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Meyerbeer : Le Prophete. Horne, Gedda, Lewis

4.5 étoiles sur 5 2 commentaires client

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Détails sur le produit

  • Interprète: Marilyn Horne (Mezzo Soprano), Robert El Hage (Bass), Alfredo Giacomotti (Bass)
  • Orchestre: Italian Radio Chorus Turin
  • Chef d'orchestre: Henry Lewis
  • Compositeur: Meyerbeer
  • CD (4 juillet 2012)
  • Nombre de disques: 3
  • Label: Opéra d Oro
  • ASIN : B00004SU9S
  • Moyenne des commentaires client : 4.5 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 14.057 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

Giacomo MEYERBEER : Le Prophète


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4.5 étoiles sur 5
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Format: CD Achat vérifié
Il n'existe que 2 enregistrements "complets" (c'est-à-dire "les moins coupés") de cet opéra, tous deux dirigés par le même chef. C'est assez dire que d'une version à l'autre la vision d'ensemble demeure la même. La version studio est épuisée et hors de prix ; celle-ci ne démérite pas car l'orchestre est excellent et les solistes aussi, quoique parfois toujours parfaits dans leur dictions française. Néanmoins les 3 rôles principaux sont excellemment tenus, particulièrement par le toujours excellent Gedda. On regrettera juste une prise de son qui, si elle propose une bonne balance (c'est l'essentiel) et ne souffre pas de défauts particuliers, est "étriquée", hésitant entre le mono et une stéréo timide : elle ne rend pas justice à l'orchestre dont les timbres semblent plus ternes qu'ils ne devraient l'être. Malgré un son parfait (au sens où peut l'être celui de la Tétralogie dans sa version Solti, qui recherche la haute-fidélité comme une fin en soi), la version studio n'est pas tellement plus convaincante car les solistes sont globalement d'un niveau inférieur et la prise de son des voix est en retrait et d'une sécheresse excessive : il en résulte un côté artificiel un peu pénible. A un prix nettement abordable, cette version Opera d'Oro n'est donc pas à négliger, l'essentiel demeurant la beauté de l'interprétation.
Remarque sur ce commentaire 1 sur 1 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Par Mario Salvini VOIX VINE le 12 octobre 2009
Format: CD Achat vérifié
Insuffisamment connu, mérite l'attention de ceux qui aiment l'opéra..et des collectionneurs...on ne joue plus cette oeuvre et c'est bien dommage.
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x9f237240) étoiles sur 5 6 commentaires
23 internautes sur 23 ont trouvé ce commentaire utile 
HASH(0x9fa85c84) étoiles sur 5 Great music, great singing - lousy sound 14 mars 2001
Par John Cragg - Publié sur Amazon.com
Format: CD Achat vérifié
Meyerbeer had extensive training and experience in Germany and Italy before moving to Paris to write French Grand Opera. Le Prophete is indeed French Grand Opera, but while Meyerbeer has moved on from his Italian bel canto base, his vocal writing in this opera is infused with the spirit and some of the techniques of the Italian operatic world in which he had cut his operatic teeth, and the French requirement of ballet music finds Meyerbeer in his element - whereas most of the transplanted Italians seem to have produced less than felicitous results for this chore. All in all, a fascinating work, either taken on its own merits, which are great, or for its place in opera history.
In this production Marilyn Horne at the peak of her powers produces much outstanding music. Gedda ably abets her, even though by then he was indeed past his prime. (The one hitch with the casting is that the relative ages of the singers sounds quite inappropriate to the story.) The rest of the performers are at least adequate. The real shortcoming - and it is serious - is pretty poor acoustics. This is surprising since using a radio orchestra and the lack of audience noise makes one presume that this set derives from a "live" radio broadcast rather than a stage or concert performance, and by 1970 radio sound was a lot better than what comes through here. It is a pity, for the poor quality seriously distorts the music, greatly degrades the singing, and generally reduces the pleasure to be obtained from this set. The weakness from the producers is made more serious by the laughable inadequate booklet. There is no libretto, the index cues give the first lines of the section without indication of who might be singing it, and the comment is totally uninformative. If there were an alternative, I would go for it, but the only other one listed by Amazon anyway seems to be the same production (the record company is Myto) - though I have no idea whether the higher price of this alternative is justified by better sound. How we could use another production by a good company!
32 internautes sur 36 ont trouvé ce commentaire utile 
HASH(0xa3d260cc) étoiles sur 5 Passable, but not good 16 octobre 2003
Par Un client - Publié sur Amazon.com
Format: CD
I came to this recording long after buying the studio recording, which Horne, MacCracken, Scotto, and Jerome Hines, released by Columbia. I thought it would be wonderful to experience this vast opera in live performance. I am sure it would be. This recording is not complete, and it doesn't give a very good representation of the work. The sound quality is simply horrible, I mean horrible. Meyerbeer may not have been Wagner in his orchestrations, but he was very meticulous about what he wanted (often writing the changes in various colors of ink to test them out in performance), and we as listeners are simply robbed of that experience. I much prefer Gedda in the Role of Jean to MacCracken (who is not a favorite singer of mine to begin with), even though he is past his prime. My reasoning is simple: the role of Jean is so awful to sing and has nothing really to it (the result of Meyerbeer having a poor tenor to premiere it, while having the great Pauline Viardot Garcia as Fides) and Gedda actually has enough musicality to make something of it. Of course, Horne is unbeatable, simply stunning in the mother role of Fides. The rest of the case simply fades into oblivion and makes no impression at all.
The booklet provided is completely useless, especially for those coming to this opera unprepared. Although sometimes companies make too much of the history of an opera, and all the tiny details of its composition (often provided for operas that are so familiar such informatino is more than a boring repeat), this is an opera that needs such explanations (it used rolerskates, a new invention at the time, in the ballet music to give the impression of skating on a frozen lake; although that fact adds nothing to the music, it is an interesting little bit of information and gives quite the images when listening to the music). I really miss biographies about the artists, which are becoming rarer and rarer these days, which is sad, for we are hearing more and more new singers we know nothing about. In this case, it would have been fun to hear what Horne herself wrote about singing the role of Fides. Perhaps she is so famous now a standard biography is not necessary, but singers commenting on the roles they are singing can be very enlightening.
I rated this a three star because it is not worth more than that. For those who love everything live, and are Horne fans, I guess you should buy this to add to your collection and for no other reason. For those who want to know the opera, and hear good singing, buy the Columbia studio recording I mentioned earlier, if you can find it. I am not sure it has been released yet in CD.
12 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0xa3d26288) étoiles sur 5 The Flaws and the Fire 9 juillet 2010
Par Edward Quade Winter - Publié sur Amazon.com
Format: CD Achat vérifié
Despite the crazy sound and obvious musical mistakes, this is still an exciting performance. Henry Lewis was no big star, but he got this score. I prefer this reading, warts and all, to his later commercial CD. Marilyn Horne is on fire. Love, hatred, joy, despair, sarcasm, scorn, and the sheer power of this historic role, she owns it. This is one of the best things Nicolai Gedda has ever done. Anybody who says he was "past his prime" here, don't you believe it. Act II is his baby. His aria "Pour Bertha" alternating heavenly pianissimi with fresh, clean power high notes is the kind of thing teachers still play for their pupils. And his ascent to a silvery, perfect high D flat in the quartet later on is pure golden age. The other soloists are almost all good, some iffy French notwithstanding. Alas, the recorded sound is loopy. Approximately two minutes into the first track, this 1970 recording wakes up and decides that it's in stereo. The performance was a studio affair done for the Italian radio. It was obviously supposed to be edited before they broadcast it. Never happened. The trio "Ad nos ad salutarem undam" begins with a solo Bassoon. This is botched by a horn player who couldn't count his rests. The conductor waves for silence. Waits a moment. Gives the cue again which is played correctly. The botch was obviously supposed to be edited out later. Somebody didn't get that memo. Another time during the allegro of the ballet, the music abruptly stops. We hear the rustle of pages madly turning. Then it resumes. Clearly a way past some inconvenient page turns for the instruments. No problem, we'll splice the gap later. Never happened. And these are only the goofs they meant to fix. Others - mostly by bit part players and chorus - they let slide. For all intents and purposes, this is a live performance, and has both the flaws and the fire, and Meyerbeer's score triumphs. I still count it the most exciting "Prophète" I've heard.
8 internautes sur 8 ont trouvé ce commentaire utile 
HASH(0xa3d262c4) étoiles sur 5 Great cast in Excellent Sound 8 mars 2012
Par Shaun Greenleaf - Publié sur Amazon.com
Format: CD
There are several Amazon reviews of this performance that criticize the sound quality; some call it "really awful". I suppose if someone were completely unfamiliar with the sound of live, off-the-air opera recordings, such a reaction might be understandable, although entirely misinformed. The first minute or so is poorly focused, then the sound blooms into quite acceptable, clear, unfussy but rather vivid stereo. Voices are given prominence, as one would expect--and hope for--from an Italian (RAI) recording. The contrast between the sound here and that of the only other "complete" set (CBS, Horne, Scotto, McCracken et al, with Lewis again conducting) could not be greater: there the orchestra is in prominent focus, and the soloists relegated to a very different acoustic, one so muddled with reverb that note-values, and voices, are often blurred past recognition. This actually helps the late-career Scotto, whose shrieking is a real trial, but it relegates that set to on-again, off-again status. Some of the very big scenes play quite impressively, the (interminable) ballet music is well-served, and the chorus sounds quite powerful, but the soloists are submerged in an indistinct, arbitrary, and very unnatural ambience. To quote the 1998 Gramophone Opera Good CD Guide, the CBS recording "has a way of banishing soloists to an echo-ridden recess and playing tricks with sound levels in a manner that...repeatedly creates the impression that one's equipment is going wrong". The CBS set is also very expensive, when it can be found, and it's no wonder that CBS, or whoever currently owns the rights, has not been anxious to expose themselves to redicule by reissuing it. This Opera D'Oro set is entirely preferable in every respect, apart from the blow-out-the-walls, see-how-much-noise-we-can-make, mid-70's "We Are Stereo, Hear Us Roar!" effect for CBS (which is kind of fun, once in a while) in a few of the really gigantic scenes. Gedda is a paragon of French style, in total command of the high tessitura and able to execute many jaw-dropping voix-mixte effects above the staff, as well as command the full-voiced power demanded by the biggest moments. He is 45 years old here, at the very apex of his powers, a beautiful voice and a technique not heard in this music since it was premiered. His performance is as close to perfection as we will ever hear in this role. His competition on CBS is James McCracken, who has the heft and weight for the heroic aspects of the role, which are many, but has not the slightest trace of French style or subtlety; he is, quite literally, an American bull in a French china shop. Horne is almost as wonderful as Gedda, in one of the most demanding roles ever written for mezzo (Viardot); only her not 100% idiomatic French keeps her from matching Gedda, and that (to me) is a very marginal flaw. She also has the advantage of being 5 years younger on this set, and that counts. Margherita Rinaldi bests Scotto, who was in patchy vocal shape by 1976, in every respect and holds her own in this Olympian company. Whatever passing flaws of editing might be detected here are of little importance: this is a *wonderful performance in excellent sound* with a great cast at the peak of their powers. This is the sort of performance a collector searches for. That this opera, one of the most important of the 19th century, indeed, one of the most important in opera history, has received this treatment, and that this triumph is preserved here, is a cause for enthusiastic rejoicing. That Opera D'Oro offers it for such a low price makes it hard to pass up. Brief notes and a track listing accompany the discs.
5 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0xa3d265f4) étoiles sur 5 It is beautiful! 1 mars 2011
Par Donald Roland - Publié sur Amazon.com
Format: CD
To be frank, until I read the other reviews, I didn't know about any of the flaws on this recording, and I had been playing it for years! The page turns I overlooked because that can happen on the best recordings, however I will admit that the very beginning switch to stereo is true, but it wasn't that noticeable to me, and the merits of the set far outway its minor flaws (it is three and a half hours almost). Horne, Gedda, and Rinaldi are excellent as the three principles, and their support, headed by Giacomotti, is good as well. My only complaint is that the second disc doesn't play on my boom-box, but it does on my computer and portable CD player! If you want a recording of Le Prophète for your opera collection, this is certainly the most economic, and with both Horne and Gedda, how can one go wrong?
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