Anja Harteros

The Munich Philharmonic Orchestra

ValeryGergiev

Wagner: Wesendonck-Lieder: 4. Schmerzen

4. Schmerzen

Wagner, Berg, Mahler: Orchesterlieder

Berg: Sieben frühe Lieder: 5. Im Zimmer

Bavarian Radio Symphony Orchestra/Chorus

Bernarda Fink

馬勒

Gustav Mahler wanted his Second Symphony to exceed any known format - and he also wanted it to tackle the key questions of existence: "Why have you lived? Why have you suffered? Is everything just one enormous, terrible joke? We have to solve these questions in some way if we want to carry on living," said the composer. Similar questions preoccupied him throughout his life, and with a special intensity during his time as an opera conductor in Hamburg. The Second Symphony, also referred to as the "Resurrection Symphony", is a complete expression of Mahler’s existential struggle; both its form and its overpowering sound make this utterly clear. The symphony took several years to compose – it was written between 1888 and 1894. In September 1888, the first movement – which at this point still bore the title "Totenfeier” (“Funeral Rite”) – was already complete. The second and third movements were not written until 1893 and Mahler only completed the entire work in 1894. Like most of Mahler’s symphonies, the work follows a "Per aspera ad astra" pattern (“through difficulties to the stars”). Starting with a funeral march in the main theme of the opening movement - the passing of a life full of vigor, pain, blows of fate, and only a few brief and beautiful moments - the symphony concludes with a triumphant resurrection movement. The premiere of the complete symphony took place on December 13, 1895 in Berlin under Mahler's direction; previously (on March 4 of that year) he had already performed the first three movements. The premiere of the Second Symphony thus took place after that of the Third. The reactions were initially subdued, but today the work ranks as one of the most popular of Mahler’s symphonies.

Mahler: Symphony No. 2 in C Minor "Resurrection" (Live)

Mariss Jansons

This BR-KLASSIK CD offers several impressive masterpieces of the twentieth century including of Richard Strauss' ‘An Alpine Symphony’ op. 64with the Symphonieorchester des Bayerischen Rundfunks conducted by Mariss Jansons also his “Vier letzte Lieder" (“Four Last Songs”), with the excellent soloist Anja Harteros.

R. Strauss: Eine Alpensinfonie, TrV 233 & 4 Letzte Lieder, TrV 296 (Live)

Antonio Pappano

Jonas Kaufmann

Ekaterina Semenchuk

指挥家帕帕诺担任罗马圣西西莉亚音乐院管弦乐团音乐总监至2015年已满10年，今年推出全新企划录音专辑─威尔第全本歌剧《阿伊达》，并跨厂牌合作邀请男高音考夫曼与女高音哈特萝丝共同录制。
哈特萝丝〈女高音〉考夫曼〈男高音〉谢缅丘克〈次女高音〉泰齐耶尔〈男中音〉修洛特〈低男中音〉史波提〈男低音〉法纳列〈男高音〉布拉托〈女高音〉
帕帕诺〈指挥〉罗马圣西西莉亚音乐院管弦乐团

为了纪念苏伊士运河开航，埃及总督委托威尔第创作了这部以埃及为背景，根据孟斐斯神殿挖掘出来一对男女骷髅为题材而写的歌剧。

剧中女主角阿伊达虽然贵为衣索比亚公主，却因战争成为埃及的阶下囚，侍奉着娇纵蛮横的埃及公主。温柔婉约的阿伊达掳获了埃及大将拉达麦斯的心，也使得暗恋将军的公主嫉妒不已。在衣索比亚国王的坚持下，心向祖国的阿伊达不断向拉达麦斯刺探军情，被爱情冲昏头的将军竟然一五一十的将军事机密告诉爱人。最后拉达麦斯最后以叛国罪被判活埋，阿伊达也跳入土坑中殉情。

这一套唱片于2015年二月在意大利罗马音乐厅(Auditorium Parco della Musica)录制，而这个拥有2800个座位的大型音乐厅，恰好能够完美而且自然的呈现出《阿伊达》剧中高耸的神庙、巨大陵墓等大型场景的空间感，以及威尔第希望能够以后台合唱团与管乐团营造出的效果。

在选角方面，饰演「阿伊达」的哈特萝丝与「埃及公主」的谢缅丘克可说是两大支柱。《泰晤士报》认为哈特萝丝是很少见「和乐团相抗衡时，还能带来如此细腻、抒情的长旋律线条」，谢缅丘克则是「音色丰富多变中，闪烁着高傲的魅力」。再加上帕帕诺充满戏剧性与细节分明的管弦乐，是近年少见的高水平全曲版本。

Wagner: Wesendonck-Lieder: 4. Schmerzen

歌曲列表

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