安德烈·波伽利(Andrea Bocelli)〖专辑介绍〗

贝蒂

<span style='font-size:14pt;line-height:100%'>〔被上帝亲吻过的嗓子〕意大利盲人歌唱家
安德烈·波伽利(Andrea Bocelli)〖专辑介绍〗</span>



Celine Dion说过，如果上帝也能够歌唱，那么Andrea Bocelli便是上帝。

Celine Dion曾经和Andrea Bocelli合作了一曲《The Prayer》,Andrea Bocelli如丝绸般顺滑的声线犹如太阳的光辉一般光芒四射，温暖听者的心田，同Andrea Bocelli比起来，Celine Dion甚至显得有些生硬和黯淡了。媒体称Andrea Bocelli时，使用的是这样的赞美词：“被上帝亲吻过的嗓子”。

　

Since the birth of opera, the favourite pastime of its followers has been to complain non-stop about the past, present and above all the future of opera. The words most commonly uttered by the older generation and melomaniacs in their prime are: "The voices aren't what they used to be in the old days." It is a tragic refrain, like a dreadful music box that keeps repeating itself, and it is part of the traditional ritual of opera: not for nothing do we use the word "melodramatic" to describe someone who appears doleful, nostalgic and defeatist.
In fact the voices are, have always been, and will always be what they used to be, while times, ways of life and public demand change, creating that interplay of influences which is the lifeblood of the supremely spectacular, lavish and imaginative genre that is opera.

Andrea Bocelli's star rose at a crucial stage of major melodramatic debate. At a time when high-powered names no longer feature on the covers of best-selling operatic recordings, Bocelli is one of opera's most important and unexpected innovations. Just when we were reading and talking about reports of the demise of the operatic genre, with theatres dismally half empty, with the slump in record sales, with the virtual disappearance of opera from television schedules, suddenly the tenor Andrea Bocelli, a modern tenor in the old style as he likes to describe himself, appeared on the scene.

With his natural predisposition towards music and song, from an early, even very early, age, there was no other way for the tenor from Pisa, considering his extraordinary musicality. Clear, precise intonation, the almost fanatical search for perfection and exquisite taste together give Bocelli the extremely rare ability to adopt an instrumentalist's rather than a singer's approach to a score.
All this is combined with highly personal and persuasive vocal colour, and perfect diction, tinged with a subtle, barely-concealed melancholy that goes straight to the hearts of the listeners and is the reason for his spectacular success. It is the famous "something" that makes an artist unique.

After studying under the expert guidance of Maestro Luciano Bettarini, teacher of many great names including Ferruccio Tagliavini, Ettore Bastianini and Franco Corelli, Bocelli attended a masterclass in Turin with Franco Corelli, whom he truly idolises (and the feeling is reciprocated). The Pisa-born tenor made his stage debut in Verdi's Macbeth in 1994, with performances in Pisa, Mantova, Lucca and Livorno, under Claudio Desderi. This decisive debut under the banner of Verdi (one of the tenor's greatest sources of inspiration, along with his favourite Puccini) was followed by the CD "Viaggio italiano" with Vladimir Fedoseyev, released through Sugar in 1995.

The first wholly operatic concerts of international importance were at Cagliari and at the Puccini Festival at Torre del Lago in summer 1997, a real personal challenge which Bocelli confronted even in the face of some not exactly favourable criticism. On this occasion Bocelli sang arias and duets from Madama Butterfly and Tosca and, responding to rapturous applause, gave an encore of the "9 Cs" aria from La Fille du régiment.

In 1998 he made a second stage debut, this time in Cagliari, in the leading role of Rodolfo opposite Daniela Dessi in Puccini's La Bohème, conducted by Steven Mercurio. The opera, which he tackled with extraordinary commitment, was an even more important stage on Bocelli's journey to dramatic and vocal maturity. The same year he joined Zubin Mehta for a major concert in Tel Aviv. The celebrated conductor was so enthusiastic about Bocelli's gifts that he publicly praised the Tuscan tenor's musicality, preparation and taste. The same year saw the release of the album "Aria", one of the biggest classical successes of all time, leaping immediately to the top of the charts.

His debut at the Arena di Verona came in 1999, when he made a guest appearance in Lehár's Merry Widow, conducted by Anton Guadagno. Bocelli's top D-flat in "Tu che m'hai preso il cuor" (You are my Heart's Delight) and the "Brindisi" from La traviata with Cecilia Gasdia, won him a standing ovation from 18,000 spectators.
In October of the same year, he made his US debut in Massenet's Werther in Detroit, with Steven Mercurio on the podium and Denyce Graves in the role of Charlotte. Italian listeners were able to hear excerpts from the second and third acts, including the encore of the aria "Pourquoi me réveiller", broadcast live on RAI Radiotre's popular programme "La Barcaccia". Also in 1999 came the CD "Sacred Arias", conducted by Myung-Whun Chung, in which Bocelli ranges from Bach/Gounod to Mozart and from Schubert to Rossini. Once again sales were sensational.

Since then the Bocelli myth, reinforced by his enormous success as a recording artist, has grown out of all proportion. Alternating on the podium for his concerts are superstars like Lorin Maazel (Classical tour, Munich 1999 and Verdi's Requiem, Verona 2000 and Munich 2001), Seiji Ozawa (Munich 2000), Valery Gergiev (Verdi's Requiem recorded in London, 2000) and again Zubin Mehta (Tel Aviv 2000). Bocelli's close collaboration with Myung-Whun Chung, Principal Conductor of the Orchestra dell' Accademia Nazionale di Santa Cecilia in Rome culminated with the release of the "Sacred Arias" CD and major events broadcast worldwide.
There were more challenges to be faced with recordings of the "Verdi" album, conducted by Zubin Mehta, made to mark the Verdi centenary, and the complete version of “La Bohème”.

January 2001 saw Bocelli's first appearance on stage at Verona's Teatro Filarmonico in the title role of Mascagni's L'amico Fritz, a role particularly well-suited to Bocelli's vocal talents, since it demands a very special kind of tenore di grazia with an extensive range and unusually polished timbre.
In summer 2002, he made his debut as Lieutenant Pinkerton in Madama Butterfly at Torre del Lago. In the autumn of 2003, his classical recording career continued when he joined forces with Maestro Lorin Maazel to release “Sentimento”, an album of songs exploring the early twentieth century musical tradition of songs for voice and violin, once again released through Sugar. This highly romantic collection by composers such as Francesco Paolo Tosti and Franz Liszt were set to orchestra by Maestro Maazel, who also played the violin on the album. A huge success, Andrea was awarded two highly coveted UK Brit Awards for “Album of the Year” and the “Best Selling Classical Album of the Year” at the 2003 Awards Ceremony.
Andrea has since released his second complete opera recording, “Tosca” with Zubin Mehta, in May 2003 and Il Trovatore, Pagliacci and Cavelleria Rusticana conducted by Steven Mercurio are set for future relase.

The career of the tenor from Pisa can certainly be described as extraordinary. The world of opera has seen very few like him. Obviously, the great novelty Andrea Bocelli represents has given rise to opposing factions. Beyond the virtues and the defects that can be found in his, and every other artist's, vocal style, one thing is certain. For the first time, at a moment of deep crisis, we are seeing theatres packed like rock stadiums, television companies eager to broadcast events and young people turning up at the opera. Andrea Bocelli is a myth and so at the same time a natural advertisement for a genre that the majority of youngsters think is antiquated and obsolete and belongs in a museum. Andrea Bocelli, with his unmistakable timbre and enchanting diction, is prolonging the life and restoring the dignity of a genre that seemed to belong only to the past and whose death was already being mourned. Andrea Bocelli has, at his own risk, entered the operatic fray without the aid of a microphone and achieved a miracle - that of overcoming his blindness and performing on stage as well as and even better than many of his colleagues. A series of challenges marking the beginning of a new era for opera: the most beautiful spectacle in existence, and this time with a tenor for everyone.　




男高音歌唱家：安德烈·波伽利

　　“我并不认为一个人应该吃歌手这行饭。成为歌手，完全取决於你周围人们的反应。因为歌手不能说“听我的，我要为你歌唱”，而必须读人们对你说“请为我们演唱”……”安德烈·波伽利热情而充满渴望的歌声已经像野火燎原般传遍世界的每个角落。

　　　1958年，安德烈·波伽利出生在图斯卡尼（Tuscany）的农村。安德列在很小的时候，就被歌剧所吸引，成为他终身的目标。他年幼时便在78转的老唱片上听过许多伟大的男高音录音，例如吉利以及印象特别深刻的柯列里。年幼的波伽利听过一出又一出的歌剧，幻想著自己有朝一日也能在歌剧院的舞台上演出这些角色。

　　　波伽利曾受过数种乐器训练，包括长笛与钢琴，但是他的声乐学习之路是比较晚的。当波伽利对家人表明了对歌剧演唱的渴望之後，遭到家人的反对。他们怀疑音乐事业是否足够俄糊口过活。尊重双亲的意见，波伽利在比萨（Pisa）大学念法律课程，并且取得学拉，但是波伽利并未遗忘年轻时的梦想，他开始接受声乐训练。

　　　安德烈的第一位老师是普拉托著名的大师贝塔里尼（Luciano Bettedni），曾经训练出几位好嗓子的歌手。波伽利也注意到他景仰的柯列里即将开设大师班的消息，他在这位偶像面前演唱，获得了许多建议。此後，他迈开了梦寐以求的音乐之路。

　　　波伽利随後预见了几位影响他至深至钜的人物，包括意大利唱片业巨子托培迪内（Michele Torpedine），以及“整体”（Insieme）唱片公司的创办人卡赛里苏加（Caterina Caselli－Sugar）。卡赛里苏加给了波伽利一纸合同，但在唱片公司安排下，波伽利以流行歌手的面貌在表大利出道。而波伽利也了解，先从流行的角度切入是必须的。

　　　波伽利第一张回归古典路线的专辑是《美哉意大利》，收录了几首著名的歌剧咏叹调和拿坡里民谣，并在1996年起在意大利之外的欧洲其他国家发行。这张专辑是波伽利对昔日伟大男高音的献礼，也是他对世人呕歌意大利传统的作品。1998年的《其爱情声》是波伽利首张进军国际的古典专辑。在这张专辑里，波伽利演唱了许多著名的歌剧咏叹调，包括了普契尼、威尔第与唐尼才第的作品。波伽利自己表示这是他“儿提回忆的原声轨迹”。《真爱情别》成为史上最受欢迎的男高音唱片之一，在欧洲的流行排行榜保持前十名内，并在全球各地持续发烧。《真爱情声》在美国古典排行榜连续保持60周榜首，同时《美哉意大利》则为第二名。

　　　波伽利的现场演出也大有进展，获得了很大的成功。他受邀参加在帕瓦洛帝演唱会“帕华洛帝与朋友们”；在梵蒂冈的电视转播音乐会理与卡列拉斯同台；在巴黎为庆祝教宗约翰·保罗二世来访的音乐会中，他与郑明勋、芭托莉一同演出；在英国汉普顿亲王王宫音乐节里，与卡娜娃同台；由祖宾·梅塔指挥的以色列建国五十周年纪念音乐会，波伽利也应邀登台；皇家爱乐五十周年处也有他的身影；在佛罗伦斯纪念美国伟大男高音塔克（Richard Tucker）的大会上献唱。

　　　1988年他首度在美国献唱，由史拉特金指挥美国国家交响乐团伴奏，地点为华盛顿肯尼迪中心。这场音乐会使他立即受到热情的反应，随後在纽约麦迪逊花园广场的演唱会门票立即销售一空。1999年他二度赴美，受邀在洛杉矶著名的碗型露天剧场参加1999年葛莱美奖颁奖典礼。在大会上他与人气顶望的女高首席琳·迪翁（Celine Dion）合唱了一曲The Prayer这次大奖他赢得了“最佳新进艺人”（Best New Artist）。自伟大的女高音普莱丝（Leontyne Price）之後，他是第二位在葛莱美奖获得奖项的古典艺人。

　　　1994年在比萨，波伽利演唱了生乎第一个歌剧角色：威尔第《马克白》里的马克杜夫。他首度担任歌剧的男主角，是在1998年的萨第尼（Sardinia），普契尼《波西米亚人》的诗人鲁道夫，音乐指导是梅库里欧（Steven Mercurio。）。这次演出经由电视与广播传播至意大利各地，引起了极为广大的反响，美国的评论家甚至认为，波伽利的演唱要比四分之一世纪前，卡列拉斯的著名演出还要好。1999年夏季，波伽利在著名的维洛纳音乐节参与《风流寡妇》的演出，同样获得了极大的好评。他在美国的歌剧首演为1999年11月；波伽利在密西根歌剧院演出马斯奈的名剧《维特》，指挥同样是海库里欧。

　　　波伽利认为古典乐界的挑战是很严苛的，但他仍将坚持下去。本着一股谦虚的学习心，波伽利希望能接续上伟大的意大利男高音传统，虽然这些前辈们的成就已经很难被超越了。波伽利骄人的成就，来自热情的支持者，特别是一些新的听众与年轻人。这位从图斯卡尼出身的男孩，用歌声将情感传播给世界各地的人们。