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

joseph_li

Les Troyens, Parts I & II (complete, DVD version)
DG DVD 073 4310 (2). Troyanos, Norman, Domingo, Monk, Plishka, NY Met. Op. Ch., O & Ballet, Levine

Les Troyens, Parts I & II (complete, CD version)
LSO Live 0010CD (4). Heppner, DeYoung, Lang, Mingardo, Mattei, Milling, L. Symphony Ch., LSO, C. Davis

Recorded at the Met. in 1983, this very fine account of Berlioz’s epic opera, Les Troyens, features the most starry cast of soloists, all at their peak, and is strongly directed by James Levine. Jessye Norman is magnetic in the Fall of Troy, commanding in her prediction of doom. Plácido Domingo is at his most heroic in both halves of the massive narrative, as Aeneas both in Troy and in Carthage. As Dido, Tatiana Troyanos is tough and tender, more vulnerable by far than as Cassandra in the first opera. The staging is nicely stylized with grandly traditional costumes and unobtrusive hangings in the set. The recorded sound is remarkably good, and Brian Large’s video direction is characteristically well managed. This version is very rewarding on all counts and it makes an obvious principal DVD recommendation for the foreseeable future.

For those seeking Berlioz’s Trojans on CD, Sir Colin Davis’s second live recording, made in the Barbican in London, magnificently crowns his whole career as a Berlioz interpreter on record, generally outshining even his pioneer version of 30 years earlier. The first wonder is that the sound of the chorus and orchestra is even fuller, more spacious, and certainly brighter and clearer than on the earlier, Philips recording, or even the opulent digital recording given to Charles Dutoit in his Montreal set for Decca. Davis is marginally faster in all five Acts, a degree more thrustful, with the excitement of a live occasion consistently adding extra intensity. The casting too is margially even finer than before. Petra Lang, a last-minute substitute as Cassandra, is superb, firm, rich and intense, investing every phrase with emotional power, instantly establishing her dominance in the very first scene. Opposite her Peter Mattei makes a powerful Choroebus. Both in The Fall of Troy and The Trojans at Carthage Ben Heppner excels himself, not just heroic with his unstrained Heldentenor, but finding a degree of refinement in the love duet of Act III that few rivals can match, let alone on disc. Michelle DeYoung may not be quite as rich and firm a Dido as Josephine Veasey on Davis’s earlier set, but the vibrancy of her mezzo is warmly caught by the microphones, and her death monologue is the more moving for the vulnerability she conveys. The rest make an excellent team without any significant shortcomings. Though the set comes on four discs at bargain price, full libretto and notes are provided, printed in very small type.

这部1983年在大都会歌剧院录制的柏辽兹史诗歌剧《特洛伊人》堪称佳作，其独唱演员阵容星光熠熠，个个技艺精湛，均处于巅峰状态，并由詹姆斯·莱文倾力执导。杰西·诺曼在《特洛伊陷落》中魅力四射，她对末日的预言更是令人叹为观止。普拉西多·多明戈在这部宏大叙事的两个部分——特洛伊和迦太基——分别饰演埃涅阿斯，展现出他最英勇的一面。塔蒂亚娜·特洛伊诺斯饰演的狄多既坚强又温柔，远比第一部歌剧中的卡珊德拉更加脆弱。舞台布置风格优美，华丽的传统服饰和低调的挂饰营造出一种独特的氛围。录音效果出色，布莱恩·拉奇的视频导演也一如既往地精湛。这个版本在各方面都非常出色，在可预见的未来，它无疑是DVD的首选推荐版本。

对于那些想听柏辽兹《特洛伊人》CD的人来说，科林·戴维斯爵士在伦敦巴比肯艺术中心录制的第二张现场录音，堪称他演绎柏辽兹的巅峰之作，其辉煌甚至超过了他30年前的首张录音。首先令人称奇的是，合唱团和管弦乐队的声音比之前的飞利浦录音，甚至比夏尔·迪图瓦在蒙特利尔为迪卡公司录制的华丽数字录音更加饱满、宽广，也更加明亮清晰。戴维斯在五幕中节奏略快，力度也更加强悍，现场演出的刺激感也不断增添了额外的张力。演员阵容也比之前更加出色。佩特拉·朗在最后一刻替补出演卡桑德拉，她的表演非常出色，坚定、饱满、热情，每个乐句都充满情感力量，在第一幕就确立了她的主导地位。与她演对手戏的彼得·马泰则饰演了一位气势磅礴的合唱团。在《特洛伊的陷落》和《迦太基的特洛伊人》中，本·赫普纳都表现出色，不仅以其流畅自然的英雄男高音演绎出英雄气概，更在第三幕的爱情二重唱中找到了精妙的表达，少有对手能与之匹敌，更不用说在唱片中了。米歇尔·德扬饰演的狄多或许不如戴维斯早期唱片中约瑟芬·维西的饱满而坚定，但她充满活力的女中音被麦克风温暖地捕捉到，而她那段死亡独白也因其所传达的脆弱而更加动人。其余演员的表演堪称完美，没有丝毫明显的缺陷。虽然这套唱片以优惠价格发行了四张唱片，但其中包含了完整的剧本和注释，只是字体非常小。
（源于Google翻译）

DVD：
https://115cdn.com/s/swwle113hq9?password=3377&#
Berlioz, Hector - Les Troyens - James Levine, Metropolitan Opera; Norman, Domingo, Troyanos [2 DVD9]

CD：
https://115cdn.com/s/swwlecg3hq9?password=3377&#
Berlioz, Hector - Les Troyens - Colin Davis, LSO; Heppner,  Tarver, DeYoung [LSO]

joseph_li

BERNERS, Lord (1883–1950)
The Triumph of Neptune (ballet): extended suite; Fantaisie espagnole; Fugue for Orchestra; 3 Morceaux; Nicholas Nickleby (film music)
Olympia OCD 662. RLPO, Wodsworth

It was Sir Thomas Beecham who discovered and introduced us to the music of Lord Berners with The Triumph of Neptune ballet and its interpolated ‘Last rose of summer’ in the days of 78s. Nothing we have since discovered quite matches this in quirky audacity, but it all gives pleasure in its tongue-in-cheek individuality. Berners was a colourful eccentric. He dyed the pigeons at his house all the colours of the rainbow, had a clavichord installed in the back of his Rolls-Royce, and had a folly built in his garden, saying, ‘The great point of the tower is that it will be entirely useless,’ and he put up a notice which read, ‘Members of the public who commit suicide from the tower do so at their own risk.’ His inclusion in this book reflects our affection for his comparatively small output, and he would no doubt have been very amused that any of it would make the 1,000 greatest recordings. But he is a unique character, endlessly fascinating and never less than entertaining. Barry Wordsworth captures the music remarkably well. The Trois morceaux and the Fantaisie espagnole are Gallic in inspiration and are attractively imaginative. The Fugue for Orchestra, described as a ‘serious’ work by the composer, turns out to be the most amusing of the lot. The recording is good, but not in the demonstration bracket, but never mind that. Berners gave himself a very appropriate epitaph which sums up his character:

Here lies Lord Berners,
One of the learners.
His great love of learning
May earn him a burning,
But Praise to the Lord!
He seldom was bored.

And neither are we.

正是托马斯·比彻姆爵士在78转黑胶唱片时代，通过芭蕾舞剧《海卫一的胜利》及其穿插的《夏日最后的玫瑰》让我们发现了伯纳斯勋爵的音乐。此后我们再也未曾邂逅如此离奇大胆的作品，但他所有带着戏谑个性的创作都令人愉悦。这位特立独行的贵族将宅邸鸽子染成彩虹色，在劳斯莱斯后座安装击弦古钢琴，更在花园修建了一座宣言"此塔绝无实用价值"的怪诞塔楼，并竖立告示牌："公众由此塔自杀者风险自负"。本书收录他的作品，实因我们对其数量有限却独具魅力的创作怀有偏爱——若知自己竟有作品入选"千大经典录音"，这位妙人定会莞尔。他堪称绝无仅有的有趣灵魂，永远让人着迷。巴里·华兹华斯对音乐的诠释尤为精妙：受高卢风格启发的《三首小品》与《西班牙幻想曲》展现迷人想象力，而被作曲家自诩为"严肃之作"的《管弦乐赋格》，反成了整套作品里最诙谐的存在。录音虽非示范级水准，但这又何妨？伯纳斯为自己撰写的墓志铭，恰是其人格的最佳注脚：

伯纳斯长眠于此，
毕生求知若痴。
虽因好学招烈焰，
但赞我主恩典！
他鲜少无聊度日，

我们亦是如此。
（源于DeepSeek翻译）

没找到这个版本，查询到EMI也发行了这张碟。





找到一个高码Beecham指挥皇家爱乐乐团演奏的《The Triumph of Neptune》
https://115cdn.com/s/swwlas13hq9?password=3377&#
Berners, Lord - Triumph of Neptune & Rossini - Semiramide Overture - Thomas Beecham, RPO [Columbia 24-96]
另外，第112楼Beecham英国包的第6张也是《The Triumph of Neptune》。

joseph_li

BERNSTEIN, Leonard (1918–90)
Reflections (an autobiographical film produced, directed and photographed by Peter Rosen): Introduction; Teaching; Mentors; Musical Ambassador; Composing; Tonality; American Music
Medici Arts DVD 3078728 NTSC. Soloists, Israel PO, Indiana University School of Music Op. Theatre, Rinat Ch., Jerusalem Academy Ch., Sharonit Ch.; cond. Bernstein, Lukas Foss, John Mauceri, Mark James. Leonard Bernstein (speaker), nar. Peter Thomas; Directed by Humphrey Burton & Yves-André Hubert (with bonus: MILHAUD: Le bœuf sur le toit (complete ballet), O Nat. de France, Bernstein)

Peter Rosen’s fascinating autobiographical interview with Leonard Bernstein, with supporting performance excerpts, dates from 1977, with much riveting archive film included and interspersed with short but vivid excepts from the Serenade, Symphonies 2 (Age of Anxiety), 3 (Kaddish), Mass, On the Town, West Side Story, Wonderful Town, etc., recorded in Israel. But the main content of the DVD is of Bernstein himself, cigarette in hand, charismatically reflecting on his life (beginning with his remarkable 1943 Carnegie Hall début as substitute for a sick Bruno Walter), the influence of Koussevitzky and others, his views on composition and his passionate adherence to tonalism as a creative basis and the importance of musical communication, at which he is peerless. An altogether unforgettable visual and aural experience, for no one communicates like Bernstein either vocally or in his music. If he had written only West Side Story, he would be a genius; as it is, he is uniquely gifted, America’s greatest musician. The scintillating account of Milhaud’s exhilarating Le bœuf sur le toit alone is worth the cost of the DVD – and what a joy he is to watch, enjoying himself hugely.

彼得·罗森对伦纳德·伯恩斯坦进行了一次引人入胜的自传式采访，并附有表演选段，采访时间是 1977 年，其中收录了许多引人入胜的档案影片，并穿插着在以色列录制的《小夜曲》、《第二交响曲（焦虑时代）》、《第三交响曲（卡迪什）》、《弥撒》、《在城里》、《西区故事》、《奇妙小镇》等短小而生动的片段。但 DVD 的主要内容是伯恩斯坦本人，他手里拿着香烟，充满魅力地回顾自己的一生（从 1943 年在卡内基音乐厅代替生病的布鲁诺·沃尔特首次登台演出开始），回顾了库塞维茨基等人的影响、他对作曲的看法以及他对调性主义作为创作基础的热情坚持和音乐交流的重要性，在这方面他是无与伦比的。这是一次令人难忘的视听体验，因为没有人能像伯恩斯坦那样通过声音或音乐进行交流。如果他只写了《西区故事》，他就是天才；事实上，他天赋异禀，是美国最伟大的音乐家。单是米约那部令人振奋的《上头的牛》精彩绝伦的演绎就值回票价了——而且他本人也乐在其中，看他演奏真是赏心悦目。
（源于Google翻译）

这张DVD没找到。



https://115cdn.com/s/swwla4k3hq9?password=3377&#
Bernstein, Leonard - Reflections (1978) [mpg]
只在俄网上找到了这个压缩后的视频，清晰度差不说，还配了翻译，应该是俄语，没啥意思。

joseph_li

Symphonies: (i) 1 (Jeremiah); 2 (The Age of Anxiety); (ii) Chichester Psalms
DG (ADD) 457 757-2. Israel PO, composer; with (i) Ludwig; (ii) soloists from Vienna Boys’ Ch.

The Jeremiah Symphony dates from Bernstein’s early twenties and ends with a moving passage from Lamentations for the mezzo soloist (Christa Ludwig). As its title suggests, the Second Symphony was inspired by the poem of W. H. Auden, though no words are set to music in this purely orchestral work. The Chichester Psalms is one of the most attractive choral works written in the twentieth century; its jazzy passages are immediately appealing, as is the intrinsic beauty of the reflective passages. These live performances with the Israel Phiharmonic may lack the last degree of polish, but the warmth of the writing is fully conveyed in these excellent recordings. With a playing time of just under 80 minutes, this DG ‘Originals’ CD is excellent value.

《耶利米交响曲》创作于伯恩斯坦二十岁出头，终章以女中音独唱（克里斯塔·路德维希）演绎的《哀歌》选段感人至深。如标题所示，第二交响曲的灵感源自W.H.奥登的诗作，不过这部纯器乐作品中并未加入人声歌词。《奇切斯特诗篇》堪称二十世纪最迷人的合唱作品之一，其爵士风格的段落极具感染力，沉思性乐段的内在美感同样动人心弦。这份与以色列爱乐乐团合作的现场录音或许欠缺一丝精雕细琢，但作品中饱含的温情在这些出色的录音里得到了完美传递。这张DG"原典系列"CD总时长近80分钟，堪称超值之选。

West Side Story (complete)
DG 457 199-2. Te Kanawa, Carreras, Troyanos, Horne, Ollman, Ch. & O, composer

The composer’s own recording of the masterly score to West Side Story, musically his greatest achievement, is now available on a single CD. There are those who suggest that the frankly operatic approach to its casting is less than ideal, but we find the result highly successful, for the great vocal melodies are worthy of voices of the highest calibre; Tatiana Troyanos, herself brought up on the West Side, spans the stylistic dichotomy to perfection in a superb portrayal of Anita. Moreover Bernstein’s son and daughter speak the dialogue most affectingly. With the composer conducting a superb instrumental ensemble group of musicians ‘from on and off Broadway’ the power of the music is greatly enhanced by the spectacularly wide dynamic range of the recording.

作曲家亲自录制的《西区故事》大师级配乐——其音乐生涯的最高成就——现已推出单碟CD版。虽有人质疑选用歌剧演员的选角方式未必理想，但我们认为效果极佳，因剧中那些伟大的声乐旋律本就值得最顶尖的嗓音演绎；在西区长大的塔蒂亚娜·特罗亚诺斯以精湛演技完美调和了风格差异，将安妮塔塑造得淋漓尽致。更值得一提的是，伯恩斯坦的子女倾情献声的台词段落尤为动人。由作曲家亲自指挥这支"汇集百老汇内外精英"的杰出器乐合奏团，加之录音极富张力的动态范围，使音乐感染力得到了空前强化。
（源于DeepSeek翻译）

https://115cdn.com/s/swwlaky3hq9?password=3377&#
Bernstein, Leonard - Symphonies No.1-3, Dybbuk Suite No. 2 - Bernstein, Israel PO etc. [DG]等3个文件(夹)
《西区故事》评为企鹅三四星带花。

joseph_li

忘记刷新了，又出配图错误，本来是第162楼的图。郁闷

joseph_li

Mass (for the Death of President Kennedy)
Sony SM2K 63089 (2). Titus (celebrant), Scribner Ch., Berkshire Boy Ch., Rock Band & O, composer

It is typical of Bernstein that he conceived this remarkable setting – among his most extended works – not just basing it on the Catholic Mass but as a piece embracing all religions. He wrote it for the opening of the Kennedy Center for the Performing Arts in Washington, describing it as a ‘Theater Piece for Singers, Players and Dancers’. It is a full-length entertainment, outrageously eclectic in its borrowings from a range between pop and the avant-garde. Its scenario boldly defies good taste, with the Celebrant finally smashing the holy vessel before the altar.

If the writing at times seems dangerously thin, the concentration of Bernstein holds the piece together, most strikingly of all in this first recording, conducted by the composer himself, intermittently available from Sony in different formats. Central to the performance’s success is the clear, finely focused singing of Alan Titus as the Celebrant, bringing tenderness as well as power to the keynote Simple Song, with its ‘Lauda, laude’ refrain. The echoes of West Side Story are many, with each section of the Catholic Mass amplified in Introits, Tropes and Meditations coming at suitable points. The work ends triumphantly with a section entitled Pax: Communion (‘Secret Songs’). A flawed work but a memorable one, indispensable to all admirers of America’s greatest musician/composer. The newest Naxos version under Marin Alsop (559622/23) also has many excellent qualities, but it is rather less intense and suffers from a Celebrant (Jubilant Sykes) who croons his part, not hitting the notes cleanly, under the note and sliding. The modern, digital recording is cleaner, but not always any clearer, and it is the composer’s own recording which remains an obvious first choice.

伯恩斯坦的典型作风是，他构思这部非凡的作品——在他最宏大的作品之一——并非仅仅以天主教弥撒为背景，而是将其打造成一部涵盖所有宗教的作品。他为华盛顿肯尼迪表演艺术中心的开幕式创作了这部作品，并将其描述为“一部献给歌手、演奏家和舞者的戏剧作品”。这是一部完整的娱乐作品，其借鉴了流行音乐和先锋派之间的各种元素，呈现出一种极其不拘一格的风格。其情节大胆地挑战了大众的审美，主礼者最终在祭坛前砸碎了圣器。

如果说这部作品的写作有时显得单薄，那么伯恩斯坦的专注力则将整部作品凝聚在一起，最引人注目的是这张由作曲家亲自指挥的首张录音，索尼唱片公司不时以不同格式发行这张录音。演出成功的关键在于司仪艾伦·泰特斯清晰而专注的演唱，他为主旋律《简单之歌》及其“Lauda, laude”的副歌注入了柔情与力量。作品中与《西区故事》的呼应颇多，天主教弥撒的每个部分都通过适当的进堂咏、比喻和冥想得到放大。作品以题为《Pax: Communion》（“秘密之歌”）的章节圆满结束。这部作品虽有瑕疵，但却令人难忘，对于所有敬仰这位美国最伟大的音乐家/作曲家的人来说，它都是必不可少的。由马林·阿尔索普（Marin Alsop）执棒的纳克索斯最新版本（559622/23）也有很多优点，但力度略逊一筹，司仪（朱比兰特·赛克斯）的低声吟唱部分略显不足，音调不够干净利落，音符略显拖沓，甚至有些滑音。现代的数字录音虽然更清晰，但并非总是更清晰，而作曲家本人的录音显然仍然是首选。
（源于Google翻译）

https://115cdn.com/s/swwlaen3hq9?password=3377&#
Bernstein, Leonard - Mass - Marin Alsop, Baltimore SO; Jubilant Sykes [Naxos]等2个文件(夹)

joseph_li

Wonderful Town
EMI DVD 9 67136-2. Criswell, McDonald, Hampson, Barrett, Gilfry, L. Voices, Birmingham Contemporary Music Group, Rattle

Reissued in EMI’s American Classics series, Wonderful Town was one of Bernstein’s earliest successes and it still stands up well. Here in a fizzing account, starrily cast, Rattle gives a performance that is vigorously idiomatic and warmly refined in the many lyrical moments. The two characterful sisters finding their feet in the big city are brilliantly characterized by Kim Criswell and Audra McDonald, not just charismatic but singing superbly. Thomas Hampson as Robert just as commandingly bestrides the conflicting problems of Broadway and the classical tradition, and Brent Barrett in the secondary role of Wreck delightfully brings in the cabaret tradition. Such numbers as ‘Ohio’, ‘A little bit in love’, ‘Conversation piece’ and ‘Wrong note rag’, rounded off by the big tune of ‘It’s love’, can be appreciated for their full musical quality, with Rattle and his talented Birmingham group relishing the jazzy idiom. Bright, forward sound to match. The only loss is the full text, included in the original booklet, and now replaced by a synopsis.

《奇妙小镇》在EMI的美国经典系列中重新发行，是伯恩斯坦早期的成功作品之一，至今仍经久不衰。这部作品活力四射，演员阵容星光熠熠，拉特尔的演绎充满活力，风格地道，在众多抒情时刻中温暖而优雅。金·克里斯韦尔和奥德拉·麦克唐纳将两位个性鲜明的姐妹在大城市中摸索求生的历程演绎得淋漓尽致，她们不仅魅力非凡，歌声更是精湛绝伦。托马斯·汉普森饰演的罗伯特同样游刃有余地游走于百老汇与古典音乐传统的矛盾冲突之中，而布伦特·巴雷特饰演的次要角色“残骸”则巧妙地融入了歌舞表演的传统。《俄亥俄州》、《一点点坠入爱河》、《对话片段》和《错音拉格》，以及以雄壮的《这就是爱》收尾的《这就是爱》等曲目，都以其饱满的音乐品质而备受赞赏，拉特尔和他的才华横溢的伯明翰乐队则对爵士乐的运用津津乐道。明亮、前卫的声音与之相得益彰。唯一的缺失是原版小册子中包含的全文，现在被一份概要取代了。
（源于Google翻译）

DVD没找到



CD：
https://115cdn.com/s/swwlaex3hq9?password=3377&#
Bernstein, Leonard - Wonderful Town - Sir Simon Rattle, Birmingham Contemporary Music Group; Criswell, McDonald [EMI]

Blove0123

楼主真是爱乐之人。辛苦了。向你表达敬意。谢谢！

joseph_li

BERWALD, Franz (1796–1868)
Symphonies 1 (Sérieuse); 2 (Capricieuse); 3 (Singulière); 4 in E flat
BIS-CD 795/96. Malmö SO, Sixten Ehrling

The Berwald symphonies all come from the four years 1842–5, when he had returned to Sweden from Berlin where he had run an orthopaedic clinic. He spent much of the 1850s running a sawmill and sandworks in northern Sweden. The symphonies are highly individual and finely crafted; Sixten Ehrling’s fresh approach is admirable and the playing of the Malmö orchestra lively and well disciplined. The Sinfonie sérieuse was recorded in 1970 and is arguably the finest account of the work ever recorded, and there is plenty of sparkle in the E flat Symphony too.

贝尔瓦尔德的交响曲全部创作于1842年至1845年的四年间，当时他从柏林经营一家骨科诊所返回瑞典。19世纪50年代的大部分时间里，他在瑞典北部经营着一家锯木厂和沙场。这些交响曲极具个性，制作精良；西克斯滕·埃尔林的新颖演奏令人钦佩，马尔默管弦乐团的演奏充满活力且纪律严明。《严肃交响曲》录制于1970年，可以说是迄今为止对这部作品最精妙的演绎，而降E交响曲也同样精彩纷呈。
（源于Google翻译）

没找到，照例上封面





用 DoubleDouble 从 qobuz 上抓到了：
https://115cdn.com/s/swwl13e3hq9?password=3377&#
Berwald, Franz -  Symphonies Nos. 1-4 - Sixten Ehrling, Malmö SO [BIS]

joseph_li

BIBER, Heinrich (1644–1704)
Battaglia à 10; (i) Requiem à 15
Alia Vox AV 9825. (i) Soloists, La Capella Reial de Catalunya; Le Concert des Nations, Savall

Biber’s music is highly original and imaginative, using vocal and choral effects with equal resourcefulness. His Battle sequence has some bizarre instrumental effects, well realized by Jordi Savall and his group. They open with dance-like vigour and create plenty of light and shade. The closing Lament is gently touching. The Requiem is recorded, like the Missa Bruxellensis below, in Salzburg Cathedral, which Savall accommodates in a spacious performance that moves forward strongly – in every way a superbly eloquent account with splendid soloists. The overall balance is amazingly successful, the separation is natural but is all bathed in the richly resonant cathedral ambience. This is a magnificent disc in every way and almost certainly first choice for the Requiem.

比贝尔的音乐极具原创性，富有想象力，巧妙地运用了人声和合唱效果。他的《战斗》序列中有一些奇特的器乐效果，由乔迪·萨瓦尔和他的乐队完美演绎。它们以舞蹈般的活力开场，营造出丰富的光影效果。结尾的《哀歌》轻柔动人。《安魂曲》与下方的《布鲁塞尔弥撒曲》一样，在萨尔茨堡大教堂录制。萨瓦尔在大教堂内进行了一场宽敞的演出，节奏强劲，推进强劲——无论从哪方面来看，这都是一场极其雄辩的演绎，独奏家们也同样技艺精湛。整体的平衡令人惊叹地成功，音符的分离自然，但又都沉浸在教堂浓郁的共鸣氛围中。这张唱片无论从哪方面来看都堪称杰作，几乎可以肯定是录制《安魂曲》的首选。
（源于Google翻译）

https://115cdn.com/s/swwl9uf3hq9?password=3377&#
Biber, Heinrich - Battalia a 10, Requiem a 15 - Jordi Savall,  La Capella Reial de Catalunya; Le Concert des Nations [AliaVox]

中世纪宗教题材Savall出了不少

joseph_li

Mystery (Rosenkranz) Violin Sonatas (complete)
Virgin 5 62062-2 (2). Holloway, Moroney, Tragicomedia

Biber’s set of Mystery (or Rosary) Sonatas for violin and continuo tells the Christian story in instrumental terms. There are 15 sonatas, divided into three groups: The Five Joyful Mysteries (the Annunciation; Visitation; Nativity; Presentation of the Infant Jesus; and the Twelve-year-old Jesus in the Temple); The Five Sorrowful Mysteries (Christ on the Mount of Olives; the Scourging at the Pillar; Crowning with Thorns; Carrying of the Cross; and the Crucifixion) and The Five Glorious Mysteries (the Resurrection; Ascension; Descent of the Holy Ghost; Assumption of the Virgin; and Coronation of the Virgin). The work ends with an expressively powerful extended slow Passacaglia which becomes steadily more complex. John Holloway’s strong instrumental personality is very telling. Davitt Moroney (chamber organ or harpsichord) and Tragicomedia provide an imaginative continuo, using viola da gamba, lute, harp and a regal for the Crowning with Thorns. The recording gives a most vivid presence to the soloist.

比贝尔为小提琴和通奏低音创作的《神秘奏鸣曲》（或玫瑰经奏鸣曲）系列，以器乐形式讲述了基督教故事。全曲共15首，分为三组：五首欢乐的奥秘（天使报喜、圣母访亲、耶稣降生、耶稣受难、十二岁耶稣在圣殿）；五首痛苦的奥秘（耶稣在橄榄山、耶稣受难、耶稣受难、耶稣受难、耶稣被钉十字架）；五首荣耀的奥秘（耶稣复活、耶稣升天、圣灵降临、圣母升天、圣母加冕）。作品以一段富有表现力的、延伸缓慢的帕萨卡利亚舞曲收尾，其乐曲的复杂程度也逐渐提升。约翰·霍洛威强烈的器乐演奏风格令人叹为观止。达维特·莫罗尼（室内管风琴或羽管键琴）与悲剧乐团（Tragicomedia）合作，以富有想象力的通奏低音，运用维奥尔琴、鲁特琴、竖琴和一把皇家乐器演奏《荆棘冠冕》。录音赋予了独奏者最鲜活的临场感。
（源于Google翻译）

https://115cdn.com/s/swwl9u43hq9?password=3377&#
Biber, Heinrich - Rosenkranz-Sonaten - John Holloway, Davitt Moroney [Virgin]

joseph_li

Missa Bruxellensis
Alia Vox AV 9808. Soloists, La Capella Reial de Catalunya, Le Concert des Nations, Savall

This gloriously festive Missa Bruxellensis – a late (perhaps final) work, dating from 1700 – is scored for two eight-voice choirs, groups of wind, strings, and a bass continuo of organs and bassoons. The disposition of the soloists, choristers and instruments in the stalls, around the transept, and in the cathedral choir was designed to add to the sense of spectacle, and the music is fully worthy of its ambitious layout. Its imaginative diversity, with continued contrasts between tutti and soli of great expressive power, shows the composer working at full stretch. The Kyrie opens in great splendour with the two antiphonal choirs and festive trumpets (cornets à bouquin). The closing Agnus Dei has the soloists singing radiantly, but with piercing dissonances from Biber’s extraordinary sustained suspensions, with the full forces then entering for the closing Amen. The performance here, superlatively recorded in the echoing – but never blurring – acoustics of Salzburg Cathedral, re-creates the work’s première and is truly inspired. This marvellous disc cannot be recommended too highly.

这首盛大喜庆的《布鲁塞尔弥撒曲》——一部创作于1700年的晚期作品（或许也是最终作品）——由两个八声部合唱团、多组管乐、弦乐以及由管风琴和巴松管组成的低音通奏低音组成。独唱者、唱诗班成员和乐器在座席、横厅周围以及教堂唱诗班的布局旨在增添壮观的场面，其音乐也完全配得上其雄心勃勃的布局。其富有想象力的多样性，以及全唱和独唱之间持续的对比，展现了作曲家的全力以赴。《Kyrie》以两个对唱合唱团和喜庆的小号（cornets à bouquin）的华丽开场。在结尾的《Agnus Dei》中，独唱者们热情洋溢地歌唱，但比贝尔非凡的持续延音却带来了刺耳的不和谐音，随后，在结尾的《Amen》中，歌声达到高潮。这张唱片的录音效果极佳，在萨尔茨堡大教堂回音缭绕却又毫不模糊的音响效果下，重现了这部作品的首演，令人深受启发。这张精彩的唱片值得极力推荐。
（源于Google翻译）

https://115cdn.com/s/swwlx333hq9?password=3377&#
Biber, Heinrich - Missa Bruxellensis - Jordi Savall, La Capella Reial de Catalunya; Le Concert des Nations [AliaVox]
这张碟评为企鹅四星带华

joseph_li

BIRTWISTLE, Harrison (born 1934)
The Minotaur (DVD version)
Opus Arte DVD OA1000D. Tomlinson, Reuter, Rice, Watts, Langridge, Echalaz, ROHCG O & Ch., Pappano (Dir.: Stephen Langridge)

This, Birtwistle’s eighth opera, like Gawain, his earlier commission from Covent Garden, has a libretto by David Harsent, using a language nicely balanced between poetry and the vernacular, while Birtwistle’s idiom, always abrasive, has developed here a more lyrical strain. As in previous operas Birtwistle is not only preoccupied with Greek myth but with central characters who are anti-heroes. In The Minotaur the piece rises to a superb final climax when, after Theseus has killed the Minotaur (in this incarnation with a bull’s head and a human body), the monster is finally allowed to speak, so that the concluding monologue as he is dying echoes directly the Death of Boris in Mussorgsky’s Boris Godunov, a likeness that Birtwistle intends. With typical ingenuity Birtwistle has created a lyrical thread passed from instrument to instrument symbolizing the thread that Ariadne gives to Theseus to lead him back through the Minotaur’s maze.

The impact of the opera is greatly heightened not just by the casting but by the staging by Stephen Langridge at the Royal Opera House, Covent Garden, very well filmed on this DVD with simple yet vividly atmospheric designs by Alison Chitty. The role of The Minotaur as a sort of Jekyll and Hyde figure was expressly designed for Sir John Tomlinson, famed Wotan from Bayreuth and centrally cast too in Birtwistle’s earlier Gawain. His voice may no longer be as steady as it was, but his singing could not be more moving. There are no reservations whatever about Christine Rice as Ariadne, superb in every way, and other fine contributions come from the bass-baritone, Johan Reuter, as Theseus and Philip Langridge as the Oracle, while Antonio Pappano, Music Director at Covent Garden, excels himself, conducting an electrifying performance with orchestra and chorus finely coordinated.

这部由伯特威斯尔创作的第八部歌剧，与其受科文特花园歌剧院委托创作的早期作品《高文》一样，剧本出自大卫·哈森特之手。文本语言在诗意与通俗之间取得了精妙的平衡，而伯特威斯尔一贯锐利的音乐风格在此作中发展出更具抒情性的特质。与以往歌剧相同，作曲家不仅聚焦希腊神话题材，更着力塑造反英雄式的核心角色。在《牛头怪》中，当忒修斯杀死半人半牛形态的怪物后，垂死的牛头怪终获发声权利——这段撼人心魄的终场独白直接呼应了穆索尔斯基《鲍里斯·戈杜诺夫》中鲍里斯之死的经典场景，这种艺术关联正是伯特威斯尔刻意为之。作曲家以标志性的巧思，通过乐器间传递的抒情旋律线，具象化了阿里阿德涅引导忒修斯走出迷宫的命运之线。

该歌剧的震撼力不仅源于演员阵容，更得益于斯蒂芬·兰里奇在科文特花园皇家歌剧院的舞台呈现——艾莉森·奇蒂简约却极具氛围感的舞美设计，通过本DVD的出色影像得以完美展现。牛头怪这一"化身博士"式双重角色专为约翰·汤姆林森爵士量身打造，这位拜罗伊特音乐节著名的沃坦扮演者，亦是伯特威斯尔前作《高文》的核心主演。虽嗓音不复当年稳定，但其演唱的感染力已达极致。克里斯汀·莱斯饰演的阿里阿德涅堪称完美无瑕，男中低音约翰·路特（忒修斯）与菲利普·兰里奇（神谕者）同样贡献精湛演绎。科文特花园音乐总监安东尼奥·帕帕诺指挥的乐团与合唱团配合无间，成就了这场令人振奋的巅峰演出。
（源于DeepSeek翻译）

https://115cdn.com/s/swwlxn23hq9?password=3377&#
Birtwistle, Harrison - The Minotaur (Antonio Pappano, Royal Opera House; Tomlinson, Reuter, Rice, Watts 2008) [Blu-ray]
刚好有蓝光的版本

joseph_li

BIZET, Georges (1838–75)
L’Arlésienne (incidental music): Suites 1–3 (Suite 3 compiled Minkowski); Carmen: Suite
Naïve V 5130. Lyon Nat. Opéra Ch., Musiciens du Louvre, Minkowski

Minkowski’s compilation from Bizet’s L’Arlésienne offers the most generous available selection of music from this delightful score, fitting a third suite between the familiar Suites 1 and 2, with the chorus adding much beauty to the Pastorale, the Second Act Tableau and extra vividness to the Farandole. The orchestral playing is first rate in every way, with an especially delicate contribution from the flutes, and the famous string Adagietto is tenderly played Andante quasi Adagio, as the composer indicated. The Carmen Suite is vivaciously colourful and, throughout, the recording is of demonstration quality. As if this were not enough, the handsome packaging, in a beautifully printed book form, is a pleasure in itself, interspersed with famous French paintings by Van Gogh, Gauguin and others.

Symphony in C – see under Beecham: ‘French Music’.

明科夫斯基根据比才的《阿莱城姑娘》编纂的这张合辑，为这首令人愉悦的乐谱提供了最为丰富的选曲，在人们耳熟能详的第一和第二组曲之间增添了第三组曲，合唱部分为田园曲和第二幕场景增添了美感，也为法兰多拉舞曲增添了额外的活力。管弦乐的演奏在各个方面都堪称一流，长笛的演奏尤为细腻，而著名的弦乐小柔板则被温柔地演奏成行板般的柔板，正如作曲家所言。《卡门组曲》色彩明快，整张录音都堪称典范之作。此外，精美的书籍包装本身也令人赏心悦目，其中穿插着梵高、高更等大师的法国名画。

C大调交响曲——参见比彻姆：“法国音乐”部分。
（源于Google翻译）

https://115cdn.com/s/swwlxhh3hq9?password=3377&#
Bizet, Georges - Carmen Suites, L'Arlesienne Suites - Marc Minkowski, Les Musiciens du Louvre Grenoble [Naive]

joseph_li

Carmen (DVD version)
TDK DV-CLOPCAR. Obraztsova, Domingo, Buchanan, Mazurok, V. State Op., Ch. & O, Carlos Kleiber (Stage and V/D: Franco Zeffirelli)

Carmen (complete, CD version)
EMI 5 67357-2 (3). De los Angeles, Gedda, Micheau, Blanc, Fr. R. Ch. & O, Beecham

Zeffirelli’s 1978 live DVD recording will be hard to surpass. Eleana Obraztsova and Domingo are ideally cast as Carmen and Don José. They act very convincingly and sing gloriously (the Flower Song is as memorable as Carmen’s hit numbers). Moreover, for once there is a totally convincing Micaëla in Isobel Buchanan, who also sings ravishingly. Her Act III scene and aria is a highlight of the opera. From the opening Prelude Carlos Kleiber directs with fizzing vitality and drama, yet creates a warmly sympathetic backcloth for the voices in the lyrical writing: the close of Act II is unforgettable, as, of course, is the opera’s final scene. Zeffirelli’s production is predictably spectacular (especially in the outer Acts) and traditional in the best possible way, and the camera follows the action admirably. The sound cannot be faulted. The set is additionally offered in a reduced-price box with Giordano’s Fedora and Verdi’s Il trovatore, both with Domingo, and Il trovatore conducted by Karajan (TDK Gold Edition: DV-GOLDBOX2).

Victoria de los Angeles’s portrayal of Carmen is absolutely bewitching, and when in the Quintet scene she says ‘Je suis amoureuse’ one believes her absolutely. Naturally the other singers are not nearly as dominant as this, but they make admirable foils; Nicolai Gedda is pleasantly light-voiced as ever, Janine Micheau is a sweet Micaëla, and Ernest Blanc makes an attractive Escamillo. The hall acoustic makes the chorus sound very resonant but gives an attractive theatrical atmosphere to the solo voices, caught naturally and without edginess, and well balanced in relation to the orchestra. At its mid-price, this famous set reasserts its position near the top of the list of recommendations and makes a worthy addition to EMI’s ‘Great Recordings of the Century’. Beecham adds his own special touch to the orchestral interludes. The documentation cannot be faulted, including session photographs and a full translation.

泽菲雷利1978年的现场DVD录音难以超越。埃莉安娜·奥布拉佐娃和多明戈完美演绎了卡门和唐·何塞。他们的演技令人信服，歌声动听（《花之歌》与卡门的热门歌曲一样令人难忘）。此外，伊莎贝尔·布坎南饰演的米凯拉令人信服，她的歌声也令人陶醉。她在第三幕的场景和咏叹调是这部歌剧的一大亮点。从开场前奏曲开始，卡洛斯·克莱伯就以充满活力和戏剧性的风格执导，同时又为抒情诗般的歌声营造了温暖而富有共鸣的背景：第二幕的结尾令人难忘，当然，歌剧的最后一幕也同样令人难忘。泽菲雷利的制作不出所料地精彩绝伦（尤其是在外幕），并以最佳的方式传承了传统，镜头对剧情的跟踪也令人赞叹。音效无可挑剔。这套套装另附赠减价盒装，内含乔尔达诺的《费多拉》和威尔第的《游吟诗人》（两部作品均由多明戈执棒），以及卡拉扬指挥的《游吟诗人》（TDK黄金版：DV-GOLDBOX2）。

维多利亚·德·洛斯·安赫莱斯饰演的卡门令人着迷，在五重奏场景中，当她说出“我是爱人”时，观众绝对会相信她。当然，其他歌手的主导地位远不及她，但他们的演绎令人钦佩：尼古拉·盖达的嗓音一如既往地轻柔悦耳，雅妮娜·米肖饰演的米凯埃拉甜美动人，欧内斯特·布兰克饰演的埃斯卡米洛魅力十足。大厅的音响效果使合唱部分回响强烈，而独唱部分则营造出迷人的戏剧氛围，自然流畅，与管弦乐队的音色和谐统一。这套著名的录音以中等价位再次巩固了其在推荐榜单中名列前茅的地位，并成为EMI“世纪伟大录音”的有力补充。比彻姆在管弦乐间奏中融入了他独特的风格。录音资料无可挑剔，包括录音过程照片和完整的翻译。
（源于Google翻译）

Blu-Ray：
https://115cdn.com/s/swwlxw73hq9?password=3377&#
Bizet - Carmen (Carlos Kleiber, Wiener Staatsoper; Obraztsova, Domingo, Mazurok 1978) [2015 CN Blu-ray]

CD：
https://115cdn.com/s/swwlxwz3hq9?password=3377&#
Bizet, Georges - Carmen - Carlos Kleiber, Obraztsova, Domingo, Mazurok [Croatia]等2个文件(夹)
蓝光碟带中文字幕，难得

joseph_li

BLISS, Arthur (1891–1975)
(i) Adam Zero (ballet): Suite; Mêlée fantasque; Hymn to Apollo; (i–ii) Rout for Soprano & Orchestra; (iii) Serenade for Orchestra & Baritone; (iv) The World is charged with the grandeur of God
Lyrita SRCD 225. LSO, (i) cond. composer; (ii) with Rae Woodland; (iii) Shirley-Quirk, cond. Brian Priestman; (iv) Amb. S., cond. Ledger

This CD does not contain Bliss’s most memorable piece of music (the March from Things to Come – see below), but it does contain a varied and very attractive collection of pieces which show the composer at his most entertaining. The Dance of Spring from Adam Zero is exhilarating in its rhythmic drive and pounding timpani, while the following Bridal Ceremony – and especially the lively Dance of Summer – are equally enjoyable. The Mêlée fantasque (well named) is even more striking, with strong Stravinskian influences but with a characteristic elegiac section at its centre. After the Hymn to Apollo, although the rest of the programme is primarily vocal, it is in fact the orchestral writing that one remembers most vividly, for the Serenade has two purely orchestral movements out of three. The second, Idyll, shows Bliss’s lyrical impulse at its most eloquent. The orchestra is almost more important than the voice in Rout. The solo vocal performances throughout this CD are of high quality, and John Shirley-Quirk’s swashbuckling account of the gay finale of the Serenade must have pleased the composer greatly. In The World is charged with the grandeur of God, the invention is less memorable, and it is again the orchestration that shows the composer’s imagination at work, notably the atmospheric scoring for the flutes in the second section. The recordings date from the early 1970s and are of high quality.

这张CD并未收录布利斯最令人难忘的作品（选自《未来之事》的进行曲——见下文），但它确实收录了一系列丰富多彩、引人入胜的作品，展现了这位作曲家最引人入胜的创作风格。《亚当·泽罗》中的《春之舞》以其强劲的节奏和震耳欲聋的定音鼓令人振奋，而接下来的《婚礼仪式》——尤其是充满活力的《夏之舞》——也同样令人愉悦。《幻想混战》（名副其实）更是引人入胜，其风格深受斯特拉文斯基的影响，但其核心部分却以独特的挽歌段落为主。在《阿波罗赞歌》之后，虽然其余曲目主要以人声为主，但实际上，最令人印象深刻的是管弦乐部分，因为《小夜曲》的三个乐章中有两个是纯管弦乐。第二乐章《田园诗》则将布利斯的抒情冲动发挥到了极致。在《溃败》中，管弦乐几乎比人声更为重要。整张CD的独唱表演质量上乘，约翰·雪莉-奎克对《小夜曲》欢快终曲的精彩演绎想必令作曲家十分满意。在《充满上帝威严的世界》中，创新部分则略逊一筹，而管弦乐的编曲再次展现了作曲家的想象力，尤其是第二部分中长笛营造出的氛围感。这些录音录制于20世纪70年代初，质量上乘。
（源于Google翻译）

https://115cdn.com/s/swwlx8n3hq9?password=3377&#
Bliss, Arthur - Bliss conducts Bliss [Lyrita]

joseph_li

Film Music: Caesar and Cleopatra: Suite; The Royal Palaces: Suite; Things to Come: Concert Suite; War in the Air: Theme. Welcome the Queen
Chan. 9896. BBC PO, Rumon Gamba

It seems extraordinary that Bliss’s great pioneering film score for Things to Come, some 45 minutes of music, became lost in its original form. Now, thanks to Philip Lane, we can at last hear this inspired music, a wonderfully orchestrated score, as Bliss conceived it, with the closing Epilogue full of Elgarian nobilmente spirit. The March – perhaps the composer’s finest inspiration – is played with tremendous verve here, and elsewhere the score’s dramatic moments make a great impact. Caesar and Cleopatra exists in a faded working manuscript, and again it shows him in inspirational form. The three Dance Interludes are all very different, yet conjure up a warm, nostalgic glow. War in the Air, with its Waltonesque opening fanfare, was a splendid title- and closing-credits piece of considerable panache. The Royal Palaces Suite displays plenty of regality and also shows the composer at his most diverting and tuneful in the charming Waltz from The Ballroom in Buckingham Palace; and altogether this splendid CD confirms Bliss as a composer of resource who could write good tunes to order – at least in the early part of his career. Bliss’s rollicking Welcome the Queen gets the CD off to a splendid start, and the Chandos recording is first class.

布利斯为《未来之事》创作的伟大先锋电影配乐，约45分钟的音乐，竟然在原版中失传，这似乎有些不可思议。如今，多亏了菲利普·莱恩，我们终于可以聆听到这首充满灵感的音乐，这是一部精心编排的配乐，完全符合布利斯的构思，结尾的尾声充满了埃尔加式的贵族精神。进行曲——或许是作曲家最精彩的灵感来源——在这里演奏得神采奕奕，而乐谱中的其他戏剧性时刻也令人震撼。《凯撒与克利奥帕特拉》存在于一份褪色的创作手稿中，再次展现了布利斯的灵感迸发。三首舞蹈间奏曲风格迥异，却又散发着温暖怀旧的气息。《空中战争》以其沃尔顿式的开场号角声，成为一部精彩绝伦的片头和片尾曲，气势恢宏。 《皇家宫殿组曲》展现了十足的皇室气势，而作曲家在《白金汉宫舞厅》中演奏的迷人圆舞曲，也展现了其最令人愉悦、最优美的创作状态；总而言之，这张精彩的CD证明了布利斯是一位才华横溢的作曲家，至少在他职业生涯的早期，他能够根据要求创作出优秀的乐曲。布利斯欢快的《欢迎女王》为这张CD开了个好头，而Chandos唱片公司的录音更是一流。
（源于Google翻译）

https://115cdn.com/s/swwlx843hq9?password=3377&#
Bliss, Arthur - The Film Music of Arthur Bliss - Rumon Gamba, BBC PO [Chandos 24-96]

joseph_li

Checkmate (ballet): Suite
Hyp. Helios CDH 55099. E. N. Philh. O, Lloyd-Jones – LAMBERT: Horoscope; WALTON: Façade

David Lloyd-Jones is a highly sympathetic advocate of Bliss’s ballet suite, and he includes also the Prologue. The Hyperion recording, while warm enough to convey the score’s lyricism, has plenty of bite in the Red Knight’s Mazurka. This is most enjoyable, but it is the superb couplings that make this triptych both distinctive and even more desirable at Helios price.

大卫·劳埃德-琼斯对布利斯的芭蕾舞组曲深表赞赏，并将序曲也收录其中。Hyperion 的录音温暖地传达了乐谱的抒情，而红骑士的玛祖卡舞曲则充满力量。这首曲子本身就赏心悦目，但真正让这首三联曲与众不同、以 Helios 的价格更令人向往的，是其精湛的配器。

(i) Clarinet Quintet. String Quartet 2
Naxos 8.557394. Maggini Qt; (i) with David Campbell

Bliss’s masterly Clarinet Quintet is given a searching account by David Campbell with the Maggini group; the latter go on to offer an equally dedicated performance of the Second Quartet, full of intensity and imagination. An altogether memorable coupling, very well recorded.

大卫·坎贝尔与马吉尼乐团合作，对布利斯大师级的单簧管五重奏进行了深入的演绎；后者随后同样倾情演绎了第二四重奏，充满张力与想象力。这对组合令人难忘，录音也非常出色。
（源于Google翻译）

第一张没找到，封面如下：





https://115cdn.com/s/swwlx8t3hq9?password=3377&#
Bliss, Arthur - Clarinet Quintet & String Quartet No.2 - Maggini Quartet, David Campbell [Naxos]
这张用 124904620 老哥教的方法，用DoubleDouble从Qobuz 抓取下来的，不到十分钟搞定，速度还可以。

dftn888

谢谢楼主分享，楼主真是爱乐之人，紧跟更新不掉队。

huzuoan

xunianfeng 发表于 2025-5-30 23:49
通过网盘分享的文件：Arnold, M. -  Dances等2个文件
链接: https://***.com/s/1kU-1N7Iu7A6Bc_sPEGb-AQ ...

大佬：能否劳驾再分享一次呀！来晚了，过期了！可惜啊！谢谢！