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    May 04

    最近触动我的:









    Bruno Pelletier, 巴黎圣母院音乐剧里的诗人格林果。这个只比我妈小一岁的奎北克男人(叔叔...?)在舞台上有撩人(...撩我?)的眼神和极富挑逗性的嘴角,他的低音里有吸人的磁性,高音里有奎北克歌手们特有的穿透力。一个摇滚,音乐剧,歌谣 (Ballad),爵士通吃的全方位歌手。在上一张专辑里尝试了爵士之后,新专辑Microphnium是多种风格的结合:以他擅长的Ballad为主,混合蓝调,电子爵士和轻摇滚。不过我最喜欢的还是他的Ballad。我的法语能力尽限于能在每首歌里听懂几个词或句子,但是在电影主旋律搬的钢琴和大提琴配乐衬托下,Bruno的声音-低沉沙哑的轻诉或者高亢的呐喊,在傍晚无人的小街上回旋耳边,足可以让人在现实里迷失。
    推荐曲目:
    Déliverrance
    Après toi le déluge
    J'ai menti
    Dénaturé





    Melody Gardot, 24岁的费城人,用当代的人的音色演绎纯正的爵士,我只能用5个字形容:非常有味道。整张专辑都很值得听,听就行了。





    おくりびと(送行者:禮儀師的樂章), 日本导演瀧田洋二郎的奥斯卡得奖作品(在南加大的放映式上很有兴见到了导演,挺有意思一个人),讲一个失意大提琴(本木雅弘) 手为了另谋生路而开始做殡仪师后重新发现生命意义的过程。死亡这个沉重的话题在小喜剧的缓和下变得一点不另人悲伤了。我和全场观众一样,先笑再哭,再笑再哭,最后哭到防水眼线都掉了,但是眼泪里不是伤感,而是感动。这辈子还没看过这么能感动人的电影,强烈推荐-而且広末涼子演的新一带年轻日本主妇很可爱。



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