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  • 塔尔贝格：威尔第、罗西尼和贝利尼的歌剧幻想曲
    THALBERG: Fantasies on Operas by Verdi, Rossini and Bellini
    专辑号：8.223367
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• • 塔尔贝格：威尔第、罗西尼和贝利尼的歌剧幻想曲/THALBERG: Fantasies on Operas by Verdi, Rossini and Bellini
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  • SigismondThalberg (1812-1871) Fantasieson Operas by Verdi, Rossini and Bellini Grandefantaisie de concert sur I’opera La Traviata de Verdi. Op. 78 Grandefantaisie de concert sur I’opera II Trovatore de Verdi, Op. 77 Souvenirde Ballo in maschera de Verdi, Op. 81 Souvenirde Rigoletto de Verdi, Op. 82 Fantaisiesur I’opéra L’Assedio di Corinto de Rossini, Op. 3 CastaDiva (from Bellini’s opera Norma), Op. 70 Somemystery surrounds the birth and parentage of the virtuoso pianist SigismondThalberg, popularly supposed to have been the illegitimate son of Count MoritzDietrichstein and the Baroness von Wetzlar, born at Pâquis near Geneva in 1812.His birth certificate, however, provides him with different and relativelylegitimate parentage, the son of a citizen of Frankfurt, Joseph Thalberg. Thereseems no particular reason, therefore, to suppose the name Thalberg aninvention. Legend, however, provides the story of the Baroness proclaiming hima valley (Thai) that would one day rise to the heights of a mountain (Berg).Thalberg’s Schooling took him to Vienna, where his fellow-pupil the Duke ofReichstadt, the son of Napoleon, almost persuaded him to a military career.Musical interests triumphed and he was able to study with Simon Sechter andwith Mozart’s pupil Hummel. In Vienna he performed at private parties, making aparticular impression when, as a fourteen-year-old, he played at the house ofPrince Metternich. By 1828 he had started the series to compositions that wereto prove important and necessary to his career as a virtuoso. In 1830 heundertook his first concert tour abroad, to England, where he had lessons fromMoscheies. In 1834 he was appointed Kammervirtuos to the Emperor in Vienna andthe following year appeared in Paris, where he had lessons from Kalkbrenner andPixis. Parisin the 1830s was a city of pianists. The Conservatoire was full of them, whilesalons and the showrooms of the chief piano-manufacturers Erard and Pleyelresounded with the virtuosity of Kalkbrenner, Pixis, Herz, and, of course,Liszt. The rivalry between Thalberg and Liszt was largely fomented by thepress. Berlioz became the champion of the latter, while Fétis trumpeted theachievements of Thalberg. Liszt; at the time of Thalberg’s arrival in Paris,was in Switzerland, where he had retired with his mistress, the Comtesse Maried’Agoult. It was she who wrote, under Liszt’s name, a disparaging attack onThalberg, to which Fétis replied in equally offensive terms. The so-calledrevolutionary princess, Princess Belgiojoso, achieved a remarkable social coupwhen she persuaded the two virtuosi to play at her salon, in a concert in aidof Italian refugees. As in other such contests, victory was tactfully sharedbetween the two. Thalberg played his Moses fantasy, and Liszt answered with hisnew paraphrase from Pacini’s opera Niobe. The Princess declared Thalberg thefirst pianist in the world, while Liszt was unique. She went on to commission aseries of variations on a patriotic theme from Bellini’s I Puritani from the sixleading pianists in Paris, to which Liszt, Thalberg, Chopin, Pixis, Herz andCzerny contributed. This composite work, Hexameron, remained in Liszt’s concertrepertoire. Musicaljournalism has created a legend of Thalberg’s defeat and departure and continuingrivalry between the two. An element of competition remained, although thereseems to have been no open animosity and Liszt wrote a letter of condolence toThalberg’s widow, after his death in 1871. Thalberg went on to enjoy a careerof the greatest distinction, touring as far as the Americas, where Liszt neverwent, with recitals in Brazil and Havana and an extended stay, with theviolinist Vieuxtemps, in the United States, where, in the space of two years,he gave 56 recitals in New York, with a repertoire chiefly but not entirelydevoted to his own compositions. Liszt, meanwhile, included some of Thalberg’soperatic paraphrases and fantasies, which, through Marie d’Agoult, he had oncepublicly disparaged, in his repertoire. In1843 Thalberg had married in Paris the daughter of the famous bass LuigiLablache, widow of the painter Boucher. Attempts at operatic composition provedunsuccessful, with Florinda, staged in London in 1851 and Cristina di Suezia inVienna four years later. His career as a virtuoso continued until 1863, when heretired to Posilippo, near Naples, to occupy himself for his remaining yearswith his vineyards. He died in Posilippo in 1871. Thalberg’sGrande fantaisie sur des motifs de la Norma, won praise from Schumann,who generally had little time for mere technical virtuosity. There was aboutThalberg’s playing, and in consequence about his compositions for the piano, acertain element of classicism, and this certainly appealed to Clara Schumannand others who disliked the showmanship of Liszt and his habit of"improving" the music of others in performance. Thalberg exercisedconsiderable discipline over his performance, his upright posture, he alleged,the result of smoking a meerschaum while practising technical exercises. Chopin,however, was not impressed, claiming that Thalberg used the soft pedal for hiseffects rather than securing a soft tone by touch, as he himself would havedone. One particular effect used by Thalberg was displayed in the setting of amelody to be played by the thumbs of right and left hand, surrounded above andbelow by arpeggios, giving the impression of three hands rather than two. Heachieved this in part by his subtle use of the sustaining pedal. Criticscommented on his runs of pearl-like clarity and the singing tone of which hewas capable. This last is taught in his pedagogical work, L’art du chantappliqué au piano, in which he uses examples drawn from opera. Thefantasy on operatic themes was in the 19th century a composition of importance inits own right, serving to delight audiences by the familiarity of its melodicmaterial and the ingenuity and artifice exerted in its virtuoso presentation.The Grande fantaisie de concert on Verdi’s opera La traviata, basedon La dame aux camélias of Alexandre Dumas fils, uses the best knownthemes of the work. Verdi’s opera deals with the love of Alfredo for thecourtesan Violetta, who gives up her life of pleasure for hirn, to return to itat the request of his father, in an act of self-sacrifice. The lovers are onlyre-united at Violetta’s death-bed. Melodies used include Alfredo’s fatherGermont’s gently persuade Di Provenza il mar, in which he tries topersaude his son to return home, and Violetta’s farewell to life in Addiodei passato. A bravura passage leads to an equally elaborate treatment ofthe first celebration of the love of Alfredo and Violetta in Un dí felice. Thefantasy on Verdi’s II trovatore, an opera based on a Spanish playby Antonio Garcra Gutiérrez, again introduces the principal themes of the work.The plot of the opera concerns the troubadour of the title, Manrico, supposedson of the gypsy Azucena, but in fact the son of her persecutor, the old Countdi Luna and younger brother of his heir, the young Count. Manrico and his brotherare both in love with Leonora and the work ends with the death of Leonora bypoisoning, having sacrificed herself in vain for the life of Manrico, who isexecuted on his brother’s orders. It is only then that Azucena reveals to theCount Manrico’s true identity. The fantasy uses the themes of Manrico andLeonora’s final scene and the dreams of her home mountains of the imprisonedgypsy Azucena in Ai nostri monti, with memories of what has happened.Manrico’s prison farewell to Leonora, Ah! che la morte is alsoheard. Unballo in maschera deals with regicide, the death at the hands of a wrongedhusband of Gustavus III of Sweden, improbably translated, at the demand of theNaples censors, to colonial Boston. Themes used include the music of theconspirators, the sound of the ball itself, at which the king is to be killed,and the music that accompanies the revelation to them of the disguise assumedby the king. As usual Thalberg makes no attempt to take material in the orderin which it appears in the opera, so that material from the second act visit tothe fortune-teller and the king’s light-hearted attempt to avoid the warning hehas been given occur relatively late in the fantasy. InRigoletto Verdi transformed the play Le roi s’amuse of VictorHugo. The hunchback court jester of the title helps the philandering Duke inhis amours, mocking those whose wives and daughters are seduced and ruined,only to have his own daughter abducted and seduced by the Duke, whom he thenplans to murder. A stroke of irony leads to the death instead of Rigoletto’sdaughter Gilda, who has attempted to protect the man who has seduced her. The Souvenirde Rigoletto opens with Gilda’s love song Caro nome, in which shemuses on the false name the Duke has given her, disguised as a student. Thetheme lends itself to embellishment, as does the love duet of the Duke andGilda, E il sol dell’anima. The scurrying courtiers, plotting to abductGilda, are heard in Zitti, zitti and the Duke in his wooing ofMaddalena, Bella figlia dell’amore, with the theme associated with thehired assassin Sparafucile. Rossini’sII assedio di Corinto (The Siege of Corinth) is nowadays less familiar,apart from the overture, which is heard in concert programmes. The work isbetter known under its original French title Le siège de Corinthe, areworking for the French operatic stage of his earlier Maometto II, adrama of love rather than of conquest. Thalberg again uses principal themesfrom the opera, but not in dramatic order. Thalbergchose to write fantasies on themes from a number of operas by Vincenzo Bellini,the leading composer of Italian opera in the decade from 1825. Norma treatsthe characteristic operatic conflict between love and duty, here set in ancientGaul, where the Druid priestess of the title, secretly married to an enemy ofher people, the Roman officer Pollione, solves her dilemma by ensuring thedeath of both. The opera was first staged in Milan in 1831. The best know ariais Norma’s demanding Casta diva, in which she prays to the goddess ofthe moon to bring peace. This aria, the best known of all in Norma, istreated with all Thalberg’s ingenuity. FrancescoNicolosi FrancescoNicolosi was born in Catania in 1954 and studied first at the Liceo MusicaleVincenzo Bellini in his nativecity, taking lessons from Giovanna Ferro andlater from Vincenzo Vitale in Naples, where he now lives. A prize-winner in1980 at the Santander International Competition and, in the same month, inGeneva, where his performance of Mozart’s D minor Piano Concerto won the praiseof Clara Haskil, he has since secured a reputation as one of the mostinteresting young pianists of his generation. He has performed in the concerthall with leading orchestras and in chamber music has partnered thedistinguished Korean cellist Myung Wha Chung. His first compact disc recording,in 1984, was devoted to transcriptions of Bellini by Liszt and Thalberg. In1988 hegave the first performance in Italy of Thalberg’s F minor PianoConcerto. For Marco Polo he has recorded the complete Italian operaticparaphrases of Thalberg, on four compact discs.
  • • 专辑列表
    • Grande fantasie de Concert sur l'opera La Traviatta de Verdi, Op. 78

      

      1: Grande fantasie de Concert sur l'opera La Traviatta de Verdi, Op. 78

      09:51

      Grande fantasie de concert sur l'opera Il Trovatore de Verdi, Op. 77

      

      2: Grande fantasie de concert sur l'opera Il Trovatore de Verdi, Op. 77

      09:38

      Souvenir de Ballo in mascera de Verdi, Op. 81

      

      3: Souvenir de Ballo in mascera de Verdi, Op. 81

      09:13

      Souvenir de Rigoletto de Verdi, Op. 82

      

      4: Souvenir de Rigoletto de Verdi, Op. 82

      11:33

      Fantasie sur l'opera L' Assedio di Corinto de Rossini, Op. 3

      

      5: Fantasie sur l'opera L' Assedio di Corinto de Rossini, Op. 3

      13:02

      Casta Diva, Op. 70 (from Bellini's Opera, Norma)

      

      6: Casta Diva, Op. 70 (from Bellini's Opera, Norma)

      07:31