Gekijyo no Tame no Ongakushu (Japanese Title)

[Machine Translation] In the 16th and 17th centuries, during the Elizabethan era, women were forbidden to appear on stage. For this reason, Shakespeare's plays were often performed by boys in female roles, and there were many perverse scenes. However, during the Restoration of the monarchy in the late 17th century, actresses like those of today appeared on the stage and displayed their charms to the fullest. Among them, Anne Bracegirdle gained wide popularity, and the English composer Eccles ( also known as Eccles) and Finger, a composer from Moravia active in the country at the time, wrote several works for her, and these were well received. Her works combine the characteristics of Italian solo cantatas and French court music, and her "Songs of Wrath," which describes passionate and intense emotions, became very popular. Vermeulen's singing conveys the atmosphere of the time. [Olivia Vermeulen (mezzo-soprano), Thomas Ehrenfeldt (conductor), Capella Orlandi Bremen

Note: This is an import edition (manufactured outside of Japan).

16世紀から17世紀、エリザベス朝の時代には、女性が舞台に上がることは禁じられていた。そのため、シェイクスピアの戯曲は女性役を少年が演じることが多く、倒錯的な場面も数多く見られたよう。しかし17世紀後半の王政復古の時代には現代のような女優が登場し、舞台上で魅力を存分に発揮した。中でもアン・ブレイスガードルは幅広い人気を獲得、英国の作曲家エクルズ (エックレスとも)や、当時この国で活躍していたモラヴィア出身の作曲家フィンガーや、彼女のために何曲かの作品を書き、これらが評判を呼んだことで知られている。作品はイタリアのソロ・カンタータとフランスの宮廷音楽の特徴を併せ持ち、なかでも、情熱的で激しい感情表現が描写された「怒りの歌」は大変人気を博した。フェルモイレンの歌唱は当時の雰囲気をあますことなく伝えている。 [演奏] オリヴィア・フェルモイレン (メゾ・ソプラノ)、トーマス・イーレンフェルト (指揮)、カペラ・オルランディ・ブレーメン