极 颜 - [古典] 玛丽莎·罗芙莱斯 Marisa Robles - Harp Concertos：天使的琴音 的评论
专辑简介玛丽莎·罗芙莱斯（Marisa Robles，1937年出生）是西班牙著名的竖琴演奏家，被乐迷亲切地称为"竖琴天使"。她四岁开始学习音乐，九岁即以天才儿童形象公开演出，十六岁毕业于马德里...
The Dittersdorf is a gem. Written in that elegant galant style, it's pure pleasure from start to finish. The slow movement especially - Robles draws such a singing tone from her instrument, sustained phrases that seem to float on air.
布瓦尔迪厄第一乐章那个Allegro brillante，罗芙莱斯的跑动音阶简直像珍珠串成线，一颗一颗滚落下来。竖琴这种乐器太适合表现"光彩夺目"了，天生就是blingbling的质感。
This album should be required listening for anyone who thinks the harp is just a background instrument. The range of expression here - from the Handel's dignified larghetto to the Beethoven variations' rustic charm - is extraordinary.
对比过好几个版本的亨德尔竖琴协奏曲，罗芙莱斯这个最平衡。不快不慢，不炫技不煽情，就是恰到好处的典雅。圣马丁的弦乐音色也暖，跟竖琴的晶莹配在一起，绝配。
The recording captures the harp's transient beauty perfectly. Those harmonics in the Beethoven variations, the way the bass strings resonate in the Handel - you can almost see Robles's fingers on the strings. Decca's engineering magic.
每天睡前听两首，睡眠质量都好了。不是那种无聊的催眠曲，而是真正能让人平静下来的好音乐。竖琴的声音就是有这种魔力，像被天使的翅膀轻轻盖住。
The booklet notes mention Robles studied with the legendary Nicanor Zabaleta. You can hear that lineage - the Spanish school's emphasis on tone color and expressive phrasing. She's a worthy heir to that tradition.
迪特斯多夫那首的第二乐章，七分钟像一场温柔的梦。罗芙莱斯让竖琴唱出了人声般的旋律，那些装饰音不是炫耀，而是自然的叹息。这么好的作曲家为什么被历史遗忘？
The Handel variations date from 1826 - decades after the composer's death - but they capture his spirit perfectly. Robles's articulation in the faster variations is a masterclass in clarity without dryness. Every note speaks.
这张专辑让我彻底爱上了竖琴。以前觉得这乐器就是伴奏的命，没想到当主角这么出彩。特别是布瓦尔迪厄那首，有激情有柔情，谁说竖琴只能弹慢板？