Mozart: Così fan tutte 莫扎特：女人心 / Mozart: Complete Edition Box 15: Late Italian Operas / 莫扎特全集第十五盒：晚期意大利歌剧
- 艺人
- Wolfgang Amadeus Mozart
- 语种
- 意大利语
- 厂牌
- Philips Classics
- 发行时间
- 1990年10月12日
- 专辑类别
- 录音室专辑
专辑介绍
This recording has what matters most: a very strong and lively feeling for the interplay of music and drama, and for the way in which music can enrich and illuminate the story.
Over the last couple of years there have been two new recordings of Così fan tutte, both in many ways distinguished, but neither of them quite challenging the famous Böhm recording on HMV Angel, which for its combination of wisdom and humour, theatrical sense and fine singing, has widely been acknowledged a gramophone classic. Colin Davis's recording does embody such a challenge, because it has what matters the most: a very strong and very lively feeling for the interplay of music and drama, and for the way in which music can enrich and illuminate the opera's simple story. It also clearly bears, I think, the imprint of a firm and truthful view of the shape and the nature of the work. Così fan tutte is not, of course, a frivolous or immoral opera, as was once commonly supposed (and is still apparently believed by the authority who writes on Mozart's operas in the New Oxford History of Music!); but it begins in a vein which is at least light-hearted, with the two officers' ill-advised gamble on their sweethearts' fidelity. Davis sets pretty brisk tempos in the early part of the opera, places his accents firmly, and keeps the orchestral textures gentle and lucid. He is sensitive to the emotions being expressed, whether it be in the tearful parting of &Soave sia il vento&, in the two big but half-parodistic songs for the sisters, in the amorousness of Ferrando's aria, or in the laughter of the men's trio. This is true operatic conducting. The Act I finale is difficult to pace and I am not certain that its various tempos here relate to one another quite as they should (Solti on Decca excels in this), but each section individually sounds right—a slowish but graceful Andante at the start, overtaken by a rapid, agitated, sharply accented Allegro at the Albanians's 'suicide' entry, relaxed later but beautifully poised in a way that curiously hints at the textures and rhythms of Zauberflöte in the C minor music just before Despina's entry as the doctor—in which scene I thought the momentum slightly flagged. In Act lithe plot, as they say, thickens; and so do the emotional textures of this performance. Nothing any more is simple or straightforward: all the emotions expressed, by the men pleading love falsely (but not wholly falsely), by the girls giving way half (but only half) despite themselves, are tinged with ambiguity. That, you may say, is in the music anyway; but only the most sensitive performances bring it out to this extent. Davis's tempos are now, generally speaking, steadier, his accents more gentle, his orchestral textures fuller-sounding with, it seems to me, more emphasis on the woodwind (whose role it so often is to add allusive commentary, to hint at emotional ambivalences). One is left in no doubt, as the opera ends, that the four lovers are chastened and wiser; we may be back to a cheerful C major Allegro, and all may be well, but no-one will ever be quite the same again. And that is the measure of an interpretation of Così fan tutte.
The women, however, compare well with any others on record, perhaps above all Ileana Cotrubas, whose alive and intensely musical singing of Despina's role is an uncommon treat. She gives a lot of attention to the exact duration of her notes, to the extent of staccato or legato, to the shape of each phrase, in &In uomini&; and there is some lovely shapely singing in &Una donna&, done with a proper hint of the shrewd serving-class girl who knows just how to look after herself and at the same time enjoy life. She does a delightful parody, in the lesson-in-love quartet, of a fashionable lady. Janet Baker also contributes a most distinguished performance of a role she has taken on the stage and which she particularly relishes. There is her characteristic fullness of tone and breadth of phrasing; &Smanie impacabili& is beautifully drawn, with just the right degree of passion, and there is playfulness and charm in &E Amore un ladroncello&, taken at a gentle tempo with a very keen feeling for the music as an expression of the words. Miss Baker and Montserrat Caballe go better as a pair than I had dared hope. Miss Baker has more natural warmth and more body to her singing, and I think a more idiomatic feeling for Mozart. In &Prender6 quel brunettino& Dorabella, quite properly, sings with the greater eagerness, but the give and take is delightful. Miss Caballe is in a sense a cool singer; she lacks the intensity of Margaret Price on the Klemperer/HMV Angel set and the subtlety of inflexion of Elisabeth Schwarzkopf on the B6hm; but the thread of sound is beautifully fine, the tone creamy, even and full, right down to the bottom A. There is majesty in her singing of &Come scoglio&, and splendidly firm attack, and though the Adagio opening of &Per pieta& might be more movingly done one could not imagine it more sweetly or exquisitely phrased. The wide leaps are executed absolutely effortlessly and plumb in tune. And time and again in the ensembles a gorgeous phrase of Miss Caballe's will float through. A superlative performance, then, but not I think of compelling interest as an interpretation.
Some miscellaneous points. The recitatives are done in lively fashion, with plenty of variety in their speed. I am much less happy about the continuo playing, with its excessive use of the top register of the harpsichord—utterly unsuited to Mozart, or to anyone else for that matter—and its would-be allusive frills. This is not what continuo playing is about. There are a few of the obligatory appoggiaturas, but only a few; time and again a phrase is blunted, in recitatives and in lyrical music, by a failure to observe a practice which was universal and is well-documented. It baffles me that conductors and producers with ears so sensitive to inflexion can fail to be disturbed by the ugliness of Italian cadences where the music does not follow the natural accentuation. The orchestral playing is good, and idiomatic, without having quite the distinction of that on some of the other sets (and one fluffed bassoon note, bar 23 of &Per pieta&, would surely have been worth a re-take). An adequate and well-balanced recording, giving proper attention to the wind instruments.
-- Stanley Sadie, Gramophone [2/1975, reviewing the LP release, Philips Philips 6707 025]
最新简评（共9条）
- @trueway(喜迎贝多芬诞辰250周年...)：莫扎特和达蓬特的合作是歌剧史上最美妙的化学反应!
- @功名馆长：感觉很一般，男角强于女角；卡奶唱莫扎特就算了，蔻楚芭丝唱Despina也完全不适合啊……
- @JszaBoasz：旋律，唱腔，各方各面都非常优美。这个版本也还不错。
- @乘着音乐的风帆起航(音乐是人类的灵魂)：这也是他名作
- @cossotto(我还没想好要写什么...)：事实证明 卡巴耶根本就不适合mozart
- @迷幻意念：.
- @yexingz：莫扎特：女人心 / Mozart: Complete Edition Box 15: Late Italian Operas / 莫扎特全集第十五盒：晚期意大利歌剧
- @枭笑(不有趣，多无聊)：又一版《女人都这样》~
- @ophelia✿(drowned.)：无损转320K