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Roméo et Juliette

5 étoiles sur 5 1 commentaire client

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Détails sur le produit

  • Interprète: John Eliot Gardiner
  • Chef d'orchestre: orchestre Révolutionnaire et Romantique
  • Compositeur: Hector Berlioz, John Eliot Gardiner
  • CD (19 mai 1998)
  • Nombre de disques: 2
  • Label: Philips
  • ASIN : B0000069CM
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 361.245 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Romeo et juliette - introduction combats-tumulte-intervention du prince
  2. Romeo et juliette - prologue: "d'anciennes haines endormies"
  3. Romeo et juliette - strophes "premiers transports que nul n'oblie..."
  4. Romeo et juliette - prologue: "d'anciennes haines endormies"
  5. Romeo et juliette - "tel sont d'abord, tels sont les tableaux..."
  6. Romeo et juliette - prologue: "la fête est terminée..."
  7. Romeo et juliette - "mab la messagère..."
  8. Romeo et juliette - "bientôt la mort est souveraine..."
  9. Romeo et juliette - roméo seul
  10. Romeo et juliette - scène d'amour
  11. Romeo et juliette - scherzo: la reine mab ou la fée des songes
  12. Romeo et juliette - prologue: "pousée par un désir..."
  13. Romeo et juliette - "mab la messagère..."

Disque : 2

  1. Romeo et juliette - "plus de bal maintenant"
  2. Romeo et juliette - "requiem aeternam"
  3. Romeo et juliette - "mais vous avez repris la guerre de famille"
  4. Romeo et juliette - "mais notre sang rougit leur gleve"
  5. Romeo et juliette - "jurez donc par l'auguste symbole"
  6. Romeo et juliette - "mais vous avez repris la guerre de famille"
  7. Romeo et juliette - "mais notre sang rougit leur glaive"
  8. Romeo et juliette - "jurez donc par l'auguste symbole"
  9. Romeo et juliette - "et nous voulons par notre hommage"
  10. Romeo et juliette - "jetez des fleurs pour la vierge expirée"
  11. Romeo et juliette - invocation - réveil de juliette
  12. Romeo et juliette - "quoi! roméo de retour!"
  13. Romeo et juliette - "jetez des fleurs pour la vierge expirée"
  14. Romeo et juliette - "quoi! roméo de retour"

Descriptions du produit

Amazon.fr

Dans la Symphonie fantastique, Berlioz se présente comme l'archétype du musicien romantique : héros d'un bal délirant, d'un soir d'été à la campagne, victorieux de sa marche à l'échafaud, sauvé jusqu'au songe d'une nuit de sabbat, le musicien délire sous l'effet de l'opium. Dans ces hallucinations poétiques, il invente au passage l'idée fixe qui deviendra plus tard le principe du leitmotiv, mais aussi des sonorités uniques, jamais entendues auparavant. C'est un peu de cette folie des sentiments que l'on retrouve dans Roméo et Juliette, l'une des partitions les plus achevées de son auteur. À la suite d'un Colin Davis, John Eliot Gardiner s'est fait depuis de nombreuses années le champion de la musique de Berlioz. Chacun de ses enregistrements est caractérisé par une science hors du commun de la précision et de l'effet. Sur instruments anciens, Berlioz retrouve le tranchant et la poésie qui sont sa marque de fabrique. --Pierre Massé

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Par Un client le 20 novembre 2003
Ce disque est exceptionnel et on ne peut en mesurer la remarquable qualité que par les extraits entendus en ce moment sur une célèbre radio musicale française.
En effet, il est actuellement introuvable, ce qui souligne à l'évidence l'extraordinaire qualité de l'interprétation de l'orchestre et des solistes dirigés par Gardiner.
Un must que l'éditeur serait bien inspiré de rééditer pour faire partager au plus grand nombre ce chef-d'oeuvre !...
1 commentaire 5 sur 5 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0xa0062678) étoiles sur 5 4 commentaires
29 internautes sur 30 ont trouvé ce commentaire utile 
HASH(0xa00965c4) étoiles sur 5 The most romantic work of a true Romantic. 25 avril 2002
Par Bob Zeidler - Publié sur Amazon.com
Hector Berlioz carried throughout his life a mere handful of artistic "heroes" for inspiration: Virgil, Gluck, Beethoven, Goethe and Shakespeare principally; Byron and Spontini to a lesser extent. Each of these was to inform his compositions in, typically, a rather direct way: for example, Beethoven for the "Symphonie fantastique" (most particularly the "Scene aux Champs," a tribute to Beethoven's Pastoral Symphony), Byron for "Harold en Italie," Goethe for "La Damnation de Faust," and Virgil and Gluck for "Les Troyens" (his final, and crowning, achievement).

In some respects, Shakespeare had the greatest hold over him, and "Romeo et Juliette" was the direct consequence of this hold. Many consider this his greatest and most revolutionary work (an opinion that I happen to share). The work, despite its use of soloists and chorus, is nonetheless a symphony (a Dramatic Symphony, as Berlioz would describe it). Cast in seven movements - very unorthodox for its time - it shows Berlioz at the absolute peak of his creative powers as an orchestral composer.

Berlioz was the "inventor" of the modern symphony orchestra as we know it today. By the time he composed "Romeo et Juliette," he had already added several new instruments to the orchestra, had increased it in size, and had turned it into a virtuoso ensemble (in part through his introduction of "section rehearsals"). "Romeo et Juliette" was cast by him as a showpiece for this virtuoso ensemble. He wrote in his "Memoirs" regarding his choice of instruments over voices for the most dramatic sections of the work:

"...the very sublimity of the love story renders depiction so hazardous for the composer that he has had to lend his imagination a freedom which the limiting sense of sung words would never allow, and to resort to the language of instruments, a language richer, more vivid, less hindered, and, by its very vagueness, more powerful."

Indeed! I couldn't agree more.

This performance by John Eliot Gardiner and his Orchestre Révolutionnare et Romantique, Montiverdi Choir and soloists, is superb on all accounts and special in some key respects. Those familiar with Gardiner's earlier HIP (historically-informed performances) of Berlioz, such as the "Symphonie fantastique" and "Harold en Italie," will already be familiar with his use of the earlier ophicleide rather than the later bass tuba which succeeded it, and other "HIP" touches to the instrumetation. More importantly -- much more so -- is the fact that Gardiner presents ALL of the known versions of some of the sections of the work, so that you -- the listener -- have the choice of listening to either (a) the original 1839 version, (b) the revised 1845 version, or (c) a composite version of Gardiner's own devising, based on his experiences spread over numerous performances of these versions. Personally, I think that Gardiner "got it right" with his own choice of versions and their ordering; this is the "default" order in which they are played if you do not take the trouble to program your CD player.

The soloists are uniformly fine. (Gilles Cachemaille, the excellent Pére Laurence here, is a well-known Berlioz "specialist.") The chorus and soloists together do a splendid job of "commenting on the dramatic action" (along the lines of the classic Greek chorus), setting the stage in the two prologues for the drama contained in the instrumental music to come, and as well serving to provide a "Montague and Capulet reconcilliation" at the end.

But the orchestra is the true star of this performance, as Berlioz planned for it to be. Gardiner gets exceedingly fine and idiomatic playing from his orchestra in the famous "Love Scene," "Queen Mab Scherzo" and "Tomb Scene." The recorded sound is rich, resplendent, sonorous; all one could ask for, in fact.

There are those who swear by Sir Colin Davis's Berlioz, and swear at John Eliot Gardiner's, and vice versa. I have both. And I wouldn't want to be without either.

Bob Zeidler
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0xa0096c48) étoiles sur 5 Berlioz subjected to scholarship, but still a musical account 4 janvier 2008
Par Santa Fe Listener - Publié sur Amazon.com
Achat vérifié
I am a non-fan of Gardiner, who seems to me to be an elevated amateur conductor, but there's no doubt that he's intelligent and deeply versed in period practice. He gives us the only HIP version of Romeo et Juliette on the market, and it's never less than interesting. As his Symphonie fantastique illustrated, Berlioz aounds rawer and more eccentric on period instruments, and the absence of vibrato, although initially off-putting in such a romantic work, adheres to correct practice in the composer's time. The listener immediately notices that textures are leaner and keener than in any previous recording, so this performance gets full points for originality, as well as for offering every variant of several numbers than Berlioz altered between the 1839 premiere and the 1845 published score.

Ultimately, it takes all these extraneous factors to salvage a performance that isn't musically equal to any of the best rivals (Levine on DG being a stellar example, not to mention Colin Davis's three readings). Gardiner makes Berlioz's full-blooded emotions sound puny and his luscious orchestration scrawny. He drives the fast music hard and hasn't the stick technique to bring out virtuosity in his Revolutionaire et Romantique orchestra -- in any case, how could they possibly compete with Munch's BSO, Davis's London Sym., or Levine's Berlin Phil.? One thing here is truly outstanding, the Monteerdi Choir, who pinpoint French and flexible phrasing is the best to be heard in any performance. As for the soloists, they are light-voiced and appealing, a nice change from the usual opera star.

Balancing pluses and minuses, the novelty of this performance outweighs Gardiner's shortcomings, and the outcome is a definite recommendation, just as long as I can have two or three better versions to live with, also.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0xa009b09c) étoiles sur 5 Good choice for a modern version 8 avril 2015
Par Robert Malone - Publié sur Amazon.com
A performance, with alternate takes, which comes off completely fine, with high quality audio. Fans of this work will want this recording for these alternate takes which reveal changes Berlioz made to the score over the years. I have to agree with the album's notes that an excised original opening to Part 2 really should have been left in. If you want to listen to either the original or the final standard forms of the work, you will have to do some track programming, otherwise you will get Gardiner's preferred arrangement. From a strictly musical stand point, maybe a notch below the versions presented by Munch/BSO in 1961, on RCA, and Monteux in 1962, on Westminster. With the Dutiot/Monteal on Decca (my favorite of the "modern" recordings), probably the top choices for this Berlioz score. And, really, this is one of Hector's top works! Stunning. Everyone should be familiar with it.
3 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0xa009b06c) étoiles sur 5 More scholarly than musical, but still one of Gardiner's better efforts 4 janvier 2008
Par Santa Fe Listener - Publié sur Amazon.com
Achat vérifié
I am a non-fan of Gardiner, who seems to me to be an elevated amateur conductor, but there's no doubt that he's intelligent and deeply versed in period practice. He gives us the only HIP version of Romeo et Juliette on the market, and it's never less than interesting. As Gardiner's earlier Symphonie fantastique illustrated, Berlioz aounds rawer and more eccentric on period instruments, and the absence of vibrato, although initially off-putting in such a romantic work, adheres to correct practice in the composer's time. One immediately notices that textures are leaner and keener than in any previous recording, so this performance gets full points for originality, as well as for offering every variant of several numbers than Berlioz altered between the 1839 premiere and the 1845 published score.

Ultimately, it takes all these extraneous factors to enhance a performance that isn't musically equal to any of the best rivals (Levine on DG being a stellar example, not to mention Colin Davis's three readings). Gardiner makes Berlioz's full-blooded emotions sound rather puny and his luscious orchestration scrawny. He drives the fast music hard and hasn't the stick technique to bring out virtuosity in his Revolutionaire et Romantique orchestra -- in any case, how could they possibly compete with Munch's BSO, Davis's London Sym., or Levine's Berlin Phil.? One thing here is truly outstanding, the Monteerdi Choir, whose pinpoint French and flexible phrasing are the best to be heard in any performance I've encountered. As for the soloists, they are light-voiced and appealing, a nice change from the usual opera stars.

Balancing pluses and minuses, the novelty of this performance outweighs Gardiner's shortcomings, and the outcome is a definite recommendation, just as long as I can have two or three better versions to live with, also.
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