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Handel : un'opera immaginaria [International Version]
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Handel : un'opera immaginaria [International Version]

13 avril 2009 | Format : MP3

EUR 10,39 (TVA incluse le cas échéant)
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Détails sur le produit

  • Date de sortie d'origine : 6 avril 2009
  • Date de sortie: 13 avril 2009
  • Label: Warner Classics
  • Métadonnées requises par les maisons de disque: les métadonnées des fichiers musicaux contiennent un identifiant unique d’achat. En savoir plus.
  • Durée totale: 1:18:21
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  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
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11 internautes sur 11 ont trouvé ce commentaire utile  Par PVP le 14 avril 2010
Format: CD Achat vérifié
Je suis surpris que personne n'ait encore réagit à cette belle production réunissant dans une sorte d'opéra imaginaire une subtile compile de certains hits du génial saxon, interprétés par la fine fleur de l'écurie Virgin ; ce disque constitue une excellente introduction à la variété des partitions opératiques de G.F.H. et inspire une écoute de chacune des oeuvres dont elle sont extraites. Une bonne idée de cadeau à réserver uniquement à ses amis mélomanes.
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26 internautes sur 26 ont trouvé ce commentaire utile 
Handel "plums" in very digestible form 7 juin 2009
Par Ralph Moore - Publié sur Amazon.com
Format: CD
This generous compilation is the product of a novel and amusing idea to celebrate the 250th anniversary of Handel's death. Excerpts from 11 operas and two oratorios recorded and released between 1986 and 2008 and spanning over thirty-five years of Handel's prodigious output, have been assembled to recreate a kind of facsimile opera typical of the 38 operas he wrote during his long and (mostly) successful career. It is an idea by no means entirely foreign or indeed to inimical to the composer himself; Handel frequently stitched together "pasticcios" from his works and some of his most celebrated creations are as much as 75% re-cycled musical material. Likewise, his star singers were used to producing an "aria di baule" ("trunk-aria") as and when required, to be inserted willy-nilly into the opera being performed simply because it was a current favourite with the public.

So we shouldn't get too snooty or purist about this witty confection. French musicologist Ivan Alexandre, whose brainchild this was, has been careful to respect the conventions of "operas seria" and used sound judgment in juxtaposing these disparate elements in authentic manner. His introduction to the disc sums up neatly the spirit of the enterprise:
"It seems that, in the years around 1720, when people went to the opera to hear a castrato idol or an adored soprano, they would play cards, pay court to their neighbours and savour sorbets during the recitatives - even during the so-called arias of action, which they enjoyed less than the ornamented reprises of the showpiece arias. With this intractable and hedonistic audience in mind (so different from people like us, of course), thirteen star singers came together to concoct this festive piece, constructed and presented in three acts like a true dramma per musica, but with no explicit story and no concrete characters: in other words, an imaginary opera formed of passion and music. It is also a salute to the composer, who died on 14th April 1759, a quarter of a millennium ago - and to the opera-loving public, deprived of sorbet, but not of pleasure."

I would hope that the decision to provide no libretto was made not on grounds of cost but in order to preserve the illusion of a continuous drama. However, if you are already familiar with all or some of the highlights used, you will inevitably bring your own knowledge and associations to this music, so it is perhaps a little stingy and precious to deny us the words. Similarly, the conceit is a little dented by the fact that we hear so many different voices, recorded in a variety of acoustics and venues (at least one live) with different conductors and orchestras - but this is still a mighty entertaining disc, featuring some of the best Handelians of our time. Almost every singer is an established star and has something special to offer, and while the scope of my personal taste in voices does not encompass that of Ian Bostridge, it would be churlish to begrudge him his three minutes and forty-two seconds, so I'll pass over that. Otherwise, I thoroughly enjoyed listening to so many accomplished voices. Rising star Joyce Di Donato despatches fiery accounts of her showpiece arias and it is good to hear the silver tones of the late Arleen Augér, but the absolute highlight of this disc for me is the superb duet from "Giulio Cesare" with Stephanie Blythe and David Daniels; two beautifully matched and tuned voices entwining most movingly. Of the three counter-tenors featured, I certainly prefer Daniel's rich timbre to the more piping tones of Philippe Jaroussky and could wish that Daniel's version of that prince among Handel arias Scherza infida had been the one selected, but Jaroussky sings with great skill, control and pathos. The third counter-tenor, Max Emanuel Cencic - a singer whom I have not previously heard - is equally delightful in the sensuous aria Sincero affetto.

The whole gamut of emotional registers and conventions generally encountered in Baroque opera is artfully covered in this disc, from the obligatory "mad scene", to the "sleep scene", to martial bravura, to the "shades" aria, to duels between the voice and instruments. Virgin have also brought out a Handel anniversary edition double CD of arias and duets, but this single offering would make an equally ideal introduction to Handel for the novice, presenting the da capo form at its most beguiling. As it is, I can envisage playing this lovely disc often, as I confess that the longueurs in some Handel operas sometimes incline me towards judiciously selected highlights.

Of course, something similar to this has been done before, with Kiri Te Kanawa and Christopher Hogwood giving us an excellent pastiche in the now discontinued "The Sorceress" (see my review), but this disc allows you to hear Handel performed by a variety of artists in more modern style.
4 internautes sur 4 ont trouvé ce commentaire utile 
A "Rough Guide" Sampler ... 1 octobre 2010
Par Reviewer - Publié sur Amazon.com
Format: CD Achat vérifié
... for musical tourists in the Land of Handel. This odd CD is a program of selections from recordings of operas and oratorios, issued between 1986 and 2008, by eight quite diverse ensembles led by ten disparate conductors featuring fourteen dissimilar singers. The selection was made by musicologist Ivan Alexandre, replicating the common baroque-era practice of 'pastiche'. Supposedly, we listeners will travel though the 'emotive' libretto of a typical Handelian opera without the usual encumbrances of an absurd plot or silly lyrics. A purely musical Grand Tour, if you will ... and "will" you must, unless you speak Italian, since no texts to the recitativos or arias are included.

The ensembles and conductors:
Il Complesso Barocco - Alan Curtis
Les Talens Lyriques - Cristophe Rousset
Le Concert d'Astrée - Emmanuelle Haïm
Les Arts Florissants - William Christie
Les Violons du Roy - Bernard Labadie
Orchestra of the Age of Enlightenment - Roger Norrington & Harry Bicket
City of London Sinfonia - Richard Hickox
Ensemble Orchestral de Paris - John Nelson

Joyce di Donato, Natalie Dessay, Ann Hallenberg, Anne Sofie von Otter, Vivica Genoux, Anna Bonitatibus, Stephanie Blythe, Geraldine McGreevy, Manuela Custer, Arlene Auger;
David Daniels, Philippe Jaroussky, Max Emanuel Cencic; Ian Bostridge !!!

As you can see and as you will hear, a lot of basses are touched, though not a single bass gets to sing a note. Given the paucity of roles for basses in Handel's operas, it's small wonder boys were lining up for the knife!

But all this diversity comes with a certain level of auditory confusion. The original recordings were not all equal in equalization, or in quality. While most of the ensembles performed on original instruments at 18th C pitch (usually A415), a few tracks are at A440. The largest gap is in the vocal technique of the singers, however. There's a grand canyon between the vocalism of Arlene Auger and Philippe jaroussky! Whether that divergence is a plus or a minus will depend, I suppose, on the expectations of the listener. If you really want to hear this program as an "imaginary opera", you'll struggle with its incongruities. If you accept it as a jolly sampler, you'll enjoy it more.

The Jaroussky track, by the way, is the aria "Scherza infida" from Handel's Ariodante. It's a marvelous performance, my favorite on the CD.
2 internautes sur 3 ont trouvé ce commentaire utile 
Par PVP - Publié sur Amazon.com
Format: CD
Je suis surpris par cette belle production réunissant dans une sorte d'opéra imaginaire une subtile compile de certains hits du génial saxon, interprétés par la fine fleur de l'écurie Virgin ; ce disque constitue une excellente introduction à la variété des partitions opératiques de G.F.H. et inspire une écoute de chacune des oeuvres dont elle sont extraites. Une bonne idée de cadeau à réserver uniquement à ses amis mélomanes.
0 internautes sur 2 ont trouvé ce commentaire utile 
Wonderful Handel Sampler with Outstanding Singers 26 juillet 2011
Par Marguerite Foxon - Publié sur Amazon.com
Format: CD Achat vérifié
This disc provides a great overview of some of the best of Handel by some of the best current Handel singers. Yes, some are better than others as one reviewer notes, but this is a very listenable and enjoyable disc. If Handel opera is your "thing" you probably have most of these tracks already (as I do) but having them all on one disc like this is delightful. Well worth the purchase.
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