Pearl "Opal" 9823
Alessandro Moreschi (1858-1922) entered the Sistine Chapel in 1883 and became conductor of the Choir in 1898. He is the only castrato to have ever been recorded; he retired in 1913.
The quality of the recording is as one would expect from those years. The music that was recorded is not terribly interesting either. All the composers on the program (except Victoria, Palestrina and Mozart) are 19th century composers. The value of the recording is its uniqueness. The voice is clearly in the soprano range. It is not a great voice, and the technique is either bad or marred by the habits of the time (in particular an abundance of portamento and scoops in the attacks of notes, which can be excruciating). But its timbre is very striking, with the ambiguity that one expects, and it is most intriguing in the high notes.
One should not, however, look at this recording as evidence on the castrati of the 18th century. Moreschi was as far from Farinelli as we are from, say, Rossini. The last castrato to sing on stage, Velutti, had retired 30 years before Moreschi’s birth. As his repertoire and technique show, he belongs to the world of late 19th century religious music, not Baroque opera. Whether due to the recording technique or (more likely) to Moreschi’s own voice, one learns nothing about the phenomenal strength, agility and holding power that were celebrated qualities of operatic castrati. What remains from this recording is a haunting quality of voice that is clearly unlike anything else.
评论
RE: ****令大家感到最恐惧的曲子!****
女武神序曲
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RE: ****令大家感到最恐惧的曲子!****
曲子現在倒想不到, 但家中有一隻唱片, 聽了不到 5秒, 我便將它以’黃金聖衣’封好, 放在’月光寶盒’中, 再在盒上加上封條, 放在隱密的地方, 以防自己受不住試探, 拿出來流毒中原. 它正是Opus多年前所出版的The Last Castrato. 陰陽怪氣, 妖氣衝天!
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RE: ****令大家感到最恐惧的曲子!****
最后的阉人歌手?
呵呵,我倒是想听一下,楼上的老兄可不可以说一下是谁唱的,不会真的是阉人吧? 如果是假声男高音唱的那就不希奇了
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RE: ****令大家感到最恐惧的曲子!****
Pearl "Opal" 9823
Alessandro Moreschi (1858-1922) entered the Sistine Chapel in 1883 and became conductor of the Choir in 1898. He is the only castrato to have ever been recorded; he retired in 1913.
The quality of the recording is as one would expect from those years. The music that was recorded is not terribly interesting either. All the composers on the program (except Victoria, Palestrina and Mozart) are 19th century composers. The value of the recording is its uniqueness. The voice is clearly in the soprano range. It is not a great voice, and the technique is either bad or marred by the habits of the time (in particular an abundance of portamento and scoops in the attacks of notes, which can be excruciating). But its timbre is very striking, with the ambiguity that one expects, and it is most intriguing in the high notes.
One should not, however, look at this recording as evidence on the castrati of the 18th century. Moreschi was as far from Farinelli as we are from, say, Rossini. The last castrato to sing on stage, Velutti, had retired 30 years before Moreschi’s birth. As his repertoire and technique show, he belongs to the world of late 19th century religious music, not Baroque opera. Whether due to the recording technique or (more likely) to Moreschi’s own voice, one learns nothing about the phenomenal strength, agility and holding power that were celebrated qualities of operatic castrati. What remains from this recording is a haunting quality of voice that is clearly unlike anything else.
他是最後亦是惟一有錄音的閹人歌手。
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RE: ****令大家感到最恐惧的曲子!****
我想听听~这歌怎么样
RE: ****令大家感到最恐惧的曲子!****
记得有一次听月光奏鸣曲,当时我在老家,深夜,点的是白炽灯,黄黄的那种电灯泡,塞尔金的琴声悠悠忽忽的飘了过来,我的眼睛开始闭起来,头微微的向后仰,开始沉浸在另一个世界,想到过去,想到分离,想到死别,想到爱情,想到生活,想到自己的将来。突然觉得很孤独,死坟一般的孤独,在琴声的催化下,一种令人毛骨悚然的宁静包围了我......
睁开眼睛..... 宁静...... 令人毛骨悚然的宁静......
(修改:Julian 2004-02-07 07:30)
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RE: ****令大家感到最恐惧的曲子!****
我们有同感!月光很恐怖!
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RE: ****令大家感到最恐惧的曲子!****
Panderewski的Threnos<<广岛受难者挽歌>>, 那是一种撕裂神经, 粉碎意志, 摧残感动......无法形容的摧毁, 却又如同幻觉一般的声响......一种竭斯底里的压抑与无法想象的凄厉的冲击......我无法容忍它的暴戾与压抑......但又无法抗拒那种从未在其它音乐里感觉到的变异, 畸形, 扭曲, 崩溃的神秘的快感....
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RE: ****令大家感到最恐惧的曲子!****
我有一段罗斯特洛波维奇于1966年在莫斯科的演奏录象.
那天是肖氏的60岁生日,也是他的新作第二大提琴协奏曲的首演日.罗斯特洛波维奇担任大提琴主奏.
第三乐章,极其难受,紧张的音符
---枪声,呻咛声一同灌入我的耳膜,令人毛骨悚然.我想肖氏一定描写的是昔日大清洗的恐怖岁月.
罗斯特洛波维奇也被其中过于狰狞,恐慌的旋律所感染,竟然在演奏时惊吓得咬紧牙关,大汗淋漓,全身发抖.
我口才太差,无法准确地描述这种情景,的确是无法想象的.很想把这段珍贵的录象传给大家---当然现在无法实现.
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RE: ****令大家感到最恐惧的曲子!****
阉人歌手有什么好怕的
我就经常听那个最后的阉人歌手的几首曲子
女武神序曲才叫可怕,好象一群人全副武装天罗地网来逮捕谁来了
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RE: ****令大家感到最恐惧的曲子!****
仔细用心地将马勒NO.6从头至尾听完……
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RE: ****令大家感到最恐惧的曲子!****
圣桑的《骷髅之舞》,感觉是一种“神圣的”恐怖感,好像一群骷髅拉着你一起跳舞的样子。。。。
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RE: ****令大家感到最恐惧的曲子!****
大家听《安魂曲》的震怒之日不觉得恐惧战栗吗?
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RE: ****令大家感到最恐惧的曲子!****
还是 拉赫玛尼诺夫的〈死之岛〉
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RE: ****令大家感到最恐惧的曲子!****
月光奏鸣
早上听的,一天都很不舒服……
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RE: ****令大家感到最恐惧的曲子!****
拉威尔《波罗莱舞曲》。
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RE: ****令大家感到最恐惧的曲子!****
“拉威尔《波罗莱舞曲》”?!!您是指它的第二主题吧,是有点阴森,可是远谈不上恐怖啊,况且还有一丝幽默呢。
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RE: ****令大家感到最恐惧的曲子!****
波罗莱舞曲,不恐怖吧!我经常听!
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RE: ****令大家感到最恐惧的曲子!****
大家有机会听听潘德列斯基的《圣卢克受难曲》吧。你可能不会听到比这更恐怖的人声了。如果说二十世纪的作曲家对乐器的音色的“开拓”还能让人忍受的话,那么对于人声的潜力“开发”只能是撕扯人的神经了。
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RE: ****令大家感到最恐惧的曲子!****
我认为是tosca的配乐,音乐中潜伏的危机感让人不寒而栗,虽然音乐本身很美。
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RE: ****令大家感到最恐惧的曲子!****
SHOSTAKOVICH15的末乐章,就是打击乐出来那里,越听乐毛骨悚然。
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RE: ****令大家感到最恐惧的曲子!****
我一开始是觉得弱音器的铜管出来很恐怖,不过后来克服了,只觉得那是小“刺激”,最终还是回到平静的
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RE: ****令大家感到最恐惧的曲子!****
<命运之力>中最后一幕----哥哥将匕首插入妹妹的胸膛.
这一幕我只是第一次听这部戏的时候听过,后来每次都跳过去.实在不忍心听
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RE: ****令大家感到最恐惧的曲子!****
说个曲子,虽然一点也不恐怖。但其对心灵带来的震撼比任何“恐怖”的音乐要深刻千倍---MAHLER第九的末乐章。
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RE: ****令大家感到最恐惧的曲子!****
Tchaikovsky orchestral suite no.1 movement1----prelude
extreme terrible!!
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RE: ****令大家感到最恐惧的曲子!****
可能还要算上老柴曼弗雷德交响曲第一乐章——感觉像是一个疯狂的野兽……
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RE: ****令大家感到最恐惧的曲子!****
henry cowell, "The Banshee" =.=
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RE: ****令大家感到最恐惧的曲子!****
勋伯格 月迷彼莱罗
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RE: ****令大家感到最恐惧的曲子!****
Hildegard von Bingen 's works
很遥远的感觉
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RE: ****令大家感到最恐惧的曲子!****
女武神序曲
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RE: ****令大家感到最恐惧的曲子!****
越恐怖的我就越喜欢!
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RE: ****令大家感到最恐惧的曲子!****
哦......听听拉威尔哈巴聂拉的小提琴与钢琴改编版,克莱斯勒的老录音......手脚冰凉……
RE: ****令大家感到最恐惧的曲子!****
"哦......听听拉威尔哈巴聂拉的小提琴与钢琴改编版,克莱斯勒的老录音......手脚冰凉…… "哦?不会啊,不过我是听格吕米欧的,克莱斯勒的没听过
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RE: ****令大家感到最恐惧的曲子!****
广岛受难者挽歌,内容再深刻,意义再重大,那也是噪音,起码摧残听觉神经以及整个神经系统
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RE: ****令大家感到最恐惧的曲子!****
你害怕吗???我狠想听听!我终日拿着谱子看那些看不懂得符号,好像听一听。
RE: ****令大家感到最恐惧的曲子!****
肖斯塔科维奇的弦乐四重奏的几首,还有拉赫曼尼诺夫的交响舞曲第三乐章
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RE: ****令大家感到最恐惧的曲子!****
肖斯塔科维奇的多数作品都深有恐惧之味,重点曲目:第15、第13、第11、第5交响曲, "犹太诗歌"第一首.
巴托克的第1、2小提琴协奏曲.
马勒第6的终乐章.
越恐怖就越喜欢的朋友可在夜深单人坐聆,放松地聆......
至于月光奏鸣曲阴森之说,听完了上述曲目再论吧.
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