Orfeo廠牌40週年紀念 稀有歌劇(唐·喬望尼/傑米里/阿米達/薩爾卡/泰蕾茲/波西米亞人)
在聲譽的黑暗反面是逐漸滑入默默無聞的一面. 這對某些歌劇而言的確是如此, 在作曲家還活著的年代是受歡迎的與高度賺錢的, 但很快的跟隨著創作者進入遺忘領域的陰影中. 例如只有在與一些比較著名的歌劇有親近關聯時才會被提到的歌劇. 加扎尼加(Giuseppe Gazzaniga)版本的(唐·喬凡尼, CD1, CD2)是在莫札特的大師傑作版本半年之前首演 – 就是這樣的一個例子, 還有雷翁卡伐洛(Ruggero Leoncavallo)的(波西米亞人, CD9, CD10), 和比才的(加米雷, CD3), 被廣泛認為是(卡門)的前一版. 有的歌劇甚至於未能達成作曲家的其他作品一般的受矚目 – 例如馬斯奈(Jules Massenet)的歌劇僅僅是音樂歷史的一個無足親重的註腳, 如同他的歌劇(泰蕾茲)至今仍為人所遺忘. 另外兩個例子是很少被演奏或在今日的捷克共和國以外少為人知的作品也包含在這套Orfeo廠牌的(稀有歌劇)中: 德佛札克最後的一齣歌劇(阿米達, CD4, CD5)和費比希(Zdenek Fibich)的歌劇(夏爾卡, CD6, CD7).
On the dark side of fame awaits the slide into obscurity. That's certainly true for a number of operas that, while popular and highly lucrative during their composers' lifetimes, soon followed their creators into the shadowy realm of oblivion. Operas, for example, that only ever get mentioned in connection with some much more famous sibling. Giuseppe Gazzaniga's Don Giovanni (Discs 1 & 2) – premiered half a year before Mozart's masterpiece – is such an example, as is Ruggero Leoncavallo's La Boheme (Discs 9 & 10) and George Bizet's Djamileh (Disc 3), widely considered the predecessor of Carmen. Other operas simply fail to achieve the same profile as other works by a composer – Jules Massenet's operas, for example, are hardly a footnote of music history, but his opera Therese (Disc 8) remains a forgotten work. Two examples of works that are scarcely performed or even known outside of what is now the Czech Republic are also included in this collection of Opera Rarities on ORFEO:Dvorak's last opera Armida (Discs 4 & 5) and Zden k Fibich's Sarka (Discs 6 & 7).
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