【小提琴專輯】 Carmen - Fantasie

ANNE-SOPHIE MUTTER/CARMEN FANTASIE Musicians: Anne-Sophie Mutter, violin Vienna Philharmonic James Levine, conductor Pablo De Sarasate (1844-1908) Track Listing: 1. Zigeunerweisen (Airs bohemiens): Henryk Wieniawski (1835-1880) 2. Legende: Giuseppe Tartini (1692-1770) 3. Sonata in G Minor "Devil's Trill" (arranged by Riccardo Zandonai): Maurice Ravel (1875-1937) 4. Tzigane: Jules Massenet (1842-1912) 5. Meditation - from "Thais": Pablo De Sarasate 6.-10. Fantasie de concert sur des motifs de:  "Carmen" 11. Gabriel Faure (1845-1924):  Berceuse   Total Time: 66:43

Carmen Fantasy (Sarasate) From Wikipedia, the free encyclopedia   The Carmen Fantasy, Op. 25, by Pablo de Sarasate, is a violin fantasy on themes from the opera Carmen by Georges Bizet. The piece contains an adaptation of the Aragonaise, Habanera, an interlude, Seguidilla, and the Gypsy Dance. Carmen From Wikipedia, the free encyclopedia Carmen is a French opéra comique by Georges Bizet. The libretto is by Henri Meilhac and Ludovic Halévy, based on the novella of the same title by Prosper Mérimée, first published in 1845,[1] itself influenced by the narrative poem The Gypsies (1824) by Alexander Pushkin.[2] Mérimée had read the poem in Russian by 1840 and translated it into French in 1852.[3] The opera premiered at the Opéra-Comique of Paris on 3 March 1875, but its opening run was denounced by the majority of critics.[4] It was almost withdrawn after its fourth or fifth performance, and although this was avoided, ultimately having 48 performances in its first run,[5] it did little to bolster sagging receipts at the Opéra-Comique. Near the end of this run, the theatre was giving tickets away in order to stimulate attendance. Bizet died on 3 June 1875, never knowing how popular Carmen would become. In October 1875 it was produced in Vienna, to critical and popular success, which began its path to worldwide popularity.[6] It was not staged again at the Opéra Comique until 1883. Since the 1880s it has been one of the world's most performed operas[7] and a staple of the operatic repertoire. Carmen appears as number four on Opera America's list of the 20 most-performed operas in North America.[8] Bizet's final opera not only transformed the opéra comique genre that had been static for half a century, it virtually killed it. Within a few years, the traditional distinction between opera (serious, heroic and declamatory) and opéra comique (light-hearted, bourgeois and conversational with spoken dialogue) disappeared. Moreover, Carmen nourished a movement that was to win both celebrity and notoriety first in Italy and then elsewhere: the cult of realism known as verismo.[9] The early death of Bizet and the negligence of his immediate heirs and publisher led, as with most of Bizet's operas, to major textual problems for which scholars and performers only began to find solutions since the 1960s.[10] The story is set in Seville, Spain, c. 1830, and concerns the eponymous Carmen, a beautiful Gypsy with a fiery temper. Free with her love, she woos the corporal Don José, an inexperienced soldier. Their relationship leads to his rejection of his former love, mutiny against his superior, and joining a gang of smugglers. His jealousy when she turns from him to the bullfighter Escamillo leads him to murder Carmen. 卡門 維基百科，自由的百科全書 卡門》是比才的一部歌劇。該劇在比才死後才獲得成功。美國女高音格拉汀·法拉的有聲電影和查理·卓別林的一部無聲電影更是擴大了歌劇的名聲。20世紀80年代有過一次卡門熱潮。1983年的幾個月內，彼得·布魯克改編版的《卡門悲劇》上演，在隆達導演弗朗切斯哥·羅斯協同多明哥拍攝了電影版的卡門。 背景 地點：西班牙塞維亞 時間：19世紀初 歌劇通過光影對比來渲染那些陰暗的行動。第一幕是在塞維亞的街頭，看守來回的走動。菸廠女工的鬥毆；第二幕是吉卜賽人的生活和舞蹈；第三幕是走私者的肖像；第四幕：鬥牛士的遊行行列。金髮美女米凱拉體現著歌劇抒情的一麵，她是何塞的戀人和他母親的信使。她的舉止是如此的優雅，樂隊的音樂也是如此。 西班牙吉卜賽女郎卡門生活在感官世界裡。她受著愛欲的驅使，在愛過很多男人後，又看上了沙展何塞。她使出盡渾身解數要何塞上鉤，讓他去和人打鬥和違反軍法，讓他不得不逃走。他對卡門的愛讓他能逆來順受，但當卡門變心時，他終於絕望了。去看過彌留的母親之後，他知道自己還愛著卡門。他倆在鬥牛場前相遇了。在此之前卡門已答應艾斯卡米諾的求婚。何塞懇求卡門回心轉意，卡門不答應，並要跑到艾斯卡米諾那，憤怒的何塞把匕首刺進她的胸膛。 Anne-Sophie Mutter From Wikipedia, the free encyclopedia   Biography Mutter was born in Rheinfelden, Germany. She began playing the piano at age five, and shortly afterwards the violin, studying with Erna Honigberger, a pupil of Carl Flesch. Upon Honigberger's death, she continued her studies with Aida Stucki, at the Winterthur Conservatory. After winning several prizes, she was exempted from school to dedicate herself to her art. When she was 13, conductor Herbert von Karajan invited her to play with the Berlin Philharmonic. In 1977, she made her debut at the Salzburg Festival and with the English Chamber Orchestra under Daniel Barenboim. At 15, Mutter made her first recording of the Mozart Third and Fifth violin concerti with von Karajan and the Berlin Philharmonic. In 1980, she made her American debut with the New York Philharmonic under Zubin Mehta. In 1985, at the age of 22, she was made an honorary fellow of the Royal Academy of Music (London) and head of its faculty of international violin studies. In 1988, she made a grand tour of Canada and the United States, playing for the first time at Carnegie Hall. In 1998 she played and recorded for CD and DVD the complete set of Beethoven's Violin Sonatas, accompanied by Lambert Orkis; these were broadcast on television in many countries. Though her repertoire includes many classical works, Mutter is particularly known for her performances of contemporary music. A number of pieces have been especially written for or dedicated to her, including Henri Dutilleux's Sur le même accord, Witold Lutosławski's Partita, Krzysztof Penderecki's Second Violin Concerto and Wolfgang Rihm's Gesungene Zeit ("Time Chant"). In August 2007, she premiered Sofia Gubaidulina's Violin Concerto No. 2 "In tempus präsens". She has received various prizes, including several Grammys. She also owns two Stradivarius violins (The Emiliani of 1703, and the Lord Dunn-Raven of 1710) and a Regazzi, dated 2005.[1] Mutter never plays with a shoulder rest.[citation needed] In October 2006, on French television, Mutter appeared to indicate that she would be retiring when she turned 45, in 2008.[2] However the following month she said that her words were "misinterpreted" and that she would continue to play as long as she felt she could "bring anything new, anything important, anything different to music".[3] Personal life In 1989, Mutter married her first husband, Detlef Wunderlich, with whom she had two children, Arabella and Richard. Wunderlich died of cancer in 1995.[4] She married the pianist and conductor André Previn in 2002.[5] However, on 21 August 2006, Mutter's office announced that she and Previn had divorced. The couple were rumoured to have separated three months previously, but confirmed their divorce as of the above date.[6] Awards and recognitions Grammy Award for Best Chamber Music Performance: Anne-Sophie Mutter and Lambert Orkis for Beethoven: The Violin Sonatas (Nos. 1-3, Op. 12; Nos. 1-3, Op. 30; "Spring" Sonata) (2000) Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra): Anne-Sophie Mutter and André Previn (conductor) for Previn: Violin Concerto "Anne-Sophie"/Bernstein: Serenade (2005) Anne-Sophie Mutter, Krzysztof Penderecki (conductor) and the London Symphony Orchestra for Penderecki: Violin Concerto No. 2, Metamorphosen (1999) Anne-Sophie Mutter, James Levine (conductor) and the Chicago Symphony Orchestra for Berg: Violin Concerto/Rihm: Time Chant (1994) Sonning Award (2001; Denmark) Order of Merit of the Federal Republic of Germany, First Class Herbert von Karajan Music Prize (2003) [7] Ordre des Arts et des Lettres (2005) Victoires de la Musique Classique (2006) Ernst von Siemens Music Prize (2008) 安娜-蘇菲·穆特 維基百科，自由的百科全書   安娜-蘇菲·穆特（1963年6月29日－），德國女小提琴演奏家。 她出生於德國巴登州萊茵菲登。五歲即開始演奏鋼琴，但很快就轉為小提琴，並跟 Erna Honigberger 和 Aida Stucki 學習。 她很快就獲得了很多獎項，引起藝術界的注意。13歲的時候，指揮家卡拉揚就要請她和柏林愛樂管弦樂團共同演奏。1977年，她首次登台薩爾斯堡音樂節，伴奏的是英國室內樂團，指揮為丹尼爾·巴倫博姆。 15歲的時候穆特就在卡拉揚的指揮下，錄製了第一張唱片，和柏林愛樂管弦樂團錄製莫紮特的第三、五小提琴協奏曲。同年她被評為年度藝術家。 1980年，她和紐約愛樂、祖賓·梅塔作了她的美國首演。1985年，即22歲的時候，她成為皇家音樂學院（倫敦）榮譽會員，國際小提琴係主任。1988年，她巡演加拿大和美國，第一次在卡耐基大廳演奏。1998年她錄製CD和DVD，曲目是貝多芬小提琴奏鳴曲全集，鋼琴是 Lambert Orkis，其演奏在多個國家廣播。 雖然她演奏過很多西洋古典音樂，但她演奏的新音樂還是很有名的。很多音樂家寫過作品獻給她，包括盧托斯拉夫斯基的變奏曲，彭德雷茨基的第二小提琴協奏曲和裏姆的《時間聖歌》。 1989年首度婚姻、育有子女二人，1995年丈夫去世，2002年二度結婚，丈夫是安德列·普列文，2006年8月21日仳離。