04-海顿，F.J.：《菲勒蒙与鲍西斯》[歌剧] 2009 Hi-Res 24bits - 44.1kHz

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艺术家：曼弗雷德·胡斯  
作品名称：海顿，F.J.：《菲勒蒙与鲍西斯》[歌剧]  
发行年份：2009年  
厂牌：BIS  
音乐类型：古典乐  
音质：无损FLAC+小册子  
总时长：59分45秒  
总大小：264兆字节/533兆字节  
网站：专辑预览  

曲目列表  
01. 序曲，《众神议会》柔板与庄严的 - 很快的快板  
02. 序曲，《众神议会》中速行板  
03. 奥林匹斯山序幕 好极了，好极了！（墨丘利，朱庇特）  
04. 序曲，《菲勒蒙与鲍西斯》有表情的快板  
05. 序曲，《菲勒蒙与鲍西斯》稍快的行板  
06. 场景1 在云端，高高升起（农民男女，菲勒蒙，鲍西斯）  
07. 场景2 罪恶与堕落（朱庇特，墨丘利）  
08. 场景2 间奏曲 G大调柔板  
09. 场景3 菲勒蒙，多么安慰与幸福（鲍西斯，菲勒蒙）  
10. 场景4 两位旅人，遭遇黑夜与饥饿（朱庇特，菲勒蒙，鲍西斯，墨丘利）  
11. 场景5 神的旨意常隐秘（朱庇特，墨丘利）  
12. 场景5 咏叹调 二十多年的婚姻（菲勒蒙）  
13. 场景5 五个夏天以爱之神力联结他们（菲勒蒙，朱庇特，墨丘利）  
14. 场景5 咏叹调 带来全民喜悦的一天（菲勒蒙）  
15. 场景5 我心满是感动与怜悯！（朱庇特，菲勒蒙，墨丘利）  
16. 《帕里德与海伦娜》，第一幕 舞曲  
17. 场景6 来吧，亲爱的朋友们！（鲍西斯，菲勒蒙，朱庇特）  
18. 场景7 啊，鲍西斯，这不是真正的痛苦吗（菲勒蒙）  
19. 场景7 咏叹调 今日我感受贫穷之重（鲍西斯）  
20. 场景7 我亲爱的丈夫，我们已共同生活许久（鲍西斯）  
21. 场景8 众神啊，你们自己知晓（菲勒蒙）  
22. 场景9 善良的老人（朱庇特，菲勒蒙，墨丘利）  
23. 场景10 这对善良夫妇的纯真（朱庇特，墨丘利）  
24. 《阿尔切斯特》模仿曲音乐 F大调小步舞曲  
25. 场景11 我在哪里（阿雷特，纳西莎，朱庇特）  
26. 场景12 是我的灵魂吗（纳西莎）  
27. 场景12 咏叹调 当在广阔的天空……（阿雷特）  
28. 场景12 我惊叹！——你也被这美丽梦境触动了吗（纳西莎）  
29. 场景12 咏叹调 愿纯洁的幸福归于你（纳西莎）  
30. 场景12 啊，奇迹，我的理智永远无法理解！（阿雷特）  
31. 场景12 二重唱 睡眠已消散（阿雷特，纳西莎）  
32. 场景13 请原谅，朋友们，亲爱的客人们……（鲍西斯，阿雷特，纳西莎）  
33. 场景14 我听到何等惊恐的呼喊（菲勒蒙，阿雷特，纳西莎）  
34. 场景14 间奏曲  
35. 场景15 因你们的正直（朱庇特，菲勒蒙，鲍西斯，墨丘利）  
36. 降B大调嬉游曲，Hob.II46，众赞歌“圣安东尼”  
37. 场景15 全能者！我感谢你！（菲勒蒙，鲍西斯，纳西莎，阿雷特）  
38. 场景16 一座金色神庙刚从天堂降临（农民男女，墨丘利，朱庇特）  
39. 场景17 欢呼吧，万神之神！（合唱，菲勒蒙，鲍西斯，阿雷特，纳西莎）  


在海顿的雇主尼古劳斯·埃斯特哈齐亲王的宫殿中，有一座木偶剧院。海顿为这个与19世纪音乐思维迥异的舞台创作了多部小型歌剧，其中大部分已失传。现存最完整的《菲勒蒙与鲍西斯》（1773年）经过大量文本与音乐编订才得以演出。赫尔曼·贝尔在2009年海顿逝世200周年之际完成的文本复原极为成功，让这部罕见的海顿作品重获生机。  
这部作品类似歌唱剧，以口语化对白（部分经贝尔删减以恢复因乐谱缺失而断裂的连贯性）串联起六位木偶角色的咏叹调，故事取材自罗马诗人奥维德的《变形记》。虽为木偶剧，脚本却非讽刺喜剧，而是将罗马神话改编为对美德与神圣仁慈的颂歌——海顿的观众可能将其视为对奥地利皇帝的讨好。  
剧情讲述农民夫妇菲勒蒙与鲍西斯的儿子和未婚妻在婚礼日被闪电劈死。他们接待了下凡的朱庇特与墨丘利，二神本想用洪水清扫腐败的人类社会，却被夫妇的慷慨感动，不仅赦免他们，还复活了儿子阿雷特与未婚妻纳西莎，最终将他们的房屋变为宫殿（奥维德原作中夫妇最终化为橡树与菩提树，歌剧未保留此情节）。  
海顿在开篇众神登场的暴风雨喧嚣后，以苏醒恋人的静谧咏叹调营造出音乐 enchantment（魅力）。演唱者均精准塑造角色，但维也纳海顿小交响乐团指挥曼弗雷德·胡斯选用的合唱团规模，对原作本应私密的剧场空间而言稍显庞大。不过BIS的超音频音效出色，完整捕捉了演出的动态范围。  
无论是海顿作品集收藏者，还是寻找小众喜剧歌剧的演出策划者，这部作品都值得关注。

Artist: Manfred Huss
Title: Haydn, F.J.: Philemon Und Baucis [Opera]
Year Of Release: 2009
Label: BIS
Genre: Classical
Quality: flac lossless +booklet
Total Time: 00:59:45
Total Size: 264 / 533 mb
WebSite: Album Preview

Tracklist

01. Overture, Der Gotterat Adagio e maestoso - Allegro di molto
02. Overture, Der Gotterat Andante moderato
03. Prologue on Mount Olympus Bravo, bravo! (Mercury, Jupiter)
04. Overture, Philemon und Baucis Allegro con espressione
05. Overture, Philemon und Baucis Andante con poco allegro
06. Scene 1 In Wolken, hoch emporgetragen (Peasant men and women, Philemon, Baucis)
07. Scene 2 Die Greul un Laster (Jupiter, Mercury)
08. Scene 2 Intermezzo Adagio in G Major
09. Scene 3 Philemon, welch ein Trost un welch ein Gluck (Baucis, Philemon)
10. Scene 4 Zwei Pilger, welche Nacht und Hunger uberfallt (Jupiter, Philemon, Baucis, Mercury)
11. Scene 5 Der Rat der Gotter ist oft verborgen (Jupiter, Mercury)
12. Scene 5 Aria Mehr als zwanzig Jahr'Vermahlte (Philemon)
13. Scene 5 Funf Sommer band sie nun die Macht der Liebe (Philemon, Jupiter, Mercury)
14. Scene 5 Aria Ein Tag, der allen Freude bringt (Philemon)
15. Scene 5 Mein Herz spurt Ruhrung und Erbarmen! (Jupiter, Philemon, Mercury)
16. Paride ed Elena, Act 1 Ballo
17. Scene 6 Nun, liebe Freunde, kommt! (Baucis, Philemon, Jupiter)
18. Scene 7 Ach, Baucis, ist es nicht ein wahrer Schmerz (Philemon)
19. Scene 7 Aria Heut fuhl ich der Armut Schwere (Baucis)
20. Scene 7 Mein lieber Mann, wir leben nun schon eine lange Zeit (Baucis)
21. Scene 8 Ihr Gotter, ihr wisst es selbst (Philemon)
22. Scene 9 Der gute alte Mann (Jupiter, Philemon, Mercury)
23. Scene 10 Die Unschuld dieser guten Leute (Jupiter, Mercury)
24. Musica della parodie d'Alceste Menuetto in F Major
25. Scene 11 Wo bin ich (Aret, Narcissa, Jupiter)
26. Scene 12 Ist es mein Geist (Narcissa)
27. Scene 12 Aria Wenn am weiten Firmamente … (Aret)
28. Scene 12 Ich staune! - Hat dich auch der schone Traum beruckt (Narcissa)
29. Scene 12 Aria Dir der Unschuld Seligkeit (Narcissa)
30. Scene 12 O Wunder, mein Verstand wird niemals dich erreichen! (Aret)
31. Scene 12 Duet Entflohn ist nun der Schlummer (Aret, Narcissa)
32. Scene 13 Vergebt mir, Freunde, liebe Gaste … (Baucis, Aret, Narcissa)
33. Scene 14 Was hor ich fur ein Angstgeschrei (Philemon, Aret, Narcissa)
34. Scene 14 Intermezzo
35. Scene 15 Durch eure Redlichkeit (Jupiter, Philemon, Baucis, Mercury)
36. Divertimento in B-Flat Major, Hob.II46, Chorale St. Antoni
37. Scene 15 Allamchtiger! Ich danke dir! (Philemon, Baucis, Narcissa, Aret)
38. Scene 16 Kaum ist ein goldner Tempel vom Himmel gefallen (Peasant men and women, Mercury, Jupiter)
39. Scene 17 Triumph, dem Gott der Gotter! (Chorus, Philemon, Baucis, Aret, Narcissa)


Among the musical venues at the palace of Haydn's employer, Prince Nikolaus Esterházy, was a marionette theater. Haydn composed several little operas for this venture so alien to the 19th century's way of thinking about music, and sure enough, most have been lost. The present work, Philemon und Baucis (1773), survives in the most complete form, but still took a good deal of editing of text and music to bring it to a performable state. The text restoration by Hermann Beil, done in conjunction with the 200th anniversary of Haydn's death in 2009, is admirably effective and brings this very rare Haydn work alive. The piece is like a singspiel, with spoken dialogue (some of it trimmed by Beil to restore continuity destroyed by missing music) framing sung arias by six marionette characters taken from an episode in the "Metamorphoses" by Roman poet Ovid. You might be expecting satirical comedy from a marionette show, but the doggerel-like libretto offers something different, reworking the Roman material into a paean to virtue and divine benevolence that Haydn's audience would have read as an attempt to butter up the Austrian emperor. This said, the work is charming. Philemon and Baucis are a peasant couple who have seen their son and his fiancée destroyed by a lightning bolt on their wedding day. They offer hospitality to the gods Jupiter and Mercury, who have come to terra firma in order to sweep away a corrupt human society with a flood (adding a biblical element to the mix). But the two gods are so impressed with the generosity of Philemon and Baucis that they decide not only to spare them but also to revive their son, Aret, and his confused-but-soon-delighted bride Narcissa, and finally to turn their house into a palace. (Ovid added a lovely third detail: at the end, Philemon and Baucis are turned into an oak tree and a lime tree. But Haydn's opera leaves this out.) Haydn's draws back from the pomp of the gods' opening appearance, complete with violent thunderstorm, to a long series of quiet arias by the reawakened lovers; these ought to inspire someone to try to stage the work, for Haydn creates a mood of musical enchantment here. All the singers keep the volume down and inhabit their characters effectively, but the chorus selected by Haydn Sinfonietta Wien conductor Manfred Huss is too large for what must have been the quite intimate dimensions of Haydn's theater. The super audio sound from the BIS label, however, is excellent and captures the entire dynamic range of the performance. Recommended for any Haydn collection or for any producer looking for a short comic opera that most audiences won't know.

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