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主页--->m-comment3-000--->mc3-fa8006
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绍索尔评说莫里康内 mc3-fa8006 |
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FA8006 La storia vera della signora delle camelie / The True Story of Camille / 茶花女的真实故事 |
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作者 詹姆斯 绍索尔 （James Southall） |
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茶花女的真实故事 《卡梅莉夫人的故事》是毛罗·博洛尼尼执导的一部电影，讲述了著名巴黎交际花阿方辛·普莱西斯的故事，她启发了亚历山大·仲马子的小说《山茶花夫人》（该片在国际上以该片名上映）。该片由伊莎贝尔·于佩尔主演，典型地展现了博洛尼尼的作品风格，他经常拍摄文学时代题材的电影。 虽然这些电影后来逐渐淡出人们的视野，但它们确实激发了恩尼奥·莫里康内最多产、最富有成效的导演合作之一——多年来他为莫里康内创作了15部电影配乐，并在此过程中创作了他最动人的音乐。  这部配乐是作曲家最具古典色彩的作品之一，突出了几段精妙的钢琴独奏。专辑中贯穿始终的莫里康内式忧郁，这从开场主题中可见一斑，主题极其美丽却也极具悲伤——尤其是在钢琴与长笛的互动中，随着作品的发展。 第二段曲目《Arrivo a Parigi》是莫里康内的经典——这里有一种无法抗拒的优雅，这次长笛成为焦点，旋律美得令人窒息。《Valzer》顾名思义，是一首圆舞曲——一首轻柔的钢琴独奏华尔兹，这次没有限制忧郁。接下来是一首演唱的华尔兹，《Petite Créature》，由Luciana Terina演唱——听起来符合19世纪初的时代感，尽管Terina的表演贯穿刻意的简约，却有一种矛盾的吸引力。 《Morte di un prete》节奏有所变化，这是一首狂野而铜管般的绝望动作音乐。在之前的作品之后，这首歌听起来有些突兀，但为配乐增添了令人欣喜的额外风味。《Amanti》回归浪漫的声音，但浪漫依然远非直白——虽然外表吸引人，但双簧管独奏中带有一定的犹豫，赋予作品真正的深度。 《帕萨卡利亚》回归主题，钢琴独奏优雅地舞动，但情感再次在美丽与悲伤之间挣扎。接着是弦乐主导的次要主题《Unico amore》变奏，这是乐谱中最直接浪漫的作品之一。《红花》音色略有不同，一些竖琴乐谱巧妙地再次增添了那种简约的气息，而《瓦尔泽·斯托纳托》则截然不同——又是一支华尔兹，这次由风琴演奏，听起来像世界上最悲伤的游乐设施。 悲伤在《Alfonsina之死》中达到顶点，这是一段情感强劲的曲调，解决了音乐中迄今为止的许多固有紧张感（而且并非以圆满的结局）。之后，《Fumeria d'oppio》是一首异国情调的蛇魅风格原声音乐，它破坏了莫里康内精心营造的氛围，所以我通常跳过它，因为真正的结尾是令人心碎的《Amori senza amore》，其标题本身就说明了一切，也很好地总结了整部配乐。这是一首为钢琴独奏而作的作品，极其悲伤，完美展现了作曲家巅峰时期的艺术创作。 这是一部极其美丽的配乐，正如莫里康内为博洛尼尼电影创作的许多作品一样。它也令人心碎，有时甚至非常强烈（尤其是结尾）。该曲多次以意大利语和法语标题（La Dame aux Camélias）形式发行，目前广泛提供下载，包括十首同样收录在最新Cinevox CD中的额外曲目，均为原有曲目的变体。绝对值得入手。 评分： 1/2 facebook.com/moviewave |twitter.com/MovieWaveDotNet |amazon.com 作者 詹姆斯·索斯霍尔 2020年8月30日 |
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LA STORIA VERA DELLA SIGNORA DALLE CAMELIE |
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La Storia Vera della Signora dalle Camelie is a film by Mauro Bolognini telling the story of Alphonsine Plessis, the famous Parisian courtesan who inspired the novel The Lady of the Camellias by Alexandre Dumas fils (and the film was released under that title internationally). Starring Isabelle Huppert, the film is typical of Bolognini’s output, which often saw him making literary period films. While many of those films have since faded into relative obscurity, they did inspire one of Ennio Morricone’s most prolific and productive directorial collaborations – he scored 15 films for the director over the years and wrote some of his most beautiful music in the process. This score is one of the composer’s most classical-sounding, highlighting some exquisite piano solos. There is the trademark Morricone melancholy running through it and this is evident from the opening theme, which is exquisitely beautiful but also quite profoundly sad – particularly in the interplay between piano and flute as the piece develops. The second cue, “Arrivo a Parigi”, is a Morricone classic – here there is an elegance that is irresistible, the flute taking centre-stage this time, the melody just drop-dead gorgeous. “Valzer” is, as its name suggests, a waltz – a gently rolling one for solo piano, no limit placed on the melancholy this time. A sung waltz is next, “Petite Créature”, vocals by Luciana Terina – it sounds period-appropriate (early 19th century) and has a paradoxical attractiveness despite the deliberate austerity that pervades Terina’s performance. There is a change of pace in “Morte di un prete”, a wild and brassy piece of desperate action music. It’s slightly jarring to hear after what has gone before but adds a welcome additional flavour to the score. We are back to a romantic sound in “Amanti”, but once again the romance is far from straightforward – while outwardly attractive, there is a certain hesitance in the oboe solo which gives the piece a real depth. “Passacaglia” returns to the main theme, the piano solo dancing around with great grace but the emotion again conflicted between beauty and sadness. Then we get a string-led variant on the secondary theme in “Unico amore”, one of the score’s most straightforwardly romantic pieces. “Fiore rosso” has a slightly different timbre, with some harp writing cleverly adding that touch of austerity again, and then “Valzer stonato” is very different – another waltz, this time performed by a calliope and sounding like the world’s saddest fairground ride. The sadness really comes to a head in “Morte di Alfonsina”, an emotional powerhouse of a cue that resolves much of the inherent tension in the music to that point (and not in a neat, happy ending way). After this, “Fumeria d’oppio” is a piece of exotic snake charmer-style source music, and it rather shatters the mood that Morricone has so carefully crafted so I usually skip it because the actual finale is the heartbreaking “Amori senza amore” whose title speaks for itself and rather sums up the whole score. It’s a piece for solo piano and so desperately sad, a great demonstration of the composer at the peak of his dramatic powers. This is an exquisitely beautiful score, as many of Morricone’s for the films of Bolognini were. It is achingly sad as well, quite powerfully at times (especially the end). It has been released numerous times on album under both its Italian and French titles (La Dame aux Camélias) and is currently widely available as a download, including ten additional cues which were also on the most recent Cinevox CD and are all variants on what was already there. Definitely one to get. Rating: **** 1/2 facebook.com/moviewave | twitter.com/MovieWaveDotNet | amazon.com |
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评论家介绍：詹姆斯·绍索尔Jon 2015.10.29 评论家简介J: 告诉我们一些关于您的个人和专业背景（在电影音乐方面）。你是怎么发现电影音乐的？ S: 我是 1970 年代后期的孩子，所以我在那个年轻电影爱好者的美好时代长大，当时好莱坞在 70 年代末和 1980 年代为孩子们制作了所有这些电影——其中有令人难忘的音乐。《星球大战》三部曲、《外星人》、《小精灵》、《印第安纳琼斯》、《回到未来》、早期的《星际迷航》电影——这些都是伴随我长大的电影，如果它们不能把你变成一个电影音乐爱好者，那么什么都不会。直到我上了大学，它才真正变成了一种随意的欣赏，因为纯属巧合，当我第一天出现时，我发现那个住在离我三扇门的人比我更喜欢电影音乐。他就是汤姆·戴什（Tom Daish），他连续经营（可惜现在已经离开了）Soundtrack Express网站多年，首先从他那里发现了我以前不知道的伟大电影音乐，然后一起发现了新的音乐，这是一种乐趣........（访问全文见这里） |
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2026.2.1 |
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