12-国王与朝臣：威尔第经典咏叹调
艺术家：莱奥·努奇
专辑名称：国王与朝臣：威尔第经典咏叹调
发行年份：2014年
厂牌：艺术 opus 唱片公司（Opus Arte）
音乐类型：古典乐，声乐
音质：24位-96kHz FLAC / FLAC分轨
总时长：01:08:19
总大小：1.2 Gb / 466 Mb
官网：专辑预览
曲目列表
1. 《弄臣》：廷臣们，卑鄙可耻的一族 4:32
2. 《游吟诗人》：她微笑时眼波流转 3:06
3. 《纳布科》：犹大的神！ 4:18
4. 《阿蒂拉》：从永恒的巅峰 3:58
5. 《两个福斯卡里》：终于只剩我一人……啊，苍老的心，你跳动吧 4:39
6. 《流放者》8:03
7. 《茶花女》：普罗旺斯的海与土地 7:10
8. 《 Falstaff 的夜曲》3:39
9. 《诗人的祈祷 - 哦，温柔的人儿，请驱散 - 向圣母玛利亚的祈求》5:18
10. 《西西里晚祷》：在财富的怀抱中 6:35
11. 《假面舞会》：起来，你的儿子在那里 - 是你玷污了那颗灵魂 7:12
12. 《唐·卡洛》：对我而言，至高之日已至 - 哦，卡洛，听我说 7:25
13. 《麦克白》：我真不幸，竟如此轻信 2:24
演奏者：
莱奥·努奇（男中音）
意大利歌剧室内乐团
七十二岁的莱奥·努奇依然拥有卓越的嗓音表现力，他在这张专辑中呈现了职业生涯后期对威尔第最具挑战性的男中音咏叹调的诠释，同时收录了作曲家的三首艺术歌曲。由于努奇是备受推崇的威尔第男中音歌唱家，仅《弄臣》主角就出演过四百余场，因此不可避免会有人将他与年轻时的表现比较——尽管这种比较并无意义，因为这张专辑本身就足以堪称出色的作品集。该专辑由“罗森布拉特独唱会”制作，这一现场独唱会及录音系列由英国律师兼声乐爱好者伊恩·罗森布拉特创立，录音地点为皮亚琴察市立剧院，伴奏为室内乐团而非完整交响乐团。
为钢琴、弦乐和竖琴等小型乐团改编威尔第咏叹调和歌曲的理念，或许更适合现场独唱会——私密的场地氛围与演唱者的近距离呈现，能营造出温馨的沙龙情调。尽管听众会逐渐适应，但起初很难不注意到缺少管弦乐支撑的声响差异。独唱会的另一个特色是在咏叹调前加入由特定歌剧主题改编的器乐前奏，例如《纳布科》选段前加入“飞吧，思想”，《茶花女》前加入“对年轻姑娘们说”等。效果参差不齐，但听众最终会习惯这种处理方式。
无论如何，专辑的核心吸引力在于男中音本身。关键问题是：“他的声音表现如何？”令人欣喜的是，总体而言，努奇的表现堪称卓越。岁月使他的嗓音略显微厚，颤音也稍有松弛，偶尔会出现音高滑音，但他的音色依然丰富，高音坚实有力，毫不逊色。
在《弄臣》的“廷臣们，卑鄙可耻的一族”中，他的情感投入和嗓音活力占据主导。在迪卢纳的温柔咏叹调“她微笑时眼波流转”中，努奇的表现略显粗犷，但许多年轻歌手甚至无法驾驭这首曲子的细腻情感，也缺乏他那嘹亮的高音G。《纳布科》中的“犹大的神”充满力量感且音色饱满，尽管在起音时有些许突兀的滑音，但仍令人印象深刻。
努奇有时宏大的演唱风格与威尔第早期作品《阿蒂拉》完美契合，埃齐奥对罗马往昔辉煌的哀叹中蕴含着必备的成熟感，他的嗓音与对逝去却依旧辉煌之物的怀旧之情相得益彰。在《两个福斯卡里》的“啊，苍老的心，你跳动吧”中，成熟感同样成为优势，宣叙调的柔和演绎也为持续的强音带来了令人愉悦的舒缓。
《流放者》标志着专辑转向威尔第的艺术歌曲领域。这首1839年的作品歌词由《纳布科》和《阿蒂拉》的脚本作者泰米斯托克莱·索莱拉创作，与其说是歌曲，更像是一幕场景，预示了威尔第未来歌剧中的结构和风格。努奇以恰如其分的歌剧式演绎呈现了这首作品，尤其在具有讽刺意味的欢快结尾段中表现出色——流放者渴望以灵魂归家的方式迎接死亡。专辑中名为“三首祈祷”的威尔第歌曲组曲将《诗人的祈祷》（作于约1858年，1941年才出版）与优美的《哦，温柔的人儿，请驱散》和《向圣母玛利亚的祈求》串联在一起，后者由专辑编曲保罗·曼卡里尼以威尔第风格创作，歌词译自歌德《浮士德》中玛格丽特的祈祷词。
专辑回归歌剧，带来杰尔蒙的“普罗旺斯的海与土地”，尽管开头音准略显平淡且有滑音，但努奇遵循了威尔第的标记，只是过度强调的演唱使其略显生硬，每段结尾的弱音处理也未能完全到位。第二 verse 的情感变化丰富，整首曲子的气息掌控和高潮处的降G音都令人印象深刻。在《假面舞会》的“是你”中，努奇通过力度变化巧妙对比了雷纳托的愤怒、怀旧、伤痛和温柔。《唐·卡洛》中的双重咏叹调里，“对我而言，至高之日已至”一段嗓音略显厚重，缺乏年轻的热情（尽管他至少尝试了谱面要求的颤音），但“我将死去”的演唱绝对精彩，表演和分句都堪称完美。
专辑以《麦克白》中简短的死亡咏叹调“我真不幸”收尾，这首曲子在1865年的修订版中被删减，相较于预期的经典选段“怜悯、尊重、爱”，这一选择带来了令人耳目一新的节奏变化。曼卡里尼根据《 Falstaff 》主题改编的夜曲则在专辑中提供了一段愉悦的间奏。
Artist: Leo Nucci
Title: Kings and Courtiers: Great Verdi Arias
Year Of Release: 2014
Label: Opus Arte
Genre: Classical, Vocal
Quality: FLAC 24bit-96kHz / FLAC (tracks)
Total Time: 01:08:19
Total Size: 1.2 Gb / 466 Mb
WebSite: Album Preview
Tracklist:
1. Rigoletto: Cortigiani, vil razza dannata 4:32
2. Il trovatore: Il balen del suo sorriso 3:06
3. Nabucco: Dio di Giuda! 4:18
4. Attila: Dagli immortali vertici 3:58
5. I due Foscari: Eccomi solo alfine… O vecchio cor, che batti 4:39
6. L'esule 8:03
7. La traviata: Di Provenza il mar, il suol 7:10
8. Falstaff's Notturno 3:39
9. La preghiera del poeta - Sgombra, o gentil - Invocazione a Maria Addolorata 5:18
10. I vespri siciliani: In braccio alle dovizie 6:35
11. Un ballo in maschera: Alzali, là tuo figlio - Eri tu che macchiavi quell'anima 7:12
12. Don Carlo: Per me giunto è il dì supremo - O Carlo, ascolta 7:25
13. Macbeth: Mal per me che m'affidai 2:24
Performers:
Leo Nucci (baritone)
Italian Opera Chamber Ensemble
Still a remarkable vocal presence at seventy-two, Leo Nucci offers this disc of late-career traversals of some of Verdi's most demanding baritone arias, along with three of the composer's songs. Because Nucci is such a celebrated Verdi baritone, with more than four hundred performances of the title role in Rigoletto alone, comparison with his younger self is inevitable, if pointless; this is a viable collection on its own terms. The disc is a product of The Rosenblatt Recitals, the series of live recitals and recordings, founded by British attorney and vocal music devotee, Ian Rosenblatt, and was recorded at the Teatro Municipale in Piacenza with a chamber ensemble, rather than a full orchestra.
The concept of creating arrangements of Verdi arias and songs for a small ensemble of piano, strings, and harp probably plays better in a live recital, when the intimacy of the setting, coupled with the singer's presence, creates a warm salon ambience. Although one does adjust ones ears as it goes along, at first it's difficult not to notice what isn't there in the orchestra to support the singer. An additional feature of the recital is the pasting of an instrumental prelude — concocted using themes from the particular opera — on to an aria:” Va pensiero" for a Nabucco selection, "Dite alla giovine" for Traviata, etc. The results are variable, but one becomes accustomed to it.
In any case, the main attraction is the baritone; the big question is, "How does he sound?” The happy answer is that on the whole, Nucci sounds pretty terrific. There is some thickening of the voice, and a slight loosening of vibrato that comes with the years, and Nucci tends to slide into pitches from time to time. But richness of tone and solid high notes are not in short supply.
In Rigoletto's "Cortigiani, vil razza" emotional investment and vocal virility carry the day. Nucci’s bluster comes off a bit beefy in Di Luna's tender "Il balen,” but many younger singers are unable to scale down for this aria, and lack Nucci's ringing high G. "Dio di Giuda" from Nabucco, full-throated and rich, is impressive, despite some intrusive scooping at the onset of tones.
Nucci's sometimes-stentorian approach suits perfectly the early Verdi of Attila; Ezio's lament for the past glory days of Rome possesses the requisite maturity, the baritone's voice matching the nostalgia for something faded yet still splendid. Maturity also works in Nucci’s favor in "O vecchio cor, che batti" from I Due Foscari, as does the soft-grained delivery of the recitative, a welcome relief from rather unrelenting forte.
“L’Esule” (Exile) marks a shift into Verdi song repertoire. Set to a text by Temistocle Solera, librettist for Nabucco and Attila, this 1839 piece is more a scena than a song, looking ahead to a structure and style Verdi would use in his operas to come. Nucci gives it an appropriately operatic treatment, particularly successful in the ironically joyful cabaletta, as the exile longs for death as a way to finally return home, as a spirit. A group of Verdi songs that the disc titles "Tre preghiere" ties together "La preghiera del poeta,” composed about 1858 but not published until 1941 with the gorgeous "Sgombra o gentil" and "Invocazione a Maria Addolorata,” a song composed in the style of Verdi by the disc's arranger, Paolo Mancarini, with text translated into Italian from Marguerite's prayer in Goethe's Faust.
The disc returns to opera with Germont's "Di Provenza,” which suffers from a slight flatness of intonation at the outset, and some sliding into pitches; Verdi's markings are observed, but over-emphatic vocalism makes them a bit bumpy, and the piano endings of each strophe are not achieved. There is wonderful emotional variety in the second verse, and breath line is impressive throughout, as are the climactic G-flats. In "Eri tu" from Ballo, Nucci manages to contrast Renato's rage, nostalgia, hurt, and tenderness through dynamic shading. The double aria from Don Carlo finds Nucci thick of voice for "Per me giunto" and lacking youthful ardor (though at least he does try the written trill), but "Io morrò" is absolutely spectacular singing, beautifully acted and phrased.
The disc concludes with Macbeth's brief death aria "Mal per me,” cut from the 1865 revision, and a welcome change of pace from the expected, albeit wonderful, "Pietà, rispetto, amore.” A Notturno, based on themes from Falstaff, arranged by Mancarini, provides a pleasant interlude along the way. spacer
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