目录
| # | 曲目 | 时长 |
|---|---|---|
|
1 |
Rigoletto, Act 1: Preludio | 00:02:20 |
| 2 | Rigoletto, Act 1: “Della mia bella incognita borghese” (Duca, Borsa) | 00:01:42 |
| 3 | Rigoletto, Act 1: “Questa o quella” (Duca) | 00:01:52 |
| 4 | Rigoletto, Act 1: “Partite? Crudele!” (Duca, Contessa, Ceprano) | 00:01:35 |
| 5 | Rigoletto, Act 1: “In testa che avete” (Rigoletto, Borsa, Coro) | 00:00:52 |
| 6 | Rigoletto, Act 1: “Gran nuova! Gran nuova!” (Marullo, Borsa, Duca, Ceprano, Rigoletto, Coro) | 00:02:31 |
| 7 | Rigoletto, Act 1: “Ch’io gli parli” (Monterone, Duca, Borsa, Rigoletto, Marullo, Ceprano, Coro) | 00:03:10 |
| 8 | Rigoletto, Act 1: “O tu che la feste audace” (Duca, Borsa, Rigoletto, Marullo, Ceprano, Coro) | 00:01:16 |
| 9 | Rigoletto, Act 1: “Quel vecchio maledivami!” (Rigoletto, Sparafucile) | 00:04:30 |
| 10 | Rigoletto, Act 1: “Pari siamo!” (Rigoletto) | 00:03:46 |
| 11 | Rigoletto, Act 1: “Figlia!” – “Mio padre!” (Rigoletto, Gilda, Giovanna) | 00:06:39 |
| 12 | Rigoletto, Act 1: “Ah, veglia, o donna” (Rigoletto, Gilda, Giovanna, Duca) | 00:05:07 |
| 13 | Rigoletto, Act 1: “Giovanna, ho dei rimorsi” (Gilda, Giovanna, Duca) | 00:03:11 |
| 14 | Rigoletto, Act 1: “È il sol dell’anima” (Duca, Gilda, Ceprano, Borsa, Giovanna) | 00:04:17 |
| 15 | Rigoletto, Act 1: “Addio speranza ed anima” (Duca, Gilda) | 00:00:51 |
| 16 | Rigoletto, Act 1: “Gualtier Maldè!” – “Caro nome” (Gilda, Borsa, Ceprano, Marullo) | 00:07:26 |
| 17 | Rigoletto, Act 1: “Riedo!… perché?” – “Silenzio!” (Rigoletto, Borsa, Ceprano, Marullo) | 00:02:08 |
| 18 | Rigoletto, Act 1: “Zitti, zitti, moviamo a vendetta” (Borsa, Marullo, Ceprano, Coro) | 00:01:26 |
| 19 | Rigoletto, Act 1: “Soccorso, padre mio!” (Gilda, Borsa, Marullo, Ceprano, Rigoletto, Coro) | 00:01:29 |
| 20 | Rigoletto, Act 2: “Ella mi fu rapita!” (Duca) | 00:02:41 |
| 21 | Rigoletto, Act 2: “Parmi veder le lagrime” (Duca) | 00:02:43 |
| 22 | Rigoletto, Act 2: “Duca, Duca!” – “Ebben?” (Marullo, Coro, Borsa, Ceprano) | 00:02:25 |
| 23 | Rigoletto, Act 2: “Povero Rigoletto!” (Marullo, Rigoletto, Coro, Borsa, Ceprano, Paggio) | 00:03:59 |
| 24 | Rigoletto, Act 2: “Cortigiani, vil razza dannata” (Rigoletto) | 00:04:25 |
| 25 | Rigoletto, Act 2: “Mio padre!” – “Dio! Mia Gilda!” (Gilda, Rigoletto) | 00:01:50 |
| 26 | Rigoletto, Act 2: “Tutte le feste al tempio” (Rigoletto, Gilda) | 00:06:59 |
| 27 | Rigoletto, Act 2: “Compiuto pur quanto” (Rigoletto, Gilda, Usciere, Monterone) | 00:01:08 |
| 28 | Rigoletto, Act 2: “Sì, vendetta, tremenda vendetta” (Rigoletto, Gilda) | 00:02:14 |
| 29 | Rigoletto, Act 3: “E l’ami?” (Rigoletto, Gilda, Duca, Sparafucile) | 00:02:02 |
| 30 | Rigoletto, Act 3: “La donna è mobile” (Duca, Sparafucile, Rigoletto) | 00:03:12 |
| 31 | Rigoletto, Act 3: “Un dì, se ben rammentomi” (Duca, Maddalena, Gilda, Rigoletto) | 00:01:35 |
| 32 | Rigoletto, Act 3: “Bella figlia dell’amore” (Duca, Maddalena, Gilda, Rigoletto) | 00:04:59 |
| 33 | Rigoletto, Act 3: “Venti scudi hai tu detto?” (Rigoletto, Sparafucile, Duca, Maddalena, Coro) | 00:04:01 |
| 34 | Rigoletto, Act 3: “È amabile invero” (Maddalena, Sparafucile, Gilda, Coro) | 00:05:59 |
| 35 | Rigoletto, Act 3: “Della vendetta alfin giunge l’istante!” (Rigoletto, Sparafucile, Duca) | 00:04:51 |
| 36 | Rigoletto, Act 3: “Chi è mai, chi è qui in sua vece?” (Rigoletto, Gilda) | 00:01:53 |
| 37 | Rigoletto, Act 3: “V’ho ingannato” (Rigoletto, Gilda) | 00:04:41 |
专辑简介
小丑弄臣的女儿吉尔达是威尔第作品中最难以驾驭的角色之一。在歌剧过程中，她从一个天真、容易被口齿伶俐的人诱惑的年轻女子，成长为典型的浪漫主义牺牲女主角。玛丽亚·卡拉斯职业生涯中仅两次出演此角色：一次是在1952年墨西哥一系列音乐会上登台演出，另一次是在三年后与她的常伴朱塞佩·迪·斯特凡诺和蒂托·戈比录制唱片。这个历史版本是任何意大利歌剧唱片目录的绝对标准。 Passion, has given rise to various reconstructions, and the last two, if they at all existed, are irretrievably lost. Of the two Passions that have come down to us, the St John Passion was the first to be composed; Bach had it performed for the first time in the St Nicholas Church less than a year after taking up his post in Leipzig, on 7 April 1724 (he had taken the liberty of announcing it to the St Thomas Church, which earned him a reprimand; he got away with a somewhat ironic letter of apology). The work was again performed the following year, this time at St Thomas?, and most likely on further occasions in 1732, 1739 and 1749, with various revisions.
