影片简介
BUSONI: Doktor Faust
布梭尼的《浮士德博士》，8场歌剧，作于1916—1924年，未完成，布梭尼死后由西班牙作曲家雅尔纳赫续完。此剧剧情取自有关浮士德的传说（不是歌德的诗剧），布梭尼自撰脚本。描述浮士德在魏登堡以施行巫术为生，有6名妖精随从，其中一名梅菲斯特费勒斯者引浮士德赴巴尔玛宫廷施巫术，趁机诱逃公爵夫人。后浮士德回魏登堡，插手教会两派间的争执。一天，一乞讨妇女（实即原公爵夫人）将已死之子交浮士德，即隐身不见。浮士德施巫术化身为死孩，使死孩复生，化为一少年，手执青杖扬长而去。
布索尼1866年生于恩波利，幼年即展现高超的音乐天赋，8岁登台演奏钢琴。10岁到格拉茨学习，之后曾在赫尔辛基，莫斯科，波士顿等地任教，1894年定居柏林，一战期间避居瑞士，后返回德国，1924年逝世于柏林。
布索尼虽为意大利人，但其作品是完全的德奥风格。早期作品受李斯特和勃拉姆斯影响，规模宏大，技巧艰难。晚年提倡新古典主义，并提出电子音乐等设想。
布索尼也是伟大的钢琴家，并留有数张珍贵录音。他为钢琴改编了巴赫的许多管风琴作品和无伴奏小提琴曲《恰空》。
Along the years, there’s been some argument in the musical press whether Ferruccio Busoni was a great composer or if he rather was, as Richard Strauss’s own pun on himself, a first class second rate one. Well, this work, one of the most intriguing operas written during the 20th Century, is indeed a very serious argument towards establishing Busoni among the great composers. It has been slow in gaining recognition since its premiere in 1925, with all too infrequent performances, a kind of cult item that saw the stage, alongside Pfitzner’s Palestrina and Hindemith’s Mathis der Maler, only in solemn, festive occasions and mostly in the German-speaking orbit, the three works characterised as they are by an aura of deep philosophic content, in their different approaches dealing with the struggle of the creative artist in an hostile environment; of the three, Doktor Faust is by a notch becoming the better known, with gradually less infrequent performances during the last 15 years or so. London’s first staging took place only in the 1980’s and New York’s the following decade, in a pioneering event at NYCO that the Met only followed in the 2000’s.
Klaus Michael Grüber’s production for Zürich seems intent to maximize that episodic nature and the attempt to flow the acts together with a cinematic liquidity makes the "choppiness" (for lack of better word) of the work all the more noticeable. The enormous stage design seemed to me a blending of a hyper-realism mixed with the symbolic. To that end, watching this I was reminded (more than once) of the great silent movies, and the larger-than-life performances, odd costumings (for all but Faust and Mephistpheles) all enhance that feeling. At the same time, Grüber’s staging has a church pageant feel to it, almost enhancing the static qualities of the opera Mr. Hampson appears to be one of those always good looking fellows whose looks actually seem to only improve with age and here, even exhausted and greasyhaired, he looks terrific. The voice, always attractive is gorgeous in this incredibly difficult music and even when the music threatens to overwhelm him he is never less than compelling - giving everything he has. The last half hour of this piece is my favorite as it’s almost entirely Faust in this Wagnerian length soliloquy of ineffable beauty and power.
Recorded live at the Opernhaus Zürich, 2006.
Выпущено: США | Arthaus Musik
Продолжительность: 02:51:06
布梭尼的《浮士德博士》，8场歌剧，作于1916—1924年，未完成，布梭尼死后由西班牙作曲家雅尔纳赫续完。此剧剧情取自有关浮士德的传说（不是歌德的诗剧），布梭尼自撰脚本。描述浮士德在魏登堡以施行巫术为生，有6名妖精随从，其中一名梅菲斯特费勒斯者引浮士德赴巴尔玛宫廷施巫术，趁机诱逃公爵夫人。后浮士德回魏登堡，插手教会两派间的争执。一天，一乞讨妇女（实即原公爵夫人）将已死之子交浮士德，即隐身不见。浮士德施巫术化身为死孩，使死孩复生，化为一少年，手执青杖扬长而去。
布索尼1866年生于恩波利，幼年即展现高超的音乐天赋，8岁登台演奏钢琴。10岁到格拉茨学习，之后曾在赫尔辛基，莫斯科，波士顿等地任教，1894年定居柏林，一战期间避居瑞士，后返回德国，1924年逝世于柏林。
布索尼虽为意大利人，但其作品是完全的德奥风格。早期作品受李斯特和勃拉姆斯影响，规模宏大，技巧艰难。晚年提倡新古典主义，并提出电子音乐等设想。
布索尼也是伟大的钢琴家，并留有数张珍贵录音。他为钢琴改编了巴赫的许多管风琴作品和无伴奏小提琴曲《恰空》。
Along the years, there’s been some argument in the musical press whether Ferruccio Busoni was a great composer or if he rather was, as Richard Strauss’s own pun on himself, a first class second rate one. Well, this work, one of the most intriguing operas written during the 20th Century, is indeed a very serious argument towards establishing Busoni among the great composers. It has been slow in gaining recognition since its premiere in 1925, with all too infrequent performances, a kind of cult item that saw the stage, alongside Pfitzner’s Palestrina and Hindemith’s Mathis der Maler, only in solemn, festive occasions and mostly in the German-speaking orbit, the three works characterised as they are by an aura of deep philosophic content, in their different approaches dealing with the struggle of the creative artist in an hostile environment; of the three, Doktor Faust is by a notch becoming the better known, with gradually less infrequent performances during the last 15 years or so. London’s first staging took place only in the 1980’s and New York’s the following decade, in a pioneering event at NYCO that the Met only followed in the 2000’s.
Klaus Michael Grüber’s production for Zürich seems intent to maximize that episodic nature and the attempt to flow the acts together with a cinematic liquidity makes the "choppiness" (for lack of better word) of the work all the more noticeable. The enormous stage design seemed to me a blending of a hyper-realism mixed with the symbolic. To that end, watching this I was reminded (more than once) of the great silent movies, and the larger-than-life performances, odd costumings (for all but Faust and Mephistpheles) all enhance that feeling. At the same time, Grüber’s staging has a church pageant feel to it, almost enhancing the static qualities of the opera Mr. Hampson appears to be one of those always good looking fellows whose looks actually seem to only improve with age and here, even exhausted and greasyhaired, he looks terrific. The voice, always attractive is gorgeous in this incredibly difficult music and even when the music threatens to overwhelm him he is never less than compelling - giving everything he has. The last half hour of this piece is my favorite as it’s almost entirely Faust in this Wagnerian length soliloquy of ineffable beauty and power.
Recorded live at the Opernhaus Zürich, 2006.
Выпущено: США | Arthaus Musik
Продолжительность: 02:51:06
