蕭士塔高維契: 第十三號交響曲(巴比雅) 提霍米羅夫 男低音 慕提 指揮 芝加哥交響樂團暨合唱團 Shostakovich: Symphony No. 13 'Babi Yar'

蕭士塔高維契: 第十三號交響曲(巴比雅)
阿列克謝·提霍米羅夫 男低音
里卡多.慕提 指揮
芝加哥交響樂團暨合唱團

里卡多.慕提率領芝加哥交響樂團暨合唱團和男低音阿列克謝·提霍米羅夫演奏這張強烈的蕭士塔高維契的第十三號交響曲,作品113號,(巴比雅). 現場錄製於2018年9月, 該樂團全場表現淋漓盡致 - 從第一樂章的強烈音響段落到樂器獨奏不可忽略的時刻, 時時提醒著聽眾們, 即使有著誇張的主題, 這其實只是個人的交響曲. 慕提和音樂家們專業的導覽這五個樂章錯綜複雜之處, 每個樂章配樂給葉夫蓋尼·葉夫圖申科(Yevgeny Yevtushenko)的詩詞並表達出蕭士塔高維契珍愛的幾個主題: 革命與戰爭, 個人在社會扮演的角色, 安逸妥協下的理想主義, 偏見與不寬容. 葉夫圖申科說: ”死亡對像蕭士塔高維契這種人沒有力量. 他的音樂只要有人存在就會繼續演奏…當我寫(巴比雅)時沒有紀念碑, 現在, 就有一個了”.

Riccardo Muti leads the Chicago Symphony Orchestra, men of the Chicago Symphony Chorus and bass soloist Alexey Tikhomirov in this poignant performance of Shostakovich’s Symphony No. 13, Op. 113 (Babi Yar). Recorded live in September 2018, the ensemble shines throughout—from passages requiring the sheer sonic force of the first movement to the indelible moments provided by single instruments, reminding the listener that despite the enormity of its theme, this is, after all, a symphony of individuals. Muti and musicians expertly navigate the intricacies of the five movements, each set to the poetry of Yevgeny Yevtushenko and expressing themes that were dear to Shostakovich—revolution and war, the individual’s role in society, idealism in the face of easy compromise, prejudice and intolerance. Yevtushenko said, “Over people like Shostakovich death has no power. His music will sound as long as humankind exists. . . . When I wrote ‘Babi Yar,’ there was no monument there. Now there is a monument.