拾乐园 Paradise Found  

#121  Re: Youtube 好听的经典小曲子集锦             Go Back

云天 wrote: (3/21/2014 11:28)
Happy 329th birthday, Mr. Bach!

1899,Schubert at the piano


#122  Re: Youtube 好听的经典小曲子集锦             Go Back
站长看看画得像不像? 有些像呢。

和谈对绘画有研究? 这幅画等下搬到另线。 thanks.

#123  Re: Youtube 好听的经典小曲子集锦             Go Back

和谈 wrote: (3/23/2014 20:2)

1899,Schubert at the piano



#124  Re: Youtube 好听的经典小曲子集锦             Go Back
这里有个介绍,原来其中一个女孩怀着Klimt 的孩子给他当模特。喜欢将舒伯特和几个女孩子放在一起的画面和氛围。画家好象是抓到舒伯特的神韵的:对艺术的专注,内心的孤独感,音乐中的浪漫精神的萌发,还有虽然贫困,但富有青春气息的自由自在的生活。


云天 wrote: (3/25/2014 2:4)
站长看看画得像不像? 有些像呢。

和谈对绘画有研究? 这幅画等下搬到另线。 thanks.


#125  Re: Youtube 好听的经典小曲子集锦             Go Back

云天 wrote: (3/25/2014 2:4)
站长看看画得像不像? 有些像呢。

和谈对绘画有研究? 这幅画等下搬到另线。 thanks.


#126  Re: Youtube 好听的经典小曲子集锦             Go Back
”放在这里显然不是很合适“, 怎么会呢? 站长”很喜欢这幅作品“呢。

站长解读独到,不愧是舒伯特。 谢谢站长的link.

#127  Anna Netrebko, Dvorak - Song to the moon - Rusalka             Go Back

Netrebko was born in Krasnodar (Russia), in a family of Kuban Cossack background.[1] While a student at the Saint Petersburg conservatoire, Netrebko worked as a janitor at Saint Petersburg's Mariinsky Theatre.[2] Later, she auditioned for the Mariinsky Theatre, where conductor Valery Gergiev recognized her from her prior work in the theater. He subsequently became her vocal mentor.[3] Under Gergiev's guidance, Netrebko made her operatic stage debut at the Mariinsky at age 22, as Susanna in Le nozze di Figaro. She went on to sing many prominent roles with the Kirov Opera, including Amina in La sonnambula, Pamina in Die Zauberflöte, Rosina in Il Barbiere di Siviglia, and Lucia in Lucia di Lammermoor.

In 1994, she sang the Queen of the Night in Die Zauberflöte with the Riga Independent Opera Avangarda Akadēmija under conductor David Milnes.

In March 2006, Netrebko applied to become an Austrian citizen, receiving her citizenship in late July.[6] According to an interview in the Austrian weekly news, she will live in Vienna and Salzburg. Netrebko cites the cumbersome and humiliating process of obtaining visas (as a Russian citizen) for her many performances abroad as the main reason for obtaining Austrian citizenship.[7] Netrebko does not speak German.

In March 2007, Netrebko announced that she would be an ambassador for SOS Children's Village in Austria, and be a sponsor for the Tomilino village in Russia.

In 1995, at the age of 24, Netrebko made her American debut as Lyudmila in Glinka's Ruslan and Lyudmila at the San Francisco Opera. Following this successful performance, she became a frequent guest singer in San Francisco. She is known as an acclaimed interpreter of other Russian operatic roles, such as Natasha in Prokofiev's War and Peace, Louisa in Betrothal in a Monastery and Marfa in The Tsar's Bride. Netrebko has also made successful forays into bel canto and romantic roles such as Gilda in Rigoletto, Mimi in La bohème, Giulietta in Bellini's I Capuleti e i Montecchi, and Elvira in I puritani.

In 2002, Netrebko made her debut at the Metropolitan Opera as Natasha in the Met premiere of War and Peace.[12] In the same year, she sang her first Donna Anna at the Salzburg Festival's production of Don Giovanni, conducted by Nikolaus Harnoncourt. She also performed at the Russian Children's Welfare Society's major fund raiser, the "Petroushka Ball". She returned to the Ball in 2003 and 2006 and is an honorary director of the charity.

In 2003, Netrebko performed as Violetta in Verdi's La traviata in Munich, the title role in Lucia di Lammermoor at the Los Angeles Opera, and Donna Anna at the Royal Opera House, Covent Garden. Her second album, Sempre Libera, was released the following year. She later appeared as Violetta Valéry in La traviata at the Salzburg Festival, conducted by Carlo Rizzi and in 2008 she performed the same role at Covent Garden to triumphant acclaim on the opening night, opposite Jonas Kaufmann and Dmitri Hvorostovsky in performances conducted by Maurizio Benini. However, she cancelled three subsequent performances due to suffering a bronchial condition. This was the second time she had cancelled her performances at the Royal Opera House, having withdrawn from some performances of Don Giovanni the previous summer due to illness.

In 2004, Netrebko was a minor cast member, playing herself, in Royal Engagement (a sequel to 2001's The Princess Diaries), where she sang "Sempre Libera" from Verdi's La traviata.
On 30 May 2007, Netrebko made her Carnegie Hall debut with Dmitri Hvorostovsky and the Orchestra of St. Luke's. Originally scheduled for 2 March 2006, Netrebko postponed the recital because she did not feel artistically ready.[13]

Netrebko appeared at the Last Night of the Proms on 8 September 2007 where she performed "Ah! Se una volta ... Ah! Non credea mirarti ... Ah! Non giunge" from La sonnambula, "Meine Lippen, sie küssen so heiß" (Giuditta) and the song "Morgen!" by Richard Strauss (with violinist Joshua Bell).[14] In the fall of 2007 she reprised her role as Juliette in Roméo et Juliette at the Metropolitan Opera. In December 2007, Netrebko performed for Martin Scorsese, a 2007 Honoree, at the Kennedy Center Honors, and in May 2008 she made a much-awaited debut at the Paris Opera in I Capuleti e i Montecchi, with Joyce DiDonato as her Romeo.

In her first performance after her maternity leave, Netrebko sang Lucia in Lucia di Lammermoor when it opened at the Mariinsky Theatre in Saint Petersburg on 14 January 2009, in a production from the Scottish Opera led by John Doyle.[15] She then sang the same role in January and February 2009 at the Metropolitan Opera. Netrebko appeared as Giulietta in I Capuleti e i Montecchi at the Royal Opera House in Spring 2009, and as Violetta in La traviata in June 2009 at the San Francisco Opera. On 13 November 2010 in a matinee performance broadcast nationally by PBS, she sang the role of Norina in Don Pasquale at New York's Metropolitan Opera House under conductor James Levine. On 2 April 2011, she sang the title role of Gaetano Donizetti's Anna Bolena at the Vienna State Opera for a sold-out premiere there, and the repeat performance on 5 April 2011 was broadcast live to cinemas around the world. On 7 December 2011 she opened the new season at La Scala in Milan as Donna Anna in Don Giovanni.

She has the distinction of being invited to appear in three consecutive opening night new productions at the Metropolitan Opera: Anna Bolena in 2011, L'elisir d'amore in 2012, and Eugene Onegin, in 2013.
In September 2011, it was announced that Netrebko will be performing at either or both of the opening and closing ceremonies for the 2014 Winter Olympics in Sochi, Russia, near her native Krasnodar.[16] She ended up performing the olympic anthem at the opening ceremony.

Last modified on 03/30/14 13:21

#128  Re: Renee Fleming,@Dvorak - Song to the moon - Rusalka             Go Back


#129  Re: Renee Fleming,@Dvorak - Song to the moon - Rusalka             Go Back
“写到此,耳机中的古典电台正送来德沃夏克的 Song to the Moon,怎这般巧。” 我在一篇月出短文中这么写。两周前写了几行,还未收尾。在这里又听到,真巧。


#130  Re: Renee Fleming,@Dvorak - Song to the moon - Rusalka             Go Back


云天 wrote: (3/30/2014 14:45)
“写到此,耳机中的古典电台正送来德沃夏克的 Song to the Moon,怎这般巧。” 我在一篇月出短文中这么写。两周前写了几行,还未收尾。在这里又听到,真巧。



#131  Re: Renee Fleming,@Dvorak - Song to the moon - Rusalka             Go Back

不好意思,短文有头没尾,也就没贴。 Driving Miss Daisy 多年前看过,仅存模糊印象。


#132  让人心神不宁的巴洛克音乐             Go Back


#133  格里高利圣咏             Go Back

#134  德马雷和他的Grands Motets Lorrains             Go Back



■德马雷和他的[Grands Motets Lorrains]■

  亨利·德马雷(Henry Desmarest,1661-1741)应该是活跃在吕里(Jean-Baptiste Lully,1632-1687)和拉莫(Jean-Philippe Rameau,1683-1764)之间的法国作曲家,或许吕里和拉莫给后人的影响过于强大,以至于那些生息在其间的波蓬王朝时代的音乐家们及其作品不太为人们所关注了……。说实话在买到了一张W.克里斯蒂埃指挥Les Arts Florissants的德马雷声乐作品[Grands Motets Lorrains]录音的之前我也是未闻其人,更不曾聆听过其作品。倒是听了这张唱片之后,才觉得德马雷作品中有着无论是吕里还是拉莫不具备的东西。这才回过头来仔细地看了一看唱片的Booklet……,事实上这个由著名的音乐史学者Michel Antoine撰写的说明内容相当丰富。其实Michel Antoine本人就在前两年撰写了一本亨利·德马雷的传记,如果我没有弄错的话这应该是第一本记述和探索德马雷坎坷人生的专著了。

  德马雷在年轻的时候便因其宗教声乐作品和歌剧(应该是法国歌剧或叫Ballet Opera的法国歌剧)创作上的出色才能,被招进了路易十四的宫廷乐团的。或许宫廷乐队激烈的竞争的缘故,德马雷过人的才能反而成了他人生前途的绊脚石。估计是遭到同行们的嫉妒的缘故,已经到了手的副乐队长的职务被革等。其实让德马雷人生产生了巨大变化的是他在38岁那年,妻子故去,德马雷与教女的恋情遭到了少女家人的究难。陷入情感热海的德马雷与未成年的少女双双私奔布鲁塞尔,少女的家人一气之下将德马雷告上了法庭。这样德马雷无疑就成了犯有死罪的儿童诱拐嫌疑犯了。由此,德马雷开始了他人生漫长的颠沛流离的生涯……。德马雷的流亡生活先后浪迹了布鲁塞尔、西班牙的马德里和法国东北部的留内维尔等地。经管多次向路易14宫廷要求特赦,始终未得到应允。直到路易14死去而改朝,德马雷终于回到了巴黎。不过此时的巴黎已完全不是当年的风尚,德马雷的众多的作品早已不再被当时的人们所接受,就这样德马雷在80岁的时候凄凉而寂寞的结束了他的人生……。由于感情生活的原因,德马雷不得不在其壮年的时代开始了颠簸流利的流浪生活,就其人生而言确有难言之苦涩,不过在这个时代的音乐作品确是无形之中汇集了意大利、西班牙乃至德国的各种风格,这一点而言也是波蓬王朝时代的音乐家们的作品中所无法领略到的。

  这张唱片中所收容的作品的总标题为[Grands Motets Lorrains]。事实上就是德马雷流浪到留内维尔,在留内维尔的罗莱纳公爵的宫廷任职时创作的三个经文歌(Motet)作品的集成。标题中Lorrains也就是罗莱纳公爵宫廷的含义了。而Grands Motets则是佩有乐队伴奏,包括了独唱、重唱和合唱的拉丁文宗教乐曲。照道理到了Grands Motets,形式上就已经和许茨时代的Motet已经没有太大的关联性了,尽管许茨时代的Motet也同时包括了乐队伴奏和没有伴奏的两种Motet的形式而存在着的。有关Motet的曲式和形式的话题比较庞大,在此不再展开。

  三个作品的标题分别是:Usquequo Domine(主啊,吾将等待何时);Lauda Jerusalem(赞颂吾主,耶路撒冷);Domine, Ne in Furore(主啊,勿如此严厉的惩罚吾)。其中中文译文部分没有太大的把握,大意译出供参考。

  据说德马雷生前留下了40余首Grands Motets作品,这里能够听到的也就是德马雷在留内维尔时期的这三个Grands Motets作品,即便如此我们也还是能够从这三个作品中感受到德马雷的诚挚宽承、对上苍的赞美和人间的喜悦等一个相当宽广的表现幅度。当然这应该是建立在某种程度的宗教信仰之上的东西也就不言而喻了,然而超越这种宗教层面上的理解的话,总觉得即便是一个普通人也应该能够感受和拥有这样的宽广和包容。不太明确,也不太有把握,不过作为普通人皆有的情欲和德马雷为之坎坷的人生定会影响了他的创作,除了宗教的普遍情感之外总让人能够感受到那些……


   Desmarest:Grands Motets Lorrains / Daneman, Ockenden, Agnew, Slaars, Marzorati, Les Arts Florissants, Christie
   1. Usquequo Domine
   2. Lauda Jerusalem
   3. Domine ne in furore
   Composed by Henry Desmarets
   Performed by Les Arts Florissants Orchestra & Chorus
   Conducted by William Christie
   唱片编号:ERATO 8573-80223


How nice it is to make the acquaintance of a previously ignored composer who ranks with the best of his age, in this case, such French Baroque masters as Rameau, Couperin and Charpentier. These three motets, which span the emotional range from despair through exaltation, are well worth the attention of anyone who enjoys the music of the period. The only reason this doesn't merit five stars is that nothing else on the disc quite measures up the the exquisite pathos of the opening sections.

William Christie and his forces do their customary splendid job, including the five vocal soloists and the instrumental ensemble, whose flutist produces plangent notes to melt your heart.


William Lincoln Christie (born December 19, 1944 in Buffalo, New York) is an American-born French conductor and harpsichordist. He is a specialist in baroque repertoire and is the founder of the ensemble Les Arts Florissants.

Christie studied art history at Harvard University, where he was briefly assistant conductor of the Harvard Glee Club. From 1966, he began studies at Yale University in music, where he was a student of harpsichordist Ralph Kirkpatrick. He was opposed to the Vietnam War, and served in a reserve officers course to avoid the draft. He subsequently taught at Dartmouth College, but after his Dartmouth post was not renewed, Christie moved to France in 1971.[1] He was one of a number of young men who left the United States at this time because of disagreement with the Vietnam War, and in order to avoid the draft. In France, he became known for his interpretations of Baroque music, particularly French Baroque music, working with René Jacobs and others. He also performed contemporary music alongside baroque music with the Ensemble Five Centuries.[1]

In 1979, Christie founded Les Arts Florissants, named after the opera of the same name by Marc-Antoine Charpentier, which was to be its first fully staged production. Major recognition came in 1986 with the production of Lully's Atys at the Opéra-Comique in Paris.[1] Christie has also presented and recorded works by André Campra, François Couperin, Claudio Monteverdi and Jean-Philippe Rameau.[2]

Christie was a professor at the Paris Conservatoire from 1982 to 1995, and maintains an active role in pedagogy by participating in master classes and academies. In 2002, he founded Le Jardin des Voix, a biennial academy for young singers in Caen.[3] Since 2007, he has had an affiliation with the Juilliard School, providing master classes in historical performance practice.[4]

Christie has widened his group's core French repertoire, performing Henry Purcell, George Frideric Handel, and Wolfgang Amadeus Mozart. He has been guest conductor at the Glyndebourne Festival, and productions for Zurich Opera and the Opera de Lyon. He has also conducted period-instrument performances with more modern ensembles such as the Berlin Philharmonic.[5]

Christie took French citizenship in 1995.[6] He was appointed Grand Croix de la Légion d'honneur in 2014 and he is an Officier in the Ordre des Arts et des Lettres. He was elected a member of the French Académie des Beaux-Arts on November 12, 2008, in the "Unattached members" section (Membres libres), at the seat formerly held by Marcel Marceau, Seat #1.[7] The elaborate gardens Christie designed for his house in Thiré were designated as a monument historique in 2006.[8]  


#135  Petronid Franceschini, Sonata in D for 2 Trempets             Go Back

#136  house of cards bbc theme music             Go Back


#137  Handel -〈Rinaldo〉"Cara sposa" / David Daniels (countertenor)             Go Back



#138  Re: Handel -〈Rinaldo〉"Cara sposa" / David Daniels (countertenor)             Go Back


《里纳尔多Rinaldo》(共三幕)描述的是第一次十字军征战耶路撒冷时候的事情,十字军四大著名领袖之一的Godefroy de Bouillon(第一代十字军的耶路撒冷王)手下著名意大利骑士在围困耶路撒冷城所发生的故事。骑士里纳尔多与指挥官戈尔弗雷德(Goffredo)之女阿尔米莱纳(Almirena)相恋,戈尔弗雷德也答应在拿下城郭之后允诺他们的婚事。另一方,伊斯兰教和犹太教的守城指挥官阿尔冈特(Argante)迫于攻城压力的强大,阿尔冈特向十字军指挥官要求停战,并前往十字军的阵营交涉(第一幕第三场),这时候阿尔冈特唱了一首著名的咏叹调“Sibillar gli angui”。事实上已经是山穷水尽的地步,然而却用了相当凯旋巴洛克气氛的音乐作为背景,浑厚的男低音也是这个剧作中唯一底气强劲的角色,这一点来说巴洛克作品的趣味性相当浓厚的。戈尔弗雷德用了一首著名的咏叹调“No,no,che quest'alma”加以严词拒绝。阿尔冈特决定向自己的恋人,大马士革的妖女阿尔米达请求帮助……,也就在这个节骨眼上,妖女阿尔米达带着电闪雷鸣,以一曲女高音的咏叹调“furie terribili”出场了。

阿尔冈特向妖女阿尔米达(Armida)提出了帮助的要求,阿尔米达也畅快的答应了给与阿尔冈特帮助。他们两人都提到了要以此来保护亚细亚的河山,这就是女高音咏叹调“molto voglio”(第一幕第五场)。说老实话作为东方人多少有一些为这两个反面角色而心动呢……。阿尔米莱娜上场的一段“Augelletti che cantata”也是一首著名的女高音咏叹调,特别是序奏的那段鸟语和竖笛、乐队的曲子都是相当优美的。随后的一段里纳尔多、阿尔米莱娜的二重唱“Scherzano sul tuo volto”。里纳尔多这个角色在亨德尔时代都是有阉人歌手(Castralto)来担任的,歌手的音域应该是两个八度的alto音域,后来阉人歌手消失后,一般都用“高男高音”(countertenor)替代。所以这是一个高男高音与女高音的爱情二重唱咏叹调,相当优美且著名。Rene Jacobs的这个演出中,用了次女高音(Mezzosoprano)来担任的,这样的话,这个著名的爱情咏叹调二重唱就成了女高音与次女高音的二重唱了。阿尔米达向阿尔米莱娜施妖法,并捕获了阿尔米莱娜。愤怒的里纳尔多因恋人被敌方捕获而愤怒激昂(第一幕第七场)。此时里纳尔多唱了一首思念恋人的咏叹调“cor ingrate”,在低音弦乐器、拨弦古钢琴构成的通奏低音背景上显得相当动人。戈尔弗雷德的弟弟尤斯塔基奥(Eustazio)也是一位基督教的妖法师,表示愿意帮助戈尔弗雷德和里纳尔多找回阿尔米莱娜。

阿尔米莱娜被拘捕在阿尔冈特的城内,内心烦乱。此时阿尔冈特遇到了阿尔米莱娜,顿时升起了爱恋的心思,此时唱出一段男低音的咏叹调[basta che sol tu chieda](啊!美人呀,你绝非不幸)。这其中,阿尔米莱娜的一曲“Lascia ch'io pianga”(让我哭泣/任我的泪水流淌)]更是脍炙人口,也成为了一个著名的女高音咏叹调(第二幕第四场)。……阿尔米达再一次施放妖法,将里纳尔多抓获了。在妖女面前,里纳尔多坚持要求要么将阿尔米莱娜还给他,要么将自己和身上的佩剑一起埋葬……。妖女被里纳尔多的勇敢所感动,用妖法将自己变身为阿尔米莱娜,对里纳尔多诱惑,不曾想里纳尔多没有就范。这时候阿尔米达有一段咏叹调“ah, crudel”,表现内心里对里纳尔多的爱慕和对方没就范的恼怒等的复杂心情,也是一段戏剧性相当强烈、幅度大的唱段。……阿尔米达变身阿尔米莱娜的时候,却引来了阿尔冈特的误会,阿尔冈特见是阿尔米莱娜,便对其讨好、倾诉爱恋之情。这一下可惹恼了阿尔米达。阿尔冈特发觉是阿尔米达这才觉得不可收场了(第二幕第九场)。第二幕最后的一个咏叹调“Vo'far Guerra”就是阿尔米达表示那种发觉被恋人利用、出卖的心情的曲子。曲子中有三段拨弦古钢琴即兴独奏的段落,这也正是当年亨德尔在剧作首演的时候所加上去的披露键盘乐器独奏者演技的几个段落。


#139  Re: Handel -〈Rinaldo〉"Cara sposa" / David Daniels (countertenor)             Go Back
Lyrics & English Translation

Beloved spouse, dearest heart,
Where art thou?
Woe! Return to him who weeps!

O guilty spirits from thy Erebus beneath the furrows,
My face one of complete contempt,
I defy thee!

#140  Re: Handel -〈Rinaldo〉"Cara sposa" / David Daniels (countertenor)             Go Back
盯着演员瞧了半天,才确信不是女扮男装。 原来这种声音叫做 Countertenor。


同亨德尔的其他歌剧一样,《里纳尔多Rinaldo》落入遗忘和埋没约二百年。 然而,从20世纪70年代开始,它被人们复兴并且进入了标准歌剧保留节目的重要组成部分。 从这个歌剧的几个唱腔,例如" Lascia ch' io pianga",还有" Cara sposa" 一直深受独唱会表演者和听众的喜爱。



意大利盛行阉人歌手,英国则是高男高音嗓音之乡,阉人歌手从歌剧舞台销声匿迹时,英国的高男高音虽也处于没落状态,但从未完全消失,一直延续至今。第二次世界大战后,欧洲盛行一种古乐表演流派,演唱早期的声乐作品,歌唱方法和声音效果力求恢复古乐的原貌,尽可能真实地再现古乐纯正之美。于是,高男高音得以借复古之势重现乐坛,这要归功于英国高男高音歌唱家阿尔弗雷德·戴勒(Alfred Deller,1912-1979)的率先倡导及其歌唱艺术。


继戴勒之后,在国际乐坛上涌现出一批很有潜质的高男高音后起之秀,各大唱片公司也有高男高音CD推出,从录音听来,他们的演唱风格和发声方法也不完全相同,各有特点,别具一格。据有代表性的高男高音有:鲍曼(J.Bowman)、克利斯托费利斯(A.Chritofellis)、李拉金(D.Lee Ragin)、阿萨瓦(B.Asawa)、斯科尔(A.Scholl)、钱斯(M.Chance)、丹尼尔斯(D.Daniels)、伯丁(P.Bertin)、维斯(D.Visse)等。

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