正好我下载了这张唱片，里面有意大利作曲家Luigi Rossi（路易吉·罗西）的两部作品：
Track   1-13  La lyra d'Orfeo（奥菲欧）
Track 14-36  Arpa Davidica（阿尔帕·达维迪卡）

你猜的那些不太对，正确的翻译应该是：

《奥菲欧》：
Véronique Gens, soprana（女高音：[法]薇洛妮克·珍丝，b1966）

《阿尔帕·达维迪卡》：
Celine Scheen, soprano（女高音：[比利时]赛琳·希恩，b1976）
Giuseppina Bridelli, mezzo-soprano（次女高音：[意]吉斯皮娜·布里黛丽，b1986）

L'Arpeggiata（古乐团）
Christina Pluhar, harp, theorbo, direction（竖琴、鲁特琴与指挥：克里斯蒂娜·普鲁哈）

本帖最后由 cgstudio 于 2020-6-10 09:43 编辑

顺便再推荐一个电影，非常美好，美丽，好看，还好听。
The Phantom of the Music, 2004。 本帖最后由 珂2019 于 2020-5-13 23:08 编辑

好东西要推荐。非常美好，美丽，好看。
Cinderella，2015年。

怎么会有那么漂亮美好又感性的女孩。简单的故事揭示了几个深刻的道理。

克里斯蒂娜·普拉哈尔和她的器乐合奏团L 'Arpeggiata的最新专辑，为17世纪意大利作曲家路易吉·罗西的室内乐cantatas带来了新的启发，他写了300多首这样的作品。而克里斯蒂娜·普拉哈尔的新双张专辑包括了令人印象深刻的21首世界首演录音，这些都是克里斯蒂娜·普拉哈尔对来自于法国国家图书馆和梵蒂冈图书馆的藏书库中音乐手稿的研究成果。

“这些康塔塔是罕见的美丽作品，”普鲁哈尔说，他将路易吉·罗西描述为“17世纪意大利声乐的耀眼之光之一”。他极具创造力，多才多艺，在同一部作品中，他将不同的风格并置，经常从激烈的吟诵到甜美流畅的歌曲，并进入大胆的和声区域。”

她组建了一个耀眼的歌手来执行康塔塔全集:女高音薇罗尼卡一族和席琳Scheen女中音Giuseppina Bridelli,和男声最高音Philippe Jaroussky Jakub约瑟夫Orliński和瓦莱尔Sabadus。

路易吉·罗西，1597年出生于普利亚，在他的时代是非常成功的，服务于三个最著名的意大利王朝——罗马的博盖塞和巴贝里尼家族、佛罗伦萨的美第奇家族——以及后来的法国国王路易十四。他的《欧尔福》于1647年在巴黎首演，是法国最早上演的歌剧之一。罗西也与castrato歌手在巴黎的首次亮相有关——他们的声音类型并不是法国音乐传统的一部分。

1646年，罗西去了巴黎，在那里他加入了巴贝里尼派，前一年，由于他们对教皇资金的处理引起了争议，他被驱逐出了罗马。他们的一些其他的音乐家，包括几个castratos，也和他们一起去了法国。在罗马，他们以举办群众活动、朗诵和歌剧来纪念重要场合而闻名，其中包括罗西的魔术宫(魔宫)，灵感来自于疯狂的奥兰多，它在1642年取得了巨大的成功。

当时，在法国掌握最大权力的人不是国王(1643年登基时只有4岁)，而是他的教父和首席部长马扎林。出生于意大利的马扎林与巴贝里尼家族关系密切，在17世纪30年代，巴贝里尼家族在他的外交生涯中发挥了重要作用。在艺术上，他也是意大利风格的伟大倡导者。正是由于他的努力，《欧尔福》(L’orfeo)才得以在路易十四(Louis XIV)和他的母亲奥地利安妮王后(Queen Anne of Austria)之前，在宫廷剧院(palaise - royal)华丽上演。1650年，罗西回到意大利，不久，另一位意大利出生的歌剧作曲家让-巴蒂斯特·鲁利(Jean-Baptiste Lully, 1632-87)成为太阳王宫廷的音乐最高统治者。

本帖最后由 schiff 于 2020-4-29 13:59 编辑

这样就对上了。

挺详细，要是说一下专辑名就更好了。

听着伴奏是羽管琴

The latest album from Christina Pluhar and her instrumental ensemble L’Arpeggiata sheds new light on the chamber cantatas of 17th century Italian composer, Luigi Rossi. He wrote more than 300 of these works and Christina Pluhar’s new double album includes an impressive number of 21 world premiere recordings, which are the fruit of Christina Pluhar’s research among music manuscripts held in the Bibliothe?que Nationale de France and the Vatican Library.

“These cantatas are works of rare beauty,” says Pluhar, who describes Luigi Rossi as “one of the shining lights of 17th-century Italian vocal music. Supremely inventive and extremely versatile, he juxtaposed styles within a single work, often shifting from intense recitative to mellifluous song, while also venturing into daring harmonic regions.”

She has assembled a dazzling line-up of singers to perform the cantatas: sopranos Véronique Gens and Céline Scheen, mezzo-soprano Giuseppina Bridelli, and countertenors Philippe Jaroussky, Jakub Józef Orliński and Valer Sabadus.

Luigi Rossi, born in Puglia in 1597, was highly successful in his time, serving three of the most illustrious Italian dynasties – the Borghese and Barberini families in Rome and the Medici in Florence – and subsequently France’s King Louis XIV. His L'Orfeo, which received its premiere in Paris in 1647, was among the first operas to be staged in France. Rossi is also associated with the first Parisian appearances by castrato singers – their voice-type was not integral to France’s musical traditions.

Rossi had gone to Paris in 1646, where he joined the Barberinis, exiled from Rome the previous year following controversy over their handling of Papal funds. Some of their other musicians, including several castratos, also went to France with them. In Rome they had been noted for marking important occasions with commissions for masses, oratorios and operas, among them Rossi’s Palazzo incantato (Enchanted Palace), inspired by Orlando Furioso, which enjoyed a great success in 1642.

At the time, the man who wielded the most power in France was not the King – just four years old when he came to the throne in 1643 – but his godfather and Chief Minister, Cardinal Mazarin. Mazarin, an Italian by birth, enjoyed close links with the Barberini family, which had played an important role in furthering his diplomatic career in the 1630s. He was also a great advocate of Italian style in the arts and it was thanks to him that L’Orfeo, a sumptuously scored work, was lavishly staged at the Palais-Royal before Louis XIV and his mother, Queen Anne of Austria. Rossi returned to Italy in 1650 and in due course another Italian-born composer of opera, Jean-Baptiste Lully (1632-87), became the musical supremo at the court of the Sun King.