(分享)Pergolesi: Stabat Mater(MP3/320K/百度云首发)

admin

链接:https://pan.baidu.com/s/1eS3kqqA 密码:

游客，如果您要查看本帖隐藏内容请回复

360停服后，搬运资源的时候发现有些资源不能秒传。很多是不错的资源，在百度云盘里没有文件，未免遗憾。为使这些资源能火炬接力流传，我将逐步分享这些资源中的精品，这类资源我将打上“百度云首发”标签，希望大家多多扩散！
这也是老炫音的资源，现在早已难觅踪迹。虽然是mp3，但音质、旋律都非常过硬。
  ——播音灰机
Giovanni Battista Pergolesi: Stabat Mater. ARCHIV PRODUKTION [mp3 320k胶盘转录]

bvsll201hwu.jpg

qeixx3ijq4w.jpg

专辑英文名：Giovanni Battista Pergolesi: Stabat Mater.
专辑中文名：
唱片发行：ARCHIV PRODUKTION.
艺  术  家：Mirella Freni and Teresa Berganza
                  Solisti Dell'Orchestra Scarlatti Napoli Ettore Gracis
版        本：320 Kbit/s
资源格式：MP3        

这是一张由黑胶盘转录成mp3的，这张是Giovanni Battista Pergolesi的Stabat Mater。这张唱盘的确好听，可惜作者年仅26岁便辞世了。
由于是由黑胶盘转录的320Kbit/s音质，所以会有杂音。。无法在网上找到胶片封面，上传的是自己拍下的胶盘封面。
唱盘介绍：
Pergoleis的音乐标志了一种风格和历史的变迁。一方面后期巴洛克Neapolitan学院处于统治地位，前奏，高音和其他部已经形成了严谨的模式，就是每一组成都有一个完整的主题情感表达。另一方面，人们又期望表达更广更细腻的情感。Pergoleis用了一种全新的个人语言诠释了Stabat Mater。Pergoleis的Stabat Mater分为12部，或者独唱，或者双人唱。演唱者需要明亮有力的女高音。其间间或有合唱。由于教堂音乐的保守倾向，这部音乐一出世便得到了保守派的批评。另外，由于这部作品是作者辞世前几周所写，更有权威人士说他无法完成这部作品，最后作品是经他人整理的，随意音乐风格缺乏一致性。然而这并不能阻挡作品得到很多人狂热的追捧。今天，我们感谢Pergoleis将他的个人感受带进作品中，这使得这部作品区别于传统的模式。Pergoleis的这种流行的音乐风格使得其作品更加吸引人。这种创新也使得Pergoleis的重要性更加明显。

作者本人和主要演唱者简介：
Giovanni Battista Pergolesi (January 4, 1710 – March 16, 1736) was an Italian composer, violinist and organist.
Biography
Pergolesi was born in Jesi, where he studied music under Francesco Santini there before going to Naples in 1725 where he studied under Gaetano Greco among others. He spent most of his brief life working in Neapolitan courts.
Pergolesi was one of the most important early composers of opera buffa (comic opera). His opera seria Il prigioner superbo contained the two act buffa intermezzo, La Serva Padrona (The Landlady Servant, 1733), which became a very popular work in its own right. When it was given in Paris in 1752, it prompted the so-called Querelle des Bouffons (quarrel of the comedians) between supporters of serious French opera by the likes of Jean-Baptiste Lully and Jean-Philippe Rameau and supporters of new Italian comic opera. Pergolesi was held up as a model of the Italian style during this quarrel, which divided Paris's musical community for two years.
Among Pergolesi's other operatic works are his first opera La conversione e morte di San Guglielmo (1731), Lo frate 'nnammorato (The friar in love, 1732), L'Olimpiade (1735) and Il Flaminio (1735). All his operas were premiered in Naples apart from L'Olimpiade which was first given in Rome.
Pergolesi also wrote sacred music, including a Mass in F. It is his Stabat Mater (1736), however, for male soprano, male alto and orchestra, which is his best known sacred work. It was commissioned as a replacement for the one by Alessandro Scarlatti which had been performed each Good Friday in Naples. The work remained popular, becoming the most frequently printed work of the 18th century, and being arranged by a number of other composers, including Johann Sebastian Bach, who used it as the basis for his psalm Tilge, H?chster, meine Sünden, BWV 1083.
Pergolesi wrote a number of secular instrumental works, including a violin sonata and a violin concerto. A considerable number of instrumental and sacred works once attributed to Pergolesi have since been shown to be falsely attributed. Much of Igor Stravinsky's ballet, Pulcinella, which ostensibly reworks pieces by Pergolesi, is actually based on spurious works. The Concerti Armonici are now known to be composed by Unico Wilhelm van Wassenaer.
Pergolesi died at the age of twenty-six in Pozzuoli from tuberculosis.
(from wikipedia.org)
Mirella Freni (born 27 February 1935) is a famous Italian opera soprano much admired for the youthful quality of her voice and her acting skills. Her repertoire encompasses some forty roles, Verdi and Puccini in particular but also Mozart and Tchaikovsky. Freni was married many years to the Bulgarian basso Nicolai Ghiaurov, with whom she performed and recorded frequently.
Biography
Freni was born Mirella Freni into a working class family in Modena (both her mother and tenor Luciano Pavarotti's mother worked in the same cigarette factory in that city). She was a musically gifted child and sang "Un bel dì vedremo" in a radio competition at age ten. The tenor Beniamino Gigli warned her, however, that she risked ruining her voice and advised her to give up singing until she was older. She resumed singing at age 17.
Mirella made her operatic debut in Modena at 1955, at age 19, as Mica?la in Bizet's Carmen. She was offered many roles after this, but she decided to put her career aside and marry her singing teacher, Leone Magiera, and have a child.
She resumed her career in 1958 by winning a singing competition and singing Mimì in Puccini's La Bohème at the Teatro Regio in Torino. She then sang with the Netherlands Opera during the 1959-60 season. Her international breakthrough came when she sang Adina in Franco Zeffirelli's staging of Donizetti's L'Elisir d'Amore at Glyndebourne, where she also sang the Mozart comic roles of Susanna and Zerlina during the 1960-62 seasons.
In 1961, Freni made her Royal Opera House debut as Nannetta in Verdi's Falstaff. In 1963, she made her debut at La Scala, in a production staged by Zeffirelli and conducted by Herbert von Karajan (Freni went on to become one of Karajan's favourite singers, and she collaborated with him in numerous operas and concerts). In 1965, Freni made her Metropolitan Opera debut as Mimì, and later appeared there as Liù in Puccini's Turandot, as well as Marguerite in Faust and Juliette in Romeo and Juliette.
From the early 1970s into the 1980s, Freni began singing heavier Verdi roles, notably Elisabetta in Don Carlo, Desdemona in Otello, and Amelia in Simon Boccanegra, Elvira in Ernani, Leonora in La forza del destino, and the title role of Aida. She also added the Puccini heroines of Manon Lescaut and Tosca to her repertory, and recorded Madama Butterfly as well as all three roles of Il trittico.
In 1976 she starred memorably in a filmed production of Le Nozze di Figaro by Jean-Pierre Ponnelle. As Susanna, she not only sang beautifully but also displayed considerable acting skills.
In 1981, she married Ghiaurov, one of the leading operatic basses of the post-war period. Together they helped establish the Centro Universale del Bel Canto in Vignola, where they started giving master classes in 2002. Following Ghiaurov's death in 2004, Freni continues their work in preserving the Bel Canto tradition, and teaches young singers from around the world.
Freni published a memoir, Mio Caro Teatro in 1990. She was also awarded the order Cavaliere della Gran Croce della Repubblica Italiana that year and the French Légion d'Honneur in March 1993. The University of Pisa awarded her an honorary degree in 2002 for "her great contribution to European culture."
Freni continued to add to expand her repertory well into the 1990s with Italian verismo, taking on the title roles of Cilea's Adriana Lecouvreur in Milan, Paris and New York and Giordano's Fedora in Milan, New York, Torino and Zürich. In 1998, she performed the latter's Madame Sans-Gêne in Catania. During this time she also ventured into the Russian operas of Tchaikovsky, appearing as Tatiana in Yevgeny Onegin, Lisa in Pikovaya Dama, and Ioanna in Orleanskaya Deva. In 2005, the Metropolitan Opera celebrated the 40th anniversary of her Met debut and her 50th anniversary on the stage with a special gala concert conducted by James Levine.
(From wikipedia.com)