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艺术家：拉赫蒂交响乐团、萨卡里·奥拉莫、阿努·科姆西
标题：花腔 拉赫蒂交响乐团
发行年份：2012年
厂牌：BIS
类型：古典音乐
音质：无损FLAC格式 / 24位-96kHz FLAC格式（含小册子）
总时长：1小时06分28秒
总大小：251兆字节 / 1.0吉字节
网站：专辑预览
曲目列表
01. 花腔女高音协奏曲，作品82号：I. 行板
02. 花腔女高音协奏曲，作品82号：II. 快板
03. 《哈姆雷特》：第五幕，“来呀，朋友们，该你们演啦”
04. 《拉克美》：第二幕，“年轻的印度姑娘去哪儿了”（铃歌）
05. 《夜莺》（E.科斯基米斯为声乐与管弦乐改编版）
06. 《魔笛》，K.620，第二幕：咏叹调“地狱复仇在我心中沸腾”
07. 《生命的机器》：I. 特泰梅
08. 《生命的机器》：II. 启示
09. 《生命的机器》：III. 交织
10. 《露诺塔》，作品70号
《开放书信月刊》诺曼·莱布雷希特评价：“独一无二的艺术家，游刃有余地展现天赋。”《今日经典》称：“兼具卓越才华与非凡想象力的歌唱家。”《卫报》写道：“科姆西以实事求是的才华、高雅的音乐品味和毫无自我放纵的克制，驾驭了华丽至极的花腔唱段。”《国际音乐网》则表示：“《露诺塔》无疑是专辑的音乐杰作，仅凭阿努·科姆西对它的演绎，这张专辑就值得购买。”
花腔——通过颤音、装饰音、高难度跳音和千变万化的力度层次，为单个音符、乐句乃至整首咏叹调赋予色彩。两个多世纪以来，花腔艺术一直是声乐艺术（尤其是歌剧）的核心，最初主要由阉伶歌手发展，后来则由一代代明星表演者及其声乐教练传承。
19世纪中叶，这一伟大传统几乎中断——瓦格纳和威尔第都不愿在各自的音乐戏剧中融入花腔，且随着歌剧院和管弦乐队规模扩大，一种更厚重、更有力的演唱风格受到青睐。但无论是观众、歌手还是作曲家，对这种近乎超自然的演唱现象的迷恋与敬畏从未消逝。
芬兰“花腔女高音至尊”阿努·科姆西在这张专辑中展现了与她的演唱技巧同样丰富的曲目选择：18至19世纪歌剧中的疯癫场景和愤怒咏叹调、阿利亚比耶夫如夜莺啼鸣般的《夜莺》、《拉克美》中银铃般的《铃歌》。较晚期的作品包括格里埃尔1943年创作的璀璨夺目（且极具时代反差感）的《花腔女高音与管弦乐协奏曲》，以及作曲家约翰·佐恩（生于1953年）的《生命的机器》。佐恩将这部11分钟的三乐章作品描述为“单声剧”，其舞台首演于2011年由阿努·科姆西在纽约城市歌剧院完成。在整个曲目编排中，阿努·科姆西由萨卡里·奥拉莫指挥的拉赫蒂交响乐团伴奏，而在最后一首作品中，所有参与者共同演绎了西贝柳斯的《露诺塔》——这部以芬兰民族史诗《卡勒瓦拉》为文本的作品，其声乐部分是音乐文献中最具挑战性的片段之一，此次演绎尽显原汁原味。
Artist: Lahti Symphony Orchestra, Sakari Oramo, Anu Komsi
Title: Coloratura
Year Of Release: 2012
Label: BIS
Genre: Classical
Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
Total Time: 01:06:28
Total Size: 251 mb / 1.0 gb
WebSite: Album Preview
Tracklist
01. Coloratura Soprano Concerto, Op. 82: I. Andante
02. Coloratura Soprano Concerto, Op. 82: II. Allegro
03. Hamlet: Hamlet, Act V: A vos jeux, mes amis
04. Lakme: Lakme, Act II: Ou va la jeune indoue, "Bell Song"
05. Solovei (the Nightingale) (arr. E. Koskimies for voice and orchestra)
06. Die Zauberflote (the Magic Flute), K. 620, Act II: Aria: Der Holle Rache kocht in meinem Herzen
07. La Machine de l'etre: I. teteme
08. La Machine de l'etre: II. le revele
09. La Machine de l'etre: III. entremeles
10. Luonnotar, Op. 70
“A unique artist, uniquely in her element.” Norman Lebrecht, OpenLettersMonthly.com; “A singer of great talent and no mean imagination.” ClassicsToday.com; “Komsi negotiates the shamelessly florid vocal writing with matter-of-fact brilliance, musical good taste and not a hint of self-indulgence.” The Guardian; “Luonnotar is without doubt the musical masterwork here and Anu Komsi's reading of it is alone worth the price of the disc.” MusicWeb International
Coloratura – the colouring of a note, a phrase, an entire aria with trills, ornaments, death-defying leaps and dynamic shadings of infinite variety. For more than two centuries, the art of coloratura was a central aspect of the vocal art, and especially of opera, developed largely by the castrato singers at first, and later by generations of star performers and their vocal coaches.
In the mid-nineteenth century this great tradition was all but broken – neither Wagner nor Verdi were prepared to accommodate it in their different brands of music drama, and as both the opera houses and their orchestras grew larger, a different, heavier and more powerful style of singing was favoured. But the fascination and awe inspired by this almost supernatural phenomenon has never died, among audiences, singers or composers.
Anu Komsi, Finland’s ‘coloratura assoluta’, here presents a selection almost as wide-ranging as her own vocal technique, with mad scenes and rage arias from 18th- and 19th-century operas, Alyabyev’s ever-soaring Nightingale and the silvery tinkling of Lakmé’s Bell Song. Later examples of the lengths a singer may be expected to go to are Glière’s glittering (and strikingly anachronistic) Concerto for coloratura and orchestra from 1943, and La Machine de l’être by the composer John Zorn (b. 1953). Described by Zorn as a monodrama, this 11 minute-long work in three parts received its scenic première in 2011, by Anu Komsi at the New York City Opera. Throughout the programme, Anu Komsi is supported by the Lahti Symphony Orchestra conducted by Sakari Oramo, and in the closing work all involved find themselves on familiar ground in a thoroughly idiomatic performance of Sibelius’ Luonnotar, with its text from the Finnish national epos Kalevala, and a vocal part which is among the most challenging in the literature.
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发表于 2025-6-8 08:21:11