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Rossini: Messa di Gloria
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Rossini: Messa di Gloria

11 décembre 2006 | Format : MP3

EUR 9,99 (TVA incluse le cas échéant)
Également disponible en format CD

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Amazon.com: HASH(0x95234c9c) étoiles sur 5 2 commentaires
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x95256ac8) étoiles sur 5 Very fine recording, with the group of most homogeneously high-quality soloists. 5 février 2013
Par Abert - Publié sur Amazon.com
Format: CD
Rossini's Messa di Gloria of 1821, is far less well known than his Stabat Mater composed in his old age. It is a nine movement setting of the "Kyrie" and "Gloria" for five soloists, chorus and orchestra. Some of the music is intensely operatic, but it also contains a giant contrapuntal "Cum sancto spiritu", and is quite a hybrid creature in musical form.
There are two recordings of this work in 1992, despite its relative neglect and rarity of performance: the live recording conducted by Salvatore Accardo on Warner (available on Youtube by and large), and this one recorded in studio by Neville Marriner. The performers are entirely different, with the only exception of the Rossini expert Francisco Araiza, who, however, sung entirely different parts of the tenor role in the two recordings.
This 1992 recording combines the efforts of the all-star group of soloists; the controlled explosions of soprano Sumi Jo in the Laudamus te is even better than that of Anna Caterina Antonacci for Accardo, and the swapping of the tenor role by Araiza with another eminent Rossinian tenor Raul Gimenez is really the best thing that could be achieved on the soloists' side, for by 1992 Francisco Araiza's high register has shown its first sign of erosion in the live Accardo recording, notably in the tenor solo Gratias Agimus Tibi , and the swapping of roles here with a much more suave Raul Gimenez is really a wise move. Araiza is, however, great in the more heroic Qui Tollis in this recording. There is even a duet for two tenors, reflecting the truly fabulous score that is so rarely found in sacred works of this nature.
Samuel Ramey is as always fabulous in Rossini, and his solo piece Quoniam, tu solus sanctus is no exception. The contralto part has no solo piece, but otherwise the eminent Ann Murray would surely shined in the ensemble.
The Chorus of St. Martin-in-the-Fields trained by Laszlo Heltay, is also in great shape, making a splendid impression, not least in the fugal finale "Cum sancto spiritu.", a piece reputedly not composed by Rossini, and when carolling with the tenor section, achieving an uncanny blazing sound in some of the denser choral writing. Neville Marriner really is not one jot less than Accardo in one of the finest performances of his long career: he sets the chorus and soloists in a sharply carved contrast and creates an image that is dramatic as a whole, an image of a church and its flock of individual followers.
Unlike the Accardo group of soloists (comprising Antonacci, Spagnoli, Gambill, Araiza) out of which emerged some big names in opera later, mention must be made of Raul Gimenez in the present recording, who is especially fine, either alone or carolling with Araiza in the "Christe eleison" section. This is yet another highly underrated bel canto specialist in the operatic world in the last decades of the 20th century. Believe me - you don't get such high caliber bel canto specialists today any more. For inspite of Juan Diego Florez, nobody is not able to record this piece in full, live or in studio, and JDF has only excerpts recorded in his solo 'Sacred' album.
The live recording of Handt in the early 2000's has a couple of very good soloists in Carmen Acosta and Mario Zefiri, but others (including the chorus) come in a very mixed bag, alas.
Handt, however, definitely has a better approach to the work than Neville Marriner.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x95257228) étoiles sur 5 Spiritually lo-cal even by Rossini's standards but don't blame Neville 9 mai 2012
Par Ralph Moore - Publié sur Amazon.com
Format: CD
Other commentators have blamed Sir Neville for the lack of gravitas in this recording whereas I am inclined to think that the fault lies more with the incurable, bad-boy levity that afflicted Rossini whenever he was confronted with a religious commission. Give a him a suitably grave situation in an opera seria and he could rise to the occasion but the minute overt piety was required he had a fit of the naughties and introduced such irreverent fripperies such as the flutter of woodwind which concludes the Kyrie here or the more infamous "Cuius animam" for the tenor in his "Stabat Mater" which makes the singer sound as if he could hardly be happier that Mary's son has been nailed to the cross.

So don't blame Neville. He has a lovely and distinguished team of soloists headed by the silvery-toned Sumi Jo, who was rarely out of the recording studio in the early 90's, accomplished mezzo Ann Murray, two renowned Rossini tenors and the best Rossini bass of his generation in Sam Ramey. Philip Gossett in his essay in the booklet talks generously about Rossini's "search for a sacred style". In truth, as much as I enjoy his later, better sacred works such as the "Petite Messe Solennelle" and the "Stabat Mater", it must be acknowledged that despite much which is incidentally beautiful and some delightful orchestration, this Mass is often conventional and given to stock gestures. It's fun spotting the customary self-borrowings and recycling of phrases and themes but this first sacred work of Rossini's maturity strikes me as betraying the fact that his mind is rather more on his operatic ambitions than praising God. In fact the best section of music here is in the overtly operatic "Qui tollis", reminiscent - or rather proleptic - of the "Inflammatus" of the "Stabat Mater" - but it's still rather absurdly perky.

The last movement seems to have been written by Rossini's Neapolitan fellow-composer Pietro Raimondo but you won't mind; it's a rousing fugue.
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