• Tous les prix incluent la TVA.
Livraison gratuite dès EUR 25 d'achats. Détails
Il ne reste plus que 4 exemplaire(s) en stock (d'autres exemplaires sont en cours d'acheminement).
Expédié et vendu par Amazon. Emballage cadeau disponible.
Quantité :1
The Romantic Hero a été ajouté à votre Panier
+ EUR 2,49 (livraison)
D'occasion: Bon | Détails
Vendu par awesomebooksfr
État: D'occasion: Bon
Commentaire: Expédié sous 48h de notre dépôt en Angleterre. Prévoyez environ 7 à 10 jours pour la livraison. Cet article est d'occasion mais il est toujours en bon état. Assurez-vous de bien vérifier que le code régional du DVD acheté correspond à votre lecteur. Pour toute question n'hésitez pas à nous contacter.
Autres vendeurs sur Amazon
Ajouter au panier
EUR 21,35
Livraison gratuite dès EUR 25,00 d'achats. Détails
Vendu par : Skyvo Direct
Ajouter au panier
EUR 22,84
Livraison gratuite dès EUR 25,00 d'achats. Détails
Vendu par : Fulfillment Express
Vous l'avez déjà ? Vendez sur Amazon

The Romantic Hero

4.5 étoiles sur 5 2 commentaires client

26 neufs à partir de EUR 6,00 3 d'occasion à partir de EUR 8,62

Vous cherchez un CD ou Vinyle ?

CD à petits prix et en promotion
Retrouvez nos promotions et CD à petits prix.

Offres spéciales et liens associés


Page Artiste Vittorio Grigolo


Produits fréquemment achetés ensemble

  • The Romantic Hero
  • +
  • The Italian Tenor
  • +
  • Vittorio Grigolo: les Plus Grands Airs de l'Opéra Italien
Prix total: EUR 40,05
Acheter les articles sélectionnés ensemble

Détails sur le produit

  • Interprète: Alessandra Martines, Orchestra Sinfonica Nazionale Della Rai
  • Orchestre: Vittorio Grigolo
  • Chef d'orchestre: Evelino Pido
  • Compositeur: Charles Gounod, Georges Bizet, Giacomo Meyerbeer, Jacques Fromental Halevy, Jacques Offenbach, et al.
  • CD (9 juin 2014)
  • Nombre de disques: 1
  • Label: Sony Classical
  • ASIN : B00HEYF4EC
  • Autres éditions : CD
  • Moyenne des commentaires client : 4.5 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 97.506 en Musique (Voir les 100 premiers en Musique)
  •  Voulez-vous mettre à jour des informations sur le produit, faire un commentaire sur des images ou nous signaler un prix inférieur?

Liste des titres

Disque : 1

  1. Werther, acte III: "pourquoi me reveiller"
  2. Romeo et juliette, acte II: "l'amour, l'amour...ah, leve-toi soleil"
  3. Carmen, acte II: "la fleur que tu m'avais jetee"
  4. Faust, acte III, scene 4: "quel trouble inconnu... salut, demeure chaste et pure"
  5. Manon, acte II: "en fermant les yeux... c'est un reve"
  6. Manon, acte III, scene 2: "je suis seul... ah fuyez, douce image"
  7. L'africaine, acte IV: "pays merveilleux... o paradis"
  8. La juive, acte IV: "rachel, quand du seigneur"
  9. Les contes d'hoffmann, epilogue, scene 2: "o dieu de quelle ivresse"
  10. Romeo et juliette, acte IV: "va! je t'ai pardonne... nuit d'hymenee"
  11. Le cid, acte II, scene 3: "ah! tout est bien fini... oh souverain, o juge, o pere"
  12. Romeo et juliette, acte V: "c'est la! salut! tombeau! sombre et silencieux"


Quels sont les autres articles que les clients achètent après avoir regardé cet article?

Commentaires en ligne

4.5 étoiles sur 5
5 étoiles
1
4 étoiles
1
3 étoiles
0
2 étoiles
0
1 étoiles
0
Voir les deux commentaires client
Partagez votre opinion avec les autres clients

Meilleurs commentaires des clients

Par Caroline LESNIAK TOP 500 COMMENTATEURS le 24 mai 2014
Format: CD Achat vérifié
Connaissant peu Vittorio Grigolo, entendu quelques fois à la télévision ou sur You-Tube, la curiosité m'a guidée dans l'achat de ce disque qui, derrière son titre plutôt vague, est en fait un récital consacré au répertoire français du XIXe siècle.

Très apprécié pour son Rodolfo ou son Duc de Mantoue, ayant une voix de ténor lyrique par excellence, peu faite pour les rôles plus lourds autant chez Verdi que chez Puccini, Vittorio Grigolo oriente très intelligemment sa carrière vers certains rôles du répertoire français : Des Grieux, Faust, Roméo ou Hoffman, bientôt Werther.

D'évidentes qualités sont là et y font merveille : l'élégance générale, la technique, qui lui permet de varier et d'alléger la voix quand nécessaire, la diction, une prononciation douce, précise néanmoins, qui donne beaucoup de velouté à l'ensemble. Les 'r' notamment sont peu appuyés, peu roulés, donnant un naturel et une fluidité qui permettent d'apprécier d'autant plus son phrasé soigné et élégant.
L'éloquence n'est pas en reste, car le ton, l'engagement, l'attention portée aux mots dans un excellent français (où l'on relève très peu de fautes, et quasiment pas d'accent), associés à une aptitude certaine à colorer et à nuancer, lui permettent de bien caractériser ces héros du répertoire français.
Un timbre vraiment superbe, avec quelque chose de très juvénile, complète ce bel ensemble de qualités.
Lire la suite ›
7 commentaires 14 sur 15 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus
Format: CD Achat vérifié
Une très belle réhabilitation de ces airs superbes si souvent fredonnés, et hélas parfois oubliés. Merci à Vittorio pour ce bel hommage à une France romantique qui fait tant défaut aujourd'hui.
Remarque sur ce commentaire 5 sur 7 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus

Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x97a09ec4) étoiles sur 5 21 commentaires
14 internautes sur 15 ont trouvé ce commentaire utile 
HASH(0x9ac5e70c) étoiles sur 5 Ravishing music sung with the greatest subtlety and emotion 20 mai 2014
Par Book and Music Lover - Publié sur Amazon.com
Format: CD Achat vérifié
I have loved Vittorio Grigolo's voice and persona since I saw him in La Boheme at the Washington National Opera. In this CD, he surpasses every other recording or live performance I have heard (I also saw him with Renee Fleming in Lucretia Borgia). The essay in the liner notes points out that it is highly unusual for an Italian tenor to perform an all French recital. Vittorio conquers these arias with such aplomb and directness, it takes my breath away.
9 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x99575e94) étoiles sur 5 Grigolo is in fine voice 20 juin 2014
Par John J. Puccio - Publié sur Amazon.com
Format: CD
Grigolo is at the time of this writing in his mid thirties and apparently a heartthrob the world over. Or so people tell me. On the present album he sings heroic roles from French opera. Why French opera? As Grigolo explains, "The Italian way of singing is native to me. But sometimes in life we change course to follow a sign that is not the one of our birth; instead we go forward in the ascendant. The French hero is my ascendant. It's the hero that makes me feel alive when I am on stage." Fair enough.

The tenor sings twelve selections on the disc, accompanied by Evelino Pido and the Orchestra Sinfonica Nazionale della RAI, plus on several tracks by soprano Sonya Yoncheva and speaker Alessandra Martines. The numbers include "Toute mon ame...Pourquoi m reveiller" from Jules Massenet's Werther; "L'amour! L'amour!...Ah! leve-toi, soleil!" from Charles Gounod's Romeo et Juliette; "La fleur que tu m'avais jetee" from Georges Bizet's Carmen; "Quel trouble inconnu...Salut, demeure chaste et pure" from Gounod's Faust; "Instant charmant...En fermant les yeux" from Massenet's Manon; "Pays merveilleux...O paradis" from Giacomo Meyerbeer's L'Africaine; "Rachel, quand du Seigneur" from Jacques Fromental Halevy's La Juive; "Et moi? Moi, la fidele amie...O Dieus! de quelle ivresse" from Jacques Offenbach's Le Contes d'Hoffmann; "Va! Je t'ai pardonne...Nuit d'hymenee," again from Gounod's Romeo et Juliette; "Ah! tout est bien fini...O souverain, o juge, o pere" from Massenet's Le Cid; and "C'est la! Salut tombeau sombre et silencieux," yet again from Gounod's Romeo et Juliet.

Grigolo gets plenty of chances on the program to show off not only his power, tone, and control but his lyricism. That latter quality is probably the keynote of the present album, the selections carefully chosen to highlight the tenor's sweet intonation and well-judged inflections. In this regard, French opera seems perfectly suited to his voice, Italian or not.

For me, being but a fledgling in the field of opera, Grigolo's voice seems fine, although I thought at times there was a little more vibrato in it than I'm used to. Still, it adds to the lyric characteristics of most of the music. Otherwise, he floats the notes in fairly pure fashion, and when he needs to pour on the strength, there is plenty in reserve. The Faust selection demonstrates this ability to good effect, the hushed, quiet moments most telling. He hasn't perhaps the ability (yet) completely to thrill a listener and make one's hair stand on end the way a Domingo or Pavarotti have, but he does provide compensating dramatic skills that make his performances pleasurable.

The orchestra under the directorship of Maestro Pido does its best merely to stay out of Grigolo's way, and rightly so as this is his show from beginning to end. Soprano Sonya Yoncheva accompanies Grigolo on the "Instant charmant" and "Va! Je t'ai pardonne" tracks but, again, one hardly notices (although, to be fair, Ms. Yoncheva fares better in the second number).

Favorites? Everyone who listens to the disc will have favorites, and they will invariably be different. I enjoyed the Meyerbeer and Offenbach selections the most, but I am perhaps overly sentimental. They come through with a poignant spirit and moving grace.

One thing's for sure: Grigolo will not leave his fans disappointed with this album. There's enough romance to go around and enough force and conviction to reach almost any heart or mind.

The voice is full and round, smoothly realistic, with very little shrillness or edginess except a trace in loudest passages. However, it is very close, up front, with the orchestra well behind. The orchestral sound is warm, slightly soft, and comfortable, often not even noticeable. The accompaniment, in fact, seems mostly perfunctory, the voice being the main thing here.

John J. Puccio
Classical Candor
6 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x97a48f0c) étoiles sur 5 grigolo's best recital so far . . . just sing out more! 30 septembre 2014
Par Stanley Crowe - Publié sur Amazon.com
Format: CD
I have been a bit hard on Grigolo in earlier reviews, doubting whether the voice was robust enough to project effectively on stage. Well, reviews from recent performances have indicated that he can make himself heard just fine, and this pleasant album provides some confirmation of that. He cuts loose at moments here with a bigger sound, and he does just fine. It's true that the sweetness of the voice is best heard in his softer singing, but there's nothing ugly or forced at the end of "O paradis," for example, and his account of "Ah! Fuyez" comes across with the kind of deperation that I find missing in "Pourquoi me reveiller," in which he sounds altogether too soft-centered at the end, despite some nice ringing high notes earlier. I would have liked too a bit more machismo at the the end of "Ah! Leve-toi, soleil!" too, but Grigolo's default mode in recording seems to be to sing off the words rather than find a firm musical line to shape. The duet from "Romeo et Juliette" ("Nuit d'hymenee") is interesting in this regard -- the soprano seems in a slightly different aural space than Grigolo and she is both singing out, maintaining a line, AND being expressive, while Grigolo, singing sweetly enough, seems closer in and given to an altogether softer style. For all that, the duet works well, and Sonya Yoncheva does a fine job as a positive and attractive Juliette.

My reservations about this disc, then, are stylistic rather than vocal, so it's important to say that what bothers me might not bother most listeners. There isn't an ugly sound to be heard, the orchestral work is fine, and the balance of voice and orchestra is well managed. Add to that the fact that here we have an Italian tenor singing less familiar (in some cases) material in excellent French throughout. There's much to enjoy here.
6 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x97838f78) étoiles sur 5 A Challenging Selection for an Italian Tenor 9 juin 2014
Par Calaf68 - Publié sur Amazon.com
Format: CD
Kudos to Vittorio Grigolo for coming out with an all French recital disc. I like the Grigolo sound very much and I find he sings with great passion, which makes his singing very interesting.

He sings these French arias very well. He is indeed a young singer who is making his splash very quickly in the opera world.

Reviewed by Vincent B. LoCoco, Amazon bestselling author of Tempesta's Dream - A Story of Love, Friendship and Opera.
5 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0x9816e0cc) étoiles sur 5 A tenor becomes an artist 21 février 2015
Par madamemusico - Publié sur Amazon.com
Format: CD
A friend of mine, whose tastes in operatic singing and mine are often like oil and water, recently told me that Vittorio Grigolo’s singing in French opera was much better than his singing in Italian. Because we disagree so often, I didn’t take his word at face value, but after hearing this album—and comparing it mentally to his first release, The Italian Tenor, which I only liked a little bit—I have come to believe that he is right.

But to be honest, this is a small sample size. These are tried-and-true, well-worn Romantic French arias that have been done to death by singers on record since the turn of the 20th century, and because they are “just” the arias and not necessarily the dramatic scenes in which the real characterization and plot development happens, it’s difficult to assess how Grigolo would develop these characters over the course of an entire opera performance. One British critic described this as lachrymose, accusing the tenor of always being on the verge of a sob or a tear in every aria and duet. This same critic also questioned Grigolo’s seriousness in wanting to grow as an artist, saying that he wished in some of these pieces for Grigolo to sing out and “man up.”

There is some truth to this. Grigolo’s tendency in this music is to pull back the voice more often, occasionally reducing the volume to almost conversational tones. Listening, one is impressed as much if not more by his extraordinary vocal control—which, I rush to point out, is by no means easy—than by specific interpretations. In other words, each aria is sung beautifully, but by choosing arias that by their very nature catch the male protagonist at a moment of heartbreak, heartbreak is pretty much what he gives us. The two exceptions to this, Faust’s “Salut, demeure” and Vasco da Gama’s “O paradis,” sounded to me less on the verge of sobs than many of the others, but the tendency is still there.

My personal feeling is that Grigolo is trying to grow as an interpreter, that he is taking good steps in the right direction, and that this British critic should worry less about the tenor “manning up” and more about the exquisite musical and vocal control he exhibits of what can be exceedingly difficult material to sing well. Perhaps our British critic has completely forgotten about, or never heard, the late Giuseppe di Stefano’s album of French arias, where he did much the same things that Grigolo does here, only less scrupulously sticking to the score. Throughout this recital, I heard exactly one thing that was not score, and that was his singing the high B-flat in Don José’s “Flower Song” at a medium volume, doing a slight diminuendo at the end, rather than the soft note called for by the composer. That’s it. Otherwise, I would gladly take my chances listening to Grigolo sing an entire performance of Hoffmann, Le Cid, Roméo or Manon based on what I hear on this album. At least he understands the basic premise of the French style, which is both “cooler” emotionally and more conversational than the Italian.

The bottom line is that this is one of the most interesting and engaging operatic recitals I’ve heard in recent years. Here is not just a voice but an artist, and if his art is still in the gestation stage it is nonetheless welcome that he is developing. It may seem like an afterthought to say that his choice of a partner soprano and conductor are likewise excellent, but I have suffered through so many third-rate voices and second-rate conductors on opera recitals in recent years to be extremely grateful that Yoncheva has a gorgeous voice and Pidò is an outstanding conductor whose musicianship matches the tenor’s.
Ces commentaires ont-ils été utiles ? Dites-le-nous

Discussions entre clients

Le forum concernant ce produit
Discussion Réponses Message le plus récent
contenu du disque 0 17 mai 14
Voir toutes les discussions...  
Démarrer une nouvelle discussion
Thème:
Première publication:
Aller s'identifier
 

Rechercher parmi les discussions des clients
   


Rechercher des articles similaires par rubrique


Commentaires

Souhaitez-vous compléter ou améliorer les informations sur ce produit ? Ou faire modifier les images?