20世纪七八十年代以来,世界歌坛一直是三大歌王帕瓦罗蒂、多明戈、卡雷拉斯的一统天下,似乎无人能出其右。不知这是三大歌王的荣耀呢还是无奈?虽然近年来出了个“第四大男高音”阿兰尼亚,但平心而论,就其实力和成就而言,的确无法与三大歌王相提并论,让人不得不怀疑传媒和唱片公司炒作的用心。 然而,上个世纪以降,至五六十年代,则完全是另一番风景了。一批优秀的男高音活跃在世界各大歌剧院和音乐厅的舞台上,如群星璀璨,辉映世界。BMG最近推出的《黄金年代的三大男高音》专辑,就让我们领略了比约林(Bjoerling)、皮尔斯(Peerce)、兰扎 Since the seventies and eighties of the 20th century, the world’s music scene has always been the three song kings Pavarotti, Domingo, Carreras unified world, it seems that no one can be right. I do not know this is the glory of the three major song or helpless? Although in recent years out of a “fourth tenor” Alanya, but to fairness, in terms of their strength and achievements, indeed can not be compared with the three major song King, People have to doubt the media and record companies speculation intentions. However, the decline in the last century, to the fifties and sixties, it is entirely another landscape. A group of outstanding tenors are active on the stage of the world’s major opera houses and concert halls, such as bright stars, reflecting the world. BMG recently launched the “golden age of the three tenor” album, let us enjoy the Bjornling (Bjoerling), Pierce (Peerce), Lanza