但每個女高音都像Anna Netrebko或Angela Gheorghiu般年輕貌美，事實上事不可能的...
“A woman of a certain age and plumpness is not credible in the character of Violetta,” the veteran film and opera director told her.
Asked about the threat of legal action, he said: “She can threaten what she likes, but I am entitled to choose my singers and exercise my artistic freedom.”
Zeffirelli is still a dominant force in Italian opera. Last September a decision by New York’s Metropolitan Opera to open its 2009-2010 season with a new production of Tosca directed by Luc Bondy caused a stir after a number of opera fans demanded Zeffirelli’s 25-year-old staging instead. （08/01/2010）
Gramophone exclusive: Lang Lang signs to Sony
Chinese pianist moves from DG
Chinese pianist Lang Lang has signed to Sony Music.
The 27-year-old moves from Deutsche Grammophon, the label he joined in 2003. In the years since, his virtuoso talent and media appeal have propelled him to the status of one of classical music’s highest-profile stars, not least in China where he has become a figurehead for the country’s burgeoning enthusiasm for classical music.
The deal with Sony begins this month and their first disc together is due in the autumn, though repertoire details are yet to be announced. According to Lang Lang’s management, part of the reason for the move is the increased opportunities that Sony, a media company with film and technology divisions, can offer. In 2008 the pianist became a brand ambassador for Sony, helping promote its electronics products.
Lang Lang’s most recent recording on DG – Rachmaninov and Tchaikovsky chamber works performed with Vadim Repin and Mischa Maisky – was well received in Gramophone’s November 2009 issue.
Earlier this month Sony Classical also announced the signing of Simone Dinnerstein, another high-profile pianist whose previous two discs both topped the US Classical Billboard chart. She moved from Telarc – the label where, incidentally, Lang Lang had begun his recording career prior to joining DG. （26 January 2010）
- 瑞典果然是北歐音樂的老大，在Eduard Tubin與Hugo Alfvén之外，還有很多曲目有待進一步陸續開發。
- Naxos旗下不缺英國、中歐、北歐與俄國交響樂團，但德國樂團似乎還是其久攻不下的罩門，這麼多年下來固定合作對象仍侷限在Staatskapelle Weimar與Cologne Chamber Orchestra兩團體，CPO在這方面佔了先天地利之便。
Cramer: Klavierkonzert Nr. 5
Czerny: Divertissement de concert op. 204
Ries: Klavierkonzert op. 55
Clementi: Klavierkonzert C-Dur
Field: Klavierkonzert Nr. 2
Hummel: Concertino op. 73 fur Klavier & Orchester; Klavierkonzert op. 110 "Les Adieux"
Hiller: Klavierkonzert op. 69;Konzertstuck op. 113
Litolff: Concerto symphonique op. 45 fur Klavier & Orchester
Beach: Klavierkonzert op. 45
Kalkbrenner: Klavierkonzert Nr. 1
Moscheles: Klavierkonzert op. 58
Weber: Klavierkonzerte Nr. 1 & 2; Konzertstuck op. 79
Volkmann: Konzertstuck op. 42 fur Klavier & Orchester
Henselt: Klavierkonzert op. 16
Chopin: Allegro de concert op. 46 fur Klavier & Orchester
Moszkowski: Klavierkonzert op. 59
Scharwenka: Klavierkonzert op. 56
Raff: Klavierkonzert op. 185; Ode an den Fruhling op. 76
Mosonyi: Klavierkonzert e-moll
Stavenhagen: Klavierkonzert op. 4
Schubert / Liszt: Fantasie uber Beethovens "Die Ruinen von Athen"; Wanderer-Fantasie fur Klavier & Orchester
Weber / Liszt: Polonaise brillante op. 72
Liszt: Concerto pathetique e-moll; Fantasie uber ungarische Volksthemen; Malediction; Totentanz
d'Albert: Klavierkonzert Nr. 2
Bronsart: Klavierkonzert op. 10
Berwald: Klavierkonzert Nr. 1
Alkan: Concerto da camera Nr. 2 fur Klavier & Orchester
Schumann: Introduktion & Allegro appassionato op. 92
Mayr: Klavierkonzert Nr. 1
Roussel: Klavierkonzert op. 36
Pierne: Klavierkonzert op. 12
Tschaikowsky: Klavierkonzert Nr. 3; Konzertfantasie op. 56
Sinding: Klavierkonzert op. 6
Goetz: Klavierkonzert op. 18
Reinecke: Klavierkonzert Nr. 1
Mendelssohn: Capriccio brillant op. 22
Rheinberger: Klavierkonzert op. 94
Rubinstein: Klavierkonzert Nr. 4
Thalberg: Klavierkonzert op. 5
Medtner: Klavierkonzert Nr. 3
Balakireff: Klavierkonzert Nr. 2
Liapunov: Rhapsodie uber ukrainische Themen
Lalo: Klavierkonzert f-moll
Glasunow: Klavierkonzert Nr. 2
Gershwin: Klavierkonzert F-Dur
Barber: Klavierkonzert op. 38
MacDowell: Klavierkonzert Nr. 2
What didn’t happen to classical music in the past decade is almost more significant than what did. Despite dire predictions, orchestras haven’t collapsed because major record companies no longer make many classical CDs. The bands started their own labels instead, and enterprising independent companies also plugged the gap. We may no longer get 90 new recordings of Beethoven symphonies every year. But what’s coming from companies such as Hyperion, Linn, Naxos, ECM and Chandos is far more eclectic and often more enthralling.
Nor did classical concerts cease because the Grim Reaper claimed its remaining devotees — another common jeremiad in the late 20th century. In London, at least, there’s evidence that serious contemporary music is attracting far bigger and younger audiences than for decades. A Xenakis festival was an unexpected box-office hit. And while audiences in the regions may still need rejuvenating, one can reasonably hope that the exceptional charisma of the conductors now working outside London — notably Mark Elder in Manchester, Andris Nelsons in Birmingham, Vasily Petrenko in Liverpool, Stéphane Denève in Scotland — will trigger a renaissance.
The other potential disaster ten years ago was the disappearance of music in state schools. That, too, has been averted, though only narrowly. Music still exists at the precarious margins of the curriculum, but at least the government-funded Sing Up campaign has given a long overdue boost to choral singing in primary schools, and the lottery-funded charity Youth Music has ensured that far more musical opportunities now exist in poor communities. But compared with the superb musical education on offer to all children in Finland or Venezuela we still have a mountain to climb.
本誌短評：這裡談的都是英國國內的音樂教育。為了挽救日漸式微的中小學音樂課程，英國政府於2009年2月宣布，在2009到2011三年間將投入四千萬英鎊來推行「高聲歌唱」(Sing Up)方案，在英國各小學大力推廣歌唱課程，而Youth Music則是一項涵蓋面更廣泛的長期「孵夢」計畫，鼓勵兒童與青少年勇敢追求自己的音樂夢想，無論是組搖滾樂團或學習小提琴...
It was those Venezuelans — the Simón Bolívar Youth Orchestra — who provided the defining classical-music moment of the decade, when they gate-crashed Europe’s sedate halls with their gloriously exuberant performances and riotous samba routines. I think they made the entire profession — orchestras, soloists, conductors, impresarios, even composers — ask themselves: “Why can’t we enthuse audiences like that?” Expect a lot more informality in concert halls in the next decade, and a lot more classical music breaking out into unexpected venues. And expect to hear young composers and performers following the example of Yo-Yo Ma’s Silk Road project and cheerfully genre-hopping between jazz, rock, world and contemporary classical styles. After all, the target audience is already doing exactly that.
Face of the decade: Gustavo Dudamel.
The brilliant young Venezuelan conductor has come from nowhere to transform notions of what symphonic concerts can be like. His ebullient Simón Bolívar Youth Orchestra has dazzled audiences around the world, and reminded us that classical music needn’t be an artform reserved for wrinklies.
Bernstein is not well served by another article in which we are told, approvingly, that he departed from the score because of his "extraordinary knowledge of Hofmannsthal's text". The writer says that the "best example" is in the second "Heut'oder Morgen" of the Marschallin in Act I "where Bernstein creates the musical climax with a crescendo that is not indicated in the score". Oh Isn't it?—it is in my copy. Then, he adjusts the balance in the Act 1 Trio for the Marschallin, Octavian and Ochs, where "lousy composing by Strauss" is apparently held to blame for the inaudibility in some performances of the Marschallin's "und wir, Herr Gott! Wir leiden den Schaden".
An exciting and eloquent reading on all sides, this version must now be rated with the established frontrunners—but, as with some of those, most notably any of Callas's versions and Muti's previous recording with Scotto, it is not for the fainthearted, or for those who like their Violettas to have full, equally, produced voices—they should look to Sutherland (Decca, 1/84) or, of more recent vintage, Studer (DG, 1/93). Fabriccini is evidently not an Act 1 Violetta. She has problems with the Brindisi and to an extent with "Un di felice". One is just about to write her off as technically too flawed, when in "Ah, fors'e lui" she suddenly alerts the mind and senses to her quality with her inflexions of the single word "palpito' , and in the second verse (we have here an utterly complete and accurate La traviata) she again and again phrases with distinction or colours words significantly— listen to the infinite tenderness of "0 amore". So, after all, this is a Violetta, even without assured coloratura and with problems at the passagio, who is going to hold our attention and move us.Once confronted by father Germont in the Second Act she makes us aware that we are in the presence of a notable and individual artist, with a tear in the voice and what the Italians term morbidezza. My notes of praise hereabouts are copious. The urgency of "pin non esiste" as if this Violetta is aware that a blow is about to hit her, the weight of sorrow on "L'uomo giovane", these and so much else bespeak not only complete identification with Violetta's predicament but also vocal acumen of an exceptional kind, often based on the seemingly lost art of portamento. Because this is a live performance we are conscious that the singer's acting is part of the secret of the reading's success, that and the obvious youth of a soprano who is not yet a preening prima donna. Maybe the power and security are not there for "Amami, Alfredo", yet the passion is very much present, as is the Italianate rightness of sound and accent.
英國《Gramophone Classical Good CD Guide》推薦
Domingo's Rodolfo is more or less as it was for Maazel—generous in tone and phrase, a little short on subtlety. This is the satisfying but generalized performance we are accustomed to from this ever-willing tenor. Many will not complain when the involvement is so obvious even if he Sometimes seems in another acoustic from the orchestra (tracking on?). Maybe it is unkind to say that a tenor of the Schipa variety without Otello overtones is more suitable for Schiller's and Verdi's heart-broken hero. And that's what we have in the Pavarotti of 1975 for Maag, then at his most sweetly and engagingly lyrical.
ably as the work progresses rising finely to the sad, doomed girl of Act 3. "Ah! l'ultima preghiera" is delivered in that plangent, piano tone of which we know she is mistress. A little earlier in the act, she and Vladimir Chernov draw all the tenderness and plaintive beauty Out of "Andro, raminghi e poveri": this is Verdi singing of the highest class in both tone and feeling. But then Caballé (Maag) and Ricciarelli (Maazel) are just as appealing, Caballé more even of tone, Ricciarelli even more affecting than Mille. Choice between the three will very much depend on which prima donna's voice and style you prefer. All are appreciable Luisas.