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Nono: Al gran sole carico d'amore

Nono (アーティスト), Zagrosek (アーティスト) 形式: CD
4.8 5つ星のうち4.8 9個の評価
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新品 中古品
CD, インポート, 2001/4/16 インポート
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曲目リスト

ディスク： 1

1 Come Prld
2 I Tempo 'Nous Reviendrons Foule Sans Nombre': Scena I
3 I Tempo 'Nous Reviendrons Foule Sans Nombre': Scena II
4 I Tempo 'Nous Reviendrons Foule Sans Nombre': Scena III
5 I Tempo 'Nous Reviendrons Foule Sans Nombre': Scena IV
6 I Tempo 'Nous Reviendrons Foule Sans Nombre': Scena V
7 I Tempo 'Nous Reviendrons Foule Sans Nombre': Scena VI
8 I Tempo 'Nous Reviendrons Foule Sans Nombre': Scena VII
9 I Tempo 'Nous Reviendrons Foule Sans Nombre': Scena VIII
10 I Tempo 'Nous Reviendrons Foule Sans Nombre': Scena IX
11 I Tempo 'Nous Reviendrons Foule Sans Nombre': Finale

ディスク： 2

1 II Tempo 'La Notte E Lunga Ma Gia Spunta L'alba': Scena I
2 II Tempo 'La Notte E Lunga Ma Gia Spunta L'alba': Scena II
3 II Tempo 'La Notte E Lunga Ma Gia Spunta L'alba': Scena III
4 II Tempo 'La Notte E Lunga Ma Gia Spunta L'alba': Scena IV
5 II Tempo 'La Notte E Lunga Ma Gia Spunta L'alba': Scena V
6 II Tempo 'La Notte E Lunga Ma Gia Spunta L'alba': Scena VI
7 II Tempo 'La Notte E Lunga Ma Gia Spunta L'alba': Scena VII
8 II Tempo 'La Notte E Lunga Ma Gia Spunta L'alba': Finale

登録情報

  • メーカーにより製造中止になりました ‏ : ‎ いいえ
  • 製品サイズ ‏ : ‎ 14.48 x 1.57 x 12.9 cm; 226.8 g
  • メーカー ‏ : ‎ Teldec
  • EAN ‏ : ‎ 0685738105922
  • レーベル ‏ : ‎ Teldec
  • ASIN ‏ : ‎ B000050KFM
  • ディスク枚数 ‏ : ‎ 1
  • カスタマーレビュー:
    4.8 5つ星のうち4.8 9個の評価

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un arbre
5つ星のうち5.0 ものすごい・・・
2005年11月10日に日本でレビュー済み
もんのすごい音楽体験。
黄泉の国の、亡霊たちの身体の堆積によって組み上げられ、そして組み換えられてゆく、馬鹿でかい、中心を持たない建造物。
この音楽と交感することで、人間精神のある極限の姿へと、「降りて行く」ことができる。
どうかいちど、あなたの９９％の細胞組織を、この音楽組織に深く組み込ませてみてほしい。きっとこの世での生活がすべてではないことが、分かるはずだから。
2人のお客様がこれが役に立ったと考えています
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すべてのレビューを日本語に翻訳
Charlie
5つ星のうち5.0 Progression experimentale
2016年3月25日にフランスでレビュー済み
Amazonで購入
Le titre est un vers d'Arthur Rimbaud;c'est un nouveau départ qui amène Luigi Nono vers les dernières œuvres,avec encore plus de recherches sonores.
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scarecrow
5つ星のうち5.0 like a grand burgeoning light of love
2001年7月31日にアメリカ合衆国でレビュー済み
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historical political imagery has never allowed itself to be a simple task for opera, in fact most avoid the subject and its challenge altogether. The likes of Donizietti and Bellini,if you happen to scan their life work, you'd think both these um-pah composers delved deeply into the quagmire of politics, but alas, all their operas treat their subjects in a one-dimensional, safe complaisant manner.Likewise Meyerbeer who utilized the massacre of the Hugenots as a safe dramatic backdrop, never revealing what the source of embattlement existed,just pure spectacle and memorable song for the Paris Opera. Verdi is a little closer to the integrity of this subject in that the Risorgimento, the unification of Italy was in the streets, and Giuseppe had no choice,but to shrewdly veil his operas as powerful metaphors for the politics occuring around him. It's not until Modest Mussorgsky where we actually see proclaimed the masses,the peasants, the unwashed,the dispossessed as an important integral role within bourgeous opera. In fact he with Stasov devised a means of simplifying the delivery of text, to render it more realistic. 'Khovanchina' and 'Boris Godonuv' are operatic testaments, and even there history needed to be altered ever so slightly at the service of dramatic integrity,and momentum.
The 20th Century has seen no shortage of the political subject for opera, in fact the 20th Century turned out to be,to outdo,accelerate and summon the greatest dimensions of evil, the brutality,the terror,genocide,murder,political intrigue,corruption than all of past history.
With the work of Luigi Nono we are no longer within the strictures of opera. He wanted nothing to do with logical,predictable telling discourses of stories, or discreet narrative, all realism now,hard facts. He found the work of Meyerhold, and Piscator,as well as Brecht to be his dramatic icons. He has referred to his operas, as 'azione scenica',stage activity,a series of self-contained scenes which is simply drawing from events,utilizing,borrowing songs(not his),poems,documentary evidence and historical fact as his libretti.There is a working montage which Nono had learned from 20th Century drama. That's what this work does, it begins with revolutionary icons, as the Paris Commune of 1871 where the toiling masses actually seized power unfurling red flags throughout the streets.However with the help of foreign bourgeois forces, international troops the seizure was quickly eradicated. This opera then proceeds to the 1905 Russian Revolution with text from Lenin, then including the strikes in Turin in 1950,and Castro's Cuba, and Che Guevara, Vietnam,and Chile.With the image of South Vietnam for instance Nono utilizes the images of three prisoners who represent historical time, Antonio Gramsci(rise of the Left prior to the Second World War), Georgi Dimitrov(Nazi corruption, burning of the Reichstag for which he was blamed) and Fidel Castro(post-war leftism,national struggles),all this is as an elliptical collapsing of time.The loss of the Democratic Movement in 1973 in Chile with the murder of Salvador Allende was a low point for the activism of the Left throughout the world and is also a point in this opera.
The political movement in Italy, as all over the globe in the late Sixties, early Seventies was festering, Nono as many artists and intellecturals remained card carrying members of the PCI, the Italian Communist Party,and grudgingly accepted the historical compromise of its leader Enrico Berlinguer,of not recognizing the importance of the Soviet Union.The era of Eurocommunism is the real backdrop of this opera,and is a response/dialogue to that.Recall that Tito had earlier broke with the Kremlin,blocking,or refusing the Russian Mother's Milk , and the Chinese even earlier than that saw the Soviet Union not as a partner,nor as a harbinger for revolution around the globe,but as a self-contained nationalism.
The fascinating dramatic feature here is Nono adopts a kinda elliptical frame, where time collapses into an interreferential dramatic points,of present,past,future,present,past, with cogent and meaningful dialogues occuring throughout this opera.So for instance the Russian Revolution is followed by Vietnam. Also the chorus here becomes the voice of individuals representing for instance women guerilla fighters,a Turin prostitute, and artists.,as well as reflecting upon events. The poetry of Louise Michel, a Communard, makes for beautiful settings in the fourth Section of the First part for chorus.However the music overall is rough going,with intermittent slaps from the percussion, and overwhelming walls of brass timbre concluding sections, The fragmentariness of the music makes for difficult listening, Nono wants the situation,the ambience of the drama to be ugly, to be repulsive, this is the height of the expressionist credo.This found its visual equivalent in Yuri Lubimov of the Taganka Theatre in Moscow had done the job of directing. In the original Milan premiere,he has the Communards for instance laying on propped up half way wooden racks, bare torso with huge floodlights bearing down.The stage sometimes is simply lit with flashlights, and stage backdrops are simply bare wooden tablet shaped screens. Nono seems to have abandoned and or accelerated the marvelously powerful compositional means he had developed in such works for orchestra and chorus with soloists as 'Canti d'vita e amore', or 'Canto sospeso', based on Resistance Fighter's letters. Nono had developed the dodecaphonic means into impacted 12 tone clusters, all reiterated in different timbral positions stridently, the effect is like the tension of a suspension bridge pulling at itself inward. Those kinda moments are fragmentized here, Nono opting instead to render the legitimacy to the spoken and sung word, music takes a second function here.Nono in his score includes no stage directions,he after multiple performances simply wrote notes. But the work stands open as to interpretation of the variegated textual sources. There is tortured like singing as well, gut wrenching like and difficult to take. This opera in many ways sealed Nono's creativity and extroverted left activism, before he then embarked upon the richly diverse abstract hypnotic music the last ten years of his life,culminating in his equally powerful 'Prometeo' the music that is mostly heard today, and recorded. This CD recording suffers from not experiencing the visual stage actions which in Nono's aesthetic pallette is most important.Some of the stage noises come across as interruptions,rather than integral active stage meanings. Nono scholar Jurg Stenzl writes a wonderful essay included in the CD booklet.
17人のお客様がこれが役に立ったと考えています
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James S. Eisenberg
5つ星のうち5.0 Beauty On The Other Side Of Brutal
2011年7月14日にアメリカ合衆国でレビュー済み
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The New York Times dismissed this work after its 1975 world premiere, comparing it negatively to PLI SELON PLI by Pierre Boulez. The comparison is absurd in itself, comparing a stage work to a concert work. Surely their goals were totally different. The critic from Opera Magazine (UK)refused to review it at all.(Although they did review subsequent productions.) What fools they seem. This is clearly one of the great sound edifices of the 1970s. For all of its violent musical sounds,there is also an intense lyricism in the sequences for four interweaving coloratura sopranos and in the scenes for the contralto role of the mother (derived from Gorki and Brecht) who first appears in the first act finale and sings throughout the second act.
A pageant-like work, the first act centers on the Paris Commune of 1871 and the second mostly on the Russian revolutions of 1905 and 1917. (There are also flashes forward to Cuba, Bolivia and Vietnam.)It is hard to imagine a more powerful listening experience. The composer may to some degree have been influenced by Bernard Alois Zimmermann's DIE SOLDATEN, and may in turn have influenced Henze's WE COME TO THE RIVER. All three scores have political goals, and all three feature, multiple events happening at the same time. The Nono work seems to be the best focused of the three.
No matter what you think of Nono's politics, this work certainly deserves to be heard for the sheer magnificence of the composer's vast musical concept. Although fundamentally serial, he has worked in several revolutionary songs from France Cuba and Russia to telling effect.
The performance, under Lothar Zagrosek from the Stuttgart Opera, is superb. Special mention must be made of Claudia Barainsky who soars through the high notes with spectacular ease, and contralto Lani Poulsen as the mother, who brings real "espressivo" and beautiful tone to her portrayal.
The sound recording is generally first rate, although there are a couple of passages that seem to overwhelm the microphones.
There is a text (original languages only) and some somewhat pretentious liner notes.
5人のお客様がこれが役に立ったと考えています
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