Monteverdi, Gratiani, Barringcloe, Humfrey, Purcell, Schubert, Fauré, Gounod, Handel 蒙特威尔第、格拉蒂亚尼、巴林克罗、汉弗莱、舒伯特、弗雷、古诺、亨德尔
- 艺人
- Janet Baker / Raimund Herincx / Patricia Clark / English Chamber Orchestra / Anthony Lewis
- 语种
- 英语
- 厂牌
- BBC Legends
- 发行时间
- 2007年09月03日
- 专辑类别
- 现场专辑
专辑介绍
This is a re-release of a 1996 BBC Music Magazine issue, derived from a single, live concert given at the Aldeburgh Festival on June 14, 1971.
The earlier part of the program, the Baroque Italian and English pieces, succeeds best. These pieces are part of a rich, dramatic tradition that “take stage” with larger-than-life emotions. There is no evidence that their composers and authors intended the pieces to be performed in an emotionally neutral and vocally subdued fashion, though music of this kind has been treated in such a manner on many occasions. Baker’s full-throated singing of Si dolce è’l tormento comes as a distinct relief. It also in no way prevents her from offering interpretative detail as required: scaling down the voice after the broad phrasing that opens Quel sguardo sdegnosetto at the mention of her heart (“vola a ferimi il petto”), or the variety given to the various repetitions of the first word in Maledetto sia l’aspetto . Then, listen in Purcell’s “Pursuing Beauty” to the humorously meek and drained singing on the line, “We Women, like weak Indians, stand,” followed by the stronger “Inviting, from our Golden Coast,” and capped with a blazing “The wand’ring Rovers to our Land” that includes a wonderfully brassy and well-executed bit of coloratura.
Gounod’s Sérénade is a triumph of mind over matter, Baker again scaling down her voice and finding just the ineffably light French manner to do this old charmer up right. The Handel by contrast is a test piece for breath control, tone, and coloratura, and one that Baker manages handily, if not with consummate ease.
Throughout, Leppard is a most responsive partner, both at the piano and harpsichord. (He is joined at the latter by Joy Hall, who manages the cello continuo expertly.) His arrangements of the various Italian works are theatrically effective.
Finally, there’s the 1969 interview with Marjorie Anderson, which I find superficial and frankly hagiographic. What little genuine information it contains could adequately have been provided in a single paragraph added to the pleasant liner notes. No texts and translations are provided in the jewel box, though you can find the Fauré, Gounod, Monteverdi, and Schubert pieces (two without English translation) at www.mediciarts.co.uk/site_manager/includes/docs/.
In short, a magnificent artist at the top of her form, performing a fair amount of material with flair. If you don’t already own this from the original release, give consideration to doing so now.
FANFARE: Barry Brenesal
最新简评（共5条）
- @邱比 CHOVBE(邱比官方虾米)：Get
- @pierrot(pierrot)：GOOD
- @黑美人( )：罗伯特·弗莱克
- @未知生物：******
- @未知生物：******