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Mendelssohn: Overtures
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Mendelssohn: Overtures

8 février 1988 | Format : MP3

EUR 10,99 (TVA incluse le cas échéant)
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Détails sur le produit

  • Date de sortie d'origine : 8 février 1988
  • Date de sortie: 8 février 1988
  • Label: Universal Music Division Decca Records France
  • Copyright: (C) 1988 Deutsche Grammophon GmbH, Hamburg
  • Métadonnées requises par les maisons de disque: les métadonnées des fichiers musicaux contiennent un identifiant unique d’achat. En savoir plus.
  • Durée totale: 1:13:20
  • Genres:
  • ASIN: B0025CYKG6
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: 295.749 en Albums (Voir les 100 premiers en Albums)

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4 internautes sur 4 ont trouvé ce commentaire utile  Par Mélomaniac 1ER COMMENTATEUR DU HALL D'HONNEURTOP 10 COMMENTATEURS le 26 octobre 2008
Format: CD
Les ouvertures de jeunesse (op. 24 et 101) ne furent tirées d'aucun argument extramusical mais les suivantes s'inspirèrent de la littérature : "Ruy Blas" d'après Hugo, "Songe d'une Nuit d'été" d'après Shakespeare, "Mer calme et heureux voyage" d'après Goethe, "la Belle Mélusine" d'après Grillparzer. La subjuguante "Hebriden" fut suggérée à Mendelssohn par les impressions visuelles face à la caverne basaltique de la Grotte de Fingal lors de son voyage en Ecosse.

Parallèlement à son intégrale des cinq Symphonies [1], Claudio Abbado enregistra ces oeuvres à Londres au milieu des années 1980.
Capté dans de spacieuses acoustiques, l'orchestre anglais donne corps et ampleur à ces partitions que le maestro italien anime par une subtile agogique et une constante imagination narrative (écoutez par exemple comment sa conduite rythmique du "Songe" varie judicieusement le tempo).

Même si la brève anthologie gravée par Kurt Masur avec le Gewandhausorchester de Leipzig [2] demeure incontournable, le disque d'Abbado s'avère tout aussi recommandable pour se délecter de ces pages raffinées et mélodieuses.

[1] A noter que ces Ouvertures et les 5 Symphonies ont été avantageusement regroupées en coffret Mendelssohn : Symphonies et ouvertures (Coffret 4CD)

[2] Ouvertures
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24 internautes sur 24 ont trouvé ce commentaire utile 
Abbado at his best!! 8 mai 2004
Par B. Crawford - Publié sur Amazon.com
Format: CD
I'll admit, I'm a huge Abbado fan and a pretty good
Mendelssohn fan as well. So when I saw this CD for sale I
snatched it up quickly because of the rarity of most of
the overtures. I wasn't dissapointed at all! The sound
is great and the performances are wonderful. Despite what
the other reviewer said, it is playable on a "normal CD
player", and it is a disc that shouldn't be passed up
if you're an Abbado fan like myself!!
3 internautes sur 3 ont trouvé ce commentaire utile 
Mendelssohn overtures: Abbado vs Masur and Flor 7 mai 2013
Par Jurgen Lawrenz - Publié sur Amazon.com
Format: CD
Abbado: 4 1/2

This is a triple review of Mendelssohn, Overtures
Masur, Gewandhausorchester Leipzig
Abbado, London Symphony
Flor, Bamberg Symphony

Of the many and varied rivals, I pick Masur and Flor for comparison. Many others could have been chosen; but Mendelssohn Overtures are mostly placed as fillers on recordings of his symphonies, so the convenience offered by these discs is not inconsiderable.
The oldest, Masur with the Gewandhausorchester, is a lightweight affair, very carefully crafted, beautifully and spiritedly performed and well recorded. You don't expect great depths from these works, but splendid melodies and meticulous craftsmanship. Masur gives it to us in a recording that can hardly be faulted--which is not to say that when the occasion arises, he cannot unleash small storms of orchestral turmoil. The Midsummer Night's Dream is surely one of the best you are ever likely to hear; and his account of Melusine is not far behind. Which is not to say that the others are in any way inferior.
Flor's performances are on a similarly high level technically, and indeed better recorded. But I find that his care for nuances, almost self-understood with Masur, is not on quite the same level. There is, for such a young man, an astounding measure of routine here, as if he had played these a thousand times and conducted them from memory. In compensation the Bamberg Symphony produce a rich pallette of orchestral sounds, especially the winds, which enables you better than in Masur's recording, to follow the detailed strands of Mendelssohn's refined orchestration. On balance, however, this richness is for the ear alone. I find this album somewhat lacking in commitment, i.e. the conductor's sense of the necessity for one kind of phrasing over another in crucial moments of the musical argument seems to be driven by chance rather than design.
Abbado is even better recorded than Flor. His orchestra is set back from the mikes, so that a large aural space opens out that is most appealing to listener's who like to imagine themselves sitting in the best seats in the concert hall (rather than in the middle of the string corps). As a result, his readings acquire a grandeur that is missing from both his rivals. It is most telling in the Hebrides and Meeresstille Overtures which benefit most from a dense string sound. Ruy Blas is suitably dramatic with full round brass. Melusine is not quite on the same high level, and Midsummer Nights Dream, although exceedingly well played, sound a little too weighty, compared with the fleet performance of Masur.
Coming to conclusions: These are all fine recordings, though two are obviously a step higher on the rung than the third. Flor gets my lowest vote, even though (as I've already indicated) his performance gives a lot of pleasure. With Abbado, listeners will divide between those who prefer a large hall sound or a more intimate ambience. Some will feel that he is rather heavy handed with these overtures. I disagree, because I think Mendelssohn can take it, at least in some of these works. Which leaves us with Masur, who fills the gap between these two and might be felt preferable to both, firstly on account of his mastery of the Mendelssohnian idiom, secondly because of his sensible and refined craftsmanship, and also because of the recording which, although it is clear and detailed, does not draw attention to itself.
4 internautes sur 4 ont trouvé ce commentaire utile 
Wonderful Mendelssohn recording. 13 octobre 2009
Par Colloredo von Salzburg - Publié sur Amazon.com
Format: CD
This is the best CD to get all the overtures by Mendelssohn.
Magic and wonderful playing by Abbado and the LSO. It's a pity
that Abbado couldn't maintain these standards during his years
in Berlin.-
3 internautes sur 3 ont trouvé ce commentaire utile 
Mendelssohn Overtures 12 mai 2011
Par Sharon Goldstein - Publié sur Amazon.com
Format: CD Achat vérifié
Mendelssohn himself never fails to please, and this set of overtures by the London Symphony under the baton of Claudio Abbado is delightful. I particularly liked the "Fair Melusine" overture, partly because Mendelssohn wrote it in a fit of pique brought on by seeing a bad production of the play, but also because of the water figures which very much evoke the Rhine leitmotif in "The Ring of the Niebelungen," years before Wagner wrote "Das Rhinegold." Hmmm. Buy. Listen. Enjoy.

Sharon Goldstein, writing from Los Angeles
2 internautes sur 2 ont trouvé ce commentaire utile 
Nothing here is truly great, but the whole collection reaches a high level 2 juillet 2012
Par Santa Fe Listener - Publié sur Amazon.com
Format: CD
For generations Mendelssohn's overtures wee admired and programmed by every symphony, but his sensibility has waned, and gradually the overtures vanished, leaving only "the Hebirdes" (fingal's Cave) and "Midsummer Night's Dream" in the standard repertoire. Even an omnivorous completist like Karajan didn't touch "The Fair Melusine" or "Calm Sea and Prosperous Voyage." So Abbado's DG collection with the LSO has hardly any rivals. It's mostly vigorous and sympathetic, although no single reading rises to the level of the best on disc. For that, you must turn to Beecham's "Fair Melusine" and Furtwangler's "Hebrides." But everything here is decently done; these readings are better than run throughs.

On Berlin Classics Kurt Masur offers a competitive collection with the orchestra that has the proudest Mendelssohn tradition, the Leipzig Gewandhaus. He doesn't score dramatically higher than Abbado, however, and that disc excludes two items found here, "Midsummer Night's Dream" and the Overture for Wind Instruments. Neither set rises to the absolute heights, but beggars can't be choosers. This is mostly music that barely holds its place in concert halls, and I'm grateful for the assured, well-played performances offered on both discs.
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