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法國指揮家伊曼紐艾姆與她的星光音樂會古樂團2014年於法國裡爾歌劇院演出的錄影。
1775年,莫劄特剛從義大利遊歷歸來還未滿兩年,就發表了這齣全新的歌劇作品《冒牌女園丁》。這齣歌劇雖然很明顯受到義大利風格的影響,更令人驚嘆的是,莫劄特在音樂上所展現的超人天賦。相當符合大眾認知的戲劇對立元素,也透過音樂精準表現,歌曲旋律線條簡潔動聽,清楚勾勒出喜劇角色的特質。同時,莫劄特也在這齣戲裡,巔覆傳統莊歌劇裡高不可攀的貴族角色傳統,用音樂好好地揶揄了他們一番。1775年1月13日《冒牌女園丁》首演於慕尼克的薩爾瓦多劇院。
《冒牌女園丁》敘述原本是對戀人的貝爾福洛公爵和薇歐蘭特,某次爭吵中,貝爾福洛刺了薇歐蘭特一刀,於是薇歐蘭特就假冒成女園丁桑德琳娜,開始和貝爾福洛作對,貝爾福洛後來與阿敏妲訂親,但是在弄假成真陰錯陽差之後,薇歐蘭特最後還是選擇貝爾福洛。
本片是法國指揮家伊曼紐艾姆與她的星光音樂會古樂團,2014年的三月間,在法國的裡爾歌劇院演出的莫劄特《冒牌女園丁》。參與演出的聲樂家包括女高音莫莉(薇歐蘭特歐奈斯提),男高音斯卡拉(飾演貝爾福洛公爵)。
Mozart: La finta giardiniera, K196
Opéra de Lille, 2014
Carlo
Allemano (Don Anchise, Podestà), Erin Morley (Sandrina/Violante), Enea Scala
(Comte Belfiore), Marie-Adeline Henry (Arminda), Marie-Claude Chappuis (Ramiro),
Maria V. Savastano (Serpetta) & Nikolay Borchev (Roberto (Nardo))
Le
Concert d'Astrée, Emmanuelle Haïm (conductor) & David Lescot (stage
director)
Alwyne de Dardel Set designs
Sylvette Dequest Costume
designs
Paul Beaureilles Lighting design
Atsushi Sakaï Assistant to the
music director
Philippe Grisvard Chorus master
Jean-Pierre Loisil Movie
director
The French conductor Emmanuelle Haïm conducts here her music
ensemble Le Concert d'Astrée during this performance of Mozart's La Finta
Giardiniera at the Opéra de Lille (France) on March 22nd and 25th 2014. This
production, directed by David Lescot, stars a remarkable cast, with Erin Morley
and Enea Scala in the roles of the Contino Belfiore and the Marchioness Violante
Onesti.
Mozart was just 18 when La finta giardiniera (The pretend
gardener-girl) was first seen in early 1775, though he already had a number of
operas to his name. It was another six years before the first opera of the
composer’s mature canon, Idomeneo, received its premiere.
A comedy (opera
buffa) with a plot of extravagant complexity, La finta giardiniera provides
early evidence of Mozart’s ability to capture the more serious truths that lurk
beneath a farcical surface. It has been rising in popularity in recent years,
with productions in such operatic centres as Berlin and Moscow and the
Glyndebourne Festival, and it will be staged at the Santa Fe Opera in New Mexico
in Summer 2015. Its central character is a young noblewoman, Violante Onesti,
who is disguised as a gardener and going under the name of Sandrina. She is
recovering from the emotional and physical wounds inflicted on her by her former
lover, Count Belfiore, who is now betrothed to the tempestuous Arminda.
In
Spring 2014 Emanuelle Haïm conducted her orchestra Le Concert d'Astrée and a
carefully-chosen cast in La finta giardiniera, staged by the French director
David Lescot, in the cities of Lille and Dijon; the production was described by
the French newspaper La Croix as “three hours of pure happiness”. This video
recording from Lille joins Haïm’s Erato DVDs of operas by Monteverdi
(L’incoronazione di Poppea) Rameau (Hippolyte et Aricie) and Handel (Giulio
Cesare). Lescot’s striking staging provides a contemporary take on the 18th
century and the designs (by Alwyne de Dardel) evoke a garden by means of plants
and shrubs in large pots – notably, Arminda is symbolised by a ferociously
oversized Venus Flytrap. Later, as the plot thickens, the stage is spectacularly
transformed into a forest. As the French music magazine Diapason wrote: “A
director who is skilled at marrying word and music, David Lescot took ownership
of the score, sensing its pulse, its respiration, its nuances and its
schisms.”
The UK’s Opera magazine praised the production for its “clarity and
simplicity”, judging that: “David Lescot’s direction ... demonstrated how these
archetypes from opera buffa could be transformed through Mozart’s music into
mature characters who had developed self-knowledge ... Emanuelle Haïm’s
conducting ... captured the sense of dramatic progression in the extended
finales of the first two acts, while also allowing the final act a sense of pace
and dignity ... Enea Scala brilliantly conveyed Belfiore’s journey from a
foppish, vainglorious figure of fun to a lover genuinely remorseful for his past
mistakes, and displayed a secure, focused line in his singing. Erin Morley was
an equally appealing Sandrina, with a voice of limpid clarity allied to a fine
dramatic sense of her ability to transform Belfiore after their mutual moments
of madness. Marie-Adeline Henry was a gloriously fiery Arminda.”
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