专辑名称：“和解”主题的意大利歌曲与咏叹调3 @7 W$ g. I7 ^% C
演唱歌手：祝一萍 /李梦石 /北京环球音像
发行公司：北京环球音像
发行日期：2025年06月23日: `$ s3 D& r/ I* J8 Y: B9 l8 D
专辑语言：意大利语, ^; {+ e/ j% {8 b- }
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专辑介绍：. o) _- \* Q6 z/ F6 z2 }8 K' [
当钢琴与女高音相遇，那些跨越三个世纪的意大利咏叹调在两位表演者的诠释中，呈现出哲思光芒。+ K& v0 t K Q4 W+ s1 f
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女高音、现任上海师范大学音乐学院声乐教师李梦石与青年钢琴演奏家、香港中文大学（深圳）音乐学院艺术指导老师祝一萍合作录制的全新专辑《“和解”主题的意大利歌曲与咏叹调》由中央音乐学院北京环球音像出版有限公司独家出版并全球数字发行。演奏者祝一萍与女高音李梦石以「和解」为命题，在莫扎特、普契尼、亨德尔的音符褶皱里，展开一场关于人性救赎的艺术对话。5 K4 L& v9 b2 Q/ a R2 w* ^
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作为新生代歌剧艺术指导的翘楚，祝一萍的琴声始终带着斯卡拉歌剧院传承的戏剧张力。这位曾与Juan Diego Florez在《奥菲欧与尤丽迪茜》中默契配合的艺术指导，在此次录音中展现出令人惊叹的叙事把控力——当她指尖流淌出《费加罗的婚礼》中伯爵夫人的悲歌「哪里去了，美好的时光」，银质琴音如月光穿透云层，为「婚姻和解」的永恒命题铺就沉思的甬道。从米兰威尔第音乐学院满分毕业的优秀学生，到欧洲各大歌剧院的艺术指导，十五载欧亚舞台淬炼赋予她的，不仅是精准的乐句处理，更是对人声与器乐对话的哲学领悟。在佩尔戈莱西《管家女仆》的俏皮旋律中，她的装饰音如同地中海的海风般轻盈，却暗藏对「主仆关系倒置」的诙谐注解。+ B1 U E: W5 Z- {$ E. E+ U
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女高音李梦石则构筑起人性弱点的声学雕塑。当她唱出《唐璜》中采琳娜的「鞭打我吧」，花腔不再是炫技的装饰，而是化身为自我宽恕的祷文；而在普契尼《我亲爱的爸爸》里，她将劳蕾塔对父权的恳求，升华为两代人相互理解的圣咏。这位同时深耕学术与舞台的声乐学者，让每个颤音都承载着文化基因的密码。从莫扎特K.578庄严的音乐会咏叹调，到贝利尼《背弃》中的破碎咏叹，她的声音始终游走在戏剧冲突与情感和解的微妙平衡点。( w3 P/ V2 h- [2 H1 X1 N/ z* j
专辑精心选取十二首见证人性救赎的经典唱段，构成完整的心理叙事弧光：开篇莫扎特笔下伯爵夫人对流逝爱情的怅惘，经由亨德尔《让我痛哭吧》的巴洛克悲怆，最终抵达普契尼歌剧中少女对亲情桎梏的温柔突围。特别值得关注的是卡尔达拉1716年创作《虽然你冷酷无情》，这首巴洛克珍品，在钢琴与声乐的演绎下，焕发出跨越时空的和解力量。6 a$ M0 w% T+ [5 q5 \: p
两位表演者的米兰威尔第音乐学院同窗之谊，为此次合作注入独特的默契基因。当李梦石在《求爱神给我安慰》中抛出情感诘问，祝一萍的应答乐句恰似穿越排练厅岁月的会心微笑；而在处理帕伊谢洛《我心里不再感到青春火焰燃烧》时，钢琴与人声的竞奏宛如双生灵魂的镜像对话。这种建立在专业积淀上的艺术共识，使得「谅解你的弱点正如谅解我的」这句古老咏叹，在数字录音时代获得了崭新的共鸣场域。5 D! P% s. I% |" F+ ^: ~0 C
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这张诚意之作，既是两位女性艺术生命的阶段性总结，更是一封写给当代人的音乐哲学书简——当琴键抚平咏叹调的褶皱，我们终将在旋律的缝隙中，窥见与自己和解的微光。
When piano meets soprano, Italian arias spanning three centuries radiate philosophical depth through the performers' interpretation.4 D2 J: }1 c: l% Y$ d
Soprano Mengshi Li—current vocal faculty at Shanghai Normal University College of Music—and pianist Yiping Zhu—artistic coach at The Chinese University of Hong Kong, Shenzhen Conservatory of Music—have released their collaborative album Italian Songs and Arias on the Theme of Reconciliation. Published exclusively by Beijing Global Audio-Visual Publishing Co., Ltd. (affiliated with the Central Conservatory of Music) with global digital distribution, the album unfolds an artistic dialogue about human redemption through the musical folds of Mozart, Puccini, and Handel.! d4 p2 a2 o0 W5 Q6 x0 G' M) ]
As a leading artistic coach of the new generation, Zhu's piano carries the dramatic intensity inherited from La Scala. Having collaborated seamlessly with Juan Diego Flórez in Orfeo ed Euridice, she demonstrates astonishing narrative mastery in this recording. When her fingers trace the Countess' lament "Dove sono" from Le nozze di Figaro, silvery tones pierce like moonlight through clouds, paving a contemplative path for the eternal theme of marital reconciliation. From graduating with top honors at Milan's Conservatorio Verdi to coaching at Europe's major opera houses, fifteen years of transcontinental stage experience have endowed her not only with precise phrasing, but philosophical insight into the dialogue between voice and instrument. In Pergolesi's La serva padrona, her ornamentation flows as lightly as Mediterranean breezes, yet carries witty commentary on inverted master-servant dynamics.
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Soprano Li Mengshi sculpts sonic embodiments of human frailty. As she delivers Zerlina's "Batti, batti" from Don Giovanni, coloratura transcends virtuosic display to become a prayer of self-forgiveness. In Puccini's "O mio babbino caro," Lauretta's plea to paternal authority ascends into a chorale of intergenerational understanding. This scholar-performer imbues every tremolo with cultural DNA—from the solemnity of Mozart's concert aria K.578 to the fragmented anguish of Bellini's L'abbandonata—her voice perpetually balancing dramatic tension with emotional reconciliation.
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The album meticulously curates twelve redemption-witnessing arias into a complete psychological narrative arc: opening with Mozart's Countess mourning lost love, progressing through Handel's Baroque anguish in "Lascia ch'io pianga," and culminating in a Puccinian heroine's tender breakthrough from familial constraints. Particularly noteworthy is Caldara's 1716 Baroque gem "Sebben, crudele," revitalized through voice and piano with timeless reconciliatory power.5 w) ^1 `, I( ~1 I
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Their shared alma mater at Conservatorio Verdi infuses the collaboration with instinctive synergy. When Li poses emotional interrogations in "Porgi amor," Zhu's answering phrases resonate like knowing smiles across years of rehearsal rooms. In Paisiello's "Nel cor più non mi sento," piano-vocal counterpoint mirrors twin souls in dialogue. This professionally-forged artistic consensus grants the ancient plea "understand my weakness as I understand yours" new resonance in the digital age.& s8 k* h5 I3 Q
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More than a milestone in these artists' journeys, this heartfelt creation is a musical-philosophical letter to our era—as piano keys unfold the creases in arias, we glimpse the light of self-reconciliation through the fissures of melody.( c3 H/ d* [- k/ p! Z- }5 ^7 B
专辑曲目：
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01 - Dove sono i bei momenti " U c. F9 O6 p1 s" Y& R( {4 q
02 - Batti, batti, o bel Masetto
03 - Vedrai, carino
04 - Porgi, amor, qualche ristoro
05 - Nel cor più non mi sento
06 - Sebben, crudele
07 - Deh vieni, non tardar
08 - Lascia Ch'io Pianga 9 x1 }2 s3 j- L% N4 M
09 - L’abbandono # l# m- K: [0 T$ W& k, z! Y% `
10 - O Mio Babbino Caro 2 v1 m) F2 ?/ j$ e! x7 V
11 - Alma grande e nobil core
12 - Stizzoso, mio stizzoso 9 _0 d' a) N+ D, X; c" m
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在线试听：3 u( X- r2 e# @& k8 x
https://y.qq.com/n/ryqq/albumDetail/001GJfam3NoA1e