Elsa Dreisig – Miroirs

Elsa Dreisig – Miroirs

公司:Warner Classics

米洛伊斯用咏叹调和场景展示了艾尔莎·德雷西的声乐和戏剧风格,这些场景为歌剧场景或角色提供了不同的“思考”……古诺的《浮士德》中的玛格丽特和马塞内的《萨伊》中的萨伊都在镜子中沉思……罗西尼的顽皮罗西娜爱上了伪装的阿尔马维娃伯爵,成为莫扎特的已婚忧郁伯爵夫人……莎士比亚的朱丽叶准备在古诺和施泰贝尔的两首法国咏叹调中服下一剂致命的药水……多变的马农·莱斯考由马塞内和普契尼共同塑造,而犹太公主萨洛美则由马塞内和施特劳斯以鲜明对比的语言塑造。德雷西的双重民族传统(她出生在丹麦的母亲也是一名女高音)反映在她的唱片合作伙伴、蒙彼利埃国家交响乐团(Montpellier Occitanie Pyrénées Méditerranée e)和指挥家迈克尔·朔温特(Michael Schønwandt)身上。朔温特在哥本哈根皇家歌剧院担任了十多年的音乐总监。

Miroirs showcases Elsa Dreisig’s vocal and dramatic range with arias and scenes that offer different ‘reflections’ on an operatic situation or character … Marguerite from Gounod’s Faust and Massenet’s Thaïs both contemplate themselves in a mirror … Rossini’s playful Rosina, in love with the disguised Count Almaviva, becomes Mozart’s married and melancholy Countess… Shakespeare’s Juliet prepares to take a fateful potion in two French arias, by Gounod and Steibelt … The fickle Manon Lescaut is portrayed by both Massenet and Puccini, while the Judean Princess Salome is characterised in strikingly contrasting terms by Massenet and Strauss. Dreisig’s dual national heritage (her Danish-born mother is also a soprano) is reflected in her partners for the recording, the Orchestre national Montpellier Occitanie Pyrénées Méditerranée and the conductor Michael Schønwandt, who spent over a decade as music director of Copenhagen’s Royal Opera.

01. Faust, Act 3 – ‘Les grands seigneurs … Ah ! je ris de me voir si belle’ (Marguerite).flac
02. Thais, Act 2 – ‘Ah ! je suis seule … Dis moi que je suis belle’ (Thais).flac
03. Manon Lescaut, Act 2 – ‘In quelle trine morbide’ (Manon).flac
04. Manon, Act 2 – ‘Allons, il le faut ! … Adieu notre petite table’ (Manon).flac
05. Romeo et Juliette, Act 2 – ‘Je vais donc usurper les droits de la nature’ (Juliette).flac
06. Romeo et Juliette, Act 4 – ‘Dieu ! Quel frisson court dans mes veines _ … ‘ (Juliette).flac
07. Il barbiere di Siviglia, Act 1 – ‘Una voce poco fa’ (Rosina).flac
08. Le nozze di Figaro, K. 492, Act 2 – ‘Porgi amor’ (Contessa).flac
09. Herodiade, Act 1 – ‘Celui dont la parole efface … Il est doux, il est bon’ (Salome).flac
10. Salome, Op. 54, TrV 215, Scene 4 – ‘Ah ! Tu n’as pas voulu …’ (Salome).flac



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