钢琴家、歌唱家、指挥家、作曲家——这些几乎截然相反的对立物,被传奇性的集中于19世纪一位女钢琴家的身上。特雷萨·卡雷尼奥(1853-1917)这个性格暴烈的委内瑞拉人,高 大、有力、美丽(属于轮廓清晰的那一类)、性感,有过4次婚姻,率真的个性势不可挡、令人振奋。克拉拉·舒曼则娇小、虔诚、深刻,是位多产的母亲,在丈夫罗伯特死后(她身穿黑色衣服直到逝世)的标准寡妇,一个本质上的音乐艺术和日尔曼人最完美的女祭祀。卡雷尼奥演奏时,你多半期望从她意识里所散发出的烟雾和激情吞没钢琴。而克拉拉演 Pianists, singers, conductors, and composers - these nearly diametrically opposed antagonisms were the legendary focus on a female pianist in the 19th century. Tresa Carreño (1853-1917) The violent Venezuelans, tall, powerful and beautiful (belonging to the sharp-cut category), sexy, with 4 marriages, overbearing personalities, Excitement. Clara Schuman, petite, devout and profound, is a prolific mother, a standard widow who died after her husband Robert (who was dressed in black until her death), an essence of musical art and the best of the Germans Female sacrifice. When Carreño was playing, most of you expect to engulf the piano from the smoke and passion emanating from her consciousness. Clara played