joseph_li 发表于 2025-6-19 13:22
扯点与分享无关的。

这个帖子开帖以来，浏览数不算少，但是资源转存的数量不多。是用5盘的人不多，还是 ...

你提供的信息这么丰富，解说这么详细，象我这样不怎么听歌剧的，就会跳过很多录音了。

不必担心下载数据，这个贴本身就是最值得收藏的。

的确现在有很多小众的作曲家和乐队，也会影响大家的下载兴趣的。毕竟不是每个人都喜欢收集这些。

万物枯荣 发表于 2025-6-19 19:21
没买115会员，转存不了多少，都是每天200K左右挂点滴下载。

我猜，当您全部完工那时，会有人说，来个 ...

稍等一下吧，等时间充裕的时候分阶段分享一下。度盘扩容太贵是一方面，造成无法存SACD和24K高码资源。最大的问题是文件名过长上传失败不提示，造成丢轨严重，为了避免这个问题，只能下载后再存一次5盘，之后再转存度盘，很费时间。

joseph_li 发表于 2025-6-19 13:22
扯点与分享无关的。

这个帖子开帖以来，浏览数不算少，但是资源转存的数量不多。是用5盘的人不多，还是 ...

没买115会员，转存不了多少，都是每天200K左右挂点滴下载。

我猜，当您全部完工那时，会有人说，来个度盘打包的全集吧。

别的原因不敢乱评，但至少有一个原因是现在的绿坛感觉人气太少。可能现在的人都忙于生计，没时间听音乐了吧

扯点与分享无关的。

这个帖子开帖以来，浏览数不算少，但是资源转存的数量不多。是用5盘的人不多，还是分享的内容不受欢迎？在这个帖子之前发的《Gramophone Best Classical Music 2024》转存下载量过千，看来并非5盘用户少。估计还是分享的内容过于小众或冷门吧，而且点击的是固定的这几十位乐友。

现阶段的分享只有5盘链接，利用闲余时间发帖，暂时没时间把资源搬运到度盘。等分享告一段落以后，我整理一下再转到度盘，得等一段时间了，而且只能搬运16-44.1格式的普通CD，度盘没空间，转存不了高码或SACD。

第288、289楼的分享被5盘莫名判定违规，晚上回去整个度盘的分享再更新链接吧。

Ballade in C min., Op. 73; Clarinet Quintet in F sharp min., Op. 10; Piano Quintet in G min., Op. 1
Hyp. CDA 67590. Nash Ens.

The Piano Quintet, written at the age of 18, is an astonishingly precocious work. It brims with assurance in its melodic sweep, and it is remarkable that this is probably its first performance since its première in 1893. Both Schubert and, especially, Dvořák’s influence can clearly be heard in this work. Curiously, the finale is the darkest movement of the four, though this mood is dispelled by a surprise fugato section instead of a development section, and the work ends triumphantly in the major key. The Clarinet Quintet, written shortly after, is perhaps the greater work: it was inspired by a remark of Stanford, who made comment to the effect that after Brahms produced his clarinet quintet, no one would be able to compose another which did not show Brahms’s influence. It was taken up as a challenge, and when he showed Stanford the result, he remarked, ‘You’ve done it, me boy!’ Again, the influence of Dvořák is most apparent. Its freshly energetic first movement is followed by an exquisitely beautiful slow movement which has, as the sleeve-note writer says, ‘the qualities of an idealized folk song’. The Scherzo is a rhythmic tour-de-force, and the finale, with dashes of local colour in the form of a Scotch snap, is delightful. The Ballade is a later work, written for the violinist Michael Zacherewitsh; it was first performed in Leeds in 1907. It is a wonderfully romantic, brooding work, with the spirit of Tchaikovsky (whom Coleridge-Taylor admired) and even of Rachmaninov. It is all masterfully performed by the Nash Ensemble whose unforced yet vital performances are a constant source of joy. Immaculate recording.

创作于18岁的钢琴五重奏，堪称一部令人惊艳的早熟之作。其旋律流畅，自信满满。令人瞩目的是，这很可能是其自1893年首演以来的首次演出。舒伯特，尤其是德沃夏克的影响，在这部作品中清晰可见。令人称奇的是，终乐章是四部作品中最阴暗的乐章，但这种氛围被一段出人意料的赋格部分而非展开部分所化解，最终作品以大调圆满收官。创作于其后不久的单簧管五重奏，或许是更伟大的作品：它的灵感源自斯坦福的一句评论，斯坦福曾说过，在勃拉姆斯创作出他的单簧管五重奏之后，没有人能够创作出不受勃拉姆斯影响的作品。这首乐曲被斯坦福视为一项挑战，当他向斯坦福展示作品时，斯坦福赞叹道：“你成功了，小伙子！” 德沃夏克的影响再次清晰可见。充满活力的第一乐章之后是优美绝伦的慢乐章，正如唱片封套上的作者所说，它“拥有理想化民歌的特质”。谐谑曲是节奏感极强的杰作，终曲以苏格兰脆酒的形式点缀着一丝地方色彩，令人愉悦。叙事曲是他后期为小提琴家迈克尔·扎切雷维奇创作的作品，于1907年在利兹首演。这是一部浪漫而深沉的作品，融合了柴可夫斯基（柯勒律治-泰勒所钦佩的人物）甚至拉赫玛尼诺夫的精神。纳什乐团的演奏技艺精湛，他们自然而又充满活力的表演始终令人愉悦。录音堪称完美。


(i–iii) Hiawatha’s Wedding Feast. (ii; iv) Petite Suite de Concert, Op. 77; (v) La Bamboula (Rhapsodic Dance)
CfP (ADD) 587 0242. (i) Richard Lewis & Royal Choral Soc.; (ii) Philh. O; (iii) Sargent; (iv) Weldon; (v) Bournemouth SO, Alwyn

Coleridge-Taylor’s choral trilogy based on Longfellow’s epic poem had its first performance under the composer at the Royal Albert Hall in 1900. It took a while to catch on, but in every year from 1924 until the outbreak of war in 1939 it was given a staged presentation at the same venue. Often nearly a thousand costumed ‘Red Indian’ performers came to enjoy themselves hugely, singing under the baton of their tribal chief, Sir Malcolm Sargent. His splendid record of Hiawatha’s Wedding Feast (EMI) – the most popular part of the trilogy – remains unsurpassed to this day. This vintage recording – one of the highlights in the Classics for Pleasure catalogue – includes Richard Lewis’s stylish performance of Onaway! Awake, Beloved!, but there is much else to enjoy, of course. The 1961 sound is warmly atmospheric. The Petite Suite de Concert, a salon pastiche, is the composer’s best-known work and is music of great charm, with George Weldon’s polished Philharmonia performance wholly sympathetic and not in the least sentimental, and in first-class sound. La Bamboula, which the composer wrote for his third visit to the USA in 1910, is a ‘series of evolutions’ on a West Indian dance also used by Gottschalk, and makes an attractive encore.

柯勒律治-泰勒根据朗费罗的史诗改编的合唱三部曲于1900年在作曲家的指挥下在皇家阿尔伯特音乐厅首演。这部作品流行了一段时间，但从1924年到1939年战争爆发，每年都会在同一地点上演。通常，近千名身着“印第安人”服装的演员前来，在部落首领马尔科姆·萨金特爵士的指挥下尽情歌唱。他录制的《海华沙的婚宴》（EMI）是三部曲中最受欢迎的部分，至今仍无人能及。这张经典唱片是“古典乐享”唱片目录中的亮点之一，收录了理查德·刘易斯精彩演绎的《奥纳威！醒来吧，亲爱的！》，当然，还有很多其他值得欣赏的地方。1961年的录音温暖而富有氛围。 《小型音乐会组曲》是作曲家最著名的作品，是一部沙龙模仿作品，充满魅力。乔治·韦尔登（George Weldon）精湛的交响乐团演奏充满同情心，丝毫不伤感，音质一流。作曲家为1910年第三次访问美国而创作的《班布拉》（La Bamboula）是戈特沙尔克也曾使用过的西印度舞蹈的“演变系列”，在返场曲中极具感染力。
（源于Google翻译）


https://115cdn.com/s/swwoap73hq9?password=3377&#
Coleridge-Taylor, Samuel - Hiawatha's Wedding Feast, Othello Suite, Petite Suite de Concert - Malcolm Sargent [Beulah]等2个文件(夹)

第二张没找到，找到了一个小公司引进版，缺La Bamboula (Rhapsodic Dance)。对于这种冷门作曲家的历史录音，能找到就听听。

COLERIDGE-TAYLOR, Samuel (1875–1912)
Violin Concerto in G min., Op. 80; Legend, Op. 14; Romance in G, Op. 39
Lyrita SRCD 317. McAslan, LPO, Braithwaite (with HARRISON: Bredon Hill)

Coleridge-Taylor’s beautiful Violin Concerto was one of the great discoveries of the Lyrita catalogue; although recorded in 1994 it was not issued until after 2007 (after two other versions had appeared). Lorraine McAslan’s warmly lyrical performance is fully worthy of it and Nicholas Braithwaite and the LPO give passionate support. McAslan provides poetic performances of the Legend and Romance, both with memorable main themes, the Legend especially captivating. Then, for a valuable bonus, we are given the richly atmospheric Bredon Hill rhapsody of Julius Harrison, a lovely piece, obviously influenced by Vaughan Williams’s Lark Ascending, but also by Butterworth – another memorable performance and admirably recorded.

柯勒律治-泰勒优美的小提琴协奏曲是Lyrita唱片公司最伟大的发现之一；尽管录制于1994年，但直到2007年之后才发行（此前已发行了另外两个版本）。洛林·麦卡斯兰热情洋溢的演绎完全配得上这份殊荣，尼古拉斯·布雷斯韦特和伦敦爱乐乐团也给予了热情洋溢的支持。麦卡斯兰对《传奇》和《浪漫》的演绎充满诗意，两部作品都拥有令人难忘的主题，《传奇》尤其引人入胜。此外，还有一项宝贵的额外收获：朱利叶斯·哈里森创作的氛围浓郁的布雷登·希尔狂想曲，这首优美的乐曲显然受到了沃恩·威廉姆斯《云雀高飞》的影响，但也受到了巴特沃斯的影响——这又是一次令人难忘的演绎，录音也堪称一流。
（源于Google翻译）


Coleridge-Taylor, Samuel - Violin Concerto and other works - Lorraine McAslan, Braithwaite, LPO [Lyrita]
链接: https://***.com/s/1amHE4cnw9r340L-kMmzEGw?pwd=3377 提取码: 3377

The Dambusters March. From Meadow to Mayfair: Suite. The Merrymakers: Overture. Summer Days: Suite. Three Bears (Phantasy); Three Elizabeths Suite: March
Lyrita (ADD) SRCD 246. New Philh. O or LPO, Boult (with GRAINGER: Over the Hills and Far Away. DELIUS: Marche Caprice. WALTON: Hamlet: Funeral March. VAUGHAN WILLIAMS: The Wasps: March Past of the Kitchen Utensils. ROSSINI, arr. BRITTEN: Soirées musicales: March. HOLST: Suite in E flat, Op. 28/1: March)

As ever, Coates’s music has great craftsmanship as well as good tunes and, lightweight though it is, it lies firmly within the English tradition. Here Boult finds its affinities with Elgar in delicacy of scoring and hints of nostalgia. Summer Days, written in the summer of 1919, was the first work that Coates composed as a former orchestral player. It includes a justly famous waltz, At the Dance, graciously elegant and with hardly any Viennese influence. The lollipops added for this reissue are equally welcome, particularly The March Past of the Kitchen Utensils, the hit number from Vaughan Williams’s incidental music for The Wasps. The late-1970s recording is splendid, matching Lyrita’s predictable high standard.

科茨的音乐一如既往地精湛，旋律优美，尽管略显轻盈，却依然秉承着英国传统。博尔特的音乐在配乐的细腻和一丝怀旧气息方面与埃尔加的作品颇为相似。《夏日》创作于1919年夏天，是科茨作为前管弦乐演奏家创作的首部作品。其中包括一首名副其实的华尔兹《舞会上》，优雅大方，几乎不受维也纳音乐的影响。此次再版的热门曲目也同样受欢迎，尤其是沃恩·威廉姆斯为《黄蜂乐队》创作的热门曲目《厨房用具的行进》（The March Past of the Kitchen Utensils）。这张70年代末的录音非常出色，与《利里塔》一贯的高水准相得益彰。

通过网盘分享的文件：Coates, Eric - Boult conducts Coates etc. [Lyrita]
链接: https://***.com/s/1-i5yDN-DpcErHPxc4iZZ9g?pwd=3377 提取码: 3377

COATES, Eric (1886–1957)
Cinderella (Phantasy); Dambusters March; Joyous Youth (Suite); London Suite; Miniature Suite; The Selfish Giant (Phantasy); The Three Bears (Phantasy)
Chan. 9869. BBC PO, Gamba

Eric Coates is undoubtedly the greatest of the many fine British ‘light music’ composers. He was aptly described as ‘the man who writes tunes’ and, touchingly, just when his style of music was going out of fashion, he had one resounding and lasting hit at the end of his life with the Dambusters March – equal in impact to patriotic examples by Elgar and Walton if with a less nobilmente central tune. No praise could be higher, although we believe the piece was based on an earlier march which the composer replaced. This Chandos CD is arguably the finest single-CD collection of Coates’s music before the public. It is a joy to hear his imaginatively coloured orchestration on a full-size orchestra with an ample string group, splendidly served by these superb performances and Chandos’s demonstration-worthy recordings. The finest of the three Phantasies is The Three Bears, with its opening rhythmic phrase, ‘Who’s been sleeping in my bed?’, and its later, beguiling waltz theme. Cinderella boasts another richly romantic example, and two more, both deliciously lightweight, close the Joyous Youth Suite and the Miniature Suite, which shows the composer at his most delicately elegant and graceful. (I.M. remembers that the latter was one of the first pieces he played when he first took up the French horn as a teenager with the Woolwich Civil Defence Orchestra during the war!) More robust is the London Suite, with its vigorous, pacy evocation of the old Covent Garden market, followed by a romantic portrayal of Westminster, complete with Big Ben chimes. The Knightsbridge March finale was famous as a signature tune for the BBC’s In Town Tonight – the first radio ‘chat show’, in which guests who were ‘in town’ came into the studio to be interviewed. All orchestral musicians love playing Coates’s music (particularly so as it is both rewarding and technically demanding) and this is conveyed by the orchestra throughout this wonderfully enjoyable collection.

Also worth considering is a long-available bargain two-CD collection on an EMI Classics for Pleasure (3 52356-2 (2)), conducted by either Groves, Kilbey or Mackerras – all the famous pieces are included, along with rarer items such as the Saxo-Rhapsody, in warmly sympathetic performances and in decent sound. Highlights in that set include Reginald Kilbey’s performance of The Three Elizabeths, the composer’s most inspired triptych, which is done with real flair in catching the composer’s leaping allegro figurations in the first movement, and also in his shaping of the central slow movement – ‘Elizabeth of Glamis’, one of the composer’s loveliest melodies (with a true Scottish snap in the rhythm and an affectionate grace) dedicated to the late Queen Mother.

埃里克·科茨无疑是众多优秀英国“轻音乐”作曲家中最杰出的一位。他被恰如其分地描述为“创作旋律的人”。令人感动的是，就在他音乐风格逐渐过时之际，他晚年创作了一首响亮而持久的热门作品——《轰炸水坝者进行曲》——其影响力堪比埃尔加和沃尔顿的爱国主义作品，只是其核心旋律的贵族气质略逊一筹。尽管我们认为这首曲子是基于作曲家之前创作的一首进行曲，但科茨的作品已被他取代，对此他给予了无上的赞誉。这张Chandos的CD可以说是科茨音乐在公众面前最优秀的单曲合集。聆听他富有想象力的配器，在一支规模庞大的管弦乐队和一支实力雄厚的弦乐组合的伴奏下演绎，令人欣喜不已，而这些精彩的演出和Chandos值得一听的录音更是锦上添花。三部幻想曲中最精彩的是《三只熊》，其开场节奏感十足的乐句是“谁睡在我的床上？”，随后是迷人的华尔兹主题。《灰姑娘》是另一部浪漫主义作品，另有两部轻盈优美的乐曲，分别收录在《欢乐青春组曲》和《迷你组曲》中，展现了作曲家最精致优雅的创作风格。（贝聿铭记得，后者是他十几岁时在战争期间与伍尔维奇民防管弦乐团首次接触圆号时演奏的第一批乐曲之一！）更为强劲有力的是《伦敦组曲》，其充满活力、节奏明快地再现了古老的科文特花园市场，随后是对威斯敏斯特的浪漫描绘，伴随着大本钟的钟声。结尾的骑士桥进行曲是BBC《今夜城里》的标志性曲目——这是第一档广播“脱口秀”，节目中“在城里”的嘉宾来到演播室接受采访。所有管弦乐演奏家都热爱演奏科茨的音乐（尤其因为它既令人满足，又对技术要求极高），而乐团在这张精彩绝伦的合辑中也充分展现了这一点。

同样值得一看的还有一张长期发行的EMI Classics for Pleasure（3 52356-2 (2)）双CD合辑，由格罗夫斯、基尔贝或麦克拉斯指挥——所有著名曲目都收录其中，此外还有《萨克斯狂想曲》等较为罕见的曲目，演奏热情奔放，音色优美。该系列的亮点包括雷金纳德·基尔比 (Reginald Kilbey) 演奏的《三个伊丽莎白》，这是作曲家最有灵感的三联画，它巧妙地捕捉了作曲家在第一乐章中跳跃的快板形象，以及他对中央慢乐章——《格拉米斯的伊丽莎白》的塑造，这是作曲家最美丽的旋律之一（节奏中带有真正的苏格兰风格和深情的优雅），献给已故的王太后。
（源于Google翻译）

https://115cdn.com/s/swwoaas3hq9?password=3377&#
Coates, Eric - The Music of Eric Coates - Groves, Kilbey, Mackerras [Warner]等2个文件(夹)

与企鹅三四星带花相比，这个推荐清单里多了不少廉价版，亲民不少。

CLEMENTI, Muzio (1752–1832)
Symphonies: 1 in C; 2 in D; 3 in G (Great National Symphony); 4 in D
Warner Apex (ADD) 2564 62762-2 (2). Philh. O, Scimone

Six of Clementi’s 20 symphonies survive. The four numbered works are all scored for much larger forces than the Op. 18 set (included on an excellent Chandos CD, CHAN 9234, with the LMP and Bamert). Their musical content explains Clementi’s high reputation in his lifetime as a composer for the orchestra, not just the piano. If the Great National Symphony is the most immediately striking, with God Save the King ingeniously worked into the third movement, the other works are all boldly individual. Scimone’s Philharmonia performances from 1978 are both lively and sympathetic, and the recorded sound is excellent – and all at bargain price.

克莱门蒂的20部交响曲中，有6部尚存。这四部编号作品的配乐力度远超作品18号（收录于Chandos发行的一张名为CHAN 9234的优秀CD，由LMP和Bamert唱片公司发行）。这些作品的音乐内涵解释了克莱门蒂生前作为管弦乐队作曲家而非钢琴作曲家的崇高声誉。如果说《伟大的国家交响曲》最引人注目，其第三乐章巧妙地融入了《天佑吾王》的旋律，那么其他作品也都独具特色，风格鲜明。西蒙尼1978年在爱乐乐团的演出生动活泼，富有感染力，录音效果也十分出色——而且价格实惠。


Piano Sonatas: Op. 24/2; Op. 25/5; Op. 40/2–3
Hyp. Helios CDH 55227. Demidenko

The spirit of Beethoven undoubtedly hovers over the dramatic opening of the D major Sonata, Op. 40/3, with which Demidenko opens his recital, and his performances of both this and the closing Op. 40/2 (both published in 1802) are very arresting. The Molto adagio sostenuto which acts as a prelude to this B minor Sonata is played with moving serenity and both the central Largo mesto e patetico and the Lento patetico of the F sharp minor, Op. 25/5, are very beautiful in Demidenko’s hands. The Allegro confuoco of Op. 40/2 brings dazzling virtuosity, while he provides his own cadenzas for the first movement of Op. 24/2. Recorded at the Snape Maltings, Aldeburgh, in 1994, this reissue is a fine bargain. Those wanting to explore this rewarding repertoire further can turn to Hyperion’s ongoing series of comparable distinction, played by Howard Shelley (CDA 67632, 67717, 67729, 67738, 67814 and 67819). Each is a double album with two discs offered for the price of one.

德米登科独奏音乐会以D大调奏鸣曲（Op. 40/3）的戏剧性开场无疑弥漫着贝多芬的精神，他对这首曲子和结尾的Op. 40/2（均出版于1802年）的演奏都非常引人注目。这首B小调奏鸣曲的前奏“Molto adagio sostenuto”演奏得宁静动人，而F小调（Op. 25/5）的中央“Largo mesto e patetico”和“Lento patetico”在德米登科的手中都显得非常优美。Op. 40/2的Allegro confuoco展现了令人眼花缭乱的精湛技艺，同时他还为Op. 24/2的第一乐章创作了自己的华彩乐段。这张唱片于1994年在奥尔德堡的Snape Maltings录制，再版非常划算。想要进一步探索这套精彩曲目的乐迷，可以关注 Hyperion 乐队持续发行的、同样出色的系列专辑，由 Howard Shelley 演奏（CDA 67632、67717、67729、67738、67814 和 67819）。每张专辑均为双碟装，一张 CD 的价格包含两张。
（源于Google翻译）


https://115cdn.com/s/swwoayl3hq9?password=3377&#
Clementi, Muzio - Complete Piano Sonatas Vol.1~6 - Howard Shelley [Chandos]等4个文件(夹)

CLARKE, Rebecca (1886–1979)
(i–ii) Dumka; (i) Chinese Puzzle; I’ll bid my heart be still; Lullaby; Lullaby on an Ancient Irish Tune; Morpheus; Passacaglia on an Old English Tune; (iii) Prelude, Allegro & Pastorale; (i) Viola Sonata
Naxos 8.557934. Dukes, with (i) Rahman; (ii) Hope; (iii) Plane

Rebecca Clarke’s Viola Sonata is arguably the greatest work in that genre written in the twentieth century. It was written for the competition organized by Elizabeth Sprague Coolidge in 1919, and was counted equal first against Bloch’s Viola Sonata, being relegated to second place only by casting vote. It is a ripely romantic piece, with echoes of English pastoral but with a very strong, far more international flavour, not least in the final meditative Adagio. The Sonata, superbly performed by Philip Dukes with Sofia Rahman, is well complemented by Clarke’s other works for viola and piano, plus Dumka with violin added, and the Prelude, Allegro and Pastorale, for viola and clarinet in duet. Most of these works were unpublished at the time of Clarke’s death, a composer, born in England, who spent the last 40 years of her life in New York, writing few but inspired works, all of them fresh, intense and inventive.

丽贝卡·克拉克的《中提琴奏鸣曲》无疑是二十世纪中提琴体裁中最伟大的作品。这部作品为伊丽莎白·斯普拉格·库利奇于1919年组织的比赛而作，与布洛赫的《中提琴奏鸣曲》并列第一，仅凭投票便屈居第二。这是一部浪漫主义的成熟作品，带有英式田园风情，但又带有浓郁的国际化气息，尤其是在最后的冥想柔板部分。菲利普·杜克斯与索菲亚·拉赫曼精彩演绎了这首奏鸣曲，克拉克的其他中提琴与钢琴作品，以及小提琴版的《杜姆卡》，以及中提琴与单簧管二重奏的《前奏曲》、《快板》和《田园曲》也与这首奏鸣曲相得益彰。克拉克去世时，这些作品大部分尚未出版。克拉克是一位出生于英国的作曲家，她生命的最后 40 年在纽约度过，创作的作品不多，但却充满灵感，所有作品都新颖、强烈、富有创造力。
（源于Google翻译）


https://115cdn.com/s/swwoai03hq9?password=3377&#
Clarke, Rebecca - Viola Music - Philip Dukes, Hope, Rahman [Naxos]

CIMAROSA, Domenico (1749–1801)
Il Maestro di Cappella
Decca 475 8490 (2). Corena, ROHCG O, Quadri – DONIZETTI: Don Pasquale

This sparkling ‘intermezzo’, lasting under 20 minutes, is one of the gems of the operatic catalogue. Corena’s classic assumption of the role of the incompetent Kapellmeister is a joy from beginning to end. Corena shows complete mastery of the buffo bass style, and he is so little troubled by the florid passages that he can relax in the good humour. The vintage (1960) recording is both vivid and atmospheric, with the directional effects naturally conveyed. This music shows Cimarosa at his very best.

这段不足二十分钟的璀璨"间奏曲"，堪称歌剧目录中的瑰宝。科雷纳对那位不称职的乐队指挥角色的经典演绎，自始至终都令人愉悦。这位低音歌唱家展现出对滑稽唱腔的绝对掌控，那些华丽乐段对他而言游刃有余，使他能全然沉浸在欢愉的表演中。这段1960年的经典录音既生动又富有氛围感，方向性音效自然呈现。此时的奇马罗萨，正绽放着最耀眼的创作光芒。
（源于DeepSeek翻译）


https://115cdn.com/s/swwoair3hq9?password=3377&#
Fernando Corena - Cimarosa - Il maestro di Cappella & Verdi - Falstaff – Excerpts [DECCA]
这张碟没找到，Qobuz网站虽有，但是下不下来。找到这张科雷纳的 《Verdi: Falstaff & Cimarosa: Il maestro di Cappella – Excerpts》，奇马罗萨《唱诗班指挥》曲目与之一样。

肖邦的那颗彩蛋好，谢谢分享。

CILEA, Francesco (1866–1950)
Adriana Lecouvreur (CD version)
Decca 475 7906 (2). Sutherland, Bergonzi, Nucci, d’Artegna, Cicuca, Welsh Nat. Op. Ch. & O, Bonynge

This is a curious but attractive opera with one pervading grand tune that should alone ensure its survival. It is the story of a great opera singer caught up in international intrigue and, in the manner of the veristic school, we are given a chance to observe her for a moment or two in her roles before she deals with her own life drama. Sutherland’s performance could not be warmer-hearted, she impresses with her richness and opulence in the biggest test, the aria ‘Io son l’umile ancella’, an actress’s credo, and her formidable performance is warmly backed up by the other principals and equally by Richard Bonynge’s conducting, not just warmly expressive amid the warmth of rich tunes, but light and sparkling where needed, easily idiomatic.

这部歌剧别致迷人，贯穿始终的宏伟旋律单凭其自身便足以流芳后世。剧情讲述一位深陷国际阴谋的著名歌剧女伶的故事，秉承真实主义流派的风格，观众得以先窥见她舞台上的角色演绎，继而目睹她直面自己的人生戏剧。萨瑟兰的演绎饱含赤忱，在最高难度的咏叹调《我是上帝谦卑的侍女》（演员信条）中，她以丰沛华美的音色令人倾倒。这位传奇女高音的震撼演出不仅得到其他主演的默契烘托，更得益于博宁吉的指挥艺术——他既能以温暖笔触勾勒丰盈旋律的情感内核，又在需要时赋予灵动璀璨的华彩，对意大利歌剧风格的把握可谓举重若轻。
（源于DeepSeek翻译）


https://115cdn.com/s/swwoyea3hq9?password=3377&#
Cilea, Francesco - Adriana Lecouvreur - Richard Bonynge, Welsh National Opera; Sutherland, Bergonzi, Nucci [DECCA]

CHRISTOFF, Boris (bass)
‘Russian Opera, Arias and Songs’: excerpts from: MUSSORGSKY: Boris Godunov; Khovanshchina. BORODIN: Prince Igor. RIMSKY-KORSAKOV: Sadko; The Legend of the Invisible City of Kitezh. TCHAIKOVSKY: Eugene Onegin. MUSSORGSKY: Songs. Russian Folksongs
EMI mono 392054-2

The magnetic quality of Christoff’s singing is never in doubt here, and the compulsion of the singer’s artistry as well as the vivid individuality of his bass timbres makes this a real portrait, not just a collection of items. These were his first recordings of the Boris Godunov excerpts (in which he assumes three different characters), and in musical terms he probably never surpassed them. But his characterization here is just as impressive as the singing itself, full of variety. The EMI transfers, of recordings made between 1949 and 1952, are bold and brightly focused with the most vivid projection.

克里斯托夫演唱的磁性魅力在此毋庸置疑，这位歌唱家的艺术感染力与极具个性的男低音音色共同铸就了一幅鲜活的声乐肖像，而非简单的曲目堆砌。这些1949至1952年间录制的《鲍里斯·戈杜诺夫》选段（他一人分饰三角）是他的首次录音，就音乐表现力而言或许是他职业生涯的巅峰。但更令人惊叹的是他对角色的塑造——其丰富层次与演唱本身同样出色。EMI公司对这些历史录音的转录处理大胆而鲜明，音像投射极具临场感。
（源于DeepSeek翻译）


https://115cdn.com/s/swwoyv43hq9?password=3377&#
Christoff, Boris - Russian Opera Arias and Songs [EMI]

吐个槽，Google翻译成中文的能力真的有点弱，“信、雅、达”貌似都欠缺，对比一下它的翻译：
克里斯托夫演唱的磁性毋庸置疑，他极具感染力的艺术造诣以及他低音音色鲜明独特的个性，使这张专辑成为一幅真实的肖像，而非仅仅是一堆零散的片段。这是他首次录制鲍里斯·戈杜诺夫选段（他在其中扮演了三个不同的角色），从音乐角度来看，他或许从未超越过这些作品。但他对人物的刻画与演唱本身一样令人印象深刻，充满变化。EMI 转制的1949年至1952年间的录音大胆而明亮，展现了最生动的表达。

昨天还有一个被卡审核，现在还没放出来。

Waltzes 1–20 (complete)
EMI 6 98351-2. Ingrid Fliter

With recommended recordings by Rubinstein and Lipatti available it may seem remarkable that our first choice for the Waltzes is with the young Argentinian pianist, Ingrid Fliter. She plays twenty of them, including the two posthumously published works (in E flat and F sharp minor) marked by the composer Sostenuto and Mélancolique, respectively, plus another novelty in A minor that Chopin didn’t write. Moreover her playing combines dazzling virtuosity with tenderness, lyrical delicacy and moments of playfulness, with every nuance exquisitely shaped. The whole collection is a joy and the recording is excellent, truthful, if a little dry in the bass.

尽管鲁宾斯坦和李帕蒂的经典录音版本珠玉在前，阿根廷青年钢琴家英格丽·弗利特演绎的《圆舞曲全集》仍堪称首选。这套专辑收录了二十首作品，不仅包含作曲家标有"绵延"（降E大调）与"忧郁"（升F小调）的两首遗作，还额外收录了一首非肖邦创作的A小调曲目。弗利特的演奏将炫目技巧与细腻柔情完美融合，既有诗意盎然的精致乐句，又不乏俏皮灵动的瞬间，每个音符的微妙处理都精妙绝伦。整部作品集洋溢着令人愉悦的艺术魅力，录音品质极佳——虽低频稍显干涩，但整体音效真实自然。

Waltzes 1–14; Barcarolle; Mazurka in C sharp min., Op. 50/3; Nocturne in D flat, Op. 27/2
EMI Masters mono 9 65930-2. Lipatti

Dinu Lipatti’s classic mono performances of the Waltzes were recorded by Walter Legge in the rather dry acoustic of a Swiss Radio studio in Geneva towards the end of the pianist’s short life. In spite of the relative lack of bloom on the sound, they are very special and seem to have grown in wisdom and subtlety over the years.

钢琴家迪努·李帕蒂经典的《圆舞曲》单声道录音由沃尔特·李格操刀，录制于这位英年早逝的艺术家生命末期，选址日内瓦瑞士广播电台声学效果偏干的录音室。尽管音响效果稍欠丰润，这些演绎却弥足珍贵，历经岁月沉淀更显智慧与精妙。
（源于DeepSeek翻译）

https://115cdn.com/s/swwoykb3hq9?password=3377&#
Chopin - Complete Waltzes - Ingrid Fliter [EMI]等2个文件(夹)

来颗彩蛋，分享几个肖邦钢琴曲大包：

通过网盘分享的文件：Garrick Ohlsson - Chopin The Complete Works [Hyperion 16CD]等10个文件
链接: https://***.com/s/1zGpEhgPbY6jor-9giEGxCw?pwd=3377 提取码: 3377

Mazurkas 1–59 (complete)
Double Decca (DDD/ADD) 448 086-2 (2). Ashkenazy

Piano Sonatas: 1 in C min., Op. 4; 2 in B flat min. (Funeral March); 3 in B min., Op. 58
Decca (ADD) 448 123-2. Ashkenazy

Vladimir Ashkenazy’s recordings come from his distinguished comprehensive Decca 13-disc Chopin Edition (Decca 443 738-2), which is well worth having if you want to collect this composer’s piano music as comprehensively as possible. The Double Decca offers the most complete coverage available of the Mazurkas. They are finely articulated, aristocratic accounts of great character which have afforded us much pleasure. The Sonatas too enjoy classic status and, like the Mazurkas, are very well recorded, with vivid sound.

弗拉基米尔·阿什肯纳齐的录音出自他著名的Decca 13碟肖邦版（Decca 443 738-2），如果您想尽可能全面地收藏这位作曲家的钢琴作品，这张唱片绝对值得拥有。Double Decca唱片收录了迄今为止最完整的玛祖卡作品。这些作品表达细腻，风格高雅，极具个人特色，给我们带来了无限的乐趣。这些奏鸣曲也享有经典地位，并且与玛祖卡一样，录制得非常出色，音色生动。
（源于Google翻译）

https://115cdn.com/s/swwoykn3hq9?password=3377&#
Chopin - The piano works - Vladimir Ashkenazy [DECCA]