v

您的位置:VeryCD音乐古典音乐

音乐资源事务区


Danielle de Niese -《巴洛克之美》(Beauty of the Baroque)[FLAC]

  • 状态: 精华资源
  • 摘要:
    古典类型全集作品
    发行时间2012年01月12日
  • 时间: 2013/05/11 14:08:16 发布 | 2013/05/12 18:30:33 更新
  • 分类: 音乐  古典音乐 

alanfish

精华资源: 2006

全部资源: 2007

相关: 分享到新浪微博   转播到腾讯微博   分享到开心网   分享到人人   分享到QQ空间   订阅本资源RSS更新   美味书签  subtitle
该内容尚未提供权利证明,无法提供下载。
专辑英文名Beauty of the Baroque
专辑中文名巴洛克之美
艺术家Danielle de Niese
古典类型全集作品
资源格式FLAC
发行时间2012年01月12日
地区美国
语言英语
简介

IPB Image

专辑介绍:

CD店看到这光盘,觉得又是环球用流行音乐手法包装的古典idol,的确样貌吸引,眼睛又大而灵,年纪轻轻,带著一份面上总觉得她带著几分Callas 的feature。问问店老闆,他也说还没有听过,再看看CD上面的广告,说NY Times“一把吸引凡人和神仙的嗓子”。虽然媒体往往作大,但是NY Times 都这样说,姑且花一百几十块见识这一位新晋歌手的风采。

回家上网,原来这已经是美女第三张个人CD。这位出生澳大利亚的荷兰和斯利兰卡的混血女郎,后来移居美国,在LA 长大,几年前演出Handel 歌剧Julius Caesar 中埃及豔后Cleopatra 一鸣惊人,风情万种,能歌善舞,演能唱能跳,一举手一投足都引人入胜。Opera 界中有人说她是最Cool 的女高音,也有评论家说这一位是Opera 界的Viagra (伟哥),起死回生,让沉沉默默的歌剧界带来一股生气。

[niese4]

环球是生意人,更从这路线把Niese包装,搭配一流的服装,摄影,甚至法国名牌Van Cleef & Arpels的首饰,令人眼前一亮,好一位带青春气息的美艳亲王,更是令人期待。本来期待越高,可能失望越大,这一位应该是“表演型” 和“花瓶型” 的歌手,应该是DVD 绝对比CD 来得讨好,在录音室,很难到达现场的境界和高度,没有了现场的气氛,小小瑕疵也会听得出来,加上唱Baroque,要求精纯,和谐更是挑战。

听了两次,认为这CD可以推荐。也许不会拿唱片大奖,但我猜会很畅销,首先是新面孔,漂亮的面孔,选曲更是选了正如唱片标题的巴洛克之最美的段落,Decca 也一语双关,Beauty of Baroque 代表歌曲,更代表把Niese 捧为巴洛克美人。。。。妙妙妙。

这CD 的选曲从Bach, Handel,Monteverdi,Porgolesi 更选了我很喜欢的Dowland 的两首本来用Lute 伴奏歌曲,乐队是Harry Bicket 的The English Concert,Bicket 的Baroque,这几年红透半天,我曾经介绍过两张Handel 的女声CD,也是由他指挥。Decca 更请来Countertenor 的红人Andreas Scholl 来助刀,和Neise 合唱三首。

把CD放进唱盘,一开始是Dowland 的两首,刚好和我喜欢的Battle 的Pleasure of your company 的首两首一样,Niese 歌声嘹亮,伴奏是古典吉他,彷彿听Battle 的CD。仔细比较,有所分别,Neise 处理採取比较强调个别字眼,起落之际有歌剧般戏剧性的影子,例如【Come Again】里面的一个【I】, 【What if I never Speed】的Come,Come,Come,都咬的较重,Vibrato 好像也多点。Dowland 歌曲的古典中带有淡淡的忧鬱 ,Niese 用了这个手法来表达她描述的“Immersion in Emotion”,值得一提。她的声线也和当红的Battle 不一样,Battle 更为清脆,Niese 则则在中低音较厚。

这个声音的特点,在Handel 的Ombra mai fu 【绿叶青葱】显露无为。Niese 又採用了另一个方式,首先她採用了Handel 这出名咏嘆调的Alto Key,第二採取比较平铺直述的唱法,以简单来表达美丽,我比较Liberson 这女中音唱的版本,两者分别颇大。记忆中曾经听过Battle 也採取同样方法,但是调子太低。Niese 的唱法,恰到好处,她的老师和制作人,也值得一赞。

Niese 的Handel 的确是现在乐坛的新发现,和Scholl 合唱的Handel Rodelinda 里的Io t’abbraccio,有柔情,有激情,郎情妾意的告别,得到充分发挥。Monteverdi 的二重唱 Pur ti miro,Niese 的娇媚,Scholl 的Countertenor 柔柔的声音,更是迷人,加上后面的三件乐器,古典中提琴,古键琴和Theorbo 的伴奏,更是发烧佳品。把Niese 的声线捕捉得好不够,要听到Scholl,听到Theorbo 的低频好,更要听到Viola da gamba 的声音。

CD里面最后三首,Pergolesi 的Staber Mater 的一首,和巴赫的两首Cantata,我认为比起她的Handel 稍为不如,Niese 还是採取较为戏剧化的演绎手法,有美丽的歌声,也有变化。但主观地我认为巴赫的音乐,可以更为平实,在平凡中听到完美,在音乐的背后,音乐家让信徒向主的崇拜目的。这里Stabar Mater 和巴赫的Cantata 应有的的圣洁之气,稍为欠缺。再加上德文应该不是母语,要唱巴赫平顺自然,绝不容易。

个人最喜欢的是比较少听到的Handel The Triumph of Time and Truth 中的 Guardian angels, Oh , Protect me。这里是Niese 大展身手,乐器伴奏不多,耳朵听到是精纯无比的歌声,要说是天使的声音,不如说是和天使的对话。在另一次金融风暴来临之际,这歌曲更像为天下人的祈祷,歌词奉献给大家。

Guardian Angels, oh, protect me,

And in Virtue’s path direct me,

While resigned to Heaven above.

Let no more this world deceive me,

Nor vain idle passions grieve me,

Strong in faith, in hope, in love.

Niese 这张 CD,可以说是如题Beauty,Beautiful Voice,Beautiful Music,Beautiful Singing 和Beautiful Face。 美妙的音乐,美的声音,美的嗓子。艺术方面的成就不敢说,但因选曲好,音乐好,娱乐价值甚高。虽则录音也只是水準之作而已, 我也会经常拿来听,因为一个字--【美】。

这一位令我想起Battle 的新手,有潜质的Lyric Soprano,假以时日,能唱法更为多元化,有好的经理人,将会是现代化的Schwarzkopf,大红大紫必可期待。

Performer: Andreas Scholl
Orchestra: The English Concert
Conductor: Harry Bicket
Audio CD (January 10, 2012)
SPARS Code: DDD
Number of Discs: 1
Label: Decca Records
ASIN: B004M8Y4Y4

COMPOSER: John Dowland (other composers in brackets after works)
TITLE: The Beauty of Baroque
TRACKS: Come again sweet love doth now invite. What if I never speed? (Dowland). Serse : Ombra mai fu. Samson : Let the bright Seraphim (Handel). Dido and Aeneas : Thy hand Belinda - When I am laid in earth - Dido's Lament (Purcell). Acis and Galatea : Heart the seat of soft delight (Handel). L'incoronazione di Poppea : Pur ti miro. Scherzi musicali : Quel sguardo sdegnosetto. Rodelinda : Io t'abbraccio. The Triumph of Time and Truth : Guardian angels (Handel). Stabat Mater : Stabat Mater dolorosa (Pergolesi). Cantata Weichet nur betrubte Schatten BWV202 : Sich uben im lieben. Cantata Was mir behagt ist nur die muntre Jagd BWV208 : Schafe konnen sicher weiden (JS Bach).
ORCHESTRA: English Concert
CONDUCTOR: Harry Bicket
ARTISTS: Danielle de Niese Andreas Scholl

Danielle de Niese: "Beauty of the Baroque"

spacer Arias by Bach, Dowland, Handel, Monteverdi, Pergolesi, Purcell. The English Concert, Bicket. Texts and translations. Decca 
478 2260
DeNieseCD

This is a surprising performance. For an artist as closely associated with the stage as Danielle de Niese — especially after her bathing scene as Cleopatra in Glyndebourne's Giulio Cesare — cantatas of Johann Sebastian Bach make unlikely repertoire. Several works on this disc come from the early Baroque, and one composer, John Dowland (d. 1626), dates to the Renaissance. Yet these early selections, often in a plainer style than Handel's, find the soprano at her most alluring.

In some respects, de Niese is not a typical Baroque virtuoso. She brings less of a clean, instrumental quality to her singing than specialists such as Arleen Auger, Emma Kirkby or Cecilia Bartoli. Instead, one hears more vibrato, frequent covered tone and a habit of smoothing rather than brightly articulating passagework. Ornaments are subtle, with more quick mordents than sustained trills. These traits make her a limited partner, at least technically, to the pealing trumpet in Handel's prototypical display piece "Let the Bright Seraphim."

Where she truly excels is in the more gentle, persuasive melodies — often insinuating and seductive — of Dowland's romantic/erotic songs and the music of Monteverdi (or, in L'Incoronazione di Poppea, music long attributed to him). She exploits opportunities for rubato and expansion, stretching and coloring the long vowels of the English composer's "Come again: sweet love doth now invite" and spicing its consonants in a manner that is almost suggestive.

She brings the same beguiling fervor to Monteverdi's playful "Quel sguardo sdegnosetto," from Scherzi Musicali, and especially to the concluding duet from L'Incor­o­nazione, in which she manages to blend warmly with the excellent Andreas Scholl.

What most marks de Niese's singing throughout this program is a fresh, personal quality. The listener senses the force of vivid character traits, which can make a cantata sound operatic. Some ears might prefer more of an effortless, dulcet upper register to crystallize the spirituality in "Guardian angels, oh, protect me," from Handel's Trionfo del Tempo e del Disinganno, words sung by the allegorical figure of Beauty. What we hear here is more heated, a passionate yearning from an earthbound voice.

The same mood prevails in her warmly rendered aria from Acis and Galatea,and in a version of a Bach cantata excerpt known in English as "Sheep May Safely Graze," in which the heavy organ obbligato and slow tempo only exaggerate the soprano's sultriness. In the duet with Scholl from Pergolesi's Stabat Mater,the countertenor excels at dark mourning, with his depressed pitch on droning phrases; de Niese offers a welcome complement in the brief work's emotional climax by soaring to a full-throated, passionate G on "dolorosa."

At times the program seems almost casually assembled, with no recitatives to introduce arias and a reliance on familiar music — "Ombra mai fu," from Handel's Serse, in the alto key, and Dido's lament from the Purcell opera — regardless of suitability to the singer.

The English Concert under the expert Harry Bicket provides brilliant, flexible accompaniment. There is an especially infectious energy in the pacing and phrasing of one of the Bach numbers, "Sich üben im Lieben," from cantata 202, with delightful oboe playing by Katharina Spreckelsen. The buoyant rhythms here, like the soprano's warmth and impish text-pointing, are enough to banish any concerns about period style. spacer

DAVID J. BAKER

引用
review
[-] by V. Vasan

Soprano Danielle de Niese gives her boundless energy to this album of all-Baroque arias. Her warm sound and rich timbre are her hallmarks, along with her lively stage presence, as those who have seen her performances can attest. These qualities are unmistakably evident here. In "Let the bright Seraphim" the music never sags or lags anywhere, for she feels it. Sometimes, however, De Niese gets overdramatic when it is not necessary. "Come again" shows that her emotions are genuine and not manufactured, but the excess becomes distracting. Her vibrato is fast, and sometimes the voice thins out in it, as well as in the melismas (which are, to her credit, on time and in place). It is when she exercises restraint and has longer, lyrical lines that she is at her best on this album. "Thy hand, Belinda… When I am laid in earth" is one example where it's easy to hear the beauty of her voice. The same goes for "Heart, the seat of soft delight," which has a lovely smoothness and a mature sound. She exercises good control in the melismas, and the result is a gem of an aria. Her duets with countertenor Andreas Scholl are all solid and well done. The purity of their voices matches well, as one can hear in both Monteverdi arias, and Pergolesi's Stabat mater (with its heartbreakingly beautiful string introduction) is simply gorgeous thanks to perfect control in both voices. One could conclude that De Niese's straight tones are also her forte. Supporting the voices is the musically solid, graceful ensemble, the English Concert under the direction of Harry Bicket, whose understated elegance deserves praise. De Niese saves the best for last: two arias from Bach's cantatas. Here, De Niese is like a different artist; it is instantly clear that the German repertoire suits her wonderfully. In "Sich üben im Lieben" she captures a perfect bouncing rhythm and accents, and one truly feels her emotion; compared to other pieces where she seems to be emoting dramatically, this piece moves the listener. "Schäfe können sicher weiden" also demonstrates this emotional honesty, and recalls Kathleen Battle in its sweetness; it is like a pastoral breath of fresh air. De Niese is a veteran singer and performer, but at the time of this 2012 album, it is probably fair to say that she is still developing and is likely to grow into an even more impressive artist.


引用
【DECCA】Beauty of the Baroque 巴洛克之美(De Niese迪妮丝)

迪妮丝的声音有一种颤抖、柔弱的特质,很像当年凯瑟琳.芭托的丰腴版,也因此搏得纽约时报「足以诱惑天神与凡人的嗓音」之讚美


澳洲女高音迪妮丝是少见从小就立志朝歌剧界发展的歌唱家,在澳洲赢得儿童歌唱比赛后就搬到美国,以求能在这里获得更好的歌唱教育并拓展歌剧事业。

  父母原籍斯里兰卡,她在斯里兰卡住到十多岁才迁居澳洲,因此也是音乐史上第一位斯里兰卡裔的女高音。迪妮丝九岁就拿下澳洲电视节目的儿童才艺比赛冠军,靠演唱高难度的惠妮休士顿歌曲夺得高额奖金和平台钢琴。为了培养她,父母刻意带她迁往洛杉磯,十五岁在洛杉磯歌剧院登台演唱,并让她在电视节目中表演,更因此在十六岁拿下艾美奖的肯定。热爱歌唱和演艺事业的她,随后更成为大都会歌剧院最年轻的选秀歌唱家,十九岁就在该院演唱《费加洛婚礼》,并立即受邀演唱拉威尔歌剧的头角,一鸣惊人。


  她企图心十足,积极朝欧洲拓展歌唱事业,尤其是英国和荷兰两地为她近年全力经营的重心;不但在荷兰首演现代歌剧,也接唱《悲惨世界》音乐剧,还於电影《人魔》中扮演碧翠丝一角,同时也在荷兰参加爵士音乐节,极获当地乐迷的喜爱。近年迪妮丝全力投入巴洛克歌剧的演唱,并连续於2010与2011年分别灌录了韩德尔、莫札特和巴洛克的曲目。她与古乐学家威廉.克利斯蒂等人多次合作,在欧洲各地演唱韩德尔、拉摩、蒙台威尔第等人的歌剧,同时也以演唱莫札特歌剧在荷兰剧院大受好评。


  2005年迪妮丝在英国葛兰德博恩音乐节上演唱韩德尔《凯撒大帝》中埃及豔后一角,凭著扮相和歌艺与演技征服了台下观眾,一夕成名,并立刻吸引笛卡唱片与她签约,她也以笛卡唱片做为进军欧洲的主要推手。这张专辑是她的第三张专辑,片中不仅再次演唱她拿手的韩德尔作品,也跨越纯歌剧领域,拓展至巴哈咏嘆调和英国巴洛克作曲家如普赛尔和道兰等人的歌曲。迪妮丝的声音有一种颤抖、柔弱的特质,很像当年凯瑟琳.芭托的丰腴版,也因此搏得纽约时报「足以诱惑天神与凡人的嗓音」之讚美。专辑中她特别邀请到德国假声男高音修尔为她跨刀,两人合作了三首二重唱。


IPB Image

IPB Image



专辑曲目

01. Come again; sweet love doth now invite Dowland
02. What if I never speed? Dowland
03. Ombra mai fu Handel Serse
04. Let the bright Seraphim Handel Samson
05. Thy hand, Belinda…When I am laid in earth Purcell Dido and Aeneas
06. Heart, the seat of soft delight Handel Acis and Galetea
07. Pur ti miro Monteverdi L’incoronazione di Poppea
08. Quel sguardo sdegnosetto Monteverdi Scherzi musicali
09. Io t’abbraccio Handel Rodelinda
10. Guardian angels, oh, protect me Handel The Triumph of Time and Truth
11. Stabat Mater Pergolesi Stabat Mater
12. Sich üben im Lieben Bach Cantata, BWV 202
13. Schafe können sicher weiden Bach Cantata, BWV 208

正在读取……

这里是其它用户补充的资源(我也要补充):

暂无补充资源
正在加载,请稍等...

点击查看所有352网友评论

 

(?) [公告]留口水、评论相关规则 | [活动]每日签到 轻松领取电驴经验

    小贴士:
  1. 类似“顶”、“沙发”之类没有营养的文字,对勤劳贡献的楼主来说是令人沮丧的反馈信息。
  2. 提问之前请再仔细看一遍楼主的说明,或许是您遗漏了。
  3. 勿催片。请相信驴友们对分享是富有激情的,如果确有更新版本,您一定能搜索到。
  4. 请勿到处挖坑绊人、招贴广告。既占空间让人厌烦,又没人会搭理,于人于己都无利。
  5. 如果您发现自己的评论不见了,请参考以上4条。