俺昨晚一口气听了这部《Benvenuto Cellini》，再接再厉听了穆蒂版的格鲁克《奥菲欧与尤里迪特》，呵呵，体 ...
狗儿念经 发表于 2010-12-25 22:47

极度羡慕！

最近听了几版乡村骑士，每每的前奏曲和间奏曲都让人浮想翩翩

据说这套古伊的白金狗《费加罗婚礼》巨NB！
昨天听了一遍，NB！只此一版，没什么比较
网上介绍不太多， ...
八先生 发表于 2010-12-20 17:26

今日首次听到CD版，的确巨NB！

今日首次听到CD版，的确巨NB！
scfan 发表于 2010-12-26 20:28

上个CD的图给俺瞧瞧？按图索骥去。

baiteng兄客气了！咱家可不是什么“歌剧大佬”，仅仅是喜欢而已。

就个人比较喜欢的唱片说说，仅供 ...
mm33 发表于 2010-12-24 12:19

感谢33兄的推荐，卡拉丝的SAX诺尔玛最近看到一套最后价格高达400多美金，实在啃不动，只能在等机会了。33兄所说的卡SAN拉扬卡门，和RCA的卡拉扬卡门有何不同呢？

感谢33兄的推荐，卡拉丝的SAX诺尔玛最近看到一套最后价格高达400多美金，实在啃不动，只能在等机会了。 ...
baiteng 发表于 2010-12-26 21:55

baoteng兄客气了。

卡SAN拉扬卡门？我好像说的是卡拉斯的《卡门》，SAN系列。这套唱片有纪念版和普通版之分，纪念版是红色大盒子，分别有立体声版和单声道版。普通版相对常见些。
卡拉扬在RCA录制的卡门非常不错，被收入到了soria系列中，录音非常好。

上个CD的图给俺瞧瞧？按图索骥去。
狗儿念经 发表于 2010-12-26 20:46

念经兄，GUI指挥的理发师也是非常的不错！

念经兄，GUI指挥的理发师也是非常的不错！
mm33 发表于 2010-12-26 22:37

收到，俺找找。

上个CD的图给俺瞧瞧？按图索骥去。
狗儿念经 发表于 2010-12-26 20:46

俺买的这个GROC版，封面引用了LP的封面，不知道以前有没有出过正价老版。

卡拉杨和卡拉斯的几个录音，蝴蝶夫人、露西亚等等，都值得收藏

俺买的这个GROC版，封面引用了LP的封面，不知道以前有没有出过正价老版。
scfan 发表于 2010-12-27 08:54

我收的古伊费加罗版本长这个样子。

有关GUI的费加罗，网上找到两篇评论。这两篇文章针对的都是EMI的Classics for Pleasure廉价系列CD，也就是alma兄贴出封面的那个版本，为了把全剧塞入2CD，删除了原LP上的部分咏叹调。而目前仍在发行的CD版本是世纪伟大录音中价系列，把全剧放到了3枚CD中，不再有删节，对CD多余的容量还补充了GUI指挥的莫扎特第38、39交响曲，异常的厚道。

中文评论转自港台网站（疑似是对GRAMOPHONE文章的翻译）

　　這套錄音以茱莉娜綺（Sena Jurinac）溫暖、吸引人的伯爵夫人最為吸引人，她用金色的嗓音，唱出了女主人瞬間的情緒變化，Dove sono（CD2，第10軌）一段尤其令人嘆服。茱莉娜綺當時的丈夫布魯斯康第尼（Sesto Bruscantini），是一個羽量級的、熱情的費加洛。布魯斯康第尼、還有扮演蘇姍納的欣蒂（在第4幕的詠歎調中有迷人的表現），以及Calabrese略顯粗野的阿爾瑪維瓦的義大利式咬字，是這套唱片的一大優勢。

　　其他的小角色也很出色，特別讓人興奮是Cuenod扮演的Basilio。為了把整個表演放在兩張CD中，他在原先LP版中的詠歎調被刪除，這點雖遺憾，但也可以理解。唯一的缺點是史蒂文（Rise Stevens）扮演的凱盧比諾聲音略顯疲憊，但她與其他演員配合得還算不錯。

　　指揮家Vittorio Gui（1885-1975）對節奏的把握值得稱讚，他從皇家愛樂挑選樂手，以此為班底組成了格林德波尼管弦樂團。這是一個訓練有素，個性鮮明的樂隊。新版本的數位轉錄，讓我感覺到一種以前未體會到的溫暖。

　　這套錄音屬於EMI最早的立體聲錄音，音響設備的擺放費了一番心思，可以感覺到格林德波尼劇院的親密氣氛，這也是現代錄音所缺乏的。朱里尼在EMI錄製的《費加洛婚禮》同樣是兩張，有更好的聲音效果，但價格比這個版本高。所以，那些手頭不寬裕的樂迷應快點買下這套唱片，因為此類的廉價版，在目錄上不會待很長時間（這段話頗令人玩味）。

【轉貼自古典音樂資訊網，米樂】

Vittorio Gui 把整體既對比速度微微拉近，雖是少了一份可觀既對比性，但音樂那輕鬆與活生感絲毫不減；這裡既整隊管樂表樂更是異常標青，變成全曲的焦點。

聽著聽著，常常驚訝於這錄音竟然是1956年既錄音...........


英文评论转自GRAMOPHONE

MOZART. LE NOZZE DI FIGARO
Sesto Bruscantini (bar) Figaro; Graziella Sciutti (sop) Susanna; Franco Calabrese (bass) Count Almaviva; Sena Jwinac (sop) Countess Almaviva; Rise Stevens (mez) Cherubino; Monica Sinclair (contr) Marcellina; Ian Wallace (bass) Bartolo; Hugues Cuenod (ten) Don Basilio; Daniel McCoshan (ten) Don Curzio; Gwyn Griffiths (bar) Antonio; Jeanette Sinclair (sop) Barbarina
Glyndebourne Festival Chorus and Orchestra / Vittorio Gui.

Classics for Pleasure
CFPD4724 (two cassettes, nas);
CFPD4724 (two discs, nas: 158 minutes: ADD). From HMV ALP 1312/15 (1/56).

Selected comparisons:
Haitink (7/88) CDS7 49753-2
Giulini (1/90) CMS7 63266-2
E. Kleiber (2/90) 417 315-2DM3

I have often pleaded for the return of this admirable performance to the catalogue. At last my wish has been granted - and it proves an exceptional bargain. For about £1000 you get some 158 minutes of music. The virtues of the set were and are those of a well-schooled ensemble under a mercurial conductor. The work was recorded at the Abbey Road Studio No. 1 in July 1955, not long after performances at Glyndebourne with the same cast, apart from the Susanna, Sciutti replacing Elena Rizzieri. So, not surprisingly, you enjoy - as in the more recent Glyndebourne recording (Haitink/EMI) - an easy sense of singers naturally reacting to each other in a staging originally prepared by that master of Mozart ensemble, Carl Ebert.

The cast is headed by Jurinac's warm, appealing Countess, as rewarding as any on record, sung in golden tone and responsive to the emotions of the moment - listen to "Dove sono" and its recitative (second CD, track 10). Her husband at that time, Sesto Bruscantini, is a light-voiced, eager Figaro, much in the vein of Desderi (Haitink). Indeed, the Italianate bite and diction of his performance and that of Sciutti, a nimble Susanna (enchanting in her Act 4 aria), and Calabrese, an imposing if sometimes slightly rough Almaviva, is another of the set's advantages. The small parts are well taken, a special delight being Cuenod's Basilio (although his aria, included on LP, has here been left out, presumably to get the performance on to two CDs; a pity yet understandable). A drawback is Rise Stevens's tired-sounding and unidiomatic Cherubino, but even she fits well enough into the ensemble.

Gui’s matching of tempos is laudable and he draws playing from the RPO, then doubling as the Glyndebourne orchestra, that is at once disciplined and full of character. On the new, digital transfers, I felt some of the warmth of the original may have drained away, but the difference is marginal. This was one of EMI's earliest stereo efforts, and the placings are well managed, with the sense of intimacy you get in the theatre at Glyndebourne and which so often eludes modern recordings. The Giulini (EMI), also on two discs, is superior vocally and musically but costs more, as does the contemporaneous (to the Gui) Kleiber version (Decca), another strong contender. So, the impecunious newcomer should hurry to catch this set while it's available - such reissues have the habit of not lasting long in the catalogue. A. B.