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主页--->m-comment-000--->mb-comment-009-91
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布罗克斯顿评说莫里康内 MB-009-91 |
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FA6816 La
tenda rossa /
The red tent/ Krasnaya palatka / 红帐篷 |
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作者 乔纳森·布罗克斯顿 （Jonathan Broxton） |
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ENNIO MORRICONE 评论，第9部分 009-91 |
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LA TENDA ROSSA [红帐篷] （1970） 《红帐篷》是一部俄罗斯/意大利剧情片，由米哈伊尔·卡拉托佐夫执导，改编自尤里·纳吉宾的小说。这部电影由肖恩·康纳利饰演挪威极地探险家罗尔德·阿蒙森，讲述了他如何率领探险队营救他的伟大对手翁贝托·诺比尔（彼得·芬奇饰）的真实故事，翁贝托·诺比尔是 1928 年斯瓦尔巴群岛海岸飞艇坠毁的幸存者之一，但在此过程中丧生。这部电影由克劳迪娅·卡迪纳莱和哈迪·克鲁格联合主演，有趣的是，埃尼奥·莫里康内并不是这部电影的原始作曲家。俄罗斯音乐家亚历山大·扎采平（Aleksandr Zatsepin）最初于1969年在苏联为这部电影的国内发行创作了配乐，但他的音乐被莫里康内（Morricone）的新配乐所取代，并于次年在国际上映。 莫里康内为《红帐篷》创作的主题经常被爱好者称为他整个职业生涯中最美丽的主题之一，不难看出原因。这首“Tema d'Amore”是一首华丽的、令人难以忘怀的、寻找的哀歌，它对一排弦乐逐渐发展到巨大的比例，毫不费力的美感，尤其是当女高音独唱家 Edda dell'Orso 的天籁之音在大约 80 秒后进入提示时。这种优雅的宗教弦乐和天使般的人声的结合是莫里康内经典的声音，多年来在许多乐谱中都听到过，但《红帐篷》确实是最好的之一。 正如人们所想象的那样，与这个惊人的开场相比，其余的分数相形见绌，但仍有许多亮点有待发现。在第二首提示“La Tenda Rossa”中出现了更认真、更直率的旋律，但这被一些鲜明、戏剧性的弦乐和木管乐器打断，这些旋律讲述了阿蒙森寻找诺比勒的危险。随后的“Morte al Polo”是一个澎湃的、同样戏剧性的动作提示，用于环环相扣的节奏弦乐思想，穿插着对主题的可爱陈述，增强了悲剧和失落感，以及一些有效的幽灵合唱思想。“Un Amore Come la Neve”重新审视了主旋律，更加强调铜管，“Messagio da Roma”是一个巧妙的悬念线索，以钢琴敲击莫尔斯电码为特色，而“Finale”是一个庄严的尾声，建立了一个适当的优雅和情感高潮。 原声带以一首 22 分钟的长曲结束，名为“Altri， Dopo di Noi”——“其他人，谁会跟随我们”——一段密集而具有挑战性的不和谐音，偶尔会出现在狂热的长号重动作音乐中，强调了一些激烈的救援序列（听听 10：00 标记处的铜管爆炸声），以及更多对莫尔斯电码的暗示， 在它最终飘入冰冷的虚无之前。我希望这组曲——实际上是对几个简短提示的大量编辑——被分成更易于消化的块，因为许多单独的时刻都是极好的，但它们往往被埋在这个不和谐的庞然大物中间，很难通过。 正如人们所预料的那样，鉴于其受欢迎程度，《红帐篷》的配乐多年来已经发行了很多次。我最喜欢的版本是意大利唱片公司Legend Records在1994年发行的版本，尽管也推荐同一唱片公司2010年的扩展版本。 曲目列表： 1. Tema d'Amore （3：31）， 2.La Tenda Rossa （2：30）， 3.Morte al Polo （4：11）， 4.《爱茉莉来吧》（2：12），第5页。Messagio da Roma （1：40）， 6.索诺薇薇 （1：39）， 7.阿迪奥 （2：51）， 8.Altri， Dopo di Noi （22：20）.图例CD15,40分54秒。 |
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2021.2.7 |
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以下是原文
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ENNIO MORRICONE REVIEWS, Part 9-91 |
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LA TENDA ROSSA [THE RED TENT] (1970) The Red Tent is a Russian/Italian drama film directed by Mikhail Kalatozov, adapted from the novel by Yuri Nagibin. The film stars Sean Connery as Norwegian polar explorer Roald Amundsen, and tells the true story of how he led an expedition to rescue his great rival Umberto Nobile (Peter Finch), one of the survivors of an airship crash off the coast of Svalbard in 1928, but lost his life in the process. The film co-starred Claudia Cardinale and Hardy Krüger and, interestingly, Ennio Morricone was not the original composer on the film; Russian musician Aleksandr Zatsepin originally wrote the score for the film’s domestic release in the Soviet Union in 1969, but his music was replaced with a new score by Morricone for the film’s international release the following year. Morricone’s main theme for The Red Tent is often cited by aficionados as one of the most beautiful themes of his entire career, and it’s not hard to see why. This “Tema d’Amore” is a gorgeous, haunting, searching lament for a bank of strings that gradually grows to enormous proportions of effortless beauty, especially when the heavenly sound of soprano soloist Edda dell’Orso enters the cue after around 80 seconds. This combination of graceful religioso strings and angelic vocals is a classic Morricone sound that has been heard in many scores over the years, but The Red Tent is truly one of the best. The rest of the score, as one might imagine, pales in comparison to this staggering opening, but there are still numerous highlights to be found. A more earnest, forthright melody emerges in the second cue “La Tenda Rossa,” but this is interrupted with some stark, dramatic strings and woodwinds that speak to the danger of Amundsen’s quest to find Nobile. The subsequent “Morte al Polo” is a surging, similarly dramatic action cue for interlocking rhythmic string ideas, interspersed with lovely statements of the main theme that enhance the sense of tragedy and loss, as well as some effective ghostly choral ideas. “Un Amore Come la Neve” revisits the main theme with more emphasis on the brass, “Messagio da Roma” is a clever suspense cue that features the piano hammering out morse code, and the “Finale” is a solemn coda that builds to an appropriately elegant and emotional climax. The soundtrack ends with a massive 22-minute piece entitled “Altri, Dopo di Noi” – “Others, Who Will Follow Us” – an extended piece of dense and challenging dissonance which occasionally emerges into frenetic trombone-heavy action music that underscores some the intense rescue sequences (listen to that explosion of brass at the 10:00 mark), and more allusions to morse code, before it eventually drifts away into icy nothingness. I would love for this suite – which is actually a massive edit of several short cues together – to be split out into more digestible chunks, because many individual moments are superb, but they tend to be buried in the middle of this dissonant behemoth that is challenging to get through. As one would expect given its popularity, the score for The Red Tent has been released many times over the years. My preferred version is the one released by Italian label Legend Records in 1994, although the 2010 expanded release from the same label is also recommended. Track Listing: 1. Tema d’Amore (3:31), 2. La Tenda Rossa (2:30), 3. Morte al Polo (4:11), 4. Un Amore Come la Neve (2:12), 5. Messagio da Roma (1:40), 6. Sono Vivi (1:39), 7. Addio (2:51), 8. Altri, Dopo di Noi (22:20). Legend CD15, 40 minutes 54 seconds. |
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Feb. 7, 2020 |
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在线音乐试听 |
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Jon 是一位电影音乐评论家和记者，自 1997 年以来一直担任全球最受欢迎的英语电影音乐网站之一 Movie Music UK 的编辑和首席评论员，并且是国际电影音乐评论家协会 （IFMCA） 的主席。在过去的 20多 年中，Jon 撰写了 3,000 多篇评论和文章，并进行了多次作曲家采访。在杂志刊物方面，乔恩曾为《电影配乐月刊》、《原声带杂志》和《电影音乐》等出版物撰写评论和文章，并为普罗米修斯唱片公司的两张经典 Basil Poledouris 配乐专辑《Amanda》和《Flyers / Fire on the Mountain》撰写了衬垫注释。他还为汤姆·胡佛 （Tom Hoover） 于 2011 年出版的《Soundtrack Nation： Interviews with Today's Top Professionals in Film， Videogame， and Television Scorering》一书撰写了一章。在1990年代后期，乔恩是伦敦皇家爱乐乐团的电影音乐顾问，并与他们合作拍摄了约翰·德布尼（John Debney）的音乐电影《相对价值》（Relative Values）和奥利弗·海斯（Oliver Heise）的音乐《佛陀的指环》（The Ring of the Buddha），以及与兰迪·纽曼（Randy Newman）合作的一系列音乐会。2012年，乔恩在波兰克拉科夫举行的第五届年度电影音乐节上担任“电影节学院”主席。他是作曲家和作词家协会的成员，该协会是作曲家、作词家和词曲作者从事电影、电视和多媒体工作的首要非营利组织。 |
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2023.12.10 |
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2023 手机版 |
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