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Maria Callas -《卡拉丝歌剧女神》(La Divina)[3 CD][FLAC]

  • 状态: 精华资源
  • 摘要:
    古典类型歌剧
    发行时间2005年11月01日
  • 时间: 2014/08/26 19:31:31 发布 | 2014/09/01 17:50:39 更新
  • 分类: 音乐  古典音乐 

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专辑英文名La Divina
专辑中文名卡拉丝歌剧女神
艺术家Maria Callas
古典类型歌剧
资源格式FLAC
版本[3 CD]
发行时间2005年11月01日
地区美国
语言意大利语
简介

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专辑介绍:

.走过整个世纪的孤寂与动盪终於发现卡拉丝─现在,我们给您完整的、只在EMI"歌剧女神"再次深情重返。



1992年,距离卡拉丝瘁亡於巴黎后15年过去了,EMI首度推出〈歌剧女神〉纪念专辑一秋日之中驀然回首,歌剧女神世纪性绝代风华重现。

跨越著世代的阻隔,九零年代世纪末的氛围中,卡拉丝的凝视与红唇继续她重返的宣称─1993年〈歌剧女神2〉仍然深深攫获广大寂寞与绝望边绿的人心。

1994年,TOM HANKS以电影〈费城〉获奥斯卡最佳男主角─那个让世人纷纷跨越藩篱喜爱著的勇敢角色,在他的生命奋战过程中所最钟爱的音乐便是卡拉丝,一段带著点滴瓶、却仍全神融入〈LA MAMA MORTA〉聆听的撼人演,让卡拉丝的演唱被称誉为"影史少见非原著配乐的最佳詮释",卡拉丝因此成为电影〈费城〉音乐意象的真正守护神,与BRUCE SPRINGSTEEN、NEIL YOUNG鼎足而立、但是却有更深沈的艺术生命与更超越的希望救赎。

歌剧女神卡拉丝在二十世纪中叶的到来,为歌剧界带来了让人振奋的力量和气息。她传奇的一生和充满魅力的舞台风范,让她的一顰一笑都成为当时媒体关注的焦点。她与义大利女高音提芭蒂在墨西哥分饰同角的消息让两人各拥歌迷,最后甚至在米兰史卡拉歌剧院上演叫嚣对骂的历史性场面,而她在一九五三年间快速甩三分之一体重,以求和希腊船王欧纳西斯共结连理的事蹟,更是近代名女人追求外表与内在均美的著名案例。然而,这些都不是这位歌剧女神之所以名流青史的真正原因,真正让她为后世诵念的原因,正在这份录音之中。

卡拉丝拥有一副多变而让人意想不到的声音,她可以一下子轻盈如同十八岁的少女、一下子则粗浓厚重如同饱经风霜的老妇,她可以时而粗野媚行、时而又贵气凌人;这种种迷人的声音魅力,和许多女高音拥一副高音歌喉自重的作风是完全不同的,卡拉丝的歌中有戏、戏中又有歌,轻巧地穿梭在戏剧和音乐之间糢糊的地带,其强烈的戏剧感和音乐性,是她最难以模仿、也最难以描述的部份。在本片中,就收录了她这些最膾炙人口的角色和咏叹调。其中我们可以听到她演唱二十世纪初的写实歌剧角色、也可以听到她演唱法国浪漫歌剧的卡门和达丽拉、茱莉叶、而演唱莫札特唐乔凡尼中的一角则是她教人意外的惊喜。当然,最不可少是卡拉丝的美声歌剧演唱,她聪明慧詰的罗西娜、牺牲爱情女祭司诺玛。而最后则是为了艺术为了爱情而痛苦的女主角托丝卡和冷峻无情的中国公主杜兰朵。


http://lacallas.tumblr.com/

  卡拉丝在她短短不到二十年的歌剧演唱生涯中,散发出无人能比的光与热,影响二十世纪后半叶乐坛极深,再加上唱片录音助长,使其影响力堪成史上无人能及。她的演唱生涯一开始是以唱功偏重的戏剧女高音开始的,她先是演唱杜兰朵公主和华格纳的伊索德闻名,之后才以人惊奇的姿态迅速转型为美声演唱家,一手提携了在当时已经没落的美声歌剧,以浓郁的戏剧手法,把董尼采第、贝裏尼和罗西尼等人的歌剧再度带回到现代歌剧院中。综观卡拉丝的歌唱技艺,她丰富多变的音色,可以说最人惊讶而一再被人提及的。她可以用让人几乎无法辨识的嗓音演唱不同角色,甚至在同一剧中,为主角不同阶段的心情、年纪塑造不同的音色,以达到其戏剧上的效果。她在每一场演出中无遗餘力、毫无保留的卖力演唱,则更是让她教人难忘的主要原因之一。她深入刻划剧中人物的演出功力,以及对音乐和戏剧的感应之深,也是曆来女高音所无法企及的地方。

  在这选辑中,我们可以听到卡拉以远超过其他女高音的多样风格,展现了她的歌唱绝艺。她在写实歌剧、法国歌剧、意大利古典歌剧和美声歌剧之间游走,对寻常的女高音而言,这是横跨花腔、戏剧女高音、抒情女高音和重抒情女高音的广泛类别,若非实力到此,轻易尝试必遭恶评、甚至身败名裂,唯独卡拉丝,却能够在其中游刃有餘,让每个角色都像是她与生俱来的一样。

Maria Callas, La Divina Box Set
Justin Davidson
By Justin Davidson
Contributor
on 05.18.11 in Reviews
No other singer on record has made opera a more volatile, life-giving art

Maria Callas could swerve between doomed tenderness, wistful charm, vindictive ferocity, girlish giddiness and regal aloofness more quickly and totally than most singers can find a pitch. This three-disc set can't cover the full extent of her mercurial musical personality, but it comes close. In "Un bel dì" from Madama Butterfly, she focuses her sound into a hot beam of longing. In "Sempre libera" from La Traviata, she merges the Violetta's slightly manic hilarity with a foretaste of the despair to come. She pumps "O don fatale" (from Don Carlo) full of buzzing rage; nobody ever sang the words "ti maledico" ("I curse you") with more bloodcurdling conviction. There was always a hint of calamity in her voice. You can hear that total embrace of danger in the high notes that threaten to spin off into the ether, in her willingness to risk an ugly sound, in the way she sprints and slips through filigreed passages, less concerned with perfect execution than with the emotional extremes they represent. No other singer on record has made opera a more volatile, life-giving art.

引用
Maria Callas: La Divina (1960-1977)
28 Sep ’12
“Probably millions of words have been written about La Callas, and quite a few about the vulnerable, lonely, elusive creature who was Maria. There is little I can add. She shone for all too brief a while in the world of opera, like a vivid flame attracting the attention of the whole world, and she had a strange magic which was all her own. I always thought she was immortal – and she is.”

- Tito Gobbi




Warm Syrup Pouring Slowly 21 April 2003
By Christopher Schmitz - Published on Amazon.com
Format: Audio CD
I wonder how many people got into Maria Callas because of the movie "Philadephia," which featured the aria "La Mamma Morta" (from the opera "Andrea Chenier") in a crucial scene between Tom Hanks and Denzel Washington? I wonder how many took note of her because Fernando in "Our Lady of the Assassins" finds that her soprano pierces his heart? In that film, we hear her sing a Rossini aria from "The Barber of Seville." Maybe folks encountered the reference in Camille Paglia's "Sexual Personae": "Cultishness still thrives among homosexual opera fans, whose supreme diva was tempestuous Maria Callas."
Whatever the trigger, Callas' popularity is on the rise. This disc gathers her good eggs into one basket. This is a "best of" among the arias she sang in the 1950s and 60s. My favorites include her version of Bizet's warning about ungovernable love "Habanera," Saint-Saens' meltingly lyrical "Mon Coeur S'ouvre a ta Voix," and Puccini's mournful "O Mio Babbino Caro."
Her voice isn't perfect, whatever that means. It sounds thin and syrupy at times by the standards of world class opera. But it's the best we have. She is the best ever. If you want to be wowed, her high note on Rossini's "Una Voce Poco Fa" will endanger your crystal--and that's after she effortlessly navigates its string of complex arpeggios. If you want to be charmed, listen to the words Callas as Delilah sings to Samson: "Come back to my caresses!" Though she is known more for her interpretations of Puccini and Verdi, Callas' work in the French opera "Samson and Delilah" is among her very best. The viscosity of her voice becomes an asset as it suits the honeyed words of Delilah's eye-batting seductions perfectly.
This aria is sublime, exquisite.
A creature of theater, Callas manages a unique sound for every character she voices, finding endless variations of timbre, dynamics, and phrasing. This CD is on my marooned-on-a-desert-island short list. There are actually three "La Divina" CDs, and they are all worth having. The Callas box set contains a fourth CD as well, an interview with Callas.


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专辑曲目

La Divina 1

01. Madama Butterfly: Un bel di, vedremo (Atto ll)
02. Carmen: L’amour est un oiseau rebelle (Habanera) (Acte l)
03. La Wally: Ebben? ne andro lontana (Atto l)
04. Il Barbiere di Siviglia: Una voce poco fa (Atto l)
05. Norma: Casta Diva (Atto l)
06. Samson et Dalila: Mon coeur s’ouvre a ta voix (Acte ll)
07. Rigoletto: Caro nome (Atto l)
08. La Traviata: Sempre libera (Atto l)
09. Romeo et Juliette: Je veux vivre dans ce reve (Acte l)
10. La Boheme: Si, mi chiamano Mimi (Atto l)
11. Don Giovanni: Mi tradi quell’alma ingrata (Atto ll)
12. Cavalleria Rusticana: Voi lo sapete, o mamma
13. La Gioconda: Suicidio! (Atto lV)
14. Gianni Schicchi1: O mio babbino caro
15. Turandot: In questa reggia (Atto ll)
16. TOSCA: Vissi d’arte, vissi d’amore (Atto ll)

La Divina 2

01. Alceste: Divinites du Styx Acte 1
02. Carmen: Les tringles des sistres tintaient Acte ll
03. Ernani: Surta e la notte……Ernani! Ernani, involami Atto l
04. Manon Lescaut: In quelle trine morbide Atto ll
05. Aida: Ritorna vincitor Atto l
06. Orphee et Eurydice: J’ai perdu mon Eurydice Acte lV
07. I vespri siciliana: Bolero: Merce, dilette amiche Atto V
08. Louise: Depuis le jour Acte lll
09. La Boheme: Donde lieta usci Atto lll
10. Mignon: Ah, pour ce soir…Je suis Titania Acte ll
11. La Traviata: Teneste la promessa…Addio, del passato Atto lll
12. Don Carlo: O don fatale Atto lll
13. Samson et Dalila: Printemps qui commence Acte l
14. La Sonnambula: Compagne, teneri amici…Come per me sereno Atto l
15. Adriana Lecouvreur: Ecco: respiro appena…Io son ‘lumile ancella Atto
16. Lucia di Lammermoor: Spargi d’amaro pianto Atto lll

La Divina 3

01. ‘La Mamma Morta’
02. ‘O Nume Tutelar’
03. ‘Je Ne Suis Que Faiblesse… Adieu, Notre Petit Table’
04. ‘Oh, Saro La Piu Bella… Tu, Tu Amore?’
05. Seguedille: ‘Pres Des Remparts De Seville’
06. ‘Dunque Io Son’
07. ‘Dov’ E L’Indiana Bruna?’
08. ‘Qui Radames Verra!… O Patria Mia’
09. ‘O Soave Fanciulla’
10. ‘Signore, Ascolta!’
11. ‘Qual Fiamma Avea Nel Guardo…Hui!’ Stridono Lassu’
12. ‘D’Amor Sull’ Ali Rosee’
13. ‘Vogliatemi Bene, Un Bene Piccolino’
14. ‘Ombra Leggiera’

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