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我第一次听到玛利亚·卡拉斯这个名字是在1950年,与其相伴的是她难以置信的音域范围以及扮演角色多样性的传说。当时,我还没有遇到罗伯特·鲍尔,所有的意大利熟人都无法信任;迪亚兹远在伦敦,对于意大利歌手的看法并不靠谱。1950年11月,我写信给维也纳国家歌剧院的埃里克·恩格尔(Erich Engel,1891-1966,德国导演):你知道玛利亚·卡拉斯吗?据我所知她在布宜诺斯艾利斯演唱过。她被当作现如今最好的“阿依达”推荐给我,甚至有人建议由她扮演夜后(《魔笛》中的角色)。你能否私下里给我一些建议:在你看来,卡拉斯的嗓音是不是真的像传说中的那样出众。她的声音素质与柳芭、韦里奇相比到底如何?我听说她不是很漂亮,是个平淡
For the first time I heard the name Maria Callas in 1950, accompanied by her incredible range of vocal range and the legendary role diversification. At that time, I had not met Robert Bauer, all the Italian acquaintances can not trust; Diaz far in London, the view of the Italian singer does not fly. In November 1950 I wrote Erich Engel (1891-1966, German director) at the Vienna State Opera: Do you know Maria Callas? As far as I know she was in Buenos Aires Airesi sung. She was recommended to me as “Aida,” the best of today, and some even suggested her to play Night Night (the character in “The Magic Flute”). Can you give me some advice in private: In your opinion, does Callas’s voice really stand out as legendary? Her voice quality and Willow, Veeric compared to what? I heard that she is not very beautiful, is a dull