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

joseph_li · 发表于 2025-8-18 15:54

VIVALDI, Antonio (1678–1741)
‘Ultimate Vivaldi’: Disc 1: The Four Seasons; Triple Violin Concerto in F, RV 551; Quadruple Violin Concerto in B min., RV 580 (Accardo & soloists, I Solisti di Napoli). Disc 2: Concertos for Bassoon, RV 498 (Gatt); Flute, RV 441 (Bennett); Oboe, RV 456 (Black); 2 Oboes, RV 535 (with Nicklin); 2 Oboes, Bassoon, 2 Horns & Violin, RV 574 (as above, with T. & I. Brown; Davis); Piccolo Concerto in C, RV 443 (Bennett). Disc 3: Cello Concertos, RV 401; 411; 412; 413; 418; 424 (Schiff, ASMF, Marriner). Disc 4: Concertos for Guitar, RV 93; 356; 425; for 2 Guitars, RV 532; for 4 Guitars, RV 580 (Los Romeros (members), ASMF, I. Brown). Disc 5: Double Concerto for Guitar & Viola d’amore, RV 540, arr. Malipiero (Fernández, Blume, ECO, Malcolm). Glorias: in D, RV 588 & 589 (soloists, St John’s College, Cambridge, Ch., Wren O, Guest)
《极致维瓦尔第》：
碟1：《四季》；F大调三重小提琴协奏曲，RV 551；B小调四重小提琴协奏曲，RV 580（阿卡多与独奏家，那不勒斯独奏家合奏团）。
碟2：巴松管协奏曲，RV 498（加特）；长笛协奏曲，RV 441（贝内特）；双簧管协奏曲，RV 456（布莱克）；双双簧管协奏曲，RV 535（与尼克林合作）；双双簧管、巴松管、双圆号与小提琴协奏曲，RV 574（同上，与T. & I. 布朗、戴维斯合作）；C大调短笛协奏曲，RV 443（贝内特）。
碟3：大提琴协奏曲，RV 401、411、412、413、418、424（希夫，圣马丁室内乐团，马里纳）。
碟4：吉他协奏曲，RV 93、356、425；双重吉他协奏曲，RV 532；四重吉他协奏曲，RV 580（罗梅罗家族成员，圣马丁室内乐团，I. 布朗）。
碟5：吉他与抒情维奥尔琴双协奏曲，RV 540，马利皮耶罗改编（费尔南德斯，布鲁姆，英国室内乐团，马尔科姆）。《荣耀经》：D大调，RV 588与589
Decca (ADD) 475 8536 (5)

This is undoubtedly the highlight of Decca’s super-budget ‘Ultimate’ composer series. There is no better Vivaldi collection in the catalogue, led by Salvatore Accardo’s outstanding version of The Four Seasons and including a superb collection of miscellaneous concertos with outstanding wind soloists from Marriner’s Academy (plus the excellent Heinrich Schiff in the Cello Concertos), and members of Los Romeros (originally by Philips) in the works for guitar (originally for mandolin, lute or violins). The selection is capped by splendid accounts from St John’s of the two Glorias, including the more famous, RV 589. But it is a pity there are no accompanying liner notes.

这无疑是迪卡公司“极致”作曲家系列中超级性价比的亮点。目录中没有比这更出色的维瓦尔第选集了，以萨尔瓦托雷·阿卡多杰出的《四季》版本领衔，还包括马里纳指挥的圣马丁室内乐团与杰出管乐独奏家合作的一系列精彩协奏曲（希夫在大提琴协奏曲中的表现同样出色），以及罗梅罗家族成员（原菲利普唱片）演绎的吉他作品（原为曼陀林、鲁特琴或小提琴而作）。选集以圣约翰学院合唱团演绎的两部《荣耀经》（包括更著名的RV 589）完美收官。但遗憾的是没有附带说明书。

(i) The Four Seasons, Op. 8/1–4; (ii) Bassoon Concerto in A min., RV 498; (iii) Double Concerto for 2 Oboes in D min., RV 535; (iv) Piccolo Concerto in C, RV 443  （i）《四季》，Op. 8/1–4；（ii）A小调巴松管协奏曲，RV 498；（iii）D小调双双簧管协奏曲，RV 535；（iv）C大调短笛协奏曲，RV 443
Decca (ADD) 475 7531. (i) Loveday; (ii) Gatt; (iii) Black, Nicklin; (iv) Bennett; ASMF, Marriner

Marriner’s 1969 recording of The Four Seasons with Alan Loveday has been our top recommendation for four decades, and it is still unsurpassed. It has an element of fantasy that makes the music sound utterly new; it is full of imaginative touches, with Simon Preston subtly varying the continuo between harpsichord and organ. The opulence of string-tone may have a romantic connotation, but there is no self-indulgence in the interpretation, no sentimentality, for the contrasts are made sharper and fresher. Indeed, its stylish success on modern instruments makes one wonder what the fuss about period performance is all about. It now comes back into the catalogue with three bonus concertos which are hardly less enjoyable.

马里纳1969年与艾伦·拉夫迪合作的《四季》录音四十年来一直是我们的首选推荐，至今无人超越。其充满幻想的演绎让音乐焕然一新，充满想象力，西蒙·普雷斯顿巧妙地在羽管键琴与管风琴间变换通奏低音。弦乐的丰润或许带有浪漫色彩，但演绎毫无自我沉溺或感伤，反而使对比更鲜明清新。事实上，现代乐器演奏的优雅成功让人不禁质疑古乐演奏的争议何在。如今它以三部同样精彩的协奏曲作为附加曲目重回唱片目录。

L’estro armonico, Op. 3; (i) Bassoon Concerto in A min., RV 498; (ii) Flute Concerto in C min., RV 441; (iii) Oboe Concerto in F, RV 456; (i; iii–iv) Concerto in F for 2 Oboes, Bassoon, 2 Horns and Violin, RV 574  《和谐的灵感》，Op. 3；（i）A小调巴松管协奏曲，RV 498；（ii）C小调长笛协奏曲，RV 441；（iii）F大调双簧管协奏曲，RV 456；（i；iii–iv）F大调双双簧管、巴松管、双圆号与小提琴协奏曲，RV 574
Double Decca 443 476-2 (2). (i) Gatt; (ii) Bennett; (iii) Black; (iv) Nicklin, T. Brown, R. Davis, I. Brown, Hogwood, Tilney, Heath; ASMF, Marriner

Those who have not been won over by the more abrasive sound of period instruments will find Marriner’s set no less stylish than those of his period-performance rivals. As so often, he directs the Academy in radiant and imaginative performances of baroque music and yet observes scholarly good manners. The delightful use of the continuo – lute and organ, as well as harpsichord – the sharing of solo honours and the consistently resilient string-playing of the ensemble make for compelling listening. The 1972 recording, made in St John’s, Smith Square, is immaculately transferred, and as a bonus come four of Vivaldi’s most inventive concertos, each with its own special effects.

那些尚未接受古乐器更尖锐音色的听众会发现，马里纳的版本在风格上丝毫不逊色于古乐对手。一如既往，他以光彩夺目且富有想象力的方式演绎巴洛克音乐，同时保持学术礼仪。通奏低音的巧妙运用（鲁特琴、管风琴与羽管键琴）、独奏荣誉的共享以及乐团始终充满弹性的弦乐演奏，令人沉醉。1972年在圣约翰史密斯广场的录音被完美转录，并额外收录了四部维瓦尔第最具创意的协奏曲，每部都有独特效果。

https://115cdn.com/s/swwrzow3hq9?password=3377&#
Vivaldi - Four Seasons etc. - Alan Loveday, Neville Marriner, ASMF [DECCA]等3个文件(夹)
这个推荐清单里维瓦尔第的作品以DECCA 双张和 Naïve 名模版为主。

joseph_li · 发表于 2025-8-18 15:56

La stravaganza, Op. 4  《异乎寻常》，Op. 4
Double Decca (ADD) 444 821-2 (2). ASMF, Marriner

Marriner’s performances make this music irresistible. The solo playing of Carmel Kaine and Alan Loveday is superb and, when the Academy’s rhythms have such splendid buoyancy and lift, it is easy to accept Marriner’s preference for a relatively sweet style in the often heavenly slow movements. The contribution of an imaginatively varied continuo (theorbo and organ) adds much to the colour of Vivaldi’s score. The recordings, made in St John’s, Smith Square, in 1974, are of the highest quality, with CD transfers in the demonstration class.

马里纳的演绎让这部作品令人无法抗拒。卡梅尔·凯恩与艾伦·拉夫迪的独奏技艺精湛，而圣马丁室内乐团的节奏充满非凡的轻盈与跃动感，使得听众很容易接受马里纳在那些如天籁般的慢乐章中偏爱的甜美风格。富于想象力的通奏低音组合（西奥伯琴与管风琴）为维瓦尔第的乐谱增添了丰富的色彩。1974年于圣约翰史密斯广场录制的音质堪称顶级，CD转录效果更是示范级水准。

(i) La cetra (12 Violin Concertos), Op. 9; (ii) Double Oboe Concerto in D min., RV 535; (iii) Piccolo Concerto in C, RV 443  （i）《诗琴》（12首小提琴协奏曲），Op. 9；（ii）D小调双簧管协奏曲，RV 535；（iii）C大调短笛协奏曲，RV 443
Double Decca (ADD) 448 110-2 (2). (i) Iona Brown; (ii) Black, Nicklin; (iii) Bennett; (ii–iii) cond. Marriner; ASMF

For La cetra Iona Brown acts as director in the place of Sir Neville Marriner. So resilient and imaginative are the results that one detects virtually no difference from the immaculate and stylish Vivaldi playing in earlier Academy Vivaldi sets. There is some wonderful music here; the later concertos are every bit the equal of anything in The Trial between Harmony and Invention, and they are played gloriously. The recording too is outstandingly rich and vivid, even by earlier Argo standards with this group, and the Decca transfer to CD retains the demonstration excellence of the original analogue LPs, with yet a greater sense of body and presence. For the Double Decca reissue, two of Vivaldi’s most engaging wind concertos have been added, winningly played by three Academy soloists. The sound is just as fine as in the concertos for violin.

在《诗琴》中，艾欧娜·布朗接替内维尔·马里纳爵士担任指挥。其演绎充满弹性与想象力，与圣马丁乐团早期维瓦尔第唱片中完美而优雅的风格几乎毫无差异。这里包含一些绝妙的音乐；后期的协奏曲丝毫不逊色于《和谐与创意的试炼》中的任何作品，且演奏得辉煌壮丽。录音效果极其丰润生动，甚至超越了该乐团早期Argo唱片的标准，而迪卡的CD转录保留了原始模拟黑胶的示范级品质，并赋予更饱满的实体感与临场感。在这张双碟再版中，额外收录了两部维瓦尔第最迷人的管乐协奏曲，由三位圣马丁独奏家精彩演绎，音质与小提琴协奏曲同样出色。

(i) Mandolin Concerto in C, RV 425; (i–ii) Double Concerto for 2 Mandolins in G, RV 532. Concerti con molti strumenti: Concerto for Violin & 2 Flutes diritti; 3 Oboes & Bassoon (dedicated to Sua Altezza Reale di Sassonia), RV 576; Concerto for 2 Violins in tromba marina, 2 Flutes diritti, 2 Mandolins, 2 Salmoè, 2 Theorbos & Cello, RV 558; Concerto for Violin solo, 2 Oboes & Bassoon (dedicated to S. Pisandel) (Dresden version), RV 319; Concerto for 2 Violins & 2 Cellos in D, RV 564; Concerto in C for 3 Violins, Oboe & 2 Flutes diritti, 2 Viole all’inglese, Salmoè, 2 Cellos, 2 Harpsichords & 2 Violins in tromba marina, RV 555  （i）C大调曼陀林协奏曲，RV 425；（i–ii）G大调双曼陀林协奏曲，RV 532。多乐器协奏曲：小提琴、2支直笛、3支双簧管与巴松管协奏曲（题献给萨克森选帝侯），RV 576；- 2把小提琴（海号独弦琴）、2支直笛、2把曼陀林、2支沙吕莫管、2把西奥伯琴与大提琴协奏曲，RV 558；- 独奏小提琴、2支双簧管与巴松管协奏曲（题献给皮桑德尔，德累斯顿版本），RV 319；- D大调2把小提琴与2把大提琴协奏曲，RV 564；- C大调3把小提琴、双簧管、2支直笛、2把英国中提琴、沙吕莫管、2把大提琴、2架羽管键琴与2把海号独弦琴协奏曲，RV 555
Virgin 5 45527-2. (i) Scaramuzzino; (ii) Maurer; soloists, Europa Galante, Biondi

Another excellent disc from Fabio Biondi and his outstanding period-instrument group. The two simple Mandolin Concertos are played intimately and are perfectly balanced. The Concertos con molti strumenti offer an extraordinary range of tone-colour, especially the extravagantly scored C major Concerto, RV 555. In the Largo of this work the violin plays an obbligato line to the two solo harpsichords, which are given alternating arpeggios in a pendulum style, embroidering them a piacimento (‘as they please’). Toussaint Loviko, who provides the excellent notes, tells us that Vivaldi’s girl musicians were hidden by grilles curtained with black gauze, so they were able to exchange instruments at will and were thus able to surprise their listeners.

法比奥·比昂迪与他的顶尖古乐合奏团带来的又一张杰出唱片。两部简约的曼陀林协奏曲以亲密的演绎呈现，平衡完美。**多乐器协奏曲**则展现了非凡的音色组合，尤其是配器奢华的C大调协奏曲RV 555。在该作品的广板中，小提琴为两架独奏羽管键琴演奏助奏声部，后者以钟摆式交替的琶音自由装饰（标注为“a piacimento”）。注释作者图桑·洛维科告诉我们，维瓦尔第麾下的女乐手们被黑色薄纱帷幕遮挡，因而能随意交换乐器，以此给听众带来惊喜。

https://115cdn.com/s/swwrzou3hq9?password=3377&#
Vivaldi - Concerti Per Mandolini - Europa Galante, Fabio Biondi [Virgin]等3个文件(夹)
Fabio Biondi以及后面Rinaldo Alessandrini的几张在以前发过的大包里都有。

joseph_li · 发表于 2025-8-18 16:00

Concertos for Strings in C, RV 115; in C min., RV 120; in D, RV 121 & 123; in D min., RV 129; in F, RV 141; in F min., RV 143; in G min., RV 153, 154 & 156; in A, RV 158 & 159弦乐协奏曲：C大调RV 115；C小调RV 120；D大调RV 121与123；D小调RV 129；F大调RV 141；F小调RV 143；G小调RV 153、154与156；A大调RV 158与159
Naïve OP 30377. Concerto Italiano, Alessandrini

Rinaldo Alessandrini and his Concerto Italiano offer 12 concertos played with great brio and expressive sensibility, and you have only to sample the first or the last of the concertos here, RV 159 and RV 123, to hear how deeply expressive are the brief slow movements, and how infectious are the Allegros. First-class recording ensures that this new series gets the strongest recommendation.

里纳尔多·亚历山德里尼与他的意大利协奏团以充沛的激情与细腻的表现力演绎了这12部协奏曲。仅需聆听开篇的RV 159或终曲RV 123，便能体会那些简短慢乐章中深邃的情感表达，以及快板乐章令人振奋的感染力。一流的录音品质使这个新系列获得强烈推荐。

‘Concerti con molti istromenti’: Concerto funèbre in B flat for Oboe, Chalumeau, Violin, 3 Viole all’inglese, RV 579; Concerto in C for 2 Recorders, Oboe, Chalumeau, Violin, 2 Viole all’inglese, 2 Violins ‘in tromba marina’, 2 Harpsichords, RV 555; Concerto in D min. for 2 Oboes, Bassoon, 2 Violins, RV 566; Double Trumpet Concerto in D, RV 781; Concerto in F for Viola d’amore, 2 Horns, 2 Oboes & Bassoon, RV 97; Concerto in F for Violin, 2 Oboes, Bassoon, 2 Horns, RV 574; Concerto in D for Violin, 2 Oboes, 2 Horns, RV 562"多乐器协奏曲"：降B大调葬礼协奏曲（双簧管、沙吕莫管、小提琴、3把英国中提琴），RV 579；C大调协奏曲（2支竖笛、双簧管、沙吕莫管、小提琴、2把英国中提琴、2把海号独弦琴、2架羽管键琴），RV 555；D小调协奏曲（2支双簧管、巴松管、2把小提琴），RV 566；D大调双小号协奏曲，RV 781；F大调协奏曲（抒情维奥尔琴、2支圆号、2支双簧管与巴松管），RV 97；F大调协奏曲（小提琴、2支双簧管、巴松管、2支圆号），RV 574；D大调协奏曲（小提琴、2支双簧管、2支圆号），RV 562
Hyp. CDA 67073. Soloists, King’s Cons., King

This is one of the most attractive of all the CD grouplings of Vivaldi’s often extraordinarily scored multiple concertos, in which the period-instrument playing is not only expert, but constantly tweaks the ear. The braying horns often dominate, especially in RV 562 and RV 574. The oboes are used to decorate the Grave of the latter, and elegantly open the finale of the former, before a bravura violin sends sparks flying. The Concerto funèbre, not surprisingly, opens with a Largo and combines the remarkable solo combination of muted oboe, tenor chalumeau, a trio of viole all’inglese, accompanied by muted strings. Then (in RV 555) comes the most remarkable array of all. Vivaldi even throws in a pair of harpsichords for good measure, and they are given some most attractive solo passages and are used to provide a gentle rocking background for a most engaging violin soliloquy in the central Largo. Throughout, the solo playing is wonderfully stylish and appealing, and Robert King maintains a fine vigour in Allegros and an often gentle espressivo in slow movements. The recording is first class. Very highly recommended.

这是维瓦尔第多乐器协奏曲CD合辑中最迷人的版本之一，其古乐演奏不仅技艺精湛，更持续带来听觉惊喜。嘹亮的圆号常占据主导，尤其在RV 562与RV 574中。双簧管为后者的庄板乐章增添装饰，并优雅地开启前者的终曲，随后华彩小提琴奏出火花四射的旋律。葬礼协奏曲以广板开场并不意外，其独特的独奏组合包括弱音双簧管、次中音沙吕莫管与三把英国中提琴，辅以弱音弦乐伴奏。而RV 555则展现了最非凡的乐器阵列——维瓦尔第甚至加入两架羽管键琴，它们不仅呈现迷人的独奏段落，更在广板乐章中为小提琴独白营造轻柔摇曳的背景。独奏部分始终充满优雅魅力，罗伯特·金在快板中保持充沛活力，慢板则常展现细腻的表情处理。录音品质一流，强烈推荐。

‘Concerti con molti istromenti’: Concerto in G min. for Oboe solo, Violin solo, 2 Flutes & 2 Oboes, RV 576; Concerto in G min. for Oboe solo, Violin solo, 2 Flutes & 2 Oboes, RV 577; Concerto in F for Violin, 2 Oboes & 2 Horns, RV 574; Concerto in F for Violin, 2 Oboes & 2 Horns, RV 569; Sinfonia for Strings in C, RV 192  "多乐器协奏曲"：G小调协奏曲（独奏双簧管、独奏小提琴、2支长笛与2支双簧管），RV 576；G小调协奏曲（独奏双簧管、独奏小提琴、2支长笛与2支双簧管），RV 577；F大调协奏曲（小提琴、2支双簧管与2支圆号），RV 574；F大调协奏曲（小提琴、2支双簧管与2支圆号），RV 569；C大调弦乐交响曲，RV 192
Naïve OP 30283. Soloists, Freiburg Bar. O, Von der Goltz

We know of the excellence of Gottfried von der Goltz’s period-instrument Freiburg Baroque Orchestra from their outstanding DVD of the Bach Brandenburg Concertos. They are no less stimulating in these Vivaldi concertos, written for Dresden, to which they bring a remarkable range of instrumental colour and dynamic, much vitality and expressive finesse. Slow movements, usually played gently, are always memorable, as in the Grave of RV 569 or the Larghetto of RV 576, and the excellence of their horn players is demonstrated vigorously in RV 574. A splendid collection, vividly recorded.

戈特弗里德·冯·德尔·戈尔茨的弗莱堡巴洛克乐团凭借巴赫《勃兰登堡协奏曲》DVD已展现卓越水准，他们为这些为德累斯顿创作的维瓦尔第协奏曲注入了同样令人振奋的演绎，呈现出惊人的乐器色彩变化、动态对比、蓬勃活力与精妙表达。通常轻柔处理的慢乐章总是令人难忘，如RV 569的庄板或RV 576的小广板，而圆号手在RV 574中的精湛表现更彰显无遗。这套生动录制的精选集堪称瑰宝。

https://115cdn.com/s/swwrz7y3hq9?password=3377&#
Vivaldi - Concerti con molti istromenti - Robert King & King's Consort [Hyperion]等3个文件(夹)

名模版还在继续更新，能找到最新的是Vol.74

https://115cdn.com/s/swwrz9y3hq9?password=3377&#
https://***.com/s/1eDULJbG249MWBnMdx9jghw?pwd=3377
Vivaldi Edition [Naive]
缺Vol. 73

joseph_li · 发表于 2025-8-18 16:01

Double Cello Concerto in G min., RV 531; Concerto for Flute, Oboe, Bassoon & Violin in F (La tempesta di mare), RV 570; Concerto funèbre in B flat for Violin, Oboe, Salmoè & 3 Viole all’inglese, RV 579; Flute Concerto in G min. (La notte), RV 439; Violin Concertos in D (L’inquietudine), RV 234; in E (Il riposo – per il Natale), RV 270; in A (Per eco in lontano), RV 552.  G小调双大提琴协奏曲RV 531；F大调长笛、双簧管、巴松管与小提琴协奏曲《海上风暴》RV 570；降B大调葬礼协奏曲（小提琴、双簧管、沙吕莫管与3把英国中提琴）RV 579；G小调长笛协奏曲《夜》RV 439；D大调小提琴协奏曲《不安》RV 234；E大调小提琴协奏曲《圣诞静憩》RV 270；A大调小提琴协奏曲《远方回声》RV 552
Virgin 5 45424-2. Europa Galante, Biondi

This collection of some of Vivaldi’s most imaginative concertos, played on period instruments, is just as attractive as its looks. All the special effects, from the ghost and sleep evocations in La notte to the echoing second violin in RV 552, are neatly managed, and the atmosphere of the Concerto funèbre is well sustained. This concerto features a theme taken from Tito Manlio, where it was used as part of a procession to execution, and the scoring is very telling. Fabio Biondi leads an excellent team of soloists and directs sparkling accompaniments, with a touch of vintage dryness to the bouquet of string-timbre. Excellent recording.

这张收录维瓦尔第最具想象力协奏曲的古乐器演奏专辑，其魅力与封面设计同样出众。从《夜》中幽灵与睡眠的意象营造，到RV 552中回声效果的第二小提琴，所有特殊音效都处理得恰到好处，葬礼协奏曲的阴郁氛围也贯穿始终。该协奏曲主题取自歌剧《提托·曼利奥》中赴刑场的行进乐段，配器手法极具表现力。法比奥·比昂迪率领的优秀独奏家团队以略带复古干涩感的弦乐音色，呈现璀璨的伴奏声部。录音效果极佳。

Double Concertos: for 2 Cellos in G min., RV 531; for Violin, Cello in F (Il Proteo ò sia il mondoa rovescio), RV 544; for 2 Violins in A (per eco in lontano), RV 552. Triple Concertos: for 3 Violins in F, RV 551; for Violin & 2 Cellos in C, RV 561. Quadruple Concertos: for 2 Violins & 2 Cellos in C, RV 561; in D, RV 564  双重协奏曲：G小调双大提琴协奏曲RV 531；F大调小提琴与大提琴协奏曲《颠倒世界》RV 544；A大调双小提琴协奏曲《远方回声》RV 552。三重协奏曲：F大调三小提琴协奏曲RV 551；C大调小提琴与双大提琴协奏曲RV 561。四重协奏曲：C大调双小提琴与双大提琴协奏曲RV 561；D大调双小提琴与双大提琴协奏曲RV 564
Teldec 4509 94552-2. Coin and soloists, Il Giardino Armonico, Antonini

An exceptionally rewarding collection of concertos for multiple, stringed instruments. Christophe Coin leads an excellent team of soloists and the imaginative continuo (organ, harpsichord and archlute) adds to the colour of performances which are full of life, yet which also reveal the music’s more subtle touches and are remarkably free from the exaggerated stylistic devices often associated with period instruments. The recording is excellent.

这套弦乐多重协奏曲选集堪称听觉盛宴。克里斯托夫·科安带领的独奏家团队技艺超群，富有想象力的通奏低音组合（管风琴、羽管键琴与拱鲁特琴）为演绎增添色彩。演奏充满活力又不失细腻，完全摒弃了古乐器演奏常有的夸张风格处理。录音品质出色。

Violin Concertos in D (L’inquietudine), RV 234; in E min., RV 273; in E flat (La tempesta di mare), Op. 8/5; Double Violin Concerto in D min., Op. 3/11; Double Violin Sonata in D min. (La Follia), RV 63. (i) Aria: Andromeda liberate: Sovvente il sole D大调小提琴协奏曲《不安》RV 234；E小调小提琴协奏曲RV 273；降E大调小提琴协奏曲《海上风暴》Op.8/5；D小调双小提琴协奏曲Op.3/11；D小调双小提琴奏鸣曲《佛利亚》RV 63。（女声）咏叹调《解放的安德洛墨达》："Sovvente il sole"
DG 477 7463. Hope, COE, (i) with Von Otter

Some exhilarating playing here. This collection begins with a dynamic account of the ‘L’inquietudine’, where the brilliance of the virtuosic writing is tempered with a timbre of both warmth and beauty. The opening of the E minor Concerto sounds darkly imposing, while La tempesta di mare is as exciting as it gets. Anne Sofie von Otter sings her aria with great beauty (and what a meltingly haunting aria it is too!). The CD ends with a vibrantly stylish account of the Double Concerto in D minor, from L’estro armonico. Superb recording and top production standards from DG.

令人振奋的演绎贯穿始终。专辑以极具张力的《不安》开场，辉煌的技巧展示与温暖优美的音色相得益彰。E小调协奏曲开端阴沉威严，《海上风暴》则迸发出极致激情。安妮·索菲·冯·奥特以绝美音色演绎咏叹调（这段缠绵悱恻的咏叹调实在令人难忘！）。专辑以《和谐的灵感》中D小调双小提琴协奏曲的华丽演绎压轴，DG公司顶级录音与制作水准尽显无遗。

https://115cdn.com/s/swwrzi53hq9?password=3377&#
Vivaldi - Concerti con titoli - Europa Galante, Fabio Biondi [Virgin]等3个文件(夹)

joseph_li · 发表于 2025-8-18 16:02

(i) Gloria in D, RV 588; Gloria in D, RV 589; (ii–iii) Beatus vir in C, RV 597; Dixit Dominus in D, RV 594; (iv; iii) Magnificat in G min., RV 610（i）D大调《荣耀经》RV 588；D大调《荣耀经》RV 589；（ii-iii）C大调《蒙福之人》RV 597；D大调《主说》RV 594；（iv；iii）G小调《尊主颂》RV 610
Double Decca (DDD/ADD) 443 455-2 (2). (i) Russell, Kwella, Wilkens, Bowen, St John’s College, Cambridge, Ch., Wren O, Guest; (ii) J. Smith, Buchanan, Watts, Partridge, Shirley-Quirk, ECO, Cleobury; (iii) King’s College, Cambridge, Ch.; (iv) Castle, Cockerham, King, ASMF, Ledger

The two settings of the Gloria make an apt and illuminating pairing. Both in D major, they have many points in common, presenting fascinating comparisons, when RV 588 is as inspired as its better-known companion. Guest directs strong and well-paced readings, with RV 588 the more lively. Good, warm recording to match the performances. Dixit Dominus cannot fail to attract those who have enjoyed the better-known Gloria. What caps this outstanding Vivaldi compilation is the earlier King’s account of the inspired Magnificat in G minor. Ledger uses the small-scale setting and opts for boys’ voices in the solos such as the beautiful duet, Esurientes, which is most winning. The performance overall is very compelling and moving, and the singing has all the accustomed beauty of King’s. The transfer of an outstanding (1976) analogue recording is admirable, even richer than its digital companions.

两部《荣耀经》的并置呈现巧妙而富有启发性。虽同属D大调且多有共通之处，但鲜为人知的RV 588与其著名姊妹篇RV 589同样充满灵感，形成迷人对照。格斯特的指挥强劲而富有韵律，RV 588的演绎更为活泼。温暖的录音完美匹配演出水准。《主说》定能吸引那些喜爱《荣耀经》的听众。而早年金氏合唱团演绎的G小调《尊主颂》更成为这套维瓦尔第精选的点睛之笔。莱杰采用小型编制并选用童声独唱，如动人的二重唱《饥饿的人》极具感染力。整体演绎扣人心弦，演唱保持着金氏合唱团一贯的美感。1976年模拟录音的转制效果惊人，比数字录音版本更为丰润。

(i) Stabat Mater, RV 621; Clarae stella scintillate (Motet), RV 625; Concerto funèbre in B flat for Violin, Oboe, Salmoè & 3 Viole all’inglese, RV 579; Concerto sacra in D for Violin & Cello, with Organ obbligato, RV 554a; Sonata 4 al Santo Sepolcro in E flat for Strings, RV 130（i）《圣母悼歌》RV 621；经文歌《璀璨星辰》RV 625；降B大调葬礼协奏曲（小提琴、双簧管、沙吕莫管与3把英国中提琴）RV 579；D大调神圣协奏曲（小提琴、大提琴与管风琴助奏）RV 554a；降E大调《圣墓》弦乐奏鸣曲RV 130
Naïve OP 30367. (i) Mingardo; Concerto Italiano, Alessandrini

The deep contralto timbre of Sara Mingardo is especially telling in Vivaldi’s Stabat Mater, and she is very moving in the agonized closing section. This performance is appropriately framed by the Concerto funèbre and similarly solemn ‘Santo Sepolcro’ Sonata. The other concertos which frame the contrasting motet, ‘O bright stars shine forth’, match its very different mood, and Mingardo successfully lightens her voice and style. Fine performances throughout.

萨拉·明加尔多深沉的次女中音音色在《圣母悼歌》中尤为动人，痛苦终章的演绎催人泪下。演出以葬礼协奏曲与庄严肃穆的《圣墓》奏鸣曲作为框架。而衬托欢快经文歌《璀璨星辰》的其他协奏曲，则与前者形成鲜明对比，明加尔多以轻盈的嗓音与风格完美转换。全辑演绎精湛。

Orlando furioso (complete, CD version)  《疯狂的奥兰多》
CPO 777 095- 2 (3). Desler, Kennedy, De Liso, Gregoire, Coro da Camera Italiano, Modo Antiquo, Sardelli

Orlando furioso has a complex plot tied up with Alcina and Orlando (which we know from Handel). Orlando is well named, of course, for he goes mad at the end of Act II but recovers at the end of the opera in time to bless the marriage of the real lovers, Angelica and Medoro. The opera takes a little while to get going, but soon produces some splendid music for Orlando (the brilliant mezzo, Anne Desler), the engaging soprano Angelica (Nicki Kennedy) and of course Alcina (Marina De Liso) while Medoro’s Act I aria ‘I break the chains’ is particularly dramatic. But all the solo singing is of quality and the Camera Italiano Chorus and Modo Antiquo complete a fine supporting group, directed with spirit by Federico Maria Sardelli. Excellent recording, too, makes this enjoyable listening.

这部歌剧情节复杂，涉及阿尔辛娜与奥兰多（亨德尔同名歌剧亦有涉及）。奥兰多在第二幕终场发疯，又在歌剧结尾恢复神智，为真爱安杰莉卡与梅多罗证婚。开场稍显平淡，但很快为奥兰多（辉煌的女中音安妮·德斯勒）、迷人的女高音安杰莉卡（妮基·肯尼迪）及阿尔辛娜（玛丽娜·德·利索）呈现精彩唱段，梅多罗第一幕咏叹调《我挣脱锁链》尤为戏剧性。所有独唱皆属上乘，意大利室内合唱团与古风合奏团在费德里科·玛丽亚·萨尔代利充满激情的指挥下完成精彩伴奏。出色的录音更添聆听乐趣。

https://115cdn.com/s/swwrzij3hq9?password=3377&#
Vivaldi - Glorias, Dixit Dominus, Beatus Vir etc. - George Guest, Stephen Cleobury [DECCA]等3个文件(夹)

joseph_li · 发表于 2025-8-18 16:03

Arias from: L’Atenaide; Catone in Utica; L’incoronazione di Dario; Griselda (with Sinfonia); Ottone in villa (with Sinfonia); Tito Manlio; Tamerlano (Sinfonia) 咏叹调选集（选自）：《雅典娜依德》《卡托内在乌提卡》《达里奥的加冕》（含序曲）、《格里塞尔达》（含序曲）、《奥托内别墅》（含序曲）、《提托·曼利奥》《帖木儿》（序曲）
Hyp. Helios CDH 55279. Emma Kirkby, Brandenburg Cons., Goodman

This delightful collection was recorded in 1994 when Emma Kirkby was at the very peak of her form. Whether she is singing alone, or in duet with an oboe (as in Tito Manlio), or with herself in the echo aria, L’ombre, l’aure, e ancora il rio (from Ottone in villa) she continually delights the ear and the senses. And how gently touching she is in Non mi lusinga vana speranza from L’incoronazione di Dario, and how stirringly regal in the closing Se in campo armato, with trumpet, from Catone in Utica. Roy Goodman’s accompaniments with the Brandenburg Consort are a model of taste and maintain a nicely intimate atmosphere.

这张令人愉悦的专辑录制于1994年，正值艾玛·柯克比嗓音状态的巅峰时期。无论是独唱（如《达里奥的加冕》中令人心碎的"虚妄希望不再迷惑我"），与双簧管二重唱（《提托曼利奥》），还是运用回声技巧的咏叹调《阴影、微风与溪流》（选自《奥托内别墅》），她始终以天籁之音征服听众。尤其在《卡托内在乌提卡》终曲"当号角响彻战场"中，她更展现出摄人心魄的王者气概。罗伊·古德曼指挥勃兰登堡合奏团的伴奏堪称品味典范，完美维系着亲密的演绎氛围。

‘Heroes’: Arias from: Andromeda liberata; Demofoonte; Farnace; Giustino; L’Olimpiade; Orlando finto pazzo; Orlando furioso; Ottone in villa; Tieteburga; Il Tigrane; Tito Manlio《英雄咏叹》：咏叹调选集（选自）《解放的安德洛墨达》《德莫丰特》《法尔纳斯》《朱斯蒂诺》《奥林匹克》《伪装疯狂的奥兰多》《疯狂的奥兰多》《奥托内别墅》《蒂特伯格》《提格兰》《提托·曼利奥》
Virgin 3 63414-2. Jaroussky, Ens. Matheus, Spinosi

The French counter-tenor Philippe Jaroussky here gives an astonishing virtuoso performance in 15 arias from Vivaldi operas, well chosen to represent the three main periods of his operatic output. Brilliant, florid arias alternate with warmly lyrical ones. His fast divisions are flawless, breathtaking in their daring, with no suspicion of any intrusive aspirate. Perhaps even more remarkable are the intense, expansive, lyrical arias, which offer a refreshing view of the composer in their warmth, notably a Larghetto aria from L’Olimpiade, a late work, and the even more extended E minor aria Vivaldi contributed to a Serenata jointly composed with others, Andromeda liberata. This is a thrilling disc of rarities, very well accompanied and clearly recorded.

法国假声男高音菲利普·雅鲁斯基在此呈现了令人惊叹的炫技表演，精选的15首咏叹调涵盖维瓦尔第歌剧创作的三个主要时期。华彩绚烂的咏叹调与温暖抒情的唱段交替呈现，其疾速花腔技巧毫无瑕疵，大胆演绎令人屏息。更令人称道的是那些充满张力的抒情咏叹调，如晚期作品《奥林匹克》中的广板咏叹调，以及维瓦尔第与他人合写的《解放的安德洛墨达》中篇幅更长的E小调咏叹调，为作曲家展现出温暖的新面向。这张充满稀有唱段的专辑堪称听觉盛宴，伴奏精妙，录音清晰。

Opera arias and scenas: Il Bajazet (Il Tamerlano): Anch’il mar par che sommerga; Dorilla in Tempe: Dell’aura al sussurrar; Il Farnace: Gelido in ogni vena; La Fida Ninfa: Alma oppressa; Dite, oimè; Griselda: Dopo un’orrida procella; Il Giustino: Sventurata navicella; Sorte, che m’invitasti … Ho nel petto un cor sì forte. L’Olimpiade: Tra le follie … Siam navi all’onde algenti; L’Orlando finto pazzo: Qual favellar? … Anderò volerò griderò; Il Teuzzone: Di trombe guerriere. Arias with unidentified sources: Di due rai languir costante; Zeffiretti, che susurrate 歌剧咏叹调与场景：《巴亚泽特》（《帖木儿》）："连海洋仿佛都要淹没"；《坦佩的多莉拉》："当微风轻语"；《法尔纳斯》："每根血管凝结成冰"；《忠贞的宁芙》："受压迫的灵魂"；"说吧，唉"；《格里塞尔达》："经历可怕风暴后"；《朱斯蒂诺》："不幸的小船"；"命运啊，你召唤我…我胸中有颗勇敢的心"；《奥林匹克》："在疯狂中…我们像冰海中的船只"；《伪装疯狂的奥兰多》："该说什么？…我将奔走呼喊"；《特乌佐内》："战争的号角"。来源未明的咏叹调："为两道光芒憔悴"；"低语的微风"
Decca 466 569-2. Bartoli, Il Giardino Armonico (with Arnold Schoenberg Ch.)

This remarkable collection is valuable as much for its exploration of rare Vivaldi operas as for coloratura singing of extraordinary bravura and technical security. It is a pity that the programme (understandably) opens with the excerpt from Dorilla in Tempe, with its echoes of Spring from The Four Seasons, as the chorus, although enthusiastic in praising those seasonal joys, is less than sharply focused. But the following aria from Griselda, with its stormy horns and fiendish leaps and runs, shows just how expertly Cecilia Bartoli can deliver the kind of thrilling virtuosity expected by Vivaldi’s audiences of their famous castrato soloists. Farnace’s tragic aria, Gelido in ogni vena (based on the Winter concerto), shows the other side of the coin with some exquisite lyrical singing of lovely descending chromatics. In short, this is dazzling singing of remarkable music, most stylishly and vividly accompanied. Indeed, the Storm aria from Il Bajazet brings a delivery of such speed and sharpness of articulation that the rapid fire of a musical machine-gun springs instantly to mind. Moreover, Decca have done their star mezzo proud with fine documentation including full translations.

这套珍贵选集既探索了维瓦尔第冷门歌剧，更展现了无与伦比的花腔技巧与稳定性。开篇选段《坦佩的多莉拉》虽因借鉴《四季·春》而略显遗憾，合唱团对季节欢愉的赞颂也欠精准，但紧随其后的《格里塞尔达》咏叹调立即彰显塞西莉亚·巴托莉的非凡实力——在暴风雨般的圆号伴奏中，她精准完成魔鬼般的音程跳跃与疾速音群。《法尔纳斯》悲剧咏叹调"每根血管凝结成冰"（基于《冬》协奏曲）则展现另一面，以精致抒情的下行半音阶令人沉醉。简言之，这是对非凡音乐的炫目诠释，伴奏风格鲜明而生动。特别是《巴亚泽特》中的暴风雨咏叹调，其速度之快、咬字之精准犹如音乐机枪扫射。DECCA为这位明星女中音配备了完整译文的精美手册，更添收藏价值。

https://115cdn.com/s/swwrz463hq9?password=3377&#
Vivaldi - Opera Arias and Sinfonias - Emma Kirkby, Brandenburg Consort, Roy Goodman [Hyperion]等4个文件(夹)

joseph_li · 发表于 2025-8-18 16:03

WALLACE, William (1860–1940)
Symphonic Poems 1 (The Passing of Beatrice); 3 (Sister Helen); 5 (Sir William Wallace); 6 (Villon) 交响诗第1号《比阿特丽斯之逝》；第3号《海伦姐妹》；第5号《威廉·华莱士爵士》；第6号《维永》
Hyp. CDA 66848. BBC Scottish SO, Brabbins

Like Hamish MacCunn, William Wallace was born in Greenock, near Glasgow. Sir William Wallace’s Scottish character is immediately obvious at the brooding opening; the main theme, ‘Scots wha’ hae’, emerges only slowly but is celebrated more openly towards the end. Villon, an irreverent medieval poet, was a hero of a different kind, and Wallace’s programme draws on the thoughts of his philosophical ballads (which are named in the synopsis) in music that is both reflective and vividly colourful. The very romantic Passing of Beatrice is a sensuous vision of Paradise, lusciously Wagnerian with an unashamedly Tristanesque close, reflecting the heroine’s final transformation. The scoring is sensuously rich, yet it retains the spiritually ethereal quality of the narrative, rather as Wagner does in Parsifal. The final piece here is based on Rossetti. What is so remarkable is not only the quality of the musical material throughout these works, but also the composer’s skill and confidence in handling it: they are musically every bit as well crafted as the symphonic poems of Liszt. Clearly the BBC Scottish Symphony Orchestra enjoy playing them. The result is remarkably satisfying.

与哈米什·麦肯恩相似，威廉·华莱士生于格拉斯哥附近的格林诺克。《威廉·华莱士爵士》的苏格兰特质在阴郁的开篇便昭然若揭；"苏格兰人"主题旋律缓慢浮现，终章才得以酣畅展现。中世纪叛逆诗人维永则是另一类英雄，华莱士以兼具沉思性与绚丽色彩的乐音，呼应其哲学叙事诗（节目说明中具名引用）的精神内核。《比阿特丽斯之逝》堪称感官化的天堂幻景，浓烈的瓦格纳风格伴着毫不掩饰的《特里斯坦》式尾声，展现女主角最终的灵魂升华。配器虽极尽华美，却始终保持着叙事中空灵的神性维度——正如瓦格纳在《帕西法尔》中所为。终曲则基于罗塞蒂诗作创作。这些作品不仅音乐素材本身品质非凡，更令人惊叹的是作曲家驾驭素材的娴熟与自信：其精妙程度足以比肩李斯特的交响诗。BBC苏格兰交响乐团的演绎显然乐在其中，成就了这场令人沉醉的听觉盛宴。

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Wallace, William - Creation Symphony & Other Orchestral Works - Martyn Brabbins, BBC SO [Hyperion]等2个文件(夹)

joseph_li · 发表于 2025-8-18 16:04

WALTON, William (1902–83)
(i) Capriccio burlesco; (ii) Music for Children; Portsmouth Point Overture; (i) The Quest (ballet suite); Scapino Overture; (ii) Siesta; (i; iii) Sinfonia concertante  （i）《滑稽随想曲》；（ii）《儿童组曲》；《朴茨茅斯角序曲》；（i）芭蕾组曲《探索》；（ii）《小憩》；（i；iii）《交响协奏曲》
Lyrita SRCD 224. Composer, with (i) LSO; (ii) LPO; (iii) Katin

When Walton made these recordings he was in his late sixties, and his speeds had grown a degree slower and safer. If Portsmouth Point loses some of its fizz at so moderate a speed, there is no doubting the commitment of the playing, brought out superbly by the vintage Lyrita sound. By contrast Scapino suffers hardly at all from the slower speed, rather the opposite, with the opening (if anything) even jauntier and the big cello melody drawn out more expressively. Siesta too brings out the piece’s romantically lyrical side, rather than making it a relatively cool intermezzo. The Capriccio burlesco and the ten little pieces of the Music for Children are delightful too, with the subtleties of the instrumentation beautifully demonstrated. Much the biggest work here is the Sinfonia concertante, and in the outer movements the performance lacks the thrust that Walton himself gave it in his very first, wartime recording in which Phyllis Sellick was a scintillating soloist. Yet Peter Katin is a very responsive soloist too, and the central slow movement is much warmer and more passionate, with orchestral detail rather clearer. It is good too to have the first stereo recording of the suite from Walton’s wartime ballet based on Spenser’s ‘Faerie Queene’, The Quest, only a fraction of the whole, but a magical score, bright and colourful and unfailingly enjoyable.

沃尔顿录制这些作品时已年近七旬，其处理速度趋于沉稳。《朴茨茅斯角序曲》虽因中庸速度稍失锐气，但演奏的投入程度与Lyrita唱片的经典音质相得益彰。相反《斯卡皮诺序曲》因稍缓的速度更显神采——开篇更具戏谑意味，大提琴旋律的舒展愈发动人。《小憩》也展现出浪漫抒情而非冷峻间奏曲的特质。《滑稽随想曲》与《儿童组曲》十首小品同样迷人，精妙的配器手法得到完美呈现。篇幅最宏大的《交响协奏曲》虽不及作曲家战时录音（菲利斯·塞利克担任独奏）那般铿锵有力，但彼得·卡廷的演绎在慢乐章中更显温暖激情，管弦细节更为清晰。选自斯宾塞《仙后》的芭蕾组曲《探索》虽仅为片段，却是充满魔力的精彩乐谱，此次立体声首录令人欣喜。

(i) Cello Concerto; (ii) Viola Concerto; (iii) Violin Concerto. Scapino; Coronation Marches: Crown Imperial; Orb and Sceptre; Façade Suites 1 & 2; Henry V: Suite. Symphonies 1 & 2; Variations on a Theme of Hindemith; (iv) Coronation Te Deum; Belshazzar’s Feast. （i）大提琴协奏曲；（ii）中提琴协奏曲；（iii）小提琴协奏曲；《斯卡皮诺》；加冕进行曲：《王冠》《权杖》；《门面》组曲1&2；《亨利五世》组曲；第一、二交响曲；《欣德米特主题变奏曲》；（iv）《加冕感恩赞》；《伯沙撒王的宴会》
Decca 470 508-2 (4). (i) Cohen; (ii) Neubauer; (iii) Little; (iv) Terfel, L’inviti, Wayneflete Singers, Winchester Cathedral Ch.; Bournemouth Ch. & SO, Litton or Hill

Decca’s four-disc Walton Edition offers consistently fine versions of all the composer’s most important orchestral works, some of them unsurpassed by rival versions, with Andrew Litton an idiomatic Waltonian with a natural feeling for the jazzy syncopations. This set brings together the three Litton discs previously issued by Decca, but with important additions. The third of the four CDs, never originally issued with the others, contains outstanding versions of the Viola Concerto and Hindemith Variations, plus the two Walton Façade Suites.

Where most latter-day interpreters of the Viola Concerto have taken a very expansive view of the lyrical first movement, Andante comodo, Paul Neubauer comes nearer than anyone to following the example of the original interpreters on disc, Frederick Riddle and William Primrose, in adopting a flowing tempo, encouraged by the composer. It makes Neubauer’s and Litton’s far more persuasive than other modern versions, with no expressive self-indulgence and with the brisker passages in this movement also taken faster than has become usual. Neubauer’s tone is taut and firm to match, clean rather than fruity, with the central Scherzo taken excitingly fast. He then relaxes beautifully for the hauntingly lovely epilogue, ending on a whispered pianissimo. Litton also encourages wide dynamic contrasts, with the big tuttis bringing an element of wildness in brassy syncopations. The Hindemith Variations also delivers a performance with contrasts heightened, not just of dynamic but of speed, extreme in both directions. This goes with an exceptional transparency in the orchestral textures, well caught in the recording and bringing out the refinement of Walton’s orchestration. Façade, predictably, is a fun performance, although the warm acoustic runs the danger of taking some edge off these witty parodies.

Two of the other discs are the same as before, with Tasmin Little’s heartfelt reading of the Violin Concerto very well coupled with Litton’s outstanding account of the Second Symphony and Scapino, and Robert Cohen’s thoughtful reading of the Cello Concerto in coupling with the First Symphony. Not since Previn’s vintage recordings of Walton has a conductor so thrillingly conveyed the element of wildness in Walton’s finest inspirations, notably in the First Symphony. Litton’s success lies not just in his ability to screw up tension to breaking point but also in his treatment of the jazzy syncopations which are a vital element in this music. Like Previn – and, for that matter, Walton himself – Litton treats the jazz rhythms with a degree of idiomatic freedom, consistently making the music crackle with electric energy. In the Symphony, Litton more than anyone makes the finale into a fitting culmination, bold and brazen, resolving into the concluding climax triumphantly on a shattering outburst of timpani.

In the Cello Concerto, Litton is both mercurial and tender and his hushed, meditative approach is powerfully compelling. The way that Cohen makes the opening note of the slow finale seem to emerge from afar is magical. Tasmin Little as the soloist in the Violin Concerto gives the most tenderly beautiful performance, matching Litton in her control of Waltonian contrasts between tender lyricism and sparkling wit. Like Litton, she is able to hold full tension through pauses, often daringly extending them as in a live performance, so that the cadenzas in the first and last movements have rare intensity. This is a work which has generated many inspired performances, not least from woman violinists, and Little in spontaneity and tenderness is unsurpassed.

Litton’s powerful account of Belshazzar’s Feast brings a fresh, cleanly focused choral sound that, with the help of keenly atmospheric recording, points up more clearly than usual the terracing between the different groupings of voices. Recorded in Winchester Cathedral, the reverberation time is formidably long, yet, thanks to brilliant balancing, there is ample detail and fine focus in exceptionally incisive choral and orchestral sound. The great benefit is that this emerges as a performance on a bigger scale than its rivals, with the contrast between full chorus and semi-chorus the more sharply established. Bryn Terfel is a most dramatic baritone soloist, pointing the words as no one else has with deeply expressive and individual colourings, notably in the ‘shopping list’ – ‘Babylon was a great city’ – and in his spine-chilling narration describing the writing on the wall. This disc also includes the two coronation marches – Crown Imperial is particularly stirring – the Coronation Te Deum (sounding suitably imposing and very richly recorded) and the Henry V Suite, with David Hill, chorus-master in Belshazzar, ably standing in for Litton in Orb and Sceptre and the Te Deum.

Sadly, the classic accounts of Previn’s version of the First Symphony and Szell’s account of the Second are currently unavailable on CD. However, the composer’s own performance of the First Symphony is available, coupled with his version of Belshazzar’s Feast, on EMI.

DECCA四碟装《沃尔顿全集》收录了作曲家所有重要管弦乐作品的权威演绎，部分版本至今无出其右。安德鲁·利顿深得沃尔顿精髓，对爵士切分节奏的处理浑然天成。本套装整合了利顿此前为DECCA录制的三张专辑，并新增重要内容：其中第三碟首次收录了《中提琴协奏曲》与《欣德米特变奏曲》的杰出版本，以及两部《门面》组曲。

在现代演绎者普遍拉宽《中提琴协奏曲》第一乐章"舒适的行板"时，保罗·纽鲍尔却追随首录者弗雷德里克·里德尔与威廉·普里姆罗斯的流动速度，更贴近作曲家本意。这种处理使纽鲍尔与利顿的版本比现代演绎更令人信服——毫无表情泛滥，快板段落也更迅疾。纽鲍尔的音质紧实而干净，谐谑曲乐章疾速推进，终章弱音处理如耳语般微妙。利顿强化了动态对比，铜管切分音迸发出野性张力。《欣德米特变奏曲》同样以极端速度与力度对比著称，录音捕捉到管弦织体的非凡透明度，凸显沃尔顿配器的精妙。《门面》的演绎充满谐趣，尽管温暖声场稍弱化了讽刺锋芒。

另两张碟片保留原有内容：塔斯敏·小知充满深情的《小提琴协奏曲》与利顿杰出的《第二交响曲》《斯卡皮诺》搭配；罗伯特·科恩沉思性的《大提琴协奏曲》与《第一交响曲》组合。自普列文经典录音以来，罕有指挥家能如此精彩地呈现沃尔顿音乐中的野性气质——利顿不仅将张力推向极限，更以自由即兴感处理爵士切分音，令音乐迸发电流般能量。在《第一交响曲》终章，他通过定音鼓的爆发性高潮，成就了最辉煌的解决。

科恩在大提琴协奏曲中兼具灵动与柔情，慢乐章起音如远方传来的魔法。小知的小提琴演绎将沃尔顿式抒情与机智的对比发挥到极致，华彩乐段停顿处理大胆如现场演出，张力罕匹。这份录音在自发性与温柔特质上堪称巅峰。

利顿指挥的《伯沙撒王的宴会》以清晰聚焦的合唱声部与空间感录音脱颖而出。温彻斯特大教堂的长混响未影响细节呈现，半合唱与全合唱的对比更显锐利。布莱恩·特菲尔以戏剧性男中音独树一帜，"巴比伦是座大城"的宣叙与"墙上的文字"叙述令人毛骨悚然。本碟还收录两首加冕进行曲（《王冠》尤为激昂）、《加冕感恩赞》（录音丰沛庄严）及大卫·希尔代指挥的《亨利五世》组曲。

遗憾的是，普列文版《第一交响曲》与赛尔版《第二交响曲》的经典录音暂未CD化。不过EMI仍可寻得作曲家亲自指挥的《第一交响曲》与《伯沙撒王的宴会》录音。

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Walton, William - Centenary Edition -  Andrew Litton, Bournemouth SO [DECCA]等4个文件(夹)
EMI 版Walton 指挥的《第一交响曲》与《伯沙撒王的宴会》见下楼。

joseph_li · 发表于 2025-8-18 16:05

Viola Concerto; Violin Concerto
EMI 5 62813-2. Kennedy, RPO, Previn – VAUGHAN WILLIAMS: The Lark Ascending
(i–ii) Viola Concerto; (i; iii) Violin Concerto; (iv) Partita for Orchestra; Symphony 1 in B flat min.; (iv–v) Belshazzar’s Feast  (i–ii) 中提琴协奏曲；(i；iii) 小提琴协奏曲；(iv) 乐队帕蒂塔；(iv–v) 降B小调第一交响曲；以及《伯沙撒王的宴会》
EMI stereo/mono 9 68944-2 (2) (i) Y. Menuhin; (ii) New Philh. O; (iii) LSO; (iv) Philh. O; (v) Bell, Philh. Ch.; cond. composer

Nigel Kennedy’s achievement in giving equally rich and expressive performances of both Concertos makes for an ideal coupling, helped by the unique insight of André Previn as a Waltonian. Kennedy on the viola produces tone as rich and firm as on his usual violin. The Scherzo has never been recorded with more panache than here, and the finale brings a magic moment in the return of the main theme from the opening, hushed and intense. In the Violin Concerto Kennedy gives a warmly relaxed reading, in which he dashes off the bravura passages with great flair. He may miss some of the more searchingly introspective moments, but there are few Walton recordings as richly rewarding as this, helped by warm, atmospheric sound, and with the bonus of a highly sensitive account of Vaughan Williams’s masterly evocation of The Lark Ascending.

However, the EMI collection has great historical interest as the composer, for many years his own finest interpreter, directs throughout. Fine performances (made in 1968/9) of both Concertos from Menuhin, who is in reasonably good form in the Violin Concerto and makes a very good showing in the masterly Viola Concerto. But many Waltonians will not approve of the extremely slow account of the Viola Concerto first movement, and undoubtedly Nigel Kennedy’s performances of both works are superior. However, it is good to have such an important recording as that of the First Symphony, sharply illuminating and resurrected after some years of unavailability. Belshazzar’s Feast obviously has authenticity too, but the singing of the Philharmonia Chorus, although good, is not ideally incisive; and some reservations could be expressed about Donald Bell’s contribution, which might have been more imaginative. The recording is extremely clear, if a little on the dry side. The Partita is generally more successful. It was commissioned by the Cleveland Orchestra and first performed in 1958. The writing is typical of Walton’s earlier style, having something of the hurly-burly of Portsmouth Point, and the finale, Giga burlesca, more than once reminds the listener of Scapino.

奈杰尔·肯尼迪在两部协奏曲中展现出同样丰沛的表现力，加之普列文对沃尔顿音乐的独到见解，成就了完美的搭配。肯尼迪的中提琴音色与其小提琴演奏同样饱满坚实，谐谑曲的演绎堪称史上最富神采，终章主题回归时的弱音处理更显魔幻张力。其小提琴协奏曲诠释松弛有度，华彩段落挥洒自如，虽稍欠内省深度，但温暖的录音氛围与附加曲目——沃恩·威廉斯《云雀高飞》的细腻演绎，仍使本辑成为沃尔顿录音中的瑰宝。

此EMI合辑的历史价值在于全部由作曲家亲自执棒——沃尔顿长年是其作品的最佳诠释者。梅纽因1968/69年的录音中，小提琴协奏曲状态尚佳，中提琴协奏曲更显大师风范，但第一乐章的极端慢速处理恐难令沃尔顿乐迷满意。显然肯尼迪的双协奏曲版本更胜一筹。不过《第一交响曲》的犀利演绎经年复刻后重见天日，仍具重要价值。《伯沙撒王的宴会》虽具本真性，但爱乐合唱团咬字不够锐利，唐纳德·贝尔的独唱也欠缺想象力。录音极为清晰但稍显干涩。《帕蒂塔》更为成功，这部1958年为克利夫兰乐团创作的作品延续了《朴茨茅斯角》的喧闹风格，终曲"滑稽吉格"屡现《斯卡皮诺》神韵。

Violin Concerto
Onyx 4016. Ehnes, Vancouver SO, Tovey – KORNGOLD; BARBER: Violin Concertos

Ehnes gives perhaps the finest of all accounts of Walton’s Violin Concerto on record. He sets his seal on his performance from the magical opening bars onwards, played exquisitely by soloist and orchestra alike, and all the way through the work brings out its full emotional thrust without vulgarity or exaggeration. Unlike most latter-day interpreters, Ehnes has taken note of the example of the work’s commissioner and dedicatee, Jascha Heifetz. Where latterly the work has generally spread to well over half an hour, Ehnes takes exactly 30 minutes, and the result again is all the stronger. He is helped by the powerful playing of the Vancouver Symphony Orchestra under its music director, Bramwell Tovey. An outstanding disc in every way, with its equally outstanding couplings.

詹姆斯·埃内斯或许贡献了沃尔顿小提琴协奏曲最杰出的录音。从独奏与乐团精妙配合的开篇起，他便以毫不浮夸的方式释放作品的全部情感张力。与当代多数演绎者不同，埃内斯效法题献者海菲兹的范例，将时长精准控制在30分钟内（现代版本常超半小时），使音乐更具冲击力。温哥华交响乐团在布拉姆韦尔·托维指挥下的强劲协奏，以及同样出色的搭配曲目，成就了这张全方位卓越的唱片。

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Walton, William - Symphony No.1, Concertos - Walton, Yehudi Menuhin, Donald Bell [EMI]
Kennedy版小协在Vaughan Williams词条发过
James Ehnes版小协在Barber, Samuel词条已经发过

joseph_li · 发表于 2025-8-18 16:06

(i) Façade (complete); (ii) Orb and Sceptre; (iii) Siesta; Overtures: Portsmouth Point; Scapino  (i)《门面》（全本）；(ii)《权杖》；(iii)《小憩》；序曲：《朴茨茅斯角》《斯卡皮诺》
Australian Decca Eloquence mono/stereo 480 3783. (i) Sitwell, Pears, E. Op. Group Ens., Collins; (ii) LSO, Sargent; (iii) LPO, Boult (with BAX: Coronation March (LSO, Sargent). BLISS: Welcome the Queen (LSO, composer))

Anthony Collins’s 1954 recording of Façade is a gramophone classic. With their cut-glass accents and beautifully manicured diphthongs, Pears and Sitwell, richly musical in their inflexion, are in complete sympathy with this wonderful work. Dame Edith Sitwell had one of the richest and most characteristic of speaking voices, and here she recites her early poems to the witty music of the youthful Walton with relish. Peter Pears is hardly less arresting in the fast poems, rattling off the lines like the Grande Dame herself, to demonstrate how near to nonsense pure poetry can be. Of course, there are flaws in Dame Edith’s contribution over rhythm. She has no idea whatever of offbeat accentuation or jazz syncopation in Old Sir Faulk, but any such criticism fades in the richness of her characterization. The sound is sharply defined and vivid in a way few digital recordings can match. Boult’s mono recordings of the Walton shorter works make an intelligent coupling: both Scapino and Siesta come off very well, and even if Portsmouth Point doesn’t quite match the earlier, 78-r.p.m. recording in rhythmic bite, it is very good by any standards. Sargent’s Orb and Sceptre and Bax’s Coronation March offer both relaxed and effective readings of these royal favourites, while Bliss’s lusty and lively version of his own Welcome the Queen (in stereo) is as enjoyable as ever. However, it is for Façade that this CD is an essential purchase.

安东尼·柯林斯1954年录制的《门面》堪称唱片史上的经典。皮尔斯与西特韦尔以水晶般清晰的发音和精心雕琢的双元音，通过富有音乐性的语调变化完美诠释了这部杰作。伊迪丝·西特韦尔夫人拥有最富特质的女低音嗓音，在此她以饱满的热情朗诵早期诗作，与青年沃尔顿的诙谐音乐相得益彰。皮尔斯在快节奏诗篇中同样出色，如贵妇般流畅吐字，展现纯诗与胡言乱语间的微妙界限。尽管西特韦尔在《老福克爵士》中缺乏切分音意识，但其角色塑造的丰富性足以弥补。录音之清晰生动令多数数字录音难以企及。博尔特指挥的沃尔顿短篇作品作为搭配极具慧眼：《斯卡皮诺》与《小憩》表现上佳，即便《朴茨茅斯角》节奏张力稍逊78转版本，仍属一流演绎。萨金特版《权杖》与巴克斯《加冕进行曲》轻松有效，而布利斯本人指挥的《迎女王》（立体声版）依旧活力四射。但本CD的核心价值始终是《门面》这部必藏经典。

Façade: Suites 1 & 2  《门面》第一、二组曲
Hyp. Helios CDH 55099. E. N. Philh. O, Lloyd-Jones – BLISS: Checkmate (ballet): Suite. LAMBERT: Horoscope: Suite

Brilliantly witty and humorous performances of the two orchestral suites that Walton himself fashioned from his ‘Entertainment’. This is music which, with its outrageous quotations, can make one chuckle out loud. Moreover it offers, to quote Lambert, ‘one good tune after another’, all scored with wonderful felicity. The playing here could hardly be bettered, and the recording is in the demonstration bracket with its natural presence and bloom. A very real bargain.

这两部管弦乐组曲展现了沃尔顿从"娱乐曲"改编的绝妙幽默，荒唐的引用段落令人忍俊不禁。用兰伯特的话说，这是"一连串好旋律"的盛宴，配器精妙绝伦。此版演绎已达极致，录音兼具自然临场感与音色光泽，堪称示范级水准，实属超值之选。

Sinfonia concertante for Orchestra with Piano (original version) 钢琴与乐队《交响协奏曲》
Dutton CDLX 7223. Stott, RPO, Handley – BRIDGE: Phantasm. IRELAND: Piano Concerto

Kathryn Stott, warmly and strongly accompanied by Vernon Handley and the RPO, gives an outstanding reading of the Sinfonia concertante’s original version, and the result seems to strengthen what is a consistently memorable work, built from vintage Walton material. First-rate recorded sound (originally on Conifer) and couplings that are both generous and apt, particularly the splendid version of the Ireland Piano Concerto.

凯瑟琳·斯托特在弗农·汉德利与皇家爱乐乐团的温暖强劲伴奏下，对原始版《交响协奏曲》作出杰出诠释，使这部贯穿沃尔顿标志性乐思的作品更显深刻。一流录音品质（原由Conifer发行）与恰当的搭配曲目（特别是爱尔兰《钢琴协奏曲》的精彩版本）相得益彰。

https://115cdn.com/s/swwrzjm3hq9?password=3377&#
Kathryn Stott - Complete Solo Recordings [Sony]等2个文件(夹)
第二张xunianfeng 兄在第190楼发过
第一张没找到，找到Altair版的，曲目基本一致。第三张也没找到，但是其版权来自于Sony BMG，Kathryn Stott Sony独奏专辑里都有（CD8/9）。

joseph_li · 发表于 2025-8-18 16:07

As You Like It; Hamlet  《皆大欢喜》；《哈姆雷特》
Chan. 10436X. Gielgud, Bott, ASMF, Marriner

Thanks to the diligence of Christopher Palmer, Walton’s score for Hamlet offers some 40 minutes of music, a rich and colourful suite, superbly played and recorded, and much enhanced by the contribution of Sir John Gielgud in two of Shakespeare’s soliloquies, ‘O that this too, too solid flesh’ and ‘To be or not to be’. The selection of music from the pre-war film of As You Like It makes a valuable fill-up. It adds the splendid setting of Under the greenwood tree in a radiant performance by Catherine Bott. Marriner and the Academy draw out all the romantic warmth of both scores, and the sound is richly atmospheric to match.

得益于克里斯托弗·帕尔默的精心整理，沃尔顿为《哈姆雷特》创作的配乐形成约40分钟的丰富组曲。约翰·吉尔古德爵士演绎的"脆弱啊，你的名字是女人"与"生存还是毁灭"两段独白更添光彩。战前电影《皆大欢喜》选曲作为补遗极具价值，凯瑟琳·博特演唱的《绿荫树下》尤为动人。马里纳与圣马丁乐团完美呈现两部配乐的浪漫温情，录音氛围感十足。

The Battle of Britain: Suite. Escape Me Never: Suite. The First of the Few: Spitfire Prelude and Fugue. Three Sisters; A Wartime Sketchbook  《不列颠之战》组曲；《永别吾爱》组曲；《最初的少数》：喷火战机前奏与赋格；《三姐妹》；战时素描集
Chan. 8870. ASMF, Marriner

The Spitfire Prelude and Fugue, from The First of the Few, was immediately turned into a highly successful concert-piece: from its imposing fanfare opening to the thrilling fugue, it is rightly one of the composer’s most popular pieces. But we owe it to Christopher Palmer that there is the ‘Wartime Sketchbook’, drawing on material from three of the wartime films, plus scraps from the much later Battle of Britain film music, and not least the theme from the credits of the film Went the Day Well, which opens the Suite. It is undoubtedly one of the most stirring pieces ever written; by that we mean by any composer – not just Walton. The following Bicycle-chase is as exhilarating as the Scherzo (Gay Berlin) is vivaciously enjoyable. The brief suite from the music for Olivier’s film of Chekhov’s The Three Sisters, from much later, brings more than one setting of the Tsar’s Hymn and a charming imitation of Swan Lake. Earliest on the disc is Escape Me Never, the first of Walton’s film scores, written in 1935 in a more popular idiom; but the war-inspired music is what this delightful disc is really about. Marriner and the Academy give richly idiomatic performances, full of panache. Aptly opulent recording.

《喷火战机前奏与赋格》从庄严号角开场到激动人心的赋格，已成为沃尔顿最受欢迎的作品之一。帕尔默汇编的"战时素描集"汇集三部战时电影音乐素材，包括《不列颠之战》未竟配乐片段，以及电影《昨日安然》开场主题——这无疑是音乐史上最振奋人心的创作之一。随后的《自行车追逐》与谐谑曲《欢乐柏林》同样精彩。为奥利弗电影《三姐妹》所作的简短组曲包含多段沙皇颂歌变奏及对《天鹅湖》的巧妙模仿。本碟最早作品是1935年通俗风格的《永别吾爱》，但战争主题才是核心。马里纳与乐团的演绎充满神韵，录音华丽考究。

Henry V: A Shakespeare Scenario (arr. Palmer) 《亨利五世》：莎士比亚情景剧（帕尔默改编）
Chan. 10437X. Plummer (nar.), Westminster Cathedral Ch., ASMF, Marriner

Few film scores can match Walton’s for the Olivier film of Henry V in its range and imagination. From the opening bars, the drama is vividly evoked, with Walton’s rich musical imagination delivered with maximum impact. The set-piece numbers such as Agincourt are as spectacular as the Interlude: At the French Court is charming. The ‘Scenario’ recorded here, devised by Christopher Palmer, lasts just over an hour and, as a concert performance of a film score, it cannot be faulted. The most controversial change is to ‘borrow’ the first section of the march that Walton wrote much later for a projected television series on Churchill’s History of the English-speaking Peoples; otherwise the Chorus’s call to arms, Now all the youth of England is on fire, would have had no music to introduce it. As an appendix, three short pieces are included which Walton quoted in his score. Sir Neville Marriner caps even his previous recordings in this series, with the Academy and Westminster Choir producing heart-felt playing and singing in sumptuous sound. Christopher Plummer makes an excellent substitute for Olivier, unselfconsciously adopting a comparably grand style.

沃尔顿为奥利弗版《亨利五世》创作的配乐在广度与想象力上罕有匹敌。从开场小节就生动展现戏剧张力，阿金库尔战役等场景音乐气势恢宏，法国宫廷间奏曲则优雅迷人。帕尔默改编的"情景剧"时长超一小时，作为电影配乐音乐会版无可挑剔。最具争议的改动是借用了沃尔顿晚年为丘吉尔《英语民族史》电视剧所写进行曲片段，否则开场合唱《英格兰青年热血沸腾》将缺乏引子。附录包含三部被引用的古乐片段。马里纳此次演绎超越以往，威斯敏斯特合唱团的演唱感人至深，克里斯托弗·普卢默的朗诵媲美奥利弗，整体录音极尽华美。

Macbeth: Fanfare & March; Major Barbara (suite); Richard III (Shakespeare scenario)  《麦克白》：号角与进行曲；《芭芭拉少校》组曲；《理查三世》（莎士比亚情景剧）
Chan. 10435X. Gielgud (nar.), ASMF, Marriner

Walton’s music to Richard III is hardly less impressive than that of his masterpiece, Henry V. From the vibrant fanfares which open the score, via the imposing music for the Coronation scene, to the dramatic Death of Richard, there is much to relish in this colourful and atmospheric score. If Sir John Gielgud tends to underplay his part with his great ‘Now is the winter of our discontent’ speech, working to the underlying music – much of it eliminated in the film – may have cramped his style. But the performance has all the panache one could ask for, leading up to the return of the grand Henry Tudor theme at the end. The six-minute piece based on Walton’s music for Gielgud’s wartime production of Macbeth is much rarer and very valuable too, anticipating in its Elizabethan dance-music the Henry V film score (along with yet another impressive fanfare). Major Barbara also brings vintage Walton material. Marriner and the Academy give performances just as ripely committed as in their other recordings in the series, helped by sonorous Chandos sound.

沃尔顿为《理查三世》创作的配乐几乎不逊于其代表作《亨利五世》。从开篇激昂的号角曲、加冕场景的庄严音乐，到理查王之死的戏剧性段落，这部色彩斑斓且极具氛围感的配乐令人回味无穷。尽管约翰·吉尔古德爵士在演绎"现在我们严冬般的宿怨"这段著名独白时略显克制（可能受电影删减配乐影响），但整体演绎仍充满磅礴气势，最终以亨利·都铎主题的辉煌再现收尾。基于沃尔顿为吉尔古德战时版《麦克白》创作的六分钟乐曲更为珍稀，其伊丽莎白风格的舞曲已预示《亨利五世》配乐的风采（另有令人印象深刻的号角段落）。《芭芭拉少校》同样展现沃尔顿巅峰时期的创作。马里纳与圣马丁乐团的演绎饱满而富有张力，Chandos唱片浑厚的音质更添光彩。

Troilus and Cressida (complete, CD version)  《特洛伊罗斯与克瑞西达》
Chan. 9370/1 (2). A. Davies, Howarth, Howard, Robson, Opie, Bayley, Thornton, Owen-Lewis, Opera N. Ch., E. N. Philh., Hickox

Few operas since Puccini have such a rich store of memorable tunes as Troilus and Cressida. As Chandos’s magnificent recording shows, based on Opera North’s 1995 production – using Walton’s tautened score of 1976 but with the original soprano register restored for Cressida – this red-bloodedly romantic opera on a big classical subject deserves to enter the regular repertoire. Judith Howarth portrays the heroine as girlishly vulnerable, rising superbly in the big challenges of the love duets and final death scene. Arthur Davies is an aptly Italianate Troilus, an ardent lover, and there is not a weak link in the cast, with Nigel Robson a finely pointed Pandarus, comic but not camp, avoiding any echoes of Peter Pears, the originator. As Evande, Cressida’s maid, Yvonne Howard produces firm, rich mezzo tone, and the role of Calkas, Cressida’s father, is magnificently sung by Clive Bayley. The role of Diomede, Cressida’s Greek suitor, can seem one-dimensional, but Alan Opie, in one of his finest performances on record, sharpens the focus, making him a genuine threat, a noble enemy. Richard Hickox draws magnetic performances from chorus and orchestra alike, bringing out many parallels with the early Walton of Belshazzar’s Feast and the First Symphony. As for the recorded sound, the bloom of the Leeds Town Hall acoustics allows the fullest detail from the orchestra, enhancing the Mediterranean warmth of the score, helped by a wide dynamic range. The many atmospheric effects, often off stage, are clearly and precisely focused, and the placing of the voices on the stereo stage is also unusually precise.

普契尼之后罕有歌剧能像《特洛伊罗斯与克瑞西达》这样拥有如此丰富的动人旋律。Chandos这套基于北方歌剧院1995年制作的宏伟录音（采用沃尔顿1976年精简版总谱，但恢复克瑞西达原女高音声部），证明这部以古典题材创作的热血浪漫歌剧理应成为常演剧目。朱迪斯·霍华德将女主角塑造得少女般脆弱，又在爱情二重唱和最终死亡场景中迸发惊人表现力。亚瑟·戴维斯演绎的意大利风格特洛伊罗斯堪称完美情人，奈杰尔·罗布森饰演的潘达洛斯滑稽却不浮夸，成功规避了首演者彼得·皮尔斯的影子。伊万德（克瑞西达侍女）由伊冯娜·霍华德以坚实丰润的女中音诠释，克莱夫·贝利则将克瑞西达之父卡尔卡斯演绎得气势恢宏。迪奥墨德斯（希腊求婚者）本易流于平面化，但艾伦·奥佩通过其录音生涯最佳表现之一，将其塑造成真正具有威胁性的高贵对手。理查德·希考克斯对合唱团与乐团的调动充满魔力，处处可见早期沃尔顿在《伯沙撒王的宴会》与《第一交响曲》中的创作痕迹。利兹市政厅的声学环境让管弦乐细节纤毫毕现，宽广的动态范围更凸显乐谱的地中海式热情。众多舞台外的氛围音效定位精准，人声在立体声场中的分布也异常清晰。

https://115cdn.com/s/swwrzjt3hq9?password=3377&#
Walton, William - Film Music Vol.1-4 - Neville Marriner, ASMF [Chandos]等2个文件(夹)

joseph_li · 发表于 2025-8-18 16:34

本帖最后由 joseph_li 于 2025-8-18 16:40 编辑

再扯点题外话。

接近尾声了，已经有好几位乐友提出网盘问题，为啥只有5盘。其实我之前也基本只用度盘，是去年来耳机论坛后才开通5盘VIP。其原因有几个：
1、5盘在线处理文件的各项功能甚至比下载到硬盘上还方便，而度盘及迅雷基本没有；
2、对于常下载、上传和分享的乐友来说，一定知道文件名过长造成上传失败的问题，前年年底度盘升级以后不再提醒，对于分轨音频来说这是一宇宙级灾难！当然，对于只收不发的人来说，理解不了这个Bug的严重性；
3、之所以开通5盘的VIP，这要归功于汉城兄，我想下他发的磁链资源，5盘实在太方便。5盘的离线功能比迅雷都强大，当然，最新的资源还是迅雷更强，而度盘的离线功能就是一笑话；
4、多终端可以做到实时同步更新，度盘完全没有这个能力，几个小时都同步不了；
5、最关键的还是使用成本低，30多块就可以得到5T的永久空间。当然，正因为太便宜，大家才担心它随时关门跑路，但是至少现在没有这个迹象；我的度盘目前剩余空间不到500G，完全没有空间。度盘扩容5T的价格最低也要218，而且是每年收费，贵得离谱，比买硬盘都贵。
当然，度盘也不是一无是处，它最大的优点是第三方兼容性强，支持度盘的软件比较多。不过这点优势也在慢慢丧失，我用的艾索洛和芝杜播放器都已经兼容5盘，只是速度上略逊于度盘。另外，度盘相对比较稳定，包括误删的文件，有VIP功能的话，基本可以找回来。
其实以我的理解，说到底，一定要挑哪个盘，大概率是不在乎能否拥有这些资源，否则总会想办法解决，因为根本不难，也不怎么花钱（与买碟相比，完全可以忽略）。

后期我有空的话，看能不能从度盘腾出点空间，把普通CD挪过去再发出来，SACD、高码或DVD，完全不要考虑。

dxs390413 · 发表于 2025-8-18 16:39

楼主大人辛苦，这么巨大的工程，，，佩服！佩服！
感谢！感谢！

sickworm119 · 发表于 2025-8-19 07:50

早上起来突然发现多了5楼，往前翻了2页又没感觉出来多了啥，强迫症患者总觉得心里哪哪都不太得劲儿。。。

这也反映出来楼主工作量太大了，辛苦辛苦，佩服佩服

以后找时间再重翻阅一遍，找碟总有办法，评鉴信息很难得，值得抽空就看看~~

dftn888 · 发表于 2025-8-19 10:36

joseph_li 发表于 2025-8-18 16:34
再扯点题外话。

接近尾声了，已经有好几位乐友提出网盘问题，为啥只有5盘。其实我之前也基本只用度盘， ...

完全赞同5盘，谢谢楼主辛苦分享！

joseph_li · 发表于 2025-8-19 12:15

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

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

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

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

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

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

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

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

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

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

joseph_li · 发表于 2025-8-19 12:16

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

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

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

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

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

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

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

joseph_li · 发表于 2025-8-19 12:17

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

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

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

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

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

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

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

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

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

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

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

DVD：
https://115cdn.com/s/swwrsbi3hq9?password=3377&#
Wagner - Die Meistersinger von Nurnberg - Horst Stein, Orchester der Bayreuther Festspiele; Jerusalem, Weikl, Prey [DVD9]
磁链：magnet:?xt=urn:btih:31E9AC825D888460083AF13D63634562C1F3EB9E

CD：
Qobuz没找到，俄网只有MP3格式的磁链，居然还是死链。

joseph_li · 发表于 2025-8-19 12:17

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

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

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

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

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

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

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

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

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

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

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

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

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

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

joseph_li · 发表于 2025-8-19 12:19

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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