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Mozart: Concert Arias

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Page Artiste Rolando Villazon


Produits fréquemment achetés ensemble

  • Mozart: Concert Arias
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Détails sur le produit

  • Interprète: Antonio Pappano, Rolando Villazón
  • Orchestre: London Symphony Orchestra
  • Chef d'orchestre: Antonio Pappano
  • Compositeur: Wolfgang Amadeus Mozart
  • CD (3 février 2014)
  • Nombre de disques: 1
  • Label: Deutsche Grammophon
  • ASIN : B00FHDA6EA
  • Moyenne des commentaires client : 5.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 61.324 en Musique (Voir les 100 premiers en Musique)
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Digital Booklet: Mozart: Concert Arias
Digital Booklet: Mozart: Concert Arias
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Descriptions du produit

Description du produit

For his new solo album, Rolando Villazon brings his lustrous Latin timbre to the concert arias of Mozart.

Mozart's Il re pastore was the very first opera Rolando performed while still a student at the conservatory and he has felt a special connection to the composer ever since; through his diverse musical explorations, especially of Baroque music and Monteverdi, and by reading Mozart's letters, Rolando has acquired the experience and artistic maturity he was looking for in his own Mozart interpretation

The emotional range and vocal demands of Mozart s condensed music-dramas are perfectly suited to Rolando s musical and dramatic gifts and a sincere expression of his love for perhaps the greatest of all composers for the voice

For this major new recording of Mozart s rarely recorded concert arias, Rolando is joined by Britain s Finest Orchestra [The Arts Desk], the London Symphony Orchestra, conducted by the Music Director of the Royal Opera House, Covent Garden, Sir Antonio Pappano.

Critique

Dans la bande-annonce du récital où Rolando Villazón est interrogé sur ses motivations de reprendre en studio des airs de concert de Mozart, il est étonnant de comparer la voix parlée du ténor, son rythme saccadé et sa diction hachée en anglais, à celle chantée, plus familière aux mélomanes qui suivent sa formidable ascension internationale depuis une quinzaine d'années.

Devenu un visage familier du grand public grâce à ses apparitions très pertinentes à la télévision, Rolando Villazón est loin de se considérer comme une star et c'est avec la même envie teintée de gourmandise qu'il embrasse ce répertoire d'arias comme il arpente les scènes de Don Giovanni ou Cosi fan tutte (dont des extraits de ses prestations au festival de Baden-Baden sont livrés dans le deuxième CD de l'édition limitée).

Accompagné du London Symphony Orchestra dirigé par l'associé régulier Antonio Pappano en direct des stuios Abbey Road de Londres, le ténor choisit surtout de mettre en valeur un patrimoine méconnu constitué d'airs destinés à d'autres compositeurs comme Johann Adolf Hasse, Niccolo Piccini ou Pasquale Anfossi ou à un chanteur en particulier, ou tout bonnement inachevés en raison d'opéras à terminer. Laissant de côté les exercices les plus courus, il pénètre dans l'intimité de l'oeuvre où l'attendaient « Misero! O sogno o son desto? » (K. 431), « Con ossequio, con rispetto » (K. 210) pour L'Astratto de Piccini ou « Se ai labbro mio con credi » (K. 295) tiré de l'opéra Artaserse de J. A. Hasse, gagant à être découverts. De même que le court extrait de l'opéra-bouffe délaissé Lo Sposo deluso (K. 430), « Dove mai trovar quel ciglio? », ou un autre similaire, « Müsst ich auch durch tausend Drachen » (K. 435), d'une belle difficulté.

Outre ces pièces de la maturité du compositeur au début des années 1780, le récital emmené avec prestance par Sir Antonio Pappano comprend des oeuvres de jeunesse comme celle déposée à l'âge de neuf ans, « Va' dal furor portata » (K. 21) ou « Or che il dover...Tali e cotanti sono » (K. 36). C'est une heureuse initiative de Rolando Villazón que de faire revivre ces miniataures, après les avoir trouvées dans un catalogue, au hasard d'une visite dans un magasin de musique à Munich. - Copyright 2015 Music Story


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Format: CD
J'aime beaucoup Rolando Villazon et l'ai vu plusieurs fois sur scène. C'est un très grand professionnel qui met une ardeur et une énergie peu communes dans son travail. Cela peut parfois le desservir mais il est rarement décevant. Cet enregistrement que certains trouvent ennuyeux et peu intéressant est au contraire la preuve qu'il y a beaucoup de trésors à faire connaître au grand public. On entend trop souvent la même chose. J'ai, pour ma part, éprouvé un grand plaisir à découvrir ces airs qui conviennent parfaitement au ténor franco-mexicain.qui, ici, nuance plus son chant et passe moins en force. A écouter et à déguster car le sentiment de bien-être que procure la musique mozartienne par ses mélodies parlant de l'âme humaine avec tant de douceur ne doit pas être boudé.
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Format: CD
Rolando est parfait. Vous n'etes jamais decu avec lui. Le meilleur tenor de tous les temps. Ceci etait un cadeau.
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x9593a7f8) étoiles sur 5 12 commentaires
13 internautes sur 16 ont trouvé ce commentaire utile 
HASH(0x9595dabc) étoiles sur 5 That's more like it! 24 janvier 2014
Par Rosomax - Publié sur Amazon.com
Format: CD
Just a few weeks ago I reviewed Villazon's 2013 Verdi CD: Villazon Verdi and, while noting the diminished powers of his voice when it comes to Verdian repertoire, stated that it would be much more suitable for lighter lyric voices. His earlier success as Don Ottavio in Don Giovanni and later - as Ferrando in Mozart: Cosi fan tutte made the case for adopting Mozartean repertoire all the more convincing. And lo and behold: here we have a disc that indeed does make Villazon's talents shine. Yes, sure enough, we may never hear a recital such as Rolando Villazon: Italian Opera Arias, but this CD proves Villazon is not "done" as a singer, and in fact we get to watch him as he starts the path to exploring more uncharted territories. After all, how many young tenors record Verdi and Puccini, leaving us with a gazillion versions of "Recognita Armonia" and virtually none of "Se al labbro mio non credi" featured on this CD?

Villazon's voice rings out beautifully and confidently on all the arias, which trace Mozart's brilliant career from earlier quite unknown works to an amazing rendition of "Müsst ich auch durch tausend Drachen", the only aria sang in German, and done so brilliantly it had me wonder if Villazon is considering an exploration of lieder by Schubert and Beethoven, which would surely be a treat. I still detect a hint of hesitation as he attacks the formerly easy high notes; he doesn't attack all of them at full-force anymore, but it's not a major distraction as it was with Verdi arias. His coloratura is unexpectedly splendid, I can't recall him doing this before. And, as before, his diction is perfect, each word is heard clearly. I can't speak to the interpretations with any type of authority for the very reason of these arias being so rarely heard. But Villazon sounds youthful and passionate, he even ads a welcome playful touch when needed, reminding the listener what a consummate singing actor he is.
Antonio Pappano and the forces of the LSO provide excellent support, the recording quality is flawless.
10 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0x95961e4c) étoiles sur 5 A remarkably enjoyable and confidently sung album of Mozart rarities 23 janvier 2014
Par Santa Fe Listener - Publié sur Amazon.com
Format: CD
It's a pity that Rolando Villazon's post-surgery vocal status remains an issue. So far as I know, there's been only one complete opera recording in recent years, a live Werther from Covent Garden under Pappano that was decidedly mixed. The female lead wasn't among the best, and some critics felt that Villazon's voice had lost luster, strength, and spontaneous excitement. I'd call myself a fence-sitter at this point, but I was glad that he sang such a good Don Ottavio in DG's excellent Don Giovanni under Nezet-Seguin.

That augured well for this recital of rarely sung Mozart concert arias, which would be a commercial risk in today's market except from an international star, which Villazon must still be counted as. With one or two exceptions, like the dazzling coloratura in Va, Dal Furor Portata K. 21, the range of these tenor arias isn't as demanding as in Mozart's most spectacular ones for soprano, but their lyric simplicity is deceptive - they are probablyd as difficult as Ottavio's two arias. It takes a trained singer, I imagine, to explain why Dalla sua pace is so much harder than Il mio tesoro, and I won't attempt to judge these arias technically. But they are lovely, in much the same vein as the tenor music in Don Giovanni. I didn't hear any duds, although more than three or four at a time leads to a certain sameness.

As for Villazon, I liked his recital of Handel arias done in a romantic style that turned its back completely on HIP fashions. "Authenticity" hasn't intruded very much into Mozart operas so far as the tenor parts are concerned - today's Taminos mostly sound like the ones from fifty years ago. In any event, Villazon is just as romantic and full-voiced here. He can't really hit one or two low notes; everything else is easily encompassed. No touches of Verdi or Puccini, either, in an attempt to juice up the music. The trills and runs that occasionally arise are met with thrilling assurance. I wonder how many of the great lyric tenors of the past could have done as well. Pappano fully supports the singer's ardent approach; the orchestra and recorded sound are both excellent.

In all, what seemed on paper like an unlikely program, or one to interest musicologists only, turns out to be one of the tenor's most enjoyable and convincing solo albums. Villazon does so well in the only German aria on the program, the highly decorative Musst Ich Auch Durch Tausend Drachen, that one hopes he will be recorded as Belmonte in Abduction from the Seraglio.
8 internautes sur 10 ont trouvé ce commentaire utile 
HASH(0x95961ec4) étoiles sur 5 In Mozart, the audience recovered a brand new great Mozart tenor in Villazon. 21 janvier 2014
Par Abert - Publié sur Amazon.com
Format: CD
Solo albums of Mozart’s concert arias for tenor aren’t widely recorded as sopranos’.
Some notable ‘Mozart tenors’ did not met with an enviable plight since the legendary Fritz Wunderlich’s all too early demise at the age of 35 in 1966: in 2007 the American Mozart tenor par excellence Jerry Hadley died at the age of 55. Three years later Scottish born Austrian tenor John Dickie died aged barely 57. They did not record any complete album of Mozart concert arias, nor do eminent Mozart interpretors Francisco Araiza and Michael Schade. Indeed, not too many tenors chose to devote his major career to the works of Mozart after the days of Anton Dermota and Peter Schreier. Hence it is a real joy when Villazon himself claimed that the discovered a entirely new operatic world in Mozart.
Rolando’s new album on Mozart is about the most exciting vocal solo album since 2010, for the star tenor virtually found his ‘real stuff’ in this composer’s work. The timbre is as if tailor-made for these arias. Actually audience already got an early glimpse of this tenor’s glory in this composer’s operas when the live performances of ‘Don Giovanni’ and ‘Cosi fan tutte’ were released in the past two years.
Mozart’s Concert Arias are not really ‘popular’ works on discography as such, but they will soon become such, after Rolando’s terrific recording came out.
Villazon’s fully lyrical and flexible tenor voice finds such great affinity with Mozart’s musical lines that it is astounding – Mozart must have written the works for HIM! Both the recitatives and the arias are stylistically rendered, and even if one would wish for an even more ‘Rococo’ sort of refinement of delivery, there is little to fault really for Rolando shapes the phrases so elegantly that one used to his former ‘style’ would be utterly surprised.
Villazon’s Mozart has that quintessential element of ‘drama’. He is so emotionally alert and sensitive to every word, every phrase, every note, that there is simply no one single bland note, and blandness is, of course, the greatest deadly sin in Mozart. Nor does Villazon over-dramatizes. The drama is always well contained within the Viennese classical style, in the crystal-clear enunciations so the lyrics come out even in greater conviction. This is a jaw-dropping feat in Mozart interpretation that leaves one no choice but to admit that Villazon is born to sing Mozart! He has the timbre, the style, the temperament, the musicality…Really, nothing could be better.
Antonio Pappano’s LSO plays with great musicality and Mozartian style as well, and offers a perfect backdrop to Rolando’s great singing.
The only, and actually a minor, quibble is that in the final release of this wonderful recording, instead of the originally scheduled 7 tracks there are 12, which means that some scenes are being split up. The splits are not always a happy one, as for instance in tracks 5 and 6, on which Mozart marked a clear ‘attacca’ for the entry of the aria after the recitative.
Despite this minor technical flaw, this album is the best solo vocal album to come out in a decade.
Bravo, bravo, Rolando!
4 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0x95971270) étoiles sur 5 Pulled back Villazon but still the joy and beauty overflow 21 mars 2014
Par G. Bell - Publié sur Amazon.com
Format: CD
I've been a fan of Villazon for a long time. He can throw himself into a role with little reservation with stunning effect - La Traviata with Netrebko, Rizzi and the Vienna Phil is one of the most exciting opera performances that I know. And he can blow out his voice. So this is a more restrained, not hell bent Villazon but he is still there, this time given classical restraint and the result is just beautiful. Superb.
3 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x959713a8) étoiles sur 5 Goosebumps! 9 juin 2014
Par Mightymouse - Publié sur Amazon.com
Format: CD Achat vérifié
Stop the technical chatter- presurgical/postsurgical nonsense! I don't care! I don't know what his latest stage performances look like post vocal cord surgery but the recording aspect of his career I assure you, is secure. He sounds marvelous and I will continue to be a fan! Mozart's arias tend to be deeper in the tenor vocal range and I can say he performs them beautifully! I am perfectly aware the performing night after night in fully staged Operas plus scheduled recitals throughout a 18 month performance season is a lot more taxing on the voice than rehearsing and recording in studio. Time alone will tell whether he has made "full" recovery to satisfy the technical critics but for the rest of us, his voice gives me goosebumps. I hope at least, that he does not stop recording as the world will be deprived of a truly gifted vocal musician.
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