专辑英文名: Il barbiere di Siviglia
专辑中文名: 塞维利亚理发师
艺术家: Rossini 罗西尼版本: Servile,Ganassi,Vargas,Humburg 1992 NAXOS[OGG]
发行时间: 1993年
地区: 意大利
语言: 意大利语
简介:

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演出：
Sonia Ganassi, mezzo-soprano(Rosina)
Franco de Grandis, bass(Don Basilio)
Ingrid Kertesi, soprano
Ferenc Korpas, baritone
Laszlo Orban, bass
Angelo Romero, bass(Don Bartolo)
Kazmer Sarkany, bass
Roberto Servile, baritone(Figaro)
Ramon Vargas, tenor(Count Almaviva)
合唱团与乐团：
Hungarian Radio Chorus
Failoni Chamber Orchestra,Budapest
指挥：Will Humburg

专辑介绍：

以上演出信息来自Naxos网站
http://www.naxos.com/catalogue/item.asp?it...0027-29#

近些年来，世界各大唱片公司都陆续推荐出一些男高音新人，如DECCA的尤·海尔曼(Uwe Heilmann)，PHILIPS的安德烈亚·波切利(Andrea Boceli)，DG的拉塞尔·沃森(Russel Watson)，EMI的罗贝托·阿拉尼亚(Roberto Alagna)，ERATO的何塞·库拉(Jose Cura)，SONY的马切罗·阿尔瓦雷兹(Marcelo Alvarez)以及BMG的拉蒙·瓦尔加斯(Ramon Vargas)等。就Bel Canto价值的准则和尊重声音这一点而言，拉蒙·瓦尔加斯的唱法最好。

拉蒙·瓦尔加斯是继费南多·德·拉·莫拉(Fernando De La Mora)之后又一位墨西哥男高音新人，时下在世界各大歌剧院演出颇受欢迎。他生于墨西哥城，一眼失明，少时参加瓜德罗普教堂儿童合唱团，曾获得全国歌唱比赛大奖。1983年在墨西哥城做首次职业性的演出。当他获得1986年米兰卡鲁索歌唱比赛第1名之后，便赴奥地利继续深造，并与维也纳国家歌剧院和巴黎歌剧院签约。1992年，瓦尔加斯首次在美国纽约大都会歌剧院亮相，饰唱多尼采蒂《拉美莫尔的露契亚》中的艾德加，大获成功。随后又在该剧院饰唱威尔第《弄臣》中的曼图亚、普契尼《艺术家的生涯》中的鲁道夫和罗西尼《灰姑娘》中的拉米罗王子，也引起轰动。翌年，他以新制作的威尔第《法尔斯塔夫》中的芬顿一角首登米兰斯卡拉歌剧院舞台，指挥是穆蒂。此外，他还在美国洛杉矶歌剧院唱维特（马斯内《维特》）和休斯敦歌剧院唱霍夫曼（奥芬巴赫《霍夫曼德故事》）等，所到之处，大受欢迎。

拉蒙·瓦尔加斯擅长演唱Bel Canto作品和后期浪漫派歌剧，目前在斯卡拉歌剧院、维也纳歌剧院、英国皇家歌剧院以及布宜诺斯艾利斯科隆歌剧院等演唱。1998年加盟BMG。拉蒙·瓦尔斯是抒情男高音，能在咏叹调戏剧性高潮处用声加强激昂的唱法，但其本质仍然是抒情的。他的唱法自然、舒服、通畅、连贯，他的声区非常统一，不出现明显的声区痕迹，上下贯通，整个音域尤如一个声区，音色统一。Close一流，充分表现出他的Bel Canto美与力，这是同时期男高音新人所不及的。
（史君良著《唱片里的声乐艺术》人民音乐出版社）

http://arthaus-musik.com/blu-ray/neuerscheinungen/media/details/il_barbiere_di_siviglia-4.html

Gioachino Rossini
IL BARBIERE DI SIVIGLIA
Teatro Regio di Parma, 2011

Soloists: Ketevan Kemoklidze, Luca Salsi, Dmitry Korchak
Orchestra, Chorus: Orchestra e Coro del Teatro Regio di Parma
Conductor: Andrea Battistoni
Director: Stefano Vizioli

In Parma, where audiences are considered the most discerning in all Italy, the benchmark for vocal artists is set traditionally high. Operagoers here are intimately familiar with the works of their favourites, from Rossini to Puccini, and know every tricky corner by heart. God forbid any singer who fails to accomplish the task without due seemliness… Unsurprisingly, then, this performance attempts no directorial experiments. The main setting for this realistically inspired production – both indoors and out – is Rosina’s house, which is converted as required into its constituent parts. One happily turns a blind eye to a (historically authentically dressed) protagonist occasionally being seconded to move a piece of stage scenery. Stage presence, vocal perfection and above all the audibly and visibly gleeful participation of all performers in the action are a more than adequate payoff for the intellectual flights of fancy of other interpretations. Our rewards are found on the one hand in the precise and sure-footed direction of Stefano Vizioli. All performers know exactly the role they are required to play and how best to carry it off. On the other hand, the singers on stage and instrumentalists in the pit seem to enter a new dimension as soon as the Rossini machine gets up to speed. The spirited orchestra plays under the magical baton of Andrea Battistoni, born in Verona in 1987 and appointed principal guest conductor at Parma’s Teatro Regio in January 2011.