Chant d'amour: Mélodies françaises 爱的香颂：芭托莉演唱法国歌曲集
- 艺人
- Cecilia Bartoli
- 语种
- 法语
- 厂牌
- DECCA
- 发行时间
- 1996年09月02日
- 专辑类别
- 录音室专辑
专辑介绍
Cecilia Bartoli goes from strength to strength. Taking on the French repertory in this delightful disc, she also gives us some great rarities. The opening Bizet group includes two of his best-known songs, Ouvre ton coeur and Adieux de Photesse arabe. In the first, one perhaps might ask for more of a smile in the voice. Predictably, in the pessimistic Hugo poem about the Arab girl bidding farewell to the handsome traveller, Bartoli relishes the muezzin-like vocalise on &Helas, adieu, souviens-toi&. This is one of the best performances of this mini-drama since Conchita Supervia's orchestral-accompanied version. In this, and the succeeding Tarantelle, &tra-la-la&s and froth, one is prompted to wonder if there will one day be a Bartoli Carmen.
The big surprise of the Bizet group, again a setting of Hugo, is a song totally unknown to me, La Coccinelle (&The ladybird&). A fable of a gentleman trying to kiss the insect, it is a little salon gem, with a fast waltz motif. Bartoli uses a croaky little voice to act out the Ladybird. This song alone is worth the price of the CD.
Delibes's Les lilies de Cadiz, all trills and sunshine, is contrasted with an equally demanding setting of the same poem by Pauline Viardot. Although there is a whole CD devoted to Viardot's songs (by Karin Ott on CPO, 12/90) which I haven't heard, I rather think that for most other people these three melodies will be their introduction to Viardot's songs. Hai lull! with words by Xavier de Maistre is a sad second-cousin to the Willow Song from Rossini's Otello (an opera central to the repertory of Viardot's sister, Maria Malibran). Havanaise is a real curiosity: the first and last stanzas, sung in Spanish, frame a middle section in French which breaks into a Rossinian flight of coloratura before returning to the swaying movements of the dance. Evenings chez Viardot must have been enlivened considerably by such songs.
One can imagine that Viardot might easily have sung both Berlioz songs. The narration of Ophelia's death, words by Ernest Legouvé, vaguely based on Shakespeare, ends with a wordless melody which Bartoli sings in a hushed, beautiful tone. In Zaide she plays the castanets with skill; if this song is less interesting than the evocations of Spain by Bizet, Delibes and Viardot, that's Berlioz's fault, not Bartoli's.
In the concluding Ravel group, an interesting contrast can be made between Viardot's Havanaise of the 1840s and Ravel's Habanera of 1907.... This is one of the most satisfying recitals by one of the great singers of our time. First-rate recording and sensitive accompaniment throughout.
-- Gramophone [12/1996]
最新简评（共15条）
- @大喵(不要自我设限.....)：
- @独风冷雨(阳光淌过手心天空笑了笑！)：喜欢~_~
- @秋天落叶philharm(这里是我喜欢的、自言自语...)：芭托莉/爱之歌/法国艺术歌曲集/郑明勋钢琴伴奏/1996
- @秋天落叶philharm(这里是我喜欢的、自言自语...)：芭托莉/爱之歌/法国艺术歌曲集/郑明勋钢琴伴奏/1996
- @秋天落叶philharm(这里是我喜欢的、自言自语...)：芭托莉/爱之歌/法国艺术歌曲集/郑明勋钢琴伴奏/1996
- @秋天落叶philharm(这里是我喜欢的、自言自语...)：芭托莉/爱之歌/法国艺术歌曲集/郑明勋钢琴伴奏/1996
- @秋天落叶philharm(这里是我喜欢的、自言自语...)：芭托莉/爱之歌/法国艺术歌曲集/郑明勋钢琴伴奏/1996
- @颦颦：不够爱 注定会输给距离吧 找一个小树洞，把对 怀疑 不确定和悲伤统统留在这里！ 我没有对我们的未来抱有希望 对不起
- @赵肖邦(喜爱古典音乐)：很好
- @姗姗(素情自处)：夜晚可以如此美妙