西班牙次女高音貝岡莎塵封多年的錄音集 第一輯

Eloquence以兩套2CD共4CD的發行,來呈現偉大的次女高音貝岡莎非常罕見的錄音專輯.分別是第一輯(ELO-4825836)的十八世紀作品集,以及第二輯(ELO-4826397)的羅西尼,西班牙作品,巴洛克作品集.
本發行為第一輯,收錄十八世紀的作品集
 
To complement a 2CD set of Rossini and Spanish songs entitled ‘Brava Berganza’ (482 6397), Eloquence has also reissued more buried treasure from the Decca discography of Teresa Berganza. The compilation takes its title from a 1961 album made, like the Rossini arias on ‘Brava Berganza’ with Sir Alexander Gibson conducting the orchestra of the Royal Opera House, Covent Garden where the mezzo-soprano had made a sensational debut the previous year as Rosina in ‘Il barbiere di Siviglia’.
These portraits are of both heroines and trouser-role heroes, including Gluck’s ‘Orfeo’ and Cherubini’s ‘Medea’ as well as arias from an earlier generation by Pergolesi and Handel. In all of them there may be appreciated her captivating stage presence and a wide-eyed, coltish eagerness of characterisation. Back in London’s Kingsway Hall in 1962, she set down seven Mozart arias with the supple accompaniment of John Pritchard and graced with sensitive obbligato contributions from Gervase de Peyer (in ‘Parto, parto’ from ‘La clemenza di Tito‘) and Geoffrey Parsons in the concert-aria ‘Ch’io mi scordi di te‘. She encompasses with equal success the impetuous ardour of the priapic page in ‘Figaro’ and the contrasting sisters in’ Così fan tutte’.
Almost twenty years later, Berganza recorded more concert arias with undimmed eloquence, intensity and impeccable Mozartian style. The collection is completed by Haydn’s tragic cantata ‘Arianna a Naxos’, partnered at the piano in 1977 by her husband and long-standing accompanist, Félix Lavilla. Though the interpretation had to wait until 1986 for a first issue, it is distinguished by a classical nobility of style as well as the dramatically lived feeling for text and for the heroine’s predicament that made Berganza ‘the Carmen of the century’ according to no less than Herbert von Karajan.
 
曲目:
CD 1
WOLFGANG AMADEUS MOZART
Le nozze di Figaro, KV 492:
Non so più cosa son, cosa faccio
Voi che sapete
La clemenza di Tito, KV 621:
Parto, ma tu ben mio
Così fan tutte, KV 588:
Temerari! Sortite! … Come scoglio!
E amore un ladroncello
Ei parte … Per pietà
Ch’io mi scordi di te, KV 505
London Symphony Orchestra / John Pritchard
Ombra felice … Io te lascio, KV 255
Misero me … Misero pargoletto, KV 77
Giunse alfin il momento … Al desio, di chi t’adora, KV 577
Se ardire, e speranza, KV 82
Conservatevi fedele, KV 23
Wiener Kammerorchester / György Fischer
 
CD 2
CHRISTOPH WILLIBALD GLUCK
Orfeo ed Euridice:
Che farò senza Euridice?
Che puro ciel, che chiaro sol
Alceste: Divinités du Styx
Paride ed Elena: O del mio dolce ardor
 
GIOVANNI BATTISTA PERGOLESI
La Serva Padrona: Stizzoso, mio Stizzoso
 
GEORGE FRIDERIC HANDEL
Giulio Cesare: Piangerò la sorte mia
 
GIOVANNI PAISIELLO
Nina, o sia la Pazza per Amore: Il mio ben quando verrà
 
LUIGI CHERUBINI
Medea: Medea! O Medea! … Solo un pianto
Orchestra of the Royal Opera House, Covent Garden / Alexander Gibson
 
FRANZ JOSEPH HAYDN
Arianna a Naxos – Cantata, Hob.XXVIb:2
Félix Lavilla, piano
Teresa Berganza, mezzo-soprano
 
Recording Producers: Christopher Raeburn (Mozart, Haydn); Michael Bremner (Gluck, Pergolesi, Handel, Paisiello, Cherubini)
Balance Engineers: Kenneth Wilkinson, Michael Mailes (Mozart/Pritchard); James Lock, Simon Eadon (Mozart/Fischer); Alan Abel, Cyril Windebank (Gluck, Pergolesi, Handel, Paisiello, Cherubini); James Lock (Haydn)
Recording Locations: Kingsway Hall, London, UK, 15, 18, 20 & 21 December 1962 (Mozart/Pritchard), 8–11 June 1960 (Gluck, Pergolesi, Handel, Paisiello, Cherubini); Sofiensaal, Vienna, Austria, 26–27 May 1977 (Haydn), 3–9 January 1981 (Mozart/Fischer)
Remastering Engineer: Chris Bernauer
Original Decca LP Releases: SXL 6045 (Mozart/Pritchard); OS 26663 (Mozart/Fischer); SXL 2251 (‘Arias of the 18^th Century’: Gluck, Pergolesi, Handel, Paisiello, Cherubini); 414 612-1 (Haydn)