and well worth seeking out.

这才是真正的拉赫玛尼诺夫演绎！圣地亚哥·罗德里格斯堪称"拉赫玛尼诺夫再世"。其演奏兼具普列特涅夫式的绝对权威与技术掌控力，既有雷霆万钧的爆发力，又有诗意盎然的细腻表达。这套全方位杰出的演绎绝对值得乐迷珍藏。


Vespers, Op. 37《晚祷》
HM Chant du Monde RUS 788050. St Petersburg Capella, Chernuchenko

Rachmaninov’s Vespers – more correctly the ‘All-night Vigil’ – rank not only among his most soulful and intensely powerful music but they are also the finest of all Russian choral works. The St Petersburg Capella offers singing of an extraordinarily rapt intensity. The dynamic range is enormous, the perfection of ensemble and blend and the sheer beauty of tone such as to exhaust superlatives. The recording does them justice and is made in a suitably atmospheric acoustic.

拉赫玛尼诺夫的《晚祷》（更准确的标题应为《彻夜祈祷》）不仅是他最富灵性、最具震撼力的作品，更是俄罗斯合唱音乐的巅峰之作。圣彼得堡卡佩拉合唱团的演绎展现出令人屏息的专注力——动态范围惊人，声部融合完美，音色之美已超越语言形容。录音完美捕捉了教堂特有的空间氛围，与作品气质浑然天成。


https://115cdn.com/s/swwm61g3hq9?password=3377&#
Rachmaninoff Collection [Melodiya 2018 33CD]等3个文件(夹)

第一张碟没找到。拉赫玛尼诺夫Brriliant全集的CD21-23就是这个版本。

第二张找到的是Melodiya厂牌，三四星带花。拉赫玛尼诺夫Melodiya全集CD25也是这个版本。

joseph_li

补一个第3楼的资源

https://115cdn.com/s/swwmz393hq9?password=3377&#
Adams, John - Orchestral Music - City Of Birmingham SO, Simon Rattle [EMI]

wpx426

joseph_li 发表于 2025-7-31 19:58
Symphonies 1–3; The Isle of the Dead, Op. 29; The Rock, Op. 7; Symphonic Dances, Op. 45; (i–ii) Th ...

我前面贴出来的Ormandy条目下让大家感受效果的那张DVD就是这张

sportchen

一直追楼至此，楼主盖楼辛苦，各位碳砖加瓦的乐友辛苦，一并感谢，节日愉快

joseph_li

wpx426 发表于 2025-7-31 20:45
我前面贴出来的Ormandy条目下让大家感受效果的那张DVD就是这张

感谢提醒。
抱歉，编辑量确实有点大，记不住。