莫札特 假扮園丁的姑娘

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莫札特 假扮園丁的姑娘 (Mozart: La finta giardiniera)
  • 中文名稱：莫札特 假扮園丁的姑娘
  • 英文名稱：Mozart: La finta giardiniera
  • 產品編號：BD-15583
  • 商品版本：英(語)
  • 碟片規格：BD25 x 1
  • 商品類型：音樂演唱會
  • 商品機種：25G藍光電影
會員價格：85 元
購買數量：
瀏覽次數：190
備註說明：影片年份：2014

商品介紹

法國指揮家伊曼紐艾姆與她的星光音樂會古樂團2014年於法國裡爾歌劇院演出的錄影。
      1775年，莫劄特剛從義大利遊歷歸來還未滿兩年，就發表了這齣全新的歌劇作品《冒牌女園丁》。這齣歌劇雖然很明顯受到義大利風格的影響，更令人驚嘆的是，莫劄特在音樂上所展現的超人天賦。相當符合大眾認知的戲劇對立元素，也透過音樂精準表現，歌曲旋律線條簡潔動聽，清楚勾勒出喜劇角色的特質。同時，莫劄特也在這齣戲裡，巔覆傳統莊歌劇裡高不可攀的貴族角色傳統，用音樂好好地揶揄了他們一番。1775年1月13日《冒牌女園丁》首演於慕尼克的薩爾瓦多劇院。
《冒牌女園丁》敘述原本是對戀人的貝爾福洛公爵和薇歐蘭特，某次爭吵中，貝爾福洛刺了薇歐蘭特一刀，於是薇歐蘭特就假冒成女園丁桑德琳娜，開始和貝爾福洛作對，貝爾福洛後來與阿敏妲訂親，但是在弄假成真陰錯陽差之後，薇歐蘭特最後還是選擇貝爾福洛。
本片是法國指揮家伊曼紐艾姆與她的星光音樂會古樂團，2014年的三月間，在法國的裡爾歌劇院演出的莫劄特《冒牌女園丁》。參與演出的聲樂家包括女高音莫莉（薇歐蘭特歐奈斯提），男高音斯卡拉（飾演貝爾福洛公爵）。
Mozart: La finta giardiniera, K196
Opéra de Lille, 2014
Carlo Allemano (Don Anchise, Podestà), Erin Morley (Sandrina/Violante), Enea Scala (Comte Belfiore), Marie-Adeline Henry (Arminda), Marie-Claude Chappuis (Ramiro), Maria V. Savastano (Serpetta) & Nikolay Borchev (Roberto (Nardo))
Le Concert d'Astrée, Emmanuelle Haïm (conductor) & David Lescot (stage director)
Alwyne de Dardel Set designs
Sylvette Dequest Costume designs
Paul Beaureilles  Lighting design
Atsushi Sakaï Assistant to the music director
Philippe Grisvard Chorus master
Jean-Pierre Loisil Movie director
The French conductor Emmanuelle Haïm conducts here her music ensemble Le Concert d'Astrée during this performance of Mozart's La Finta Giardiniera at the Opéra de Lille (France) on March 22nd and 25th 2014. This production, directed by David Lescot, stars a remarkable cast, with Erin Morley and Enea Scala in the roles of the Contino Belfiore and the Marchioness Violante Onesti.
Mozart was just 18 when La finta giardiniera (The pretend gardener-girl) was first seen in early 1775, though he already had a number of operas to his name. It was another six years before the first opera of the composer’s mature canon, Idomeneo, received its premiere.
A comedy (opera buffa) with a plot of extravagant complexity, La finta giardiniera provides early evidence of Mozart’s ability to capture the more serious truths that lurk beneath a farcical surface. It has been rising in popularity in recent years, with productions in such operatic centres as Berlin and Moscow and the Glyndebourne Festival, and it will be staged at the Santa Fe Opera in New Mexico in Summer 2015. Its central character is a young noblewoman, Violante Onesti, who is disguised as a gardener and going under the name of Sandrina. She is recovering from the emotional and physical wounds inflicted on her by her former lover, Count Belfiore, who is now betrothed to the tempestuous Arminda.
In Spring 2014 Emanuelle Haïm conducted her orchestra Le Concert d'Astrée and a carefully-chosen cast in La finta giardiniera, staged by the French director David Lescot, in the cities of Lille and Dijon; the production was described by the French newspaper La Croix as “three hours of pure happiness”. This video recording from Lille joins Haïm’s Erato DVDs of operas by Monteverdi (L’incoronazione di Poppea) Rameau (Hippolyte et Aricie) and Handel (Giulio Cesare). Lescot’s striking staging provides a contemporary take on the 18th century and the designs (by Alwyne de Dardel) evoke a garden by means of plants and shrubs in large pots – notably, Arminda is symbolised by a ferociously oversized Venus Flytrap. Later, as the plot thickens, the stage is spectacularly transformed into a forest. As the French music magazine Diapason wrote: “A director who is skilled at marrying word and music, David Lescot took ownership of the score, sensing its pulse, its respiration, its nuances and its schisms.”
The UK’s Opera magazine praised the production for its “clarity and simplicity”, judging that: “David Lescot’s direction ... demonstrated how these archetypes from opera buffa could be transformed through Mozart’s music into mature characters who had developed self-knowledge ... Emanuelle Haïm’s conducting ... captured the sense of dramatic progression in the extended finales of the first two acts, while also allowing the final act a sense of pace and dignity ... Enea Scala brilliantly conveyed Belfiore’s journey from a foppish, vainglorious figure of fun to a lover genuinely remorseful for his past mistakes, and displayed a secure, focused line in his singing. Erin Morley was an equally appealing Sandrina, with a voice of limpid clarity allied to a fine dramatic sense of her ability to transform Belfiore after their mutual moments of madness. Marie-Adeline Henry was a gloriously fiery Arminda.”