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艺术家：彼得·哈维、菲利帕·海德、伦敦巴洛克乐团
标题：拉莫与康普拉：法国康塔塔
发行年份：2007年
厂牌：BIS
流派：古典音乐
音质：24位-44.1千赫兹FLAC/FLAC（镜像文件+.cue、日志、扫描件）
总时长：64分05秒
总大小：705/366兆字节
网站：专辑预览
曲目列表：
让-菲利普·拉莫（1683-1764）
[1]-[5]《被背叛的恋人》
[6]-[8]《北风与奥丽蒂亚》
[9]-[12]《忒提斯》
[13]《饮酒歌》
安德烈·康普拉（1660-1744）
[14]-[20]《女人》
表演者：
彼得·哈维 男中音
菲利帕·海德 女高音（《被背叛的恋人》《饮酒歌》）
伦敦巴洛克乐团
拉莫的世俗室内康塔塔属于早期作品，创作于他获得梦寐以求的舞台作曲机会之前。尽管这些作品显然出自一位才华横溢、技艺精湛的艺术家之手，但不得不承认，它们只是隐约预示了其歌剧作品中强大的个性与独特性。然而，即便如此，对于拉莫这样的艺术家来说，这些作品仍有值得珍视之处，我们也很高兴伦敦巴洛克乐团将其作为相对罕见的法国曲目探索之一。
两首独唱康塔塔更为引人注目：《北风与奥丽蒂亚》讲述了一个有些可议的故事，北风通过用暴力给美丽的奥丽蒂亚留下深刻印象来赢得她；《忒提斯》描绘了朱庇特与尼普顿为争夺同名宁芙的手而展开的激烈竞争。这两首作品都包含了我们可能从拉莫那里期待的那种激昂的愤怒音乐，以及偶尔出现的欢快悦耳的段落。二重唱《被背叛的恋人》则不那么引人注目，不过至少展现了一位歌剧作曲家在同时呈现一个为爱情哀叹的牧羊人和另一个嘲笑爱情的牧羊人之间的对比时的喜悦。除此之外，还加入了康普拉的《女人》，这与其说是一首康塔塔，不如说是一首精心编排、风格多变且颇为愤世嫉俗的歌曲组曲，主题是为何女人不值得男人花费时间和精力。
彼得·哈维承担了大部分演唱任务，尽管他的嗓音并不总是最具抒情连贯性的，但他对歌词有着明智而清晰的处理方式；他在《北风》和《忒提斯》中狂风暴雨般的音乐里表现得最为出色。菲利帕·海德的戏份较少，但完成得很好，声音悦耳。器乐演奏者展现出典型的自信，但被过于活跃的声学效果所影响，偶尔会使和声变得模糊。尽管如此，这仍是一张对法国巴洛克音乐爱好者具有吸引力的唱片。
Artist: Peter Harvey, Philippa Hyde, London Baroque
Title: Rameau & Campra: French Cantatas
Year Of Release: 2007
Label: BIS
Genre: Classical
Quality: FLAC 24bit-44.1kHz / FLAC (image+.cue,log,scans)
Total Time: 64:05
Total Size: 705 / 366 Mb
WebSite: Album Preview
Tracklist:
Jean-Philippe Rameau (1683-1764)
[1]-[5] Les Amants trahis
[6]-[8] Aquilon et Orithie
[9]-[12] Thétis
[13] Air à boire
André Campra (1660-1744)
[14]-[20] Les Femmes
Performers:
Peter Harvey baritone
Philippa Hyde soprano (Les Amants trahis, Air à boire)
London Baroque
Rameau’s secular chamber cantatas are early works, written before he got his longed-for chance to compose for the stage. While they are clearly the works of a talented and skilled artist, it has to be admitted that they only hint at the powerful personality and individuality of the operas. Yet even that is something to be valued from someone like Rameau, and we can be glad that London Baroque have made them the subject of one of their relatively rare excursions into French repertoire.
The two solo cantatas are the more arresting works: Aquilon et Orithie is a somewhat reprehensible tale of how the North Wind wins the fair Orithie by impressing her with violence, Thétis a depiction of a furious contest between Jupiter and Neptune for the hand of the eponymous nymph, and both contain the kind of stirring rage music we might expect from Rameau, as well as the odd passage of jaunty tunefulness. The duet Les amants trahis is less striking, though at least shows an opera composer’s delight in presenting simultaneously the contrast of one shepherd who laments for love and another who laughs at it. To these are added Campra’s Les femmes, less a cantata than an assiduously varied, rather grumpy song-cycle about why women are not worth a man’s time and effort.
Peter Harvey takes the lion’s share of the singing, and while his is not always the most lyrically sustained of voices, he has an intelligent and lucid approach to text; he is at his most impressive in the blustery music of Aquilon and Thétis. Philippa Hyde has less to do but does it well enough and with a pleasing sound. The instrumentalists show typical assurance but are undermined by an over-lively acoustic which occasionally clouds the harmonies. An enticing release for French Baroque fans, nevertheless.
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发表于 2025-6-13 08:09:27