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Bertin: La Esmeralda
 
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Bertin: La Esmeralda

29 juin 2009 | Format : MP3

EUR 16,19 (TVA incluse le cas échéant)
Également disponible en format CD

Applications Amazon Music

Applications Amazon Music
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Détails sur le produit

  • Date de sortie d'origine : 1 janvier 2009
  • Date de sortie: 29 juin 2009
  • Nombre de disques: 2
  • Label: Universal Music Division Decca Records France
  • Copyright: (C) 2009 Orchestre National Et Opéra National De Montpellier
  • Métadonnées requises par les maisons de disque: les métadonnées des fichiers musicaux contiennent un identifiant unique d’achat. En savoir plus.
  • Durée totale: 2:08:26
  • Genres:
  • ASIN: B002CCZUB8
  • Moyenne des commentaires client : 4.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 313.780 en Albums (Voir les 100 premiers en Albums)

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Format: CD
La plupart des histoires de la musique présente la Esmeralda de Louise Bertin comme un opéra qui n'aurait d'intérêt que pour son livret, de la plume de Victor Hugo lui-même. Il n'en est rien: la musique aussi est inspirée et Louise Bertin s'avère être une grande compositrice avec de grands talents d'orchestratrice qui ont fait croire à certains que Berlioz lui aurait donné un coup de main. Le livret est conçu comme un grand opéra dans la mouvance de ceux de Meyerbeer privilégiant les masses chorales et les scènes de foule un peu comme dans Les Huguenots. L'ensemble est homogène et tous les artistes à la hauteur.
Remarque sur ce commentaire 4 sur 4 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Format: CD
Une oeuvre intéressante et qui mérite d'être connue.Que n'enregistre-t-on pas aussi La montagne noire d'Augusta Holmès et d'autres œuvres de Louise Bertin? Cependant j'aurais aimé une distribution moins exotique car comment suivre le livret en écoutant seulement? Les chanteurs ne déméritent pas mais je reste sur ma faim. Le livret de V. Hugo n'est sans doute pas ce qu'il a fait de mieux.
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Amazon.com: HASH(0x9cb39828) étoiles sur 5 2 commentaires
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x9cf732b8) étoiles sur 5 Welcome recording of a significant work 15 juin 2011
Par Allan Life - Publié sur Amazon.com
Format: CD Achat vérifié
As your previous reviewer indicates, there is much to enjoy in this recording for lovers of French Romantic opera. What follows are some reflections on the significance of this work - available for the first time in a recording - for students of Victor Hugo's "Notre-Dame de Paris."

First, a little background. At the urging of a close friend, the composer Louise Bertin, Hugo composed a libretto based on his novel. Entitled "La Esmeralda," Bertin's opera debuted in Paris in 1836, with a distinguished cast. It closed after six nights, and despite occasional revivals, it survived largely as a score for piano and voice by Franz Liszt.

On the face of it, focusing an opera on la Esmeralda may seem plausible enough. In the novel, this teenager is a great performing artist. She captivates every man who beholds her, from Archdeacon Frollo to his bell-ringer (or nearly every man, since her beau ideal, Captain Phoebus, is unconscious of her genius!). However, her artistry appears largely intuitive, whether she is dancing, or singing Spanish songs she does not understand. In the words of her "husband," Gringoire, Esmeralda is "ignorant of everything and enthusiastic about everything." In the first half of the novel, she experiences a rite of passage that should have culminated in her seduction by Phoebus, or, rather, in her inevitable disillusionment with this unworthy idol. That process is halted by Claude Frollo, and after enduring a month in prison and "confessing" under torture to bewitching and stabbing Phoebus, Esmeralda is "shattered." She is lost to practically everything save her hatred of Frollo and her love of Phoebus, and even after her rescue by Quasimodo, she deepens these fixations with daemonic intensity. The Esmeralda of big-budget films and the French musical -- bonding with Quasimodo; mouthing a reedy "Ave Maria" - is remote from the young martyr of Hugo's novel.

Lacking the self-awareness of many heroines of Romantic opera, the Esmeralda of the novel is equally innocent of the florid soliloquizing analogous to opera recitatives and arias. On those occasions in the book where she actually speaks, her dialogue is pithy and to the point -- refreshingly so, amidst the verbosity of some of her friends and foes. Inevitably, Hugo must sacrifice his heroine's concision to the amplitude of a libretto, where Esmeralda herself articulates what the fictional narrator has expressed or intimated about her feelings and motivation. The result is an Esmeralda who clings to her idealism with metaphysical precision, beseeching her "Dieu bon" for transportation to that "ciel" where lovers are reunited. Nor is her constancy misplaced, since (in the finale to numerous deviations from the original plot), a dying Phoebus returns to rescue her from Frollo.

Nevertheless, Hugo's libretto - and Louise Bertin's score - is significant to any devotee of the novel. In particular, Claude Frollo's meditations in the opera refine his chain of reflection in the book: though he harps on "le destin" and "fatalité," he seems to acknowledge selecting one's own destiny, like Faust contracting with Mephistopheles, in a drama which is frequently echoed in this libretto (Bertin had, in fact, presented an opera based on Goethe's "Faust" in 1831). Contrasting with Frollo's mania for possessing what he loves, and destroying what he cannot possess, is a rhapsodic "bell song" by Quasimodo, celebrating all that is free in nature and in the human heart. This is the Quasimodo who, in the novel, composes verses and devises objective correlatives - largely in vain -- to awaken Esmeralda from delusion. And the Esmeralda of the opera, too, has her moments of genuine lyricism, not least in the recitative and "romance" she sings in her dungeon at the opening of Act 4. Maya Boog's singing here is particularly fine, and she is appropriately visceral at points in the duet that ensues, between the helpless victim and her tormentor, who belts out, "Je t'aime!" Not that anything can surpass Esmeralda's terse reply in the novel: "Quel amour!" ("What a love!"). Still, there is much to enjoy in this important recording and, for students of the novel, a good deal to ponder.
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x9ccf284c) étoiles sur 5 Bertin But Could Easily Pass For Early Berlioz 30 janvier 2011
Par Y. Shuster - Publié sur Amazon.com
Format: CD
"La Esmeralda" by Louise Bertin is an extremely underrated opera. I enjoyed listening to this recording, the only one of the opera as far as I know, very much. It is in the style of early French romantic opera, and as such could easily pass for an early Berlioz composition.

The sound quality of the recording is excellent, as are the soloists, who are all clearly dedicated to the performance. The soprano, Maya Boog, deserves especial mention as an amazing artist. Her potrayel of Emeralda is spot-on and very very exciting. The bass, Francesco Eliero d'Artegna, is excellent as Claude Frollo. The tenor, Frederic Antoun, as Quasimodo, has a light high lyric tenor, which strikes me as a little odd for the role, which I always thought of as either a baritone or bass. But, of course, that is not the tenor's fault, but simply how the composer penned the role. The conducting and orchestral playing is very, very competent and enjoyable. I can only hope that this opera will get a performance in this country at some time in the future. Until then, there is thankfully this recording of it to tide us over. A pleasure!
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