The two recently recorded CD sets of Hrabina (The Countess) and Straszny dwór (The Haunted Manor) in complete concert versions with eighteenth-century instruments add enormously to the Polish operatic repertoire in the nineteenth century, and offer a fresh listening experience for those who have long wished for first-rate recordings of lesser-known, yet brilliantly executed, works of the hitherto neglected composer, Stanisław Moniuszko (1819–1872). Born in the Minsk district of modern Belarus, Monisuzko was gentry, and his nostalgia for the customs, the fields and forest, and the rural community that shaped his childhood years, fuelled his enthusiasm for modern operas set in the eighteenth century. These stellar concert versions of The Countess and The Haunted Manor provide a fascinating glimpse into the provocative and glittering salons of the eighteenth-century Warsaw nobility, whose inhabitants stand firmly in contrast to the more modest and self-effacing life of the peasants and the country gentry. In both operas Moniuszko successfully provides a romanticized portrayal of pre-Partition courtly life in Poland. While these two operas were highly regarded as national treasures in Poland, they were not particularly well known outside of the country. Polish opera at that time was largely overshadowed by Italian, French, and German composers, and the nation's subjugation to the Hapsburgs, Prussians, and Russians throughout the nineteenth century contributed mightily to the neglect of staged works by Polish composers. Additionally, singers needed to be trained in the nuances and inflections of the language. Prior recordings were either incomplete or were not available with English translations of the librettos. With the Biondi and Nowak recordings, Moniuszko's vision of expanding his art to a global audience has finally been achieved. These recordings are accessible to all opera enthusiasts on an international playing field.

中文翻译：

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莫纽什科与贵族传统的复兴：伯爵夫人与闹鬼的庄园

最近录制的两套 CD赫拉比纳（伯爵夫人）和斯特拉兹尼庄园（《闹鬼的庄园》）完整的音乐会版本，采用十八世纪的乐器，极大地丰富了十九世纪的波兰歌剧曲目，并为那些长期以来渴望获得鲜为人知但精彩的一流唱片的人们提供了全新的聆听体验执行迄今为止被忽视的作曲家斯坦尼斯瓦夫·莫纽什科（Stanisław Moniuszko，1819-1872）的作品。莫尼苏科出生于现代白俄罗斯的明斯克地区，是一位绅士，他对习俗、田野和森林以及塑造他童年时光的乡村社区的怀念激发了他对十八世纪现代歌剧的热情。这些精彩的音乐会版本伯爵夫人和闹鬼的庄园令人着迷的是，我们可以一睹十八世纪华沙贵族的挑衅性和闪闪发光的沙龙，那里的居民与农民和乡绅的朴素和谦逊的生活形成鲜明对比。在这两部歌剧中，莫纽什科成功地描绘了分治前波兰宫廷生活的浪漫化写照。虽然这两部歌剧在波兰被视为国宝，但在国外却并不特别出名。当时的波兰歌剧在很大程度上被意大利、法国和德国作曲家的光芒所掩盖，而整个十九世纪国家对哈布斯堡王朝、普鲁士人和俄罗斯人的征服在很大程度上导致了波兰作曲家的舞台作品被忽视。此外，歌手需要接受语言细微差别和语调变化的培训。之前的录音要么不完整，要么没有歌词的英文翻译。通过比昂迪和诺瓦克的唱片，莫纽什科将其艺术扩展到全球观众的愿景终于实现了。国际舞台上的所有歌剧爱好者都可以观看这些录音。