最经典的清唱剧，亨德尔的弥赛亚归来～～～好棒啊～～～超级喜欢高男高音的声音，非常的激动兴奋啊～～～
可惜唱到哈里路亚的时候没有达到全场人起立的状态，不过anyhow，哈里路亚在掌声中重新演绎了一遍，感觉好过瘾啊，^_^哈哈哈哈哈，嘿姆嘿姆，^_^

Gala Performance-China's performance of Handel's Messiah
Celebrating Shanghai Opera House 50th Anniversary

Time: 19:30, Sep.10，Sun. 2006,

Venue: Shanghai Oriental Art Center ?Concert Hall

Conductor ：John Nelson

Chorus of 120 from Shanghai Opera House ，Shanghai Conservatory of Music

Soloists ：
Ying Huang黄英（Soprano ）
Larry Zazzo （Counter Tenor ）
Chi Liming迟黎明(Tenor)
Yang Xiaoyong杨小勇（ Baritone ）

Orchestra ：Shanghai Opera House Orchestra ，

Organ ：Shanghai Oriental Arts Center Organ ，
the best organ in a major concert hall in China

Messiah
by George Frideric Handel（1685-1759）
In the words of Dr. Charles Burney, 18th century music historian, Messiah "has fed the hungry and clothed the naked, fostered the orphan, and enriched succeeding managers of Oratories more than any single musical production in this or any other country." For more than 250 years, this great and most popular of oratorios has survived and endured numerous revisions and reorchestrations in performances ranging from "cast of thousands" to today's emphasis on "authentic" performance practice employing period instruments and small all-male choral ensembles.

Handel, at the low ebb of his career and, as a consequence of a stroke, suffering partial paralysis on his left side, composed Messiah in the incredibly short period of time of 21 days. The composer had been invited to give a series of concerts in Dublin, some of which would benefit various charities. The premiere was met with considerable success and served to boost Handel's spirits for a return to London. While it is true that George II stood during the singing of the mighty "Hallelujah" Chorus at the second London performance, Messiah did not enjoy the popularity of many of Handel's other oratorios during the composer's lifetime. In fact, it was only through Handel's annual Eastertide performances to benefit his favorite charity, the Foundling Hospital, that Messiah was heard at all!

Robert Manson Myers wrote that, in the case of Messiah, "for the first time in musical history the mighty drama of human redemption was treated as an epic poem." Music historian R.A. Streatfield cited Messiah as "the first instance in the history of music of an attempt to view the mighty drama of human redemption from an artistic viewpoint." While narrative only in a general sense, the libretto prepared for Handel by Charles Jennens and taken from both the Old and New Testaments considers the whole of human experience - hope and fulfillment, suffering and death, resurrection and redemption.

What Handel achieved in Messiah was a wonderful blend of elegant, Italianate melody alternating with virtuosic vocalism for the soloists and, for the chorus, unmatched choral sonorities ranging from madrigalesque lightness to the composer's characteristic ceremonial style which endeared him to the British public. Across the span of 250 years, Messiah still holds its extraordinary grip on musician and audience member alike. It reaches us with its directness of expression and its infinite capacity for self-renewal. It bestows on us the special gift of aesthetic and spiritual grace.

A Brief of Baroque Messiah

For more than 250 years, this great and most popular of oratorios，composed by George Frideric Handel（1685-1759）,has survived and endured numerous revisions and reorchestrations in performances ranging from "cast of thousands" to today's emphasis on "authentic" performance practice employing period instruments and small all-male choral ensembles.

The premiere was met with considerable success and served to boost Handel's spirits for a return to London. While it is true that George II stood during the singing of the mighty "Hallelujah" Chorus at the second London performance, Messiah did not enjoy the popularity of many of Handel's other oratorios during the composer's lifetime. In fact, it was only through Handel's annual Eastertide performances to benefit his favorite charity, the Foundling Hospital, that Messiah was heard at all!

What Handel achieved in Messiah was a wonderful blend of elegant, Italianate melody alternating with virtuosic vocalism for the soloists and, for the chorus, unmatched choral sonorities ranging from madrigalesque lightness to the composer's characteristic ceremonial style which endeared him to the British public.

Across the span of 250 years, Messiah still holds its extraordinary grip on musician and audience member alike. It reaches us with its directness of expression and its infinite capacity for self-renewal. It bestows on us the special gift of aesthetic and spiritual grace.

狂赞学校BBS的首页图片，超级kawaii 原来又到军训时咯，^_^

回归中学时代～重新让我感动的那首where the wild roses grow
很喜欢Nick Cave的声音，不过很意外的是，这首歌曲的女声居然是Kylie Minougue，澳大利亚的骄傲，不过现在的她真的很难找到那个年代的影子了,今天找到了中学时代特别喜欢的一首很老很老的歌曲,好开心啊，翻来覆去的听同样这一首歌曲，重新获得了感动的能力，不过或许不同于中学时代的感动，现在的感动或许更多的是一种无奈一种被生活抛弃或者是自己抛弃了生活的郁闷，^_^～～～～中学时候第一次听到这首歌曲是某个电台DJ做的一个专题节目，都是一些叙事类型的歌曲，我还做了强大的听写，把这首歌曲的歌词全部听写出来，很佩服当时自己的恒心啊，不过说实话澳大利亚人的英语还算比较容易听懂，不像某些Singlish or Inglish之类的，wow，OMG，怎么一句都听不懂，汗ing～～～～～
where the wild roses grow”是Nick Cave & Kylie Minogue演唱的，这首地狱似的情歌讲述的是一位男子与一位让他心仪的女子短暂相遇，三天以后，他出于自卑，狠心的把她杀了，在一片哀怨浪漫却充满恐惧色彩的弦乐声中，艺术达到了最大的感染力。这首歌曲出自Nick Cave 1995年不朽经典“The Murder Ballads”,很多人称它为“谋杀情歌”。他的才华不只他天才的钢琴和深情的嗓子，它作为诗人的特质在每首歌的歌词里面体现得淋漓尽致。