Rossini: Colbran, the Muse 柯布朗，罗西尼的缪斯女神
- 艺人
- Joyce DiDonato / Julius Drake
- 语种
- 意大利语
- 厂牌
- Virgin Classics
- 发行时间
- 2009年11月02日
- 专辑类别
- 录音室专辑
专辑介绍
美国次女高音狄杜娜朵，英国乐评称为「当今全世界的罗西娜天后（赛维亚理发师）」，在这份录音中，录了狄杜娜朵历来最拿手的罗西尼角色，其中还不乏为女高音所写的角色。
伊莎贝拉柯布朗是十九世纪第二个十年间称霸拿坡里圣卡洛歌剧院的次女高音，因为她，让罗西尼写出了「英吉利女皇伊莉莎白」这出歌剧，之后罗西尼又为她写了奥泰罗，唱完这两剧后，她声音开始走下坡，但是还是让罗西尼继续以她为对象，写出了阿蜜妲、摩西在埃及、湖上少女、苏丹王梅蔑二世等剧。她和罗西尼因此成为拿坡里最具号召力的歌剧搭档，两人后来更因此发展出私人恋情，最后就在一八二二年成亲。婚后罗西尼更特别为她逐渐吃力的嗓音写了赛米拉蜜德，但柯布朗的声音还是让她不得不隐退，她和罗西尼的婚姻也在十五年后结束，但罗西尼还是一直照顾她到一八四五年她六十岁过世。这份录音就是献给这位罗西尼心目中最完美诠释者的录音，由现年四十岁的美国次女高音狄杜娜朵演唱一系列的录音，就和两年前意大利次女高音芭托莉以专辑献给另一位柯布朗同时代的次女高音梅丽布朗一样。狄杜娜朵小时候其实是想成为流行歌手的，但在大学主修声乐教育后，原本只打算在中学教歌唱，可是大学时一次演唱歌剧的经验，让她决定追求声乐演唱的路，之后在美国赢得多项歌唱大赛首奖后，在一九九八年正式成为职业歌唱家。狄杜娜朵的声音是属于花腔次女高音，她拥有非常灵活的次女高音颤音，而且音色在次女高音中是目前较少见的轻抒情路线，而不像芭托莉或豪恩等那种带有中性或阉人歌唱家的音色。两千年以前一直在美国发展的她，两千零一年首度渡洋赴欧就唱进了史卡拉歌剧院，演唱罗西尼的灰姑娘，之后她就接连唱进巴黎国家歌剧院、巴伐利亚歌剧院和柯芬园，以及东京的新国家剧院。几乎在上述每个歌剧院，她都是以罗西尼的角色受到邀请的，可以说她是当今次女高音中，最常被邀请演唱罗西尼要角的歌唱家。而虽然演唱生涯起步的比当今许多知名次女高音慢，但狄杜娜朵似乎有后来居上之势，在同辈次女高音天后都逐渐退出罗西尼歌剧的战场时，狄杜娜朵却明显展现出她在这方面的优势，而不用去假扮女扮男装的巴洛克歌剧角色，其中最主要的原因就是她非常具有弹性且女性美的音色，罗西尼的花腔在她的演唱下，很自然地就形成装饰音滑过，而不是费劲力气的技巧展现，而在演唱主要旋律时，她又能够充满歌唱性和优雅风格，不过份的修饰。被英国乐评称为「当今全世界的罗西娜天后（赛维亚理发师）」，光是今年全世界就有八座大城市包括纽约、东京、巴黎邀请她去演唱此角。这份录音中，录了狄杜娜朵历来最拿手的罗西尼角色，其中还不乏为女高音所写的角色，这正说明了狄杜娜朵是位和露德薇希等人一样，有希望在将来也拿下女高音后座潜力的歌唱家，这份罗西尼录音，的确让人对她刮目相看，留下深刻的印象。
“A superstar in the Rossini repertory” Chicago Tribune
After the success of her first Virgin Classics recital – Furore, arias by Handel – Joyce DiDonato turns to the composer whose heroines first brought her to international stardom: Gioacchino Rossini.
“Is Joyce DiDonato the world's best Rossini singer?”, asked the New York magazine Opera News after the American mezzo sang the finale of La Cenerentola at Carnegie Hall in January 2009. “That title certainly seemed hers by sovereign right,” it continued; “Her phrasing was silky, her timbre rich and glowing, and her ornaments were impeccably stylish and utterly beguiling. Most impressive was DiDonato's combination of immaculate technical control with an air of wild, unstoppable joy. This was truly a moment to treasure from an artist who is at the very top of her game.”
If La Cenerentola does not appear in this new recital, recorded in Rome in June, her other signature Rossini role holds a place of honour: she has been described by the UK’s Sunday Times as “the world’s reigning Rosina in Il barbiere di Siviglia”. In 2009 alone she sings the role in Vienna, London (to be recorded for DVD by Virgin Classics) and New York, and the role has also taken her to Paris, Amsterdam, Tokyo, Houston, San Francisco, Bologna and Rossini’s birthplace, Pesaro.
Rossini’s two best-known comic operas proved essential in building the Kansas-born singer’s reputation over the last decade, but this recital focuses primarily on his serious works – although the tragic tensions do not perhaps run as consistently high as in DiDonato’s first Virgin Classics recital: Furore, the Handel programme released last year and described by The Daily Telegraph as “an exhilarating roller-coaster of a recital from a charismatic singing-actress”.
This Rossini programme includes two arias from La donna del lago, which DiDonato is scheduled to sing over the coming seasons in Geneva, Paris, Milan and London. She takes the role of Elena, written for a soprano, but a great success in the 1980s for DiDonato’s idol, fellow high mezzo Frederica von Stade. The other arias on the CD were also all composed for soprano: they come from Otello, Semiramide, Armida, Maometto II and Elisabetta regina d'Inghilterra. DiDonato proved that she can triumph in music written for soprano with her recent complete recording of Handel’s Alcina and her debut last year in the role of Mozart’s Donna Elvira; the performances at London’s Royal Opera House prompted The Guardian to describe her as “the real star … singing her first Elvira and nailing even the topmost notes,” while The Daily Telegraph praised her performance in a similar vein: “The star of the show was … Joyce DiDonato, who sang Elvira with a style, sensitivity and bravura that outclassed everyone else on stage.”
To return to Rossini and Rosina, the role for DiDonato’s debut at the Vienna State Opera in April 2009, the Wiener Zeitung had this to say: “She tossed off crystal-clear coloratura, presented a dark, secure low register, a confidently nuanced mid-range, bright and voluminous high notes – in short, everything that makes for great, modern bel canto style. She appears undaunted by the role's many technically tricky passages, and even more: she sang musically challenging variations on every repeated phrase, shaped every single bar with brio, and presented a psychologically multi-faceted characterisation with wildly joyful abandon.”
最新简评（共12条）
- @白色郁金香：罗西尼
- @全能难高音歌唱的艺术(星星闪烁是远方人家的灯火)：依然是抽搐版，简直没法听，请上传的人检查一下文件重新传啊
- @一念万年(一切随缘)：罗西尼《湖女》La Donna del Lago 2015.03.14 :
- @虾米爱你一万遍(爱你一万遍，再见一万遍)：Fra il padre, e fra l'amante！！！！尼玛啊跳成这样啊！！！！ 全能难高音歌唱的艺术 (星星闪烁是远方人家的灯火) 2015-05-03 23:12 里面的有个跳音快颤漂亮
- @全能难高音歌唱的艺术(星星闪烁是远方人家的灯火)：Fra il padre, e fra l'amante ,最出彩的这首居然跳帧，完全无法听
- @亲爱的向宇(J-POP命！)：超赞啊!!!
- @33：美国次女高音狄杜娜朵，英国乐评称为「当今全世界的罗西娜天后（赛维亚理发师）」
- @sara(sarasara)：好声音
- @赵肖邦(喜爱古典音乐)：狄杜娜朵--漂亮！
- @乘着音乐的风帆起航(音乐是人类的灵魂)：罗西尼的歌剧，好听。