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

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VARÈSE, Edgar (1883–1965)
Tuning Up; Amériques (original version); Arcana; Dance for Burgess; (i) Density 21.5. Déserts; (ii) Ecuatorial; (iii–iv) Un grand sommeil noir (original & orch. Beaumont versions). Hyperprism; Intégrales; Ionisation; (v–vi) Nocturna. Octandre; (v) Offrandes. Poème électronique  《调音》《美洲》（原始版本）；《奥秘》《为伯吉斯而作的舞曲》；(i)《密度21.5》；《沙漠》；(ii)《赤道》；(iii-iv)《深沉的黑夜》（原始钢琴版与博蒙特管弦乐改编版）；《超棱镜》；《积分》；《电离》；(v-vi)《夜曲》；《八棱镜》；(v)《祭品》；《电子音诗》
Decca 460 208-2 (2). Concg. O or Asko Ens.; Chailly; with (i) Zoon (ii) Deas (iii) Delunsch; (iv) Kardoncuf; (v) Leonard; (vi) Prague Philharmonic Male Ch.

This comprehensive coverage of the music of Varèse was given a 1999 Gramophone Award for Twentieth-Century Music. He first came to public notice in the 1930s when Percy Scholes chose him to represent the last word in zany modernity in his ‘Columbia History of Music’, but this mockery backfired. Octandre (one movement then recorded) sounds quirkily original now as it did then (it is played marvellously here). The witty opening Tuning Up sets the mood for writing which is ever ready to take its own course, regardless of tradition, and set new musical paths. Amériques, which follows, is heard in its original (1921) version, lavishly scored, with reminiscences of music by others, not least the Stravinsky of The Rite of Spring. It makes fascinating listening. Ionisation, less ear-catching, stands as a historic pointer towards developments in percussion writing. Poème électronique originated at the 1958 Brussels World Fair, where it was played through more than 400 loudspeakers inside the Philips pavilion. The montage of familiar and electronic sounds (machine noises, sonorous bells, etc.) comes from the composer’s original four-track tape. But all the works here are sharply distinctive and show the composer as a true revolutionary, usually decades ahead of his time. The vocal pieces are among the most fascinating aurally, not least Ecuatorial, a setting in Spanish, with bass soloist, of a Mayan prayer, brightly coloured and sharp, with brass, percussion, organ, piano and ondes martenot. Un grand sommeil noir is a rare surviving early song, lyrically Ravelian in feeling, heard here in both the original version with piano, and in an orchestration by Antony Beaumont. Nocturnal, Varèse’s haunting last piece, was left unfinished. Completed by Professor Chou, it is as extravagant and uninhibited as ever, featuring male chorus and a solo soprano voice, used melodically to evoke a mysterious dream-world. All the performances here are superbly definitive and this set would be hard to surpass. The recording acoustic, too, is open, yet everything is clear.

这套瓦雷兹作品全集荣获1999年《留声机》杂志"二十世纪音乐大奖"。作曲家最初进入公众视野是在1930年代——珀西·斯科尔斯在其《哥伦比亚音乐史》中将瓦雷兹作为荒诞现代主义的终极代表，但这种嘲讽适得其反。《八棱镜》（当时仅录制单乐章）如今听来仍如当年般古怪而独创（本版演绎堪称绝妙）。诙谐的开场曲《调音》为整张专辑定下基调：这些作品始终无视传统，开辟着新音乐路径。随后呈现的《美洲》采用1921年原始版本，配器奢华，隐约可辨他人音乐痕迹（尤其是斯特拉文斯基《春之祭》的印记），聆听体验令人着迷。相对而言，《电离》虽不够抓耳，却是打击乐写作发展的历史性标杆。  

《电子音诗》源自1958年布鲁塞尔世博会，当时通过菲利浦展馆内400余个扬声器播放。由机器噪音、洪亮钟声等熟悉音效与电子声组成的蒙太奇，源自作曲家原始四轨磁带。但所有作品都极具辨识度，展现出这位超前时代数十载的真正革命者风貌。声乐作品尤其具有听觉魅力：《赤道》以西班牙语演绎玛雅祷词，男低音独唱与铜管、打击乐、管风琴、钢琴及马特诺琴交织出锐利鲜明的色彩；《深沉的黑夜》是罕见的早期艺术歌曲遗存，带有拉威尔式的抒情气质，本辑同时收录钢琴原版与安东尼·博蒙特改编的管弦乐版；未完成的绝笔之作《夜曲》由周文中教授续写，延续了瓦雷兹一贯的狂放不羁——男声合唱与女高音独唱以旋律构筑神秘梦境。  

所有演绎都具有权威性，这套录音几乎难以超越。开阔的录音声场中，每个细节都清晰可辨。  


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Varese, , Edgar - Complete Works - Riccardo Chailly, CRO & Asko Ensemble [DECCA]

joseph_li

VAUGHAN WILLIAMS, Ralph (1872–1958)
Fantasia on Greensleeves; (i) Fantasia on a Theme of Thomas Tallis  《绿袖幻想曲》；(i)《托马斯·塔利斯主题幻想曲》
EMI Masters (ADD) 6 31788-2. Sinfonia of London; (i) with Allegri Qt, Barbirolli (with DELIUS: Brigg Fair) – ELGAR: Introduction and Allegro for Strings, etc.

Barbirolli’s inspirational performance of the Tallis Fantasia now rightly takes its place among EMI’s ‘Great Recordings of the Century’. For many of us it is the composer’s supreme masterpiece, and Barbirolli’s ardour, combined with the magically quiet playing of the second orchestra, is unforgettable. The recording (made in the dead of night to ensure background silence) has magnificent definition and sonority, achieving dramatic contrasts between the main orchestra and the distanced solo group, which sound wonderfully ethereal. For the reissue EMI have added Delius’s Brigg Fair to the original Elgar couplings, making this Masters reissue an unbeatable bargain.

巴比罗利演绎的《塔利斯主题幻想曲》现已被EMI列入"世纪伟大录音"系列，实至名归。这部被许多人视为作曲家至高杰作的作品，在巴比罗利炽热的诠释下，配合第二乐团魔幻般的弱奏，成就了令人难忘的经典。录音（为确保背景静谧而于深夜录制）具有恢弘的层次感与音效，主乐团与远距离独奏组之间形成戏剧性对比，营造出绝妙的空灵意境。此次再版额外加入戴留斯《布里格集市》，与原版的埃尔加作品搭配，使这套"大师系列"再版成为无可匹敌的超值之选。  


The Lark Ascending  《云雀高飞》
EMI 5 62813-2. Kennedy, CBSO, Rattle – WALTON: Viola Concerto; Violin Concerto

Vaughan Williams’s Lark Ascending is of a modest length but, like the Tallis Fantasia, it is one of his most moving works. The millions of listeners to Classic FM picked the work as their first choice from the whole classical repertoire. Nigel Kennedy’s spacious and evocative account of this inspirational piece is beautifully recorded, and it makes an ideal coupling for the two Walton Concertos.

沃恩·威廉斯的《云雀高飞》篇幅虽短，却与《塔利斯主题幻想曲》并列为最动人的作品。该作被Classic FM数百万听众票选为古典曲目首选。奈吉尔·肯尼迪对这首灵感之作的演绎既舒展又充满画面感，录音精美，与两部沃尔顿协奏曲的搭配堪称完美。  


Symphonies: (i) A Sea Symphony (1). A London Symphony (2); (ii) A Pastoral Symphony (3). 4 in F min.; 5 in D; 6 in E min.; (iii) Sinfonia antartica (7). 8 in D min.; 9 in E min. (iv) Concerto accademico in D min. (v) Tuba Concerto. 3 Portraits from ‘The England of Elizabeth’; The Wasps Overture.  交响曲全集：(i)《大海交响曲》（第1）；《伦敦交响曲》（第2）；(ii)《田园交响曲》（第3）；F小调第4；D大调第5；E小调第6；(iii)《南极交响曲》（第7）；D小调第8；E小调第9。(iv)D小调《学院协奏曲》；《大号协奏曲》；《伊丽莎白时代的英格兰》三幅肖像；《黄蜂》序曲
RCA (ADD) 82876 55708-2 (6). LSO, Previn, with (i–iii) Harper, (i) Shirley-Quirk, L. Symphony Ch; (iii) Amb. S., R. Richardson (speaker); (iv) Buswell; (v) Fletcher

Previn recorded the Vaughan Williams Symphonies over a five-year span from 1968 to 1972, and his achievement in this repertoire represented a peak in his recording career at that time. Here the nine symphonies plus their original fill-ups have been neatly compressed on to six CDs. The most striking performances are those which were recorded last, Nos. 2, 3 and 5; for these Previn achieves an extra depth of understanding, an extra intensity, whether in the purity of pianissimo or the outpouring of emotional resolution. For the rest there is only one performance that can be counted as disappointing, and that is of the symphony one might have expected Previn to interpret best, the taut and dramatic Fourth. Even that is an impressive account, if less intense than the rest. Otherwise, the great landscape of the whole cycle is presented with richness and detail in totally refreshing interpretations, brilliantly recorded and impressively transferred to CD. The extra items are worth having too, notably the two Concertos with responsive soloists.

普列文于1968至1972年间历时五年完成沃恩·威廉斯交响曲全集的录制，这一成就标志着其当时录音生涯的巅峰。此次将九部交响曲及原始附加曲目精炼压缩为六张CD。最杰出的演绎当属最后录制的第2、3、5号交响曲——普列文展现出更深层的理解与更强烈的表现力，无论是纯净的极弱音还是情感宣泄的强奏都令人震撼。全集仅有一处稍显遗憾：本该是普列文最擅长的、结构紧凑戏剧性强的第4号交响曲，虽仍属优秀演绎，但强度略逊其他作品。整套录音以丰富的细节与全新的诠释呈现了沃恩·威廉斯的音乐画卷，录音效果辉煌，CD转制精良。附加曲目同样值得收藏，尤其是两位独奏家倾情演绎的两部协奏曲。  


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Vaughan Williams, Elgar, Delius - English String Music - John Barbirolli [Warner]等3个文件(夹)
沃恩·威廉斯的推荐版本与三四星带花重合度比较高。

joseph_li

(i) A Sea Symphony; (ii) Fantasia on Christmas Carols; Hodie (A Christmas Cantata) (i)  《大海交响曲》；(ii)《圣诞颂歌幻想曲》；《今日》（圣诞康塔塔）
EMI 9 68934-2 (2). (i) Marshall, Philh. O; (i–ii) Roberts, L. Symphony Ch.; (iii) Gale, Tear, Choristers of St Paul’s; (ii–iii) LSO; all cond. Hickox

Richard Hickox has recorded the Sea Symphony twice; the second version with Susan Gritton and Gerald Finley as soloists and with the advantage of SACD surround sound may be preferred by some readers (Chan. CHSA 5047). But this earlier (1990) EMI version is hardly less impressive and the two-disc set includes also the Christmas Carol Fantasia and the rare Hodie. Hickox directs a strong, warmly expressive reading of the Symphony. His relatively brisk speeds and his ability to mould melodic lines with an affectionate rubato – notably with the bright-toned, finely drilled London Symphony Chorus – never sounds breathless, and he relishes the sea-sounds that Vaughan Williams gives to the orchestra. The different sections in the longer outer movements are given strong cohesion, and the finale, ‘The Explorers’, ends in warmth rather than mystery on O my brave soul! Margaret Marshall is a bright, fresh soprano, and if Stephen Roberts is a little lacking in weight in the baritone solos, his singing is thoughtful and well detailed. Hickox also directs an urgent, freely expressive reading of the big Christmas cantata, Hodie, helped by refined and incisive choral singing from the combined choirs; and the Christmas Carol Fantasia proves an ideal bonus coupling, also warmly done.

理查德·希考克斯曾两度录制《大海交响曲》——部分乐迷或更青睐其第二版（Chandos CHSA 5047，SACD环绕声技术，苏珊·格里顿与杰拉尔德·芬利担任独唱）。但这份1990年为EMI录制的早期版本同样出色，双CD套装还收录了《圣诞颂歌幻想曲》及罕见的《今日》。希考克斯对交响曲的诠释强劲而深情，相对迅捷的速度与对旋律线条的弹性处理（尤其体现在音色明亮的伦敦交响合唱团）毫无急促感，并充分挖掘了沃恩·威廉斯笔下的海洋音效。长大乐章中各段落衔接紧密，终章《探索者》在"啊，我勇敢的灵魂！"处以温暖而非神秘收束。女高音玛格丽特·马歇尔音色清亮，男中音斯蒂芬·罗伯茨虽声量稍欠，但演唱细腻考究。  

希考克斯对大型圣诞康塔塔《今日》的演绎兼具紧迫感与自由表现力，联合合唱团精准锐利的演唱更添光彩；《圣诞颂歌幻想曲》作为附加曲目温暖动人，堪称完美搭配。  


A London Symphony (original, 1913 version) 《伦敦交响曲》
Chan. 9902. LSO, Hickox (with BUTTERWORTH: The Banks of Green Willow)

A London Symphony was Vaughan Williams’s own favourite among his symphonies (and I.M.’s too). It was the one he had revised most often, first between 1918 and 1920, and later even more radically in the 1930s, with the definitive score finally published in 1936. What this revelatory recording demonstrates is that the 20 minutes or so of music that was excised included many passages that represent the composer at his most magically poetic. There is even a case for saying that in an age which now thrives on expansive symphonies – the examples of Bruckner, Mahler and Shostakovich always before us – the original offers the richer experience. Vaughan Williams undoubtedly made the work structurally tauter, but discursiveness in a symphony is no longer regarded as a necessary fault.

No one could make the case for this 1913 version more persuasively than Hickox. He draws ravishing sounds throughout from the LSO, with an unerring feeling for idiomatic rubato and a powerful control of massive dynamic contrasts. In this original version the first movement is no different, but each of the other movements here includes substantial sections completely eliminated later, some of them echoing Ravel of Daphnis and Chloé, including an extended one in the Scherzo. The sumptuous Chandos sound, with an extraordinarily wide dynamic range, adds to the impact of the performance, which comes with a short but valuable and beautifully played fill-up.

《伦敦交响曲》是沃恩·威廉斯最钟爱的交响曲（亦为乐评人I.M.心头好）。作曲家曾于1918-1920年间首次修订，1930年代更彻底改写，最终版总谱于1936年出版。此版录音揭示：被删减的约20分钟音乐包含大量极具诗意的段落。在布鲁克纳、马勒与肖斯塔科维奇宏篇交响曲已成典范的当代，原始版或许提供更丰盈的体验——尽管修订版结构更紧凑，但交响乐的"散文化"如今已非缺陷。  

希考克斯对此1913年版本的诠释极具说服力：他精准把握弹性速度，强力驾驭动态对比，令LSO奏出摄人心魄的音响。原始版首乐章虽无改动，但其余乐章均含后期删减的大段音乐——谐谑曲中延伸段落明显带有《达夫尼斯与克洛埃》式拉威尔印记。Chandos录音极宽的动态范围强化了演出冲击力，搭配的短小附加曲目同样演绎精美。  


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Vaughan Williams - A London Symphony & Butterworth - Banks of Green WIllow - Richard Hickox, LSO [Chandos 24-96]等5个文件(夹)

joseph_li

Symphony 6; Fantasia on a Theme of Thomas Tallis 第六交响曲；《托马斯·塔利斯主题幻想曲》
BBC Legends (ADD) BBCL 4256-2. L New, Boult (with BAX: Mediterranean. BERG: Lyric Suite. HADLEY: One Morning in Spring)

Sir Adrian made the first recording of the Sixth Symphony in the days of 78s, but this performance comes from the 1972 Cheltenham Festival and its companions from the late 1960s, so the recordings are in stereo. As is well known, he conducted the British première of Wozzeck which was much admired by the composer, and the Three Pieces from the Lyric Suite come from the Maida Vale Studios and the BBC Symphony Orchestra. A most desirable issue which collectors should seek out.

阿德里安爵士曾在78转唱片时代首录第六交响曲，而本版演绎来自1972年切尔滕纳姆音乐节，搭配1960年代末的录音，均为立体声版本。这位指挥家以英国首演贝尔格《沃采克》闻名（深受作曲家赞赏），《抒情组曲》三乐章选段则录自BBC交响乐团在梅达谷工作室的演出。这份珍贵录音值得藏家寻觅。


(i) Dona nobis pacem; (ii) Sancta Civitas  (i)《赐我平安》；(ii)《圣城》
Naxos 8.572424. Bach Ch., Bournemouth SO, Hill, with (i) Pier; (ii) Staples; (i–ii) Brook; (ii) Winchester Cathedral Choristers, Winchester College Quiristers

Naxos here offers an ideal coupling of two parallel Vaughan Williams masterpieces, each seriously neglected. Both date from the inter-war period, when the composer was expressing disillusion after his experiences in the First World War. Both with Latin titles, they mark a departure from the composer’s earlier pastoral style towards expression far more abrasive, a style which also erupted in the ballet-score Job and the Fourth Symphony.

In vivid, atmospheric sound, David Hill directs his forces in performances which bring out all the savagery of the writing, not least in the violent use of timpani. Though Dona nobis pacem, written in 1936, is described as a cantata and Sancta Civitas of 1923 5 an oratorio, they both last just over half an hour, and are among RVW’s most atmospheric works, with a distant chorus evocatively used in Sancta Civitas. Dona nobis foretells the horror of the Second World War in its six movements with texts from the Bible as well as from Walt Whitman and John Bright, while Sancta Civitas depicts the battle between good and evil as expressed in the Book of Revelation. Not just the choruses but also the three soloists are outstanding: the American soprano Christina Pier in Dona nobis pacem, the tenor Andrew Staples in Sancta Civitas, and baritone Matthew Brook in both. A first-rate disc, made the more attractive at super-bargain price.

拿索斯将两部被严重忽视的沃恩·威廉斯杰作完美组合。这两部创作于两次世界大战间的作品，均以拉丁文标题标志着作曲家从早期田园风格转向更具冲击力的表达——这种风格同样爆发于芭蕾《约伯》与第四交响曲。  

大卫·希尔指挥的演绎在生动的录音氛围中，充分展现了作品的凌厉锋芒（尤其是定音鼓的狂暴运用）。1936年创作的《赐我平安》虽被称作康塔塔，1925年的《圣城》虽标为清唱剧，但两部约半小时的作品同属沃恩·威廉斯最具氛围感的创作：《圣城》中遥远处传来的合唱效果尤为动人。《赐我平安》通过六个乐章（文本选自圣经、惠特曼及约翰·布莱特）预言二战的恐怖，《圣城》则描绘《启示录》中的善恶之战。除合唱团外，三位独唱家同样出色：女高音克里斯蒂娜·皮尔（《赐我平安》）、男高音安德鲁·斯台普斯（《圣城》）以及横跨两作的男中音马修·布鲁克。这张超值的一流唱片更显超值。  


(i) On Wenlock Edge (song-cycle from A. E. Housman’s A Shropshire Lad); (ii) 10 Blake Songs for voice & oboe; (i) 4 Hymns. (iii) Songs: Merciless Beauty; The New Ghost; The Water Mill  (i)《温洛克边缘》（霍斯曼《什罗普郡少年》组曲）；(ii) 十首布莱克诗歌曲（人声与双簧管）；(i) 四首赞美诗。(iii) 歌曲：《无情美人》《新幽灵》《水车》
EMI 9 68939-2 (2). Ian Partridge, with (i) Music Group of London; (ii) Janet Craxton; (iii) Jennifer Partridge – WARLOCK: Capriol Suite; The Curlew; Songs

This is an outstandingly beautiful record, with Ian Partridge’s intense artistry and lovely, individual tone-colour used with compelling success in Vaughan Williams songs, both early and late. The Housman cycle has an accompaniment for piano and string quartet which can sound ungainly but which here, with playing from the Music Group of London, matches the soloist’s sensitivity; the result is both atmospheric and moving. The Ten Blake Songs come from just before the composer’s death: bald, direct settings that with the artistry of Partridge and Craxton are darkly moving. The tenor’s sister accompanies with fine understanding in two favourite songs as a welcome extra. The other (much rarer) items make an attractive bonus, with the Four Hymns distinctively accompanied by viola and piano. The Warlock anthology, provided as coupling, is hardly less desirable.

这张堪称绝美的唱片中，伊恩·帕特里奇以强烈的艺术个性与迷人的音色，成功诠释了沃恩·威廉斯早晚期歌曲。为钢琴与弦乐四重奏配器的霍斯曼组曲常显笨拙，但伦敦音乐集团的演奏与歌唱家的敏感度完美契合，营造出既富氛围又动人的效果。作曲家临终前创作的《十首布莱克诗歌》以质朴直接的风格，在帕特里奇与克拉克斯顿的演绎下透出深邃感染力。女高音姐姐的默契伴奏为两首经典歌曲增色，而中提琴与钢琴伴奏的《四首赞美诗》等稀有曲目更添吸引力。搭配的沃洛克歌曲集同样精彩。  


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Vaughan Williams - Dona Nobis Pacem, Sancta Civitas - David Hill [Naxos 24-44.1]等2个文件(夹)
蛮意外居然没找到第一张。

huzuoan

楼主一口气发了这么多内容，废寝忘食啊！可要注意身体、注意休息哦！

wpx426

joseph_li 发表于 2025-8-16 00:08
The Nutcracker; Sleeping Beauty; Swan Lake (ballets: complete)
Decca (ADD) 460 411-2 (6). Nat. PO,  ...

雄辩里没找到，二嫂里有SACD

joseph_li

VERDI, Giuseppe (1813–1901)
Complete Prelines, Overtures & Ballet Music  全本前奏曲、序曲与芭蕾音乐
Chan. 9510 (4). BBC PO, Downes

Verdi overtures provide an astonishing variety of tunes and colour, and his ballet music, written for Paris productions of his operas, includes some of the most scintillatingly tuneful music he ever wrote. Edward Downes’s Verdi survey covers virtually all the overtures, preludes and ballet music, the latter full of charm when played so elegantly and recorded so beautifully. Original versions are included when available, so we get the first (1857) score of the Prelude to Simon Boccanegra and the brief (1862) prelude to La forza del destino, as well as the familiar, expanded, 1869 overture. The outstanding novelty is Verdi’s extended (1871) overture written for the Italian première of Aida. The shorter Prelude heard at the opera’s Cairo première was substituted at the last moment and the 1871 piece was never heard of again. The ballet music was, of course, an essential requirement if a work was to be performed at the Paris Opéra. Verdi often rose to the occasion and produced charming, tuneful music, felicitously scored. In the suite from Il trovatore (an unlikely subject for a balletic diversion) the delightful third section, La Bohémienne, is worthy of Delibes in its use of graceful violins and piquant woodwind. Not surprisingly, Downes has the full measure of this music. The finer overtures are played with bold characterization and dramatic fire. Nubucco, with its dignified sonority, and Giovanna d’Arco both show the BBC Philharmnonic brass at their finest in quite different ways, and Luisa Miller is another very strong performance. The strings play most beautifully in the Traviata Preludes. With such richly expansive recording, showing Chandos engineering at its most spectacular, the effect is less bitingly leonine than in Karajan’s two-disc survey. But even if not all this music is top-class Verdi, the Chandos set offers much to enjoy, and the spontaneity and elegance of the music-making are never in doubt.

威尔第的序曲展现出惊人的旋律变化与丰富色彩，而为巴黎版歌剧创作的芭蕾音乐则包含了他笔下最璀璨动人的旋律。爱德华·唐斯执棒的这套威尔第全集几乎涵盖了所有序曲、前奏曲与芭蕾音乐，后者以优雅诠释与绝美录音尽显魅力。凡有原始版本均予收录，因此我们既能听到1857年版《西蒙·波卡涅拉》前奏曲和1862年简短的《命运之力》前奏曲，也有熟悉的1869年扩充版序曲。最引人注目的珍品是1871年为《阿依达》意大利首演特别创作的加长版序曲——该剧在开罗首演时使用的短版前奏曲在最后时刻被替换，致使这部1871年作品湮没无闻。芭蕾音乐当年是巴黎歌剧院上演歌剧的必备元素，威尔第常能应景创作出旋律优美、配器精巧的佳作。《游吟诗人》芭蕾组曲中第三乐章《波西米亚舞曲》以优雅的小提琴与灵动的木管奏出堪比德利布的妙韵。唐斯对这些音乐的把握堪称典范，那些出色的序曲在他棒下既彰显鲜明个性又迸发戏剧张力：《纳布科》庄严的铜管轰鸣与《圣女贞德》迥异的铜管风采，均展现出BBC爱乐乐团铜管声部的最高水准；《路易丝·米勒》的演绎同样强劲有力；而《茶花女》前奏曲中弦乐的演绎尤为动人。唱片采用Chandos标志性的宏大录音技术，虽不及卡拉扬双张专辑那般雄狮般的锐利感，但即便非威尔第最顶尖之作，这套录音仍充满欣赏价值，其自然流露的优雅艺术表现无可挑剔。  


Ballet music from: Don Carlos; Otello; I vespri siciliani  芭蕾音乐选自：《唐·卡洛》《奥赛罗》《西西里晚祷》
Australian Decca Eloquence (ADD) 480 045. Cleveland O, Maazel (with LEONI: The Prayer and the Sword: Incidental music)

Although there have been excellent comprehensive collections of Verdi’s ballet music from Downes (Chandos) and Almeida (Philips), this selection is the most exciting committed to disc. First, the playing is superlative, with the orchestra responding to Maazel’s electrifying direction with style and brilliance, making the most of Verdi’s tuneful and witty music. Secondly, it is treated to vintage Decca sound, making this one of the great recordings of ‘light’ music in the catalogue. Listen, for instance, to the oboe at the beginning of the third of the Four Seasons from I vespri siciliani or the woodwind playing in the final movement – exhilarating in its energy and bravura. Moreover, it is coupled with some charmingly attractive and very rare music by Leoni.


尽管唐斯与阿尔梅达都推出过出色的威尔第芭蕾音乐全集，但本辑堪称唱片史上最激动人心的精选。首先，乐团在马泽尔充满激情的指挥下展现出超凡的演奏水准，将威尔第旋律优美又妙趣横生的音乐演绎得淋漓尽致。其次，Decca经典的录音效果使之成为轻音乐唱片史上的伟大录音之一——试听《西西里晚祷》中《四季》组曲第三乐章开头的双簧管，或终乐章中兼具活力与炫技的木管乐段便知分晓。更难得的是，唱片还搭配了莱奥尼罕见而迷人的作品。  


Requiem Mass (CD version)  安魂弥撒
EMI 6 98936 2 (2). Harteros, Ganassi, Villazón, Pape, St Cecilia Ac. Ch. & O, Pappano

Following Antonio Pappano’s award-winning version of Madama Butterfly, EMI shrewdly persuaded him to record the Verdi Requiem similarly with the St Cecilia Chorus and Orchestra in Rome, of which he is chief conductor. Having Italian forces performing this work adds to the warmth of this superb version. In every way it is a worthy successor to such classic recordings as Toscanini’s uniquely intense account from the days of mono, Giulini’s dedicated EMI version with the Philharmonia and the most starry quartet of soloists, as well as Barbirolli’s Rome version, a labour of love.

As in Puccini, Pappano has a natural feeling for phrasing and pacing in Verdi, and with forces close to him the result is spectacular, given even greater impact when the recording was made in the recently opened Parco della Musica in Rome, giving air and space to the sound. The dynamic range is very wide indeed, arguably too wide, when the murmured opening of the chorus is barely audible in the first few bars. Nevertheless, a fine achievement by the EMI engineers. The Dies irae is wonderfully thrilling. The women soloists may not be quite so starry a duo as Schwarzkof and Ludwig for Giulini, but Anja Harteros and Sonia Ganassi make a splendid match, firm and true; while it would be hard to imagine a finer account of the tenor’s role than that of Rolando Villazón, subtle beyond anything one might have expected from an Italianate tenor in the old days, with shading of dynamic beautifully handled. Similarly, René Pape is a highly intelligent bass-baritone, not as dark in colour as a full bass, but for that very reason better matched with the other soloists.

It is a sign of the times that the St Cecilia Chorus could hardly offer a sharper contrast with the slipshod Italian opera choruses of old, with the ensemble consistently excellent. The orchestra too bears witness to the fine standards latterly achieved by Italian orchestras, traditionally individualistic and undisciplined. Altogether a set to rival and even outshine the finest of the past.

继获奖唱片《蝴蝶夫人》之后，EMI明智地邀请安东尼奥·帕帕诺率领其执掌的罗马圣塞西莉亚管弦乐团与合唱团录制了这部威尔第《安魂曲》。意大利阵容的演绎为这部杰作增添了独特的温暖质感。这张堪称经典的录音足以比肩托斯卡尼尼单声道时代无与伦比的强烈诠释、朱里尼与爱乐乐团及全明星独唱阵容的倾心版本，以及巴比罗利灌注深情的罗马版录音。  

正如指挥普契尼作品时那样，帕帕诺对威尔第的乐句处理与节奏把控有着与生俱来的敏锐。与亲密合作的乐团联袂，在罗马新建的音乐公园宽广声场中完成的录音产生了震撼效果——尽管极宽的动态范围导致《末日经》开篇合唱的微弱吟诵几乎难以听清。EMI工程师的杰出成果仍值得称道，尤其《震怒之日》段落令人战栗的震撼力。女声独唱虽不及朱里尼版施瓦茨科普夫与路德维希的明星组合，但安雅·哈特罗斯与索尼娅·加纳西的演唱珠联璧合且稳定精准；男高音罗兰多·维拉宗对音色强弱的精妙控制颠覆了人们对传统意大利男高音的期待；低男中音雷内·帕佩虽音色不如纯正男低音深沉，却因此与其他独唱者更相得益彰。  

圣塞西莉亚合唱团始终如一的卓越表现，彻底打破了人们对意大利歌剧合唱团散漫的陈旧印象；乐团水准亦印证了意大利管弦乐界近年取得的艺术成就。这套录音足以比肩甚至超越过往所有经典版本。


https://115cdn.com/s/swwvj0d3hq9?password=3377&#
Verdi - Ballet Music; Leoni - Prayer & Sword - Cleveland Orchestra, Maazel, National PO, Bonynge [DECCA]等10个文件(夹)

joseph_li

Aida (complete, CD version) 《阿依达》
EMI (ADD) 769300-2 (2). Freni, Carreras, Baltsa, Cappuccilli, Raimondi, Van Dam, V. State Op. Ch., VPO, Karajan

On EMI, Karajan’s is a performance of Aida full of splendour and pageantry, while yet it is fundamentally lyrical. On this point there is no feeling of Freni lacking power even in a role normally given to a larger voice, and there is ample gain in the tender beauty of her singing. Carreras makes a fresh, sensitive Radames, Raimondi a darkly intense Ramfis and Van Dam a cleanly focused King, his relative lightness no drawback. Cappuccilli gives a finely detailed performance of Amonasro, while Baltsa as Amneris crowns the whole performance with her fine, incisive singing. Despite some over-brightness on cymbals and trumpet, the Vienna orchestra’s sound for Karajan, as transferred to CD, is richly atmospheric, both in the intimate scenes and, most strikingly, in the scenes of pageantry, reflecting the Salzburg Festival production which was linked to the recording. The set has been attractively repackaged and remains first choice on CD, irrespective of price.

EMI出品的卡拉扬版《阿依达》既富丽堂皇又充满抒情气质。弗蕾妮虽非传统大号女高音，但其演绎毫无力不从心之感，反而以细腻柔美的演唱见长。卡雷拉斯塑造的拉达梅斯清新敏感，莱蒙迪以深沉厚重的音色诠释兰菲斯，范·达姆演绎的埃及国王音色纯净，其相对轻盈的声线恰成特色。卡普契利将阿莫纳斯罗的每个细节都刻画得入木三分，巴尔查饰演的阿姆内丽丝则以精准犀利的演唱为全剧画上完美句点。尽管镲片与小号音色略显尖锐，但维也纳爱乐在卡拉扬棒下营造出极具氛围感的音效——无论是私密场景还是壮观场面都栩栩如生，这正源自与萨尔茨堡音乐节演出现场同步的录音。此版唱片经精美再包装后，至今仍是CD版本中的首选，其艺术价值远超价格考量。


Un ballo in maschera (complete, DVD version) 《假面舞会》
Decca DVD 074 3227 (2). Pavarotti, Ricciarelli, Quilico, Blegen, Berini, Met. Op. Ch. & O, Patanè (Producer: Elijah Moshinsky; V/D: Brian Large)

This 1980 live performance is another of the productions from the New York Met. to show Pavarotti at his very finest, both as a singer and as actor (his dying scene of forgiveness is especially telling). He is in splendid voice as Riccardo and is partnered by Katia Ricciarelli as Amelia, also at her finest, and looking ravishing. Their great love duet in Act II is gloriously sung and Patanè rises to the occasion and creates a richly romantic orchestral outburst, all but anticipating Puccini. Among the others in this superb cast, Judith Blegen is a delightful Oscar with sparkling coloratura and Blanca Berini an unforgettable fortune-teller (Ulrica), virtually stealing the scenes in which she appears (with her eyes as well as her voice). Louis Quilico makes an effectively agonized Renato, Amelia’s unfortunate husband. The costumes are traditional, the sets practical. Patanè conducts throughout with flair and Brian Large’s video direction could hardly be bettered. Highly recommended.

For those looking for a CD version, a bargain DG set, with Domingo, Ricciarelli, Bruson, Obraztsova, Gruberová, La Scala, Milan, Choir and Orchestra, conducted by Claudio Abbado, is strongly recommended. The Abbado reading is admirably paced and, with a splendid feeling for the sparkle of the comedy – and a superb cast, who all characterize beautifully – it is hard to fault (453 148-2 (2)).

这部1980年纽约大都会歌剧院现场录像，见证了帕瓦罗蒂作为歌唱家与演员的巅峰状态（尤其临死前的宽恕场景令人动容）。他饰演的里卡多嗓音辉煌，与正值盛年的卡蒂娅·里恰蕾莉（饰阿梅莉亚）珠联璧合。第二幕伟大的爱情二重唱精彩绝伦，帕塔内指挥的乐团迸发出近乎普契尼式的浪漫激情。朱迪斯·布莱根以璀璨的花腔演绎活泼的奥斯卡，布兰卡·贝里尼塑造的巫婆乌丽卡凭借极具穿透力的眼神与嗓音成为全场焦点。路易斯·奎里科将阿梅莉亚不幸的丈夫雷纳托的痛苦表现得淋漓尽致。传统服装与实用布景相得益彰，帕塔内充满灵性的指挥与布莱恩·拉尔格精湛的镜头语言相映生辉。强力推荐。

若需CD版本，推荐DG低价版套装（编号453 148-2），由多明戈、里恰蕾莉、布鲁松、奥布拉兹佐娃等全明星阵容在阿巴多指挥下完成。阿巴多对喜剧色彩的精准把控与演员们出色的角色塑造，使这个版本近乎完美。


Don Carlos (complete, DVD version)  《唐·卡洛》
Warner DVD 0630 16318-2. Alagna, Hampson, Van Dam, Mattila, Meier, Halfvarson, Théâtre du Châtelet Ch., O de Paris, Pappano

This fine Warner issue provides one of the clearest instances where DVD scores on almost every level over the equivalent CD set. Here you have the full three and a half hours of music on a single disc, as against three CDs on EMI. The sound on the DVD may be marginally less full than on the CD, but it would take someone with an exceptional ear to feel short-changed. The chorus is rather less crisply disciplined in places, but it rises splendidly to the big challenge of the Auto-da-fé scene of Act III. And where too many DVDs skimp on the number of index points, this one follows the normal CD practice of having them at every crucial point. All that, plus the advantage of having a visual presentation of Luc Bondy’s production. The sets are simple and stylized, the production never gets in the way of the music, with the costumes of Moidele Bickel (coloured black, white or crimson) close enough to seventeenth-century fashion not to distract from the drama. The score is tautly and warmly presented, as on CD, by Antonio Pappano, and the principals are as fine a team as have ever been assembled for this opera on disc – here using the original French text and the full five-Act score, complete with Fontainebleau scene. Karita Mattila gives the most masterly performance as the Queen, with one inspired passage after another, culminating in a supreme account of her Act V aria. Roberto Alagna is in superb voice too, firm and heroic, well matched against Thomas Hampson, noble as Rodrigo. José van Dam may not have the deep bass normal for the role of Philip II, but having a more lyrical voice brings compensating assets, and he contrasts well with the Grand Inquisitor of Eric Halfvarson. An outstanding issue. For those wishing for a CD version, Pappano’s excellent recording is available on EMI 5 56152-2 (3).

华纳发行的这版DVD在各方面都超越了同版CD。单张DVD容纳三个半小时完整内容（EMI版需三张CD），音质虽略逊于CD但差异微乎其微。合唱团在某些段落稍欠严谨，却在第三幕"火刑场景"中爆发出惊人能量。与多数DVD不同，本版设置了与CD相同的详实章节索引。吕克·邦迪制作的舞台布景简约风格化，莫伊德勒·比克尔设计的黑白色调与猩红服饰既符合十七世纪审美又强化戏剧张力。帕帕诺指挥的演奏既紧凑又温暖，主演阵容堪称该剧唱片史上最强组合——采用法语原版五幕剧本，包含枫丹白露场景。卡丽塔·玛蒂拉将伊丽莎白女王的第五幕咏叹调演绎得登峰造极；罗伯托·阿兰尼亚嗓音坚定 heroic，与托马斯·汉普森 noble 的罗德里戈相得益彰；约瑟·范·达姆虽非传统低音，但其抒情特质与埃里克·哈尔夫瓦森饰演的宗教裁判长形成绝妙反差。如需CD版本，可选择帕帕诺指挥的EMI版（编号5 56152-2）。


DVD:
https://115cdn.com/s/swwvj2q3hq9?password=3377&#
Verdi - Un Ballo in Maschera - Giuseppe Patane; Pavarotti, Ricciarelli, Blegen [DVD9]等2个文件(夹)
磁链
Un Ballo in Maschera：
magnet:?xt=urn:btih:2C433C5758A1DE8F391ADA31802212F2ED54726C
Don Carlo：
magnet:?xt=urn:btih:8AA4199B4785E60493CAA412ADE4BA04B6656A83

CD:
https://115cdn.com/s/swwvj2z3hq9?password=3377&#
Verdi - Aida - Karajan, VPO; Freni, Carreras, Baltsa [EMI]等3个文件(夹)

joseph_li

Falstaff (complete, CD version) 《法尔斯塔夫》
EMI 3 77349-2 (2). Gobbi, Schwarzkopf, Zaccaria, Moffo, Panerai, Philh. Ch. & O, Karajan

This 1956 Karajan recording presents not only the most pointed account orchestrally of Verdi’s comic masterpiece (the Philharmonia Orchestra at its very peak) but one of the most vividly characterful casts ever gathered for a recording. If you relish the idea of Tito Gobbi as Falstaff (his many-coloured voice, not quite fat-sounding in humour, presents a sharper character than usual), then this is clearly a first choice. The rest of the cast too is a delight, with Schwarzkopf a tinglingly masterful Mistress Ford, Anna Moffo sweet as Nannetta and Rolando Panerai a formidable Ford. On CD the digital transfer is sharply focused.

卡拉扬1956年这版录音不仅呈现了威尔第喜剧杰作最精妙的管弦乐诠释（正值巅峰的费城管弦乐团），更汇聚了唱片史上最具个性魅力的演唱阵容。若想领略蒂托·戈比塑造的福斯塔夫（其音色多变却不显臃肿的幽默演绎，比常规版本更显锋芒），此版当属首选。其他角色同样精彩：施瓦茨科普夫将福特夫人演绎得凌厉逼人，安娜·莫芙以甜美音色诠释娜内塔，罗兰多·帕内莱则塑造了令人敬畏的福特。CD转制效果清晰锐利。


La forza del destino (1862 version; complete, CD version) 《命运之力》（1862年版）
RCA (ADD) 74321 39502-2 (3). L. Price, Domingo, Milnes, Cossotto, Giaiotti, Bacquier, Alldis Ch., LSO, Levine

Leontyne Price recorded the role of Leonora in an earlier RCA version made in Rome in 1956, but the years between that and this recording from the mid-1970s have hardly touched her voice. The roles of Don Alvaro and Don Carlo are ideally suited to the team of Plácido Domingo and Sherrill Milnes so that their confrontations are the cornerstones of the dramatic structure. Fiorenza Cossotto makes a formidable rather than a jolly Preziosilla, while on the male side the line-up of Bonaldo Giaiotti, Gabriel Bacquier, Kurt Moll and Michel Sénéchal is far stronger than on any rival set. The sound is full and vivid, and this strong, well-paced version with an exceptionally good and consistent cast is strongly recommended.

莱昂泰恩·普莱斯曾在1956年为RCA录制过莱奥诺拉一角，而此次1970年代的录音证明其嗓音丝毫未受岁月侵蚀。普拉西多·多明戈与谢里尔·米尔斯的唐·阿尔瓦罗和唐·卡洛组合堪称完美，两人的对峙成为戏剧结构的核心。菲奥伦扎·科索托塑造的普雷齐奥西拉更具威严而非欢快特质，而波纳尔多·贾约蒂、加布里埃尔·巴吉耶、库尔特·莫尔与米歇尔·塞内夏尔组成的男声阵容更是碾压其他版本。饱满生动的音效，配合节奏精准的演绎与始终如一的顶级阵容，强烈推荐。


Luisa Miller (complete, DVD version) 《路易莎·米勒》
DG DVD 073 4027. Scotto, Domingo, Milnes, Morris, Giaiotti, Met. Ch. & O, Levine (Director: Nathaniel Merrill; V/D: Roland Ott)

Recorded at the Met. in New York in 1979, James Levine’s version of Luisa Miller consistently demonstrates his Verdian mastery, and not just in the best-known masterpieces. This production is superbly cast, with Renata Scotto agile, bright and characterful in the title-role, with Plácido Domingo singing gloriously as the enamoured Rodolfo and Sherrill Milnes comparably fine as Luisa’s father. This opera is unusual in not having the principal baritone as the villain, but here James Morris as Wurm and Bonaldo Giaiotti as Count Walter provide the necessary bite. Not only in Levine’s conducting but in the sets and costumes of Nathaniel Merrill’s production the attractive rustic element of the piece is effectively brought out.

For a CD version, you can’t go too far wrong with Maag’s Decca version (475 8496-2 (2)), with Caballé, Pavarotti, Milnes, Reynolds, L. Op. Ch. and the Nat. PO. Caballé gives a splendid (if not flawless) portrait of the heroine, and Pavarotti is full of creative, detailed imagination. As Federica, Anna Reynolds underlines the light and shade, consistently bringing out atmospheric qualities. With strong conducting by Maag, this recording has been vividly transferred to CD, now on Decca’s ‘Originals’ label.

1979年纽约大都会歌剧院录制的这版《路易莎·米勒》，展现了詹姆斯·莱文对威尔第作品的深刻理解——不仅限于那些经典剧目。雷娜塔·斯科托以灵动机敏的演绎塑造女主角，多明戈饰演痴情的鲁道夫嗓音辉煌，谢里尔·米尔斯演绎的路易莎父亲同样出色。此剧独特之处在于反派并非主要男中音，而詹姆斯·莫里斯饰演的乌尔姆与波纳尔多·贾约蒂的瓦尔特伯爵恰如其分地提供了戏剧张力。纳撒尼尔·梅里尔制作的布景服装与莱文的指挥相得益彰，将作品质朴的乡村风情淋漓尽致展现。

如需CD版本，马格指挥的Decca版（编号475 8496-2）堪称稳妥之选。卡巴耶塑造的女主角虽非完美却足够精彩，帕瓦罗蒂充满创造性的细节处理，安娜·雷诺兹通过明暗对比凸显氛围感的费德里卡，配合马格强有力的指挥，经"Originals"系列转制后音效鲜活如初。


DVD：
https://115cdn.com/s/swwvj2u3hq9?password=3377&#
Verdi - Luisa Miller - James Levine, Metropolitan Opera; Scotto, Domingo, Kraft [DVD9]
磁链：magnet:?xt=urn:btih:761AF702E3173CE4B9D5C55A65156B32156CC695

CD：
https://115cdn.com/s/swwvj2j3hq9?password=3377&#
Verdi - Falstaff - Karajan, PO; Gobbi, Schwarzkopf, Zaccaria, Moffo [EMI]等3个文件(夹)

joseph_li

Macbeth (complete, CD version)  《麦克白》
Ph. 475 8393 (3). Bruson, Zampieri, Shicoff, Lloyd, Deutsche Oper, Berlin, Ch. & O, Sinopoli

Even more than his finest rivals Sinopoli presents this opera as a searing Shakespearean inspiration, scarcely more uneven than much of the work of the Bard himself. In the Banqueting scene, for example, Sinopoli creates extra dramatic intensity by his concern for detail and his preference for extreme dynamics, and Renato Bruson and Mara Zampieri respond vividly. Zampieri’s voice may be biting rather than beautiful, occasionally threatening to come off the rails, but, with musical precision an asset, she matches exactly Verdi’s request for the voice of a she-devil. Neil Shicoff as Macduff and Robert Lloyd as Banquo make up the excellent quartet of principals, while the high voltage of the whole performance clearly reflects Sinopoli’s experience with the same chorus and orchestra at the Deutsche Oper in Berlin. The recording is vivid, well balanced and focused, but atmospheric.

For a DVD version of this opera, TDK’s live Parma version (Nucci, Valayre, Iori, Iuliano, Pascoli, Parma Teatro Regio Ch. & O, Bartoletti; Director: Liliana Cavani, V/D: Andrea Bevilacqua; TKK DVD DVWW-OPMACPA) goes straight to the top of the list because of Leo Nucci’s unforgettably powerful portrayal of Macbeth. Sylvie Valayre as Lady Macbeth, if not Callas, is physically attractive and resourcefully seductive in dominating in their joint Machiavellian plotting. Her voice has a certain amount of intrusive vibrato but is strong and clear, and her acting is vivid yet not overly melodramatic. Her sleepwalking scene (seemingly filmed separately) is most tellingly done and very well sung. Roberto Iuliano is an excellent Macduff. The rest of the cast give good support, especially the chorus, who sing superbly throughout, with Bartoletti preventing the closing sequence (with both principal characters dead) from being an anticlimax. The production is acceptable, although having the audience visible from either side of the stage is disconcerting. Moreover, the witches’ scenes are extraordinarily conceived, with the witches apparently doing their laundry, so that when Macbeth arrives he has to push his way through the washing! However, even with these distractions, this is all very compelling, especially the banquet scene in Act II, when Macbeth loses his reason; here both the principal characters are at their finest.

西诺波里对这出歌剧的诠释超越了所有竞争对手，将其演绎为灼热的莎士比亚式灵感迸发——其艺术完整性几乎不逊于莎翁原作。在"宴会场景"中，指挥家对细节的苛求与极端动态的偏好创造出惊人的戏剧张力，雷纳托·布鲁松与玛拉·赞皮耶里给出了极具生命力的回应。赞皮耶里的嗓音或许凌厉多于柔美，偶有失控之虞，但正是这种音乐精确性下的野性，完美契合了威尔第对"恶魔之声"的要求。尼尔·希科夫饰演的麦克德夫与罗伯特·劳埃德演绎的班柯，与两位主角构成了黄金四重唱。整场演出迸发的高压电流，显然源自西诺波里与柏林德意志歌剧院原班人马长期合作的默契。录音鲜活饱满、层次分明又极具氛围感。

若选择DVD版本，TDK发行的帕尔马现场版（编号DVWW-OPMACPA）因里奥·努奇震撼人心的麦克白塑造而独占鳌头。西尔维·瓦莱尔饰演的麦克白夫人虽不及卡拉斯，但其充满诱惑力的肢体语言与诡计多端的表演，将这对权谋夫妇的互动演绎得淋漓尽致。她的嗓音虽带有明显颤音却铿锵清晰，表演生动而不流于夸张。其"梦游场景"（疑似单独拍摄）的演唱与表演俱佳。罗伯托·尤利亚诺出色的麦克德夫、表现稳健的配角阵容与始终发挥超群的合唱团，在巴托莱蒂指挥下连终幕（双主角皆亡）都避免了虎头蛇尾。制作虽有瑕疵——两侧可见的观众席令人分神，女巫们洗衣的怪异设定（麦克白需拨开晾晒衣物登场）——但第二幕"宴会场景"中麦克白精神崩溃的段落，两位主演的巅峰演绎仍使全剧极具感染力。


Nabucco (complete, CD version) 《纳布科》
Decca (ADD) 478 1717 (2). Gobbi, Souliotis, Cava, Prevedi, V. State Op. Ch. & O, Gardelli

A masterly performance on Decca, with dramatically intense and deeply imaginative contributions from Tito Gobbi as Nabucco and Elena Souliotis as the evil Abigaille. Souliotis made this the one totally satisfying performance of an all-too-brief recording career, wild in places, but no more than is dramatically necessary. Though Carlo Cava as Zaccaria is not ideally rich of tone, it is a strong characterization, and Gardelli, as in his later Verdi recordings for both Decca and Philips, showed what a Verdian master he is, whether in pointing individual phrases or whole scenes, simply and naturally. Vivid and atmospheric 1965 sound completes a fine set, now reissued as one of Decca’s ‘Originals’. The one minor blemish is that the Viennese chorus, although richly expansive, lacks bite in Va pensiero.

DECCA这版杰作中，蒂托·戈比以戏剧性的强烈张力与惊人想象力塑造纳布科，埃琳娜·苏里奥蒂斯则将恶女阿碧嘉丽演绎得淋漓尽致——后者虽偶有狂放之处，却恰合戏剧需求，成就其短暂录音生涯中最完满的演出。卡洛·卡瓦饰演的撒迦利亚虽音色不够浑厚，但人物塑造极具力度。加德利延续其为DECCA与飞利浦录制威尔第歌剧的一贯水准，无论乐句处理还是整体场面调度都展现大师风范。1965年录制的鲜活音效为这套"原音重现"系列再版增色不少，唯维也纳合唱团在《飞吧思想》中虽气势磅礴却稍欠锐利。


Otello (complete, DVD version) 《奥赛罗》
DG DVD 0734040. Vickers, Freni, Glossop, Malagu, Bottion, Deutsche Oper Ch., BPO, Karajan (Director: Karajan; V/D: Georges Wakhevitch)

Filmed in Munich and Salzburg in 1972/3, Karajan’s disc offers a vivid production taken from the Salzburg Festival, superbly cast. Jon Vickers sings gloriously in the title-role, a heroic tenor who sings cleanly and accurately and with great passion, totally unstrained. Though Mirella Freni’s soprano might seem a little lightweight for Desdemona, it is sweetly beautiful, a totally charming portrayal of the wronged heroine, with Peter Glossop at his peak as the most sinister Iago, again totally unstrained. The co-ordination that Karajan obtains from his fine team, not just soloists but chorus and orchestra too, is a model for any rival, with Wakhevitch adding to the impact in the visual element, often set in the open air, with a stormy seascape at the start, and architectural sets. The film was made in conjunction with an audio recording, and the only slight snag is that there is a minor cut in the big central ensemble of Act III.

Of the many very fine versions on CD, perhaps the top choice is Plácido Domingo’s third recording of Otello (DG 439 805-2 (2) – Studer, Leiferkus, Ch. & O of the Bastille Opera, Chung) which proves to be more freely expressive and even more involved than his previous ones; the baritonal quality of his tenor has here developed to bring an extra darkness, with the final solo, Niun mi tema, poignantly tender. Cheryl Studer gives one of her finest performances as Desdemona, the tone both full and pure, while Sergei Leiferkus makes a chillingly evil Iago, the more so when his voice is the opposite of Italianate, verging on the gritty, which not everyone will like. With plenty of light and shade, Myung-Whun Chung is an urgent Verdian, adopting free-flowing speeds yet allowing Domingo full expansiveness in the death scene. The Chorus and Orchestra of the Bastille Opera excel themselves, setting new standards for an opera recording from Paris, and the sound is first rate.

卡拉扬1972/73年慕尼黑与萨尔茨堡拍摄的这版，源自萨尔茨堡音乐节震撼制作。乔恩·维克斯以毫不费力的英雄式男高音完美诠释主角，既有精准唱功又饱含激情。米雷拉·弗雷尼虽嗓音偏轻却以甜美音色成功塑造受冤的苔丝狄蒙娜，彼得·格洛索普巅峰状态的雅古阴险至极。卡拉扬对独唱家、合唱团与乐队的协调能力堪称典范，瓦赫维奇的舞美设计——开场暴风雨海景与建筑布景的露天场景——更强化了视觉冲击。该影像与录音同步制作，仅第三幕大合唱有细微删节。

众多CD版本中，普拉西多·多明戈第三次录制的《奥赛罗》（DG 439 805-2）堪称首选：其男高音中的男中音特质为角色增添暗黑色彩，《无人惧我》的演绎凄婉动人；谢丽尔·斯图德以饱满纯净的音色奉献其最佳苔丝狄蒙娜；谢尔盖·列弗库斯非意大利式的沙哑嗓音塑造出令人胆寒的雅古；郑明勋自由流动的速度处理与多明戈临终场景的舒展演绎相得益彰。巴士底歌剧院合唱团与乐团的表现重新定义了巴黎歌剧录音水准，音效堪称典范。


DVD：
https://115cdn.com/s/swwv93s3hq9?password=3377&#
Verdi - Otello - Karajan, BPO; Vickers, Freni, Glossop, van Dam [DVD9]等2个文件(夹)
磁链：
Otello：magnet:?xt=urn:btih:0286BFE3C65720B1BA6C2CD1924000B536CD778C

CD：
https://115cdn.com/s/swwv9333hq9?password=3377&#
Verdi - Macbeth- Giuseppe Sinopoli, Deutschen Oper Berlin, Zampieri, Bruson, Shicoff [Philips]等3个文件(夹)

joseph_li

Simon Boccanegra (complete, DVD version)  《西蒙·波卡涅拉》
TDK DVD DVWW OPSIBOW. Hampson, Gallardo-Domâs, Furlanetto, Dvorský, Daniel, V. State Op. Ch & O, Gatti (Director: Peter Stein; V/D: Anton Reitzenstein)

It is rare that you have a quintet of principals who sing with such clear and rock-steady tone as those chosen for Peter Stein’s Vienna State Opera production of Simon Boccanegra in 2002. Thomas Hampson as Boccanegra is at his peak, singing and acting magnificently. He is deeply moving opposite Cristina Gallardo-Domâs as Maria in their great recognition scene, one of the most touching moments in all Verdi. Hampson is well matched by Ferruccio Furlanetto with his dark, finely controlled bass as Fiesco, his adversary, and by Boaz Daniel as Paolo. The great Council Chamber scene is not only sung superbly, starting with Hampson in his address, Plebe, Patrizi, but Gatti builds up to the ‘gulp’ moment unerringly. At this point the set is less minimally stylized and more realistic than in other scenes of this great opera, setting the seal on a fine version, well recorded.

Abbado’s 1977 recording of Simon Boccanegra (DG 449 752-2 (2) – Freni, Cappuccilli, Ghiaurov, Van Dam, Carreras, La Scala, Milan, Ch. & O) makes a fine choice for those wanting a CD version of this opera as it is one of the most beautiful Verdi sets ever made. The playing of the orchestra is brilliantly incisive as well as refined, so that the drama is underlined by the extra sharpness of focus. The cursing of Paolo after the great Council Chamber scene makes the scalp prickle, with the chorus muttering in horror and the bass clarinet adding a sinister comment, here beautifully moulded. Cappuccilli, always intelligent, gives a far more intense and illuminating performance than the one he recorded for RCA earlier in his career; and Ghiaurov as Fiesco sings beautifully too. Freni as Maria Boccanegra sings with freshness and clarity, while Van Dam is an impressive Paolo. With electrically intense choral singing as well, this is a set to outshine even Abbado’s Macbeth, and it is superbly transferred to CD – now at mid-price.

2002年维也纳国家歌剧院这版由彼得·施坦因制作的《西蒙·波卡涅拉》，罕见地汇聚了五位音质坚实如磐石的主演。托马斯·汉普森处于巅峰状态的波卡涅拉兼具精湛唱功与演技，与克里斯蒂娜·加亚尔多-多玛斯饰演的玛丽亚在相认场景中的对手戏，堪称威尔第作品中最催人泪下的段落。费鲁乔·富拉内托以深沉克制的低音塑造宿敌菲耶斯科，波阿兹·丹尼尔诠释的保罗同样出色。议会大厅场景从汉普森《平民与贵族》的演说开始便精彩绝伦，加蒂指挥的乐团精准烘托出"窒息时刻"的戏剧张力——此段舞美一反全剧简约风格，采用写实布景，为这套录音出色的版本画上完美句点。

如需CD版本，阿巴多1977年指挥的录音（DG 449 752-2）堪称首选：米兰斯卡拉乐团兼具锋芒与精致的演奏赋予戏剧更强张力，议会大厅场景后对保罗的诅咒段落中，惊恐低语的合唱团与阴森的低音单簧管令人毛骨悚然。卡普契利比早年RCA录音更富洞察力，吉奥罗夫的菲耶斯科同样优美，弗蕾妮以清亮音色演绎玛丽亚，范·达姆的保罗令人印象深刻。带电般的合唱演绎使这套录音甚至超越阿巴多版《麦克白》，中价版CD转制效果极佳。


La traviata (complete, DVD version) 《茶花女》
Decca DVD 071 431-9. Gheorghiu, Lopardo, Nucci, ROHCG Ch. & O, Solti (Director: Richard Eyre; V/D: Humphrey Burton & Peter Maniura)

As this DVD rightly claims, this famous Solti performance of La traviata captures one of the most sensational débuts in recent operatic history. Singing Violetta for the first time, Angela Gheorghiu made the part entirely her own. But the DVD can also claim a special plaudit for the magical opening, when the camera focuses closely on Solti while he conducts the Prelude, with every movement of his hands and the concentration in his eyes creating the music in front of us. He holds the tension at the highest level throughout, with the strings playing marvellously, and recorded with absolute realism. Then the curtain goes up and Bob Crowley’s superb stage spectacle spreads out before our eyes. The singing is glorious, and this is one of the DVDs that should be a cornerstone in any collection.

Defying the problems of recording opera live at Covent Garden, the Decca engineers here offer one of the most vivid and involving versions ever of La traviata. As on stage, Gheorghiu brings heartfelt revelations, using her rich and vibrant, finely shaded soprano with consistent subtlety. Youthfully vivacious in Act I, dazzling in her coloratura, she already reveals the depths of feeling which compel her later self-sacrifice. In Act II she finds ample power for the great outburst of Amami, Alfredo, and in Act III almost uniquely uses the second stanza of Addio del passato (often omitted) to heighten the intensity of the heroine’s emotions. Frank Lopardo emerges as a fresh, lyrical Alfredo with a distinctive timbre, passionate and youthful-sounding too. Leo Nucci, a favourite baritone of Solti, provides a sharp contrast as a stolid but convincing Germont.

There is a wealth of additional performances to choose from for those who just want a CD version. Joan Sutherland recorded the role twice, first in the early 1960s with John Pritchard and, excellent though that version is, her digital re-make in the late 1970s is even finer, cast with Pavarotti on superb form and with Bonynge’s finely sprung conducting, it is pretty unbeatable (Decca 430 491-2 (2)). Of course, Callas’s many fans will prefer her 1955 version with Giulini, in a vividly dramatic performance, though with sound which is far from ideal (EMI 5 66450-2 (2)).

这套DVD记录的索尔蒂版《茶花女》，见证了安吉拉·乔治乌轰动歌剧界的首演——她将薇奥列塔彻底化为己有。开场镜头聚焦索尔蒂指挥前奏曲时的手势与眼神，魔法般具象化了音乐生成的过程。他始终保持着极致张力，弦乐在绝对真实的录音中迸发华彩。幕布升起后，鲍勃·克劳利设计的壮丽舞台扑面而来。这套DVD应成为所有藏家的基石之作。

DECCA工程师克服考文特花园现场录音难题，打造出史上最鲜活的《茶花女》版本。乔治乌用层次丰富的动人嗓音诠释角色：第一幕青春洋溢的花腔，第二幕《爱我吧，阿尔弗雷多》的爆发力，第三幕罕见保留的《告别往昔》第二段强化了悲剧深度。弗兰克·洛帕尔多清冽抒情的阿尔弗雷多充满青春激情，索尔蒂爱将里奥·努奇则以沉稳演技塑造了可信的杰尔蒙。

CD版本另有丰富选择：萨瑟兰1970年代末数码录音（Decca 430 491-2）搭配巅峰期的帕瓦罗蒂与博宁吉弹性十足的指挥，几乎难以超越；而卡拉斯1955年与朱里尼合作的激烈演绎（EMI 5 66450-2），虽录音欠佳仍是众多乐迷心头好。

DVD:
https://115cdn.com/s/swwv93r3hq9?password=3377&#
Verdi - Simon Boccanegra - Daniele Gatti, Vienna State Opera; Hampson, Furlanetto 2002 [Blu-ray]等2个文件(夹)
La Traviata：magnet:?xt=urn:btih:6B800AAF81836E7259D2241506339EDFA05C7FF8

CD：
https://115cdn.com/s/swwv9n73hq9?password=3377&#
Verdi - La traviata - Carlo Mario Giulini; Callas, Di Stefano, Bastianini [EMI 1955]等6个文件(夹)

joseph_li

Rigoletto (complete, CD version) 《弄臣》
Decca (ADD) 414 269-2 (2). Sutherland, Milnes, Pavarotti, Talvela, Tourangeau, Amb. Op. Ch., LSO, Bonynge

Just over ten years after her first recording of this opera, Sutherland appeared in it again, this time with Pavarotti, who is an intensely characterful Duke: an unmistakable rogue but a charmer too. Thanks to him and to Bonynge above all, the Quartet becomes a genuine musical climax. Sutherland’s voice has acquired a hint of a beat, but there is little of the mooning manner that disfigured her earlier assumption, and the result is glowingly beautiful as well as supremely assured technically. Milnes makes a strong Rigoletto, vocally masterful rather than strongly characterful.

距首次录制该剧十余年后，萨瑟兰此番与帕瓦罗蒂联袂出演——后者塑造的公爵极具个性魅力：既是无可辩驳的浪子，又充满迷人风采。正因他与博宁吉的杰出表现，四重唱成为真正的音乐高潮。萨瑟兰的嗓音虽略带颤音，却摒弃了早年版本中拖沓的缺陷，呈现出既技术精湛又光彩夺目的演唱。米尔恩斯塑造的弄臣更侧重声乐掌控力而非强烈个性。


Il trovatore (complete, CD version) 《游吟诗人》
RCA (ADD) 74321 39504-2 (2). L. Price, Domingo, Milnes, Cossotto, Amb. Op. Ch., New Philh. O, Mehta

The soaring curve of Leontyne Price’s rich vocal line is immediately thrilling in her famous Act I aria, and it sets the style of the RCA performance, full-bodied and with dramatic tension consistently high. The choral contribution is superb: the famous Soldiers’ and Anvil Choruses are marvellously fresh and dramatic. When Di quella pira comes, the orchestra opens with great gusto and Domingo sings with a ringing, heroic quality worthy of Caruso himself. There are many dramatic felicities, and Sherrill Milnes is in fine voice throughout; but perhaps the highlight of the set is the opening section of Act III, when Azucena finds her way to Conte di Luna’s camp. The ensuing scene with Fiorenza Cossotto is vocally and dramatically electrifying.

莱昂泰恩·普莱斯在第一幕著名咏叹调中那丰润声线的激昂起伏瞬间点燃全场，为这套RCA录音奠定了饱满音质与持续高张力的戏剧风格。合唱表现堪称典范：经典的《铁砧合唱》与《士兵合唱》焕发惊人活力。当《柴堆上火焰熊熊》响起时，乐团以磅礴气势开场，多明戈那堪比卡鲁索的英雄式演唱振聋发聩。谢里尔·米尔恩斯全程保持绝佳状态，而全剧最精彩的或许是第三幕开场——阿苏切娜闯入卢纳伯爵营地的场景，随后与菲奥伦扎·科索托的对手戏在声乐与戏剧层面都令人战栗。


Arias from: (i) Aida; (i; ii) Don Carlo; (ii) Ernani; Macbeth; (i) Otello; (ii) Nabucco  咏叹调选段：（i）《阿依达》；（i；ii）《唐·卡洛》；（ii）《厄尔南尼》；《麦克白》；（i）《奥赛罗》；（ii）《纳布科》
EMI Legends (ADD) 557760. Callas, with (i) Paris Conservatoire O; (ii) Philh. O; Rescigno

Classic Callas recordings, which should be in every opera lover’s collection. The Philharmonia recordings, made in 1958, marked Callas’s only visit to record at Abbey Road Studios. Much of the content shows the great diva at her very finest. Dismiss the top-note wobbles from your mind, and the rest has you enthralled by the vividness of characterization as well as musical imagination. It is sad that Callas did not record the role of Lady Macbeth complete. Here La luce langue is not as intense as the Act I aria and Sleepwalking scene, which are both unforgettable, and she holds the tension masterfully in the long Don Carlos scene. Abigaille, Elvira and Elisabetta all come out as real figures, sharply individual. Finely balanced recordings and sounding good in their Legends transfer. The Paris recordings (with the orchestra’s distinctive timbre) are exciting too, with the Desdemona from Otello commandingly taken, Aida’s Ritorna vincitor vehemently done, and O don fatale done as theatrically as you can imagine. With the bonus DVD of arias filmed in 1965 with the O Nat. de l’ORTF under Prêtre – compelling stuff – this one of the best Callas collections about, though no texts are included.

这套卡拉斯经典录音值得每位歌剧爱好者珍藏。1958年在艾比路录音室完成的这组爱乐乐团伴奏录音，是这位伟大女高音唯一在此录制的作品。多数选段展现了她最巅峰的状态——忽略偶有晃动的超高音，你会完全沉浸于她鲜活的角色塑造与音乐想象力中。令人遗憾的是卡拉斯未曾完整录制麦克白夫人一角，此处的《光明渐逝》虽不及第一幕咏叹调与梦游场景那般震撼，但她在漫长的唐·卡洛场景中始终完美掌控着戏剧张力。阿碧嘉丽、埃尔薇拉与伊丽莎白等角色都被赋予鲜明个性。录音平衡精妙，"传奇系列"转制效果出色。巴黎录音（乐团音色独具特色）同样激动人心：《奥赛罗》中苔丝狄蒙娜的咏叹调气势恢宏，《阿依达》"凯旋归来"炽烈澎湃，《致命赠礼》的戏剧性达到极致。附赠1965年ORTF国家乐团在普雷特指挥下录制的咏叹调DVD更添收藏价值（虽无歌词本），堪称最优秀的卡拉斯精选集之一。

https://115cdn.com/s/swwv9n03hq9?password=3377&#
Verdi - Rigoletto - Richard Bonynge, LSO; Sherrill Milnes, Joan Sutherland, Luciano Pavarotti [DECCA 24-96]等3个文件(夹)
第三张没找到。

joseph_li

VICTORIA, Tomás Luis de (c. 1548-1611)
‘The Victoria Collection’: Requiem (Officium defunctorum) (with Alonso Lobo: Versa est in luctum); Lamentations of Jeremiah (for Maundy Thursday, Good Friday & Holy Saturday) (with Juan Gutiérrez de Padilla: Lamentations for Maundy Thursday); Tenebrae Responsories  安魂曲（亡者日课）（含阿隆索·洛博《哀泣如雨》）；耶利米哀歌（濯足节、耶稣受难日、圣周六）（含胡安·古铁雷斯·德·帕迪利亚《濯足节哀歌》）；黑暗日课应答圣歌
Gimell GIMBX 304 (3). Tallis Scholars, Peter Phillips

Tomás Luis de Victoria’s Requiem, the Tenebrae Responsories and the Lamentations, with their mystical intensity of expression, represent the peak of Spanish Renaissance music, even though their composer spent his earlier years (1565-87) in Rome. This admirable three-disc collection contains some of his most beautiful and celestially serene settings. The Requiem (or Officium defunctorum) is one of his very finest works. In their outstanding performance the Tallis Scholars achieve great clarity of diction: they are 12 in number, and as a result the polyphony is clear and so are the words. The presentation embraces also Alonso Lobo’s motet, Versa est in luctum, written for the funeral of Phillip II of Spain, which Victoria greatly admired, and appended to his score. The Lamentations of Jeremiah for the services on Maundy Thursday, Good Friday and Holy Saturday have a serene but poignant simplicity which Peter Phillips captures movingly, with spacious tempi. As they proceed the number of voices Victoria uses gradually increases, with the final Jerusalem sections always expanding the scoring, so there is a crescendo not only within each Lament but within each set of three and then over the nine. This disc also includes the six-voice Lamentations for Maundy Thursday by Juan Gutiérrez de Padilla (c.1590 1664), born in Málaga, but who moved to New Spain (Mexico), where he became Maestro de Capella at Puebla Cathedral. The music (to quote Peter Phillips) ‘is spiced up with the augmented intervals beloved of every Iberian composer’.

The Responsories are so called because of the tradition of performing them in the evening in increasing darkness, as the candles were extinguished one by one. The Tallis Scholars’ performance is restrained but flawless in both blend and intonation. They are beautifully recorded throughout, and this well-documented set is offered at a special bargain price to commemorate (in 2011) the quatercentenary of Victoria’s death.

托马斯·路易斯·德·维多利亚的安魂曲、黑暗日课应答圣歌与哀歌以其神秘深邃的表现力，代表了西班牙文艺复兴音乐的巅峰——尽管这位作曲家早年（1565-1587）长期旅居罗马。这套出色的三碟合辑收录了他最纯净超凡的圣乐作品。安魂曲（或称《亡者日课》）是其登峰造极之作，塔利斯学者合唱团以十二人编制演绎出惊人的咬字清晰度，使复调织体与歌词文本皆明晰可辨。专辑同时收录了阿隆索·洛博为西班牙腓力二世葬礼创作的经文歌《哀泣如雨》——这部被维多利亚推崇并附于其安魂曲总谱后的作品。为圣周三日（濯足节、受难日、圣周六）创作的《耶利米哀歌》具有沉静而痛彻的简朴特质，彼得·菲利普斯以恢弘速度动人诠释。随着乐曲推进，维多利亚采用的人声编制逐步扩充，每篇末段"耶路撒冷"段落皆拓展声部配置，使得九首哀歌不仅在单篇内部形成张力累积，更在三组套曲间构建起宏大的渐强结构。本辑还收录了胡安·古铁雷斯·德·帕迪利亚（约1590-1664）的六声部《濯足节哀歌》——这位生于马拉加、后移居新西班牙（墨西哥）的作曲家，最终成为普埃布拉大教堂乐长。其作品（引用菲利普斯评述）"充满伊比利亚作曲家钟爱的增音程调味"。

"应答圣歌"得名于传统仪式中随蜡烛逐支熄灭、在渐浓黑暗里咏唱的形式。塔利斯学者合唱团的演绎含蓄内敛，声部融合与音准皆无懈可击。全套录音精美绝伦，为纪念维多利亚逝世四百周年（2011年）特以优惠价发行，并附详尽文献资料。


https://115cdn.com/s/swwv96d3hq9?password=3377&#
Victoria, Tomás Luis de - Lamentations of Jeremiah - Tallis Scholars, Tallis Scholars [Gimell]等3个文件(夹)

joseph_li

VILLA-LOBOS, Heitor (1887-1959)
(i–ii) Bachianas brasileiras 3; Mômoprecóce; (iii) Guitar Concerto; (iv) Fantasia for Soprano Saxophone & Chamber Orchestra; (i) Piano music: A prole do bebê (suite); A lenda do caboclo; Alma brasileira (Chôros 5); Ciclo brasiliero; Festa no sertão; Impressões seresteiras  (i–ii)《巴西巴赫风格曲第3号》；《早熟》；(iii)《吉他协奏曲》；(iv)《高音萨克斯与室内乐团幻想曲》；(i)钢琴作品：《洋娃娃的家》《卡波克洛传说》《巴西之魂（肖罗第5号）》《巴西循环》《乡间庆典》《小夜曲印象》  
EMI Gemini 3 81529-2 (2). (i) Ortiz; (ii) New Philh. O, Ashkenazy; (iii) A. Romero, LPO, López-Cobos; (iv) Harle, ASMF, Marriner

In many ways this is one of the finest Villa-Lobos collections in the catalogue, certainly the most varied. His rather melancholy piano-piece A lenda do caboclo (‘Legend of a half-caste’) gives a clue to the unique identity of this music, for the composer’s mother was Hispanic, his father of Indian descent. No. 3 of the Bachianas Brasileiras, which dates from 1938, is the only one of the series to involve the piano. The Mômoprecóce began life in 1920 (while the composer was living in Paris) as a set of piano pieces called Carnaval das Crianças and it was reworked in its concertante form later. Like so much of Villa-Lobos’s music, the score is rowdy and colourful. Cristina Ortiz, herself Brazilian, is a natural choice for this repertoire. She plays with appropriate vigour, reflective feeling and colour, and Ashkenazy gives splendid support. The late-1970s recording is excellent, with the CD transfer adding a little edge to the high violins. Ortiz is equally impressive in the solo piano pieces (again very well recorded), which she plays with flair and at times with touching tenderness, as in Villa-Lobos’s portraits of the Clay and Rag Dolls, the third and sixth members of A prole do bebê (‘Baby’s family’), Angel Romero makes the most of the comparatively slight Guitar Concerto, bringing out its Latin feeling. The Fantasia for Soprano Saxophone is a more substantial piece with three well-defined movements, contrasted in invention. John Harle is a perceptive soloist with a most appealing timbre and this is one of the highlights of the set. The recordings in both these concertante works (made in 1984 and 1990 respectively) are well up to the best Abbey Road analogue standards.

这套专辑堪称维拉-洛博斯作品目录中最杰出且最多元化的合集之一。带有忧郁气质的钢琴小品《卡波克洛传说》（"混血儿传奇"）揭示了作曲家独特的音乐基因——其母系西班牙血统与父系印第安血统的融合。创作于1938年的《巴西巴赫风格曲第3号》是该系列中唯一包含钢琴的作品。1920年作曲家旅居巴黎时创作的钢琴组曲《儿童狂欢节》，后改编为协奏曲形式的《早熟》。如同维拉-洛博斯多数作品，总谱洋溢着喧闹色彩。巴西钢琴家克里斯蒂娜·奥蒂兹以与生俱来的领悟力诠释这些作品，既有充沛活力又不乏沉思意境，阿什肯纳齐的协奏相得益彰。1970年代末的录音本就出色，CD转制更赋予小提琴高音部额外光泽。奥蒂兹在独奏钢琴作品中同样惊艳（录音亦属上乘），时而展现灵动才情，时而流露动人柔情——如《洋娃娃的家》中黏土娃娃与布娃娃的肖像。安赫尔·罗梅罗在相对简短的《吉他协奏曲》中充分挖掘拉丁韵味，而结构更宏大的《高音萨克斯幻想曲》包含三个对比鲜明的乐章，约翰·哈勒以极具感染力的音色成为这套专辑的亮点之一。这两部协奏作品（分别录制于1984与1990年）的录音质量完全达到艾比路录音室模拟时代的最高标准。  


(i) Chôros 1; (ii) Chôros 4 (for 3 horns & trombone); (iii) Chôros 6, 8 & 9  (i)《肖罗第1号》；(ii)《肖罗第4号》（为三圆号与长号）；(iii)《肖罗第6、8、9号》
BIS CD1450. (i) Fabio Zanon; (ii) Dante Venque, Ozéas Arantes, Samuel Hamzem, Darrin Coleman Milling: (iii) São Paulo SO, John Neschling

The series of Chôros on which Villa-Lobos embarked in the 1920s, employ various instrumental combinations. The First (1920) is for solo guitar and the Fourth (1926) for three horns and bass trombone. The Sixth (also 1926) is the first for orchestra, and both the Eighth (1925) and Ninth (1929) employ Brazilian percussion instruments; the resulting sonorities, such as the caracaxa (child’s rattle) have great exotic appeal. Villa-Lobos absorbed into his system much of the contemporary music of the day, Debussy, The Rite of Spring, Le bœuf sur le toit and works of Les Six. Yet it is the richly textured exoticism, evoking the sounds of the Brazilian forest, the boundless vitality of the dance, which resonates in the memory. Villa-Lobos creates his own sound-world and there is an infectious life and atmosphere here. John Neschling, born in Rio de Janeiro, and a pupil of Swarowsky and Bernstein, gets an enthusiastic response from his fine São Paolo players, and the BIS recording team does them proud. A good entry point into this composer’s world.

维拉-洛博斯1920年代创作的《肖罗》系列运用了多样乐器组合：第1号（1920）为独奏吉他，第4号（1926）为三圆号与低音长号，第6号（同年）首度采用管弦乐编制，第8号（1925）与第9号（1929）则加入巴西打击乐器（如儿童摇铃caracaxa）营造异域音效。作曲家虽吸收了德彪西、《春之祭》、"屋顶上的公牛"及法国六人团等当代音乐元素，但真正令人难忘的是那些描绘巴西丛林声响、舞曲生命力的浓墨重彩。里约热内卢出生的指挥家约翰·内施林（师从斯瓦罗夫斯基与伯恩斯坦）带领圣保罗优秀乐手们迸发澎湃激情，BIS录音团队完美捕捉了这份感染力。这是走进作曲家世界的绝佳入门选择。  


https://115cdn.com/s/swwv96e3hq9?password=3377&#
Villa-Lobos, Heitor - Complete Choros and Bachianas Brasileiras - São Paulo SO, Neschling, Minczuk [BIS 24-44.1]等3个文件(夹)

huzuoan

joseph_li 发表于 2025-8-16 12:10
TIPPETT, Michael (1905 98)
(i) Concerto for Double String Orchestra; (ii) Fanfare for Brass; (i) Fa ...

发现891楼、892楼内容相同（重复），但该条目下应该还有其他内容，不知道是不是被吃掉了。请楼主明查！谢谢！

joseph_li

huzuoan 发表于 2025-8-17 20:00
发现891楼、892楼内容相同（重复），但该条目下应该还有其他内容，不知道是不是被吃掉了。请楼主明查！谢 ...

感谢认真检查提醒，应该是我发的时候出错了。
补充如下楼

joseph_li

补：
TIPPETT, Michael (1905 98)
(i) The Rose Lake; (ii) The Vision of St Augustine(i) 《玫瑰湖》；(ii) 《圣奥古斯丁的异象》
RCA 82876 64284-2. LSO; (i) C. Davis; (ii) with Shirley-Quirk, L. Symphony Ch., composer
As Sir Colin Davis’s superb recording with the LSO demonstrates from first to last, The Rose Lake is arguably the most beautiful of all Tippett’s works. It was in 1990 on a visit to Senegal that the 85-year-old composer visited a lake, Le Lac Rose, where at midday the sun transformed its whitish-green colour to translucent pink. It led to this musical evocation of the lake from dawn to dusk, centred round the climactic mid-moment when the lake is in full song. The 12 sections, sharply delineated, form a musical arch, with the lake-song represented in five of them on soaring unison strings in free variation form.

That culminating masterpiece is well coupled with Tippett’s own 1971 recording, never previously available on CD, of his Cantata, The Vision of St Augustine. First heard in 1965, it is a work which can now be recognized as the beginning of his adventurous Indian summer. His reading is expansively atmospheric rather than tautly drawn, bringing out the mystery of the piece.

正如科林·戴维斯爵士与伦敦交响乐团的卓越录音所充分展现的，《玫瑰湖》堪称蒂皮特所有作品中最美的一部。1990年，时年85岁的作曲家到访塞内加尔时目睹了"玫瑰湖"（Le Lac Rose）奇观——正午时分，阳光将湖面从灰绿色转变为透亮的粉红。这促使他创作了这部从黎明到黄昏的音乐诗篇，高潮段落聚焦于湖光最盛时的"湖泊欢歌"。十二个结构分明的段落构成音乐拱廊，其中五个段落以自由变奏形式通过翱翔的齐奏弦乐表现"湖之歌"。  

这部巅峰之作与蒂皮特1971年亲自指挥的《圣奥古斯丁的异象》康塔塔录音相得益彰，后者此前从未发行CD版本。这部1965年首演的作品，如今可视为其创作晚期冒险精神的起点。作曲家的诠释更侧重氛围铺陈而非结构紧绷，充分挖掘了作品的神秘特质。  
（全剧）  


The Midsummer Marriage (complete)  《仲夏婚姻》
Lyrita SRCD 2217 (2). Remedios, Carlyle, Burrows, Herinx, Harwood, Watts, Ch. & O of ROHCG, C. Davis

This outstanding (originally Philips) 1970 recording of Tippett’s masterpiece is a work that should be in the standard repertoire, alongside Britten’s Peter Grimes, for the music consistently has that inspired melodic flow which distinguishes all great operas. That Tippett’s visionary conception, created over a long period of self-searching, succeeds so triumphantly on record – if anything, with greater intensity than in the opera house – is a tribute above all to the exuberance of the composer’s glowing inspiration, his determination to translate the beauty of his vision into musical and dramatic terms. Any one minute from this 154-minute score should be enough to demonstrate the unquenchable energy of his writing, his love of rich sounds. There are few operas of any period which use the chorus to such glorious effect, often in haunting offstage passages, and, with Sir Colin Davis a burningly committed advocate and with a cast that was inspired by live performances in the opera house, this is a set hard to resist, even for those not normally fond of modern opera. The so-called ‘difficulties’ of the libretto, with its mystical philosophical references, fade when the sounds are so honeyed in texture and so consistently lyrical, while the story – for all its complications – preserves a clear sense of emotional involvement throughout. The singing is glorious, the playing magnificent and the recording outstandingly atmospheric, and the Lyrita transfer brings an extraordinary sense of realism, the feeling of sitting in the stalls inside an opera house with quite perfect acoustics – even though the recording was made in Wembley Town Hall.

这套（原菲利普厂牌）1970年录制的蒂皮特杰作，理应与布里顿《彼得·格莱姆斯》并列标准保留剧目。音乐中持续涌现的灵感旋律，正是伟大歌剧的标志。蒂皮特历经长期自我探索构建的 visionary 构想，在唱片中取得了比剧场更强烈的成功——这首先归功于作曲家炽热创作力的蓬勃迸发，以及将精神图景转化为音乐戏剧的坚定意志。从这部154分钟总谱中任意截取一分钟，都足以展现其不可遏制的创作能量与对丰沛音响的热爱。鲜有歌剧能如此辉煌地运用合唱（尤其那些萦绕耳际的幕后段落），加上科林·戴维斯爵士全身心的投入，以及经剧场演出淬炼的演员阵容，这套录音即便对现代歌剧抵触者都难以抗拒。剧本中那些带有神秘哲思的所谓"艰涩"，在蜜糖般润泽的音响与贯穿始终的抒情性面前已然消融；故事虽错综复杂，却始终保持清晰的情感脉络。演唱辉煌，演奏壮丽，录音氛围感出众，Lyrita的转制更带来非凡临场感——尽管录制于温布利市政厅，却让人恍若置身声学完美的剧院正厅座席。


https://115cdn.com/s/swwvj6i3hq9?password=3377#
Tippett, Michael - Midsummer Marriage - Colin Davis, Royal Opera House [Lyrita]等2个文

decnpo

可惜全是115资源，无百度或迅雷网盘资源！

wpx426

joseph_li 发表于 2025-8-16 12:18
Symphony 6; Fantasia on a Theme of Thomas Tallis 第六交响曲；《托马斯·塔利斯主题幻想曲》
BBC Legen ...

补个裆

通过百度网盘分享的文件：6 Symphony 6, Tallis Fantasia; BAX ...
链接：https://***.com/s/15ZxwrKvqlGOIxo6e6aK7Tg?pwd=tx4p

joseph_li

wpx426 发表于 2025-8-18 11:22
补个裆

通过百度网盘分享的文件：6 Symphony 6, Tallis Fantasia; BAX ...

感谢补档，