旧精魂的音乐

不少人提到了与Glenn Gould或者Tureck 的比较。我想与Gould 的反差是最大的：Gould的演绎，令我觉得是天籁---不是因为悦耳，而是一种完全“客观”的幻觉，象是冥冥中某种神秘的存在，使得一架空钢琴自行奏出，音符自然地轻轻或者奔涌地迸出，所谓“涧户寂无人，纷纷开且落”。 Tureck 的演绎，则是一个驾驭自己的内心turmoil，追寻并最终重归宁静的历程。 Dinerstein这里，则是青春版的Goldberg Variations。对宇宙是好奇多于理解，试探性的指触，象是小猫的爪子轻轻落下，于是宇宙变成了一个绒线球。 蛮可爱的。下次录制Mozart的少作何如？

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I always feel a Handel heroine's voice requires a sort of coolness and/or natural ease. Dessay's singing tends to be a little stretched; strained, even. Her talent is perhaps better applied to Donizetti.

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This excellent recording is by the German countertenor, Andreas Scholl, probably the greatest "castrato"-styled singer now active. His alto range is supposed to be similar to that of the Italian contralto castrato, Senesino, made famous to later generations by Handel's broad range of beautiful alto writing. Therefore Scholl's singing of Handel is perhaps as close to how the composer's voice inventions were heard in his own times as we could manage. Indispensible for someone like me who loves Handel arias. For comfort and joy I would probably still turn to Marilyn Horne, but that's just my personal bias and listening habit talking. For intellectual satisfaction one can argue this album is a must-have for Handel fans: the period play by the orchestra complements the singing very aptly and enjoyably. Compared to a good alto soprano's rendering of the same arias, "Cara Sposa", for example, the overall effect here is even more aesthetically "polished", yet a little emotionally detached. It is not unlike listening to Berganza singing Verdi. If you wish to be moved to tears by Handel (yes, it's possible), you are better off with Horne, or even Bartolli.

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I share the enthusiasm of many about this emerging artist. Just want to add one personal note: for a great soprano, Röschmann's voice is often beautifully subdued. I think it is this quality, reminding me of Marilyn Horne, that distinguishes her from Gens or von Otter or (the off-puttingly ubiquitous) Dessay. Warm, rich, yet sensually dark, Röschmann has melodiously earthy low notes, which conveys an emotional immediacy and sincerity that make her performance of Handel's German Arias truly moving. One may even say it is tinged with a maidenly diffidence that in turn enthralls and endears. I heard that among her recent operatic roles, Röschmann has taken on Susanna in 'Le nozze di Figaro', Zerlina and Donna Elvira in 'Don Giovanni', and Pamina in 'The Magic Flute'. One can easily see her as Pamina, singing the heart-felt lament in "Ach, ich fühl's, es ist verschwunden". Likewise as Donna Elvira, delivering "In quali eccessi". But I am very curious how Röschmann will sound as a mischievous and playful Susanna. She has a Teutonic seriousness that makes me wonder so; on the other hand, Röschmann also has a reputation of being able to take on drasticall different dramatic persona. That is why I am curious.

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