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艺术家：伦内克·鲁伊滕（Lenneke Ruiten）、达维德·班迪耶里（Davide Bandieri）、迭戈·法索利斯（Diego Fasolis）
专辑名：《贾科莫·梅耶贝尔：特奥林达的爱情》（洛桑歌剧院现场版）（Giacomo Meyerbeer: Gli Amori di Teolinda (Live at Opera, Lausanne)）
发行年份：2020年
厂牌：克拉韦斯唱片公司（Claves Records）
流派：古典音乐
音质：FLAC无损格式 / FLAC 24比特 - 48.0千赫兹
总时长：00小时38分57秒
总大小：170 / 377兆字节
网站：专辑预览
曲目列表
01. 《特奥林达的爱情，为声乐、单簧管和男声合唱团而作的田园康塔塔》第一部分：《引子》（洛桑歌剧院现场版）
02. 《特奥林达的爱情，为声乐、单簧管和男声合唱团而作的田园康塔塔》第二部分：《短咏叹调》（洛桑歌剧院现场版）
03. 《特奥林达的爱情，为声乐、单簧管和男声合唱团而作的田园康塔塔》第三部分：《宣叙调》（洛桑歌剧院现场版）
04. 《特奥林达的爱情，为声乐、单簧管和男声合唱团而作的田园康塔塔》第四部分：《中板的快板》（洛桑歌剧院现场版）
05. 《特奥林达的爱情，为声乐、单簧管和男声合唱团而作的田园康塔塔》第五部分：《牧羊人的合唱》（洛桑歌剧院现场版）
06. 《特奥林达的爱情，为声乐、单簧管和男声合唱团而作的田园康塔塔》第六部分：《宣叙调》（洛桑歌剧院现场版）
07. 《特奥林达的爱情，为声乐、单簧管和男声合唱团而作的田园康塔塔》第七部分：《行板与变奏曲》（洛桑歌剧院现场版）
08. 《特奥林达的爱情，为声乐、单簧管和男声合唱团而作的田园康塔塔》第八部分：《极为适度的快板》（洛桑歌剧院现场版）
伦内克·鲁伊滕、达维德·班迪耶里与迭戈·法索利斯 - 《贾科莫·梅耶贝尔：特奥林达的爱情》（洛桑歌剧院现场版）（2020年）[高解析度音频]
贾科莫·梅耶贝尔出生于柏林，家境富裕，接受了全面的教育，是一位钢琴神童。他在音乐史上留名，得益于他那些伟大的法国歌剧，这些歌剧在19世纪30年代至60年代于巴黎歌剧院首演，如《恶魔罗勃》《胡格诺教徒》《先知》《非洲女》等，还有在喜歌剧院首演的《北方之星》和《迪诺拉》等。如今，这些宏大的五幕抒情歌剧偶尔还会复排上演。当时，它们吸引了众多观众，因为观众们能够感受到歌词中所饱含的人类情感，同时华丽的芭蕾舞表演和精美的舞台布景为其增添了当地观众喜爱的特色，而这一切都基于著名的历史篇章。在当时，梅耶贝尔作品的上演次数比威尔第或瓦格纳的作品还要多。然而，《特奥林达的爱情》这部田园康塔塔却并非如此。它是由多产的维罗纳歌剧脚本作家盖塔诺·罗西撰写脚本，梅耶贝尔在其意大利时期为罗西（罗西还为唐尼采蒂创作过《夏莫尼的琳达》等脚本，以及为罗西尼创作过《坦克雷迪》《塞米拉米德》等脚本）而作。事实上，在特奥林达对牧羊人阿尔米多罗那不幸的爱情故事中，并没有贯穿伟大的历史跨度。1816年，《特奥林达的爱情》在维罗纳首演时，梅耶贝尔年仅25岁。
五年前，他的清唱剧《上帝与自然》获得成功，以及他在慕尼黑和斯图加特上演的抒情作品也广受赞誉，这些都促使他为舞台创作作品。不过，他深知只有接触意大利的音乐文化，才能真正实现对抒情艺术的追求，而当时罗西尼在意大利正声名大噪。梅耶贝尔沉浸其中，吸收了意大利声乐和器乐创作的风格。《特奥林达的爱情》就展现了这一点，其中单簧管独奏技巧精湛，常常与罗西尼的风格相呼应，同时对女高音的花腔技巧也有着极高的要求。单簧管演奏家海因里希·拜尔曼和女高音歌唱家海伦妮·哈拉斯是梅耶贝尔儿时的朋友，他们在维罗纳重逢后，成为了《特奥林达的爱情》的首批诠释者。在这部小小的田园牧歌式戏剧中，就牧羊人阿尔米多罗的声音而言，特奥林达只能通过单簧管的演奏感受到他若有若无的存在，而阿尔米多罗对她的哀怨无动于衷，无法给予她想要的回应。尽管牧羊人的合唱表演很有趣，但却无法减轻相思成疾的特奥林达的痛苦。最终，在一段展现了最纯粹、完美掌握的罗西尼风格的协奏中，难以捉摸的单簧管（也就是阿尔米多罗）的精湛演奏征服了特奥林达。
我们还应注意到，在特奥林达深情的哀怨唱段以及单簧管的运用上，梅耶贝尔借鉴了莫扎特的风格。在这部创作于1815年、轻松惬意的18世纪古典主义脚本中，有着田园般的荒野、牧羊人以及略显传统的情节设定，但梅耶贝尔已经展现出了日后成为其标志的特点：他是一位擅长驾驭不同风格的作曲家，在赋予角色以人性和可信度（这对抒情艺术至关重要）方面，他的配器技巧在同辈和同时代人中无人能及。
Artist: Lenneke Ruiten, Davide Bandieri, Diego Fasolis
Title: Giacomo Meyerbeer: Gli Amori di Teolinda (Live at Opera, Lausanne)
Year Of Release: 2020
Label: Claves Records
Genre: Classical
Quality: flac lossless / flac 24bits - 48.0kHz
Total Time: 00:38:57
Total Size: 170 / 377 mb
WebSite: Album Preview
Tracklist
01. Gli amori di Teolinda, cantate pastorale pour voix, clarinette et choeur d'hommes I. Introduzione (Live at Opera, Lausanne)
02. Gli amori di Teolinda, cantate pastorale pour voix, clarinette et choeur d'hommes II. Cavatine (Live at Opera, Lausanne)
03. Gli amori di Teolinda, cantate pastorale pour voix, clarinette et choeur d'hommes III. Recitativo (Live at Opera, Lausanne)
04. Gli amori di Teolinda, cantate pastorale pour voix, clarinette et choeur d'hommes IV. Allegro moderato (Live at Opera, Lausanne)
05. Gli amori di Teolinda, cantate pastorale pour voix, clarinette et choeur d'hommes V. Coro del Pastori (Live at Opera, Lausanne)
06. Gli amori di Teolinda, cantate pastorale pour voix, clarinette et choeur d'hommes VI. Recitativo (Live at Opera, Lausanne)
07. Gli amori di Teolinda, cantate pastorale pour voix, clarinette et choeur d'hommes VII. Andante con Variazioni (Live at Opera, Lausanne)
08. Gli amori di Teolinda, cantate pastorale pour voix, clarinette et choeur d'hommes VIII. Allegro molto moderato (Live at Opera, Lausanne)
Lenneke Ruiten, Davide Bandieri & Diego Fasolis - Giacomo Meyerbeer: Gli Amori di Teolinda (Live at Opera, Lausanne) (2020) [Hi-Res]
Berliner by birth, from a wealthy family who gave him a complete education, piano prodigy, Giacomo Meyerbeer remained in the history of music thanks to his great French operas, premiered at the Paris Opera in the 1830s and 1860s, such as Robert le Diable, Les Huguenots, Le Prophète, L’Africaine, or at the Opéra Comique, such as L’étoile du Nord and Dinorah. Occasionally revived nowadays, these great lyrical frescoes in 5 acts met at the time with an audience receptive to the human passions that filled the lyrics, whilst imposing ballets and substantial scenography gave them a much-appreciated local touch, the whole based on famous pages of history. Meyerbeer was at the time performed more than Verdi or Wagner. Not so with Gli amori di Teolinda, a pastoral cantata, written on a text by Gaetano Rossi, a prolific Veronese librettist, on behalf of Rossini (Tancredi, Semiramide...), Donizetti (Linda di Chamounix...) and later Meyerbeer in his Italian period. Indeed, no great span of history runs through the story of Teolinda’s unfortunate passion for the shepherd Armidoro. Meyerbeer was 25 years old when Teolinda was premiered in Verona in 1816.
Five years earlier, the success of both his oratorio Gott und die Natur and lyrical premieres that were acclaimed in Munich and Stuttgart encouraged him to compose for the stage. However, he was aware that true lyrical culture could only be achieved through contact with Italy, where Rossini triumphed. Meyerbeer was to immerse himself in it, integrating its vocal and instrumental writing. Gli amori di Teolinda reveals this with the virtuosity of the solo clarinet, often concertante with Rossini, and the stunning coloratura required of the soprano. Clarinettist Heinrich Baermann and soprano Helene Harlas, childhood friends of Meyerbeer’s whom he met again in Verona, were the first interpreters of Teolinda. In this small bucolic drama, as far as the voice of the shepherd Armidoro is concerned, Teolinda only perceives the echo of a presence suggested by the clarinet, insensitive to her complaint, unable to give her the response she would like. The interventions of the shepherds’ choir, however entertaining they may be, do nothing to alleviate the pain of the lovesick Teolinda, finally won over by the virtuosity of the elusive clarinet, alias Armidoro, in a concertato of the purest, perfectly mastered Rossinian style.
One should also recall Mozart in Teolinda’s heartfelt complaints as well as in the use of the clarinet. In this easy-going 18th-century classicism script, still appreciated in 1815, with its pastoral moors, its shepherds and its slightly conventional plot, Meyerbeer already revealed what was to become his trademark: that of a composer skilled in handling different styles, a master of orchestration unrivalled by his peers and contemporaries whenever it came to giving his characters the humanity and credibility essential to the art of lyricism.
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