莫纽斯科和贵族传统的复兴:伯爵夫人和闹鬼的庄园

IF 0.2 3区 艺术学 0 MUSIC
Anne Swartz
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引用次数: 0

摘要

最近录制的两套CD是赫拉比娜(伯爵夫人)和斯特拉斯尼dwór(鬼庄园)的完整音乐会版本,使用18世纪的乐器,极大地增加了19世纪波兰歌剧的保留曲目,并为那些长期以来一直希望听到迄今为止被忽视的作曲家Stanisław莫纽斯科(1819-1872)的不太知名但出色执行的作品的一流录音的人提供了一种新鲜的聆听体验。莫尼苏兹科出生在现代白俄罗斯的明斯克地区,出身士绅,他对风俗、田野、森林和农村社区的怀念塑造了他的童年,这激发了他对以18世纪为背景的现代歌剧的热情。这些著名的音乐会版本的《伯爵夫人》和《闹鬼的庄园》提供了一个迷人的一瞥,让我们得以一窥十八世纪华沙贵族的挑衅和闪闪发光的沙龙,那里的居民与农民和乡村绅士的谦逊和谦逊的生活形成鲜明对比。在这两部歌剧中,莫努什科成功地为波兰分裂前的宫廷生活提供了浪漫化的描绘。虽然这两部歌剧在波兰被视为国宝,但在国外却并不出名。当时,波兰歌剧在很大程度上被意大利、法国和德国作曲家所掩盖,整个19世纪,波兰对哈布斯堡王朝、普鲁士和俄罗斯的征服,极大地导致了波兰作曲家的舞台作品被忽视。此外,歌手需要在语言的细微差别和变化方面接受训练。先前的录音要么不完整,要么没有歌词的英文译本。随着比昂迪和诺瓦克的唱片,莫努什科将自己的艺术传播给全球观众的愿景终于实现了。这些录音在国际舞台上对所有歌剧爱好者开放。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Moniuszko and the Revival of the Noble Traditions: The Countess and The Haunted Manor
The two recently recorded CD sets of Hrabina (The Countess) and Straszny dwór (The Haunted Manor) in complete concert versions with eighteenth-century instruments add enormously to the Polish operatic repertoire in the nineteenth century, and offer a fresh listening experience for those who have long wished for first-rate recordings of lesser-known, yet brilliantly executed, works of the hitherto neglected composer, Stanisław Moniuszko (1819–1872). Born in the Minsk district of modern Belarus, Monisuzko was gentry, and his nostalgia for the customs, the fields and forest, and the rural community that shaped his childhood years, fuelled his enthusiasm for modern operas set in the eighteenth century. These stellar concert versions of The Countess and The Haunted Manor provide a fascinating glimpse into the provocative and glittering salons of the eighteenth-century Warsaw nobility, whose inhabitants stand firmly in contrast to the more modest and self-effacing life of the peasants and the country gentry. In both operas Moniuszko successfully provides a romanticized portrayal of pre-Partition courtly life in Poland. While these two operas were highly regarded as national treasures in Poland, they were not particularly well known outside of the country. Polish opera at that time was largely overshadowed by Italian, French, and German composers, and the nation's subjugation to the Hapsburgs, Prussians, and Russians throughout the nineteenth century contributed mightily to the neglect of staged works by Polish composers. Additionally, singers needed to be trained in the nuances and inflections of the language. Prior recordings were either incomplete or were not available with English translations of the librettos. With the Biondi and Nowak recordings, Moniuszko's vision of expanding his art to a global audience has finally been achieved. These recordings are accessible to all opera enthusiasts on an international playing field.
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