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Verdi : Nabucco

4.2 étoiles sur 5 4 commentaires client

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  • Verdi : Nabucco
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  • Verdi : Rigoletto
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  • Verdi : Il trovatore ("Le Trouvère")
Prix total: EUR 49,00
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Détails sur le produit

  • Interprète: Matteo Manuguerra, Renata Scotto
  • Chef d'orchestre: Riccardo Muti
  • Compositeur: Giuseppe Verdi
  • CD (17 mars 2010)
  • Nombre de disques: 3
  • Label: Parlophone
  • ASIN : B0036D7Y34
  • Moyenne des commentaires client : 4.2 étoiles sur 5 4 commentaires client
  • Classement des meilleures ventes d'Amazon: 9.638 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Verdi nabucco act III chorus of hebrew slaves va p - Riccardo Muti
  2. Nabucco part 2 part 3 scene 1 donna chi sei nabucc - Riccardo Muti
  3. Nabucco part 1 lo vedeste fulminando egli irrompe - Riccardo Muti
  4. Nabucco sinfonia - Riccardo Muti
  5. Nabucco 1986 digital remaster part 2 part 4 s - John Maccarthy
  6. Nabucco 1986 digital remaster part 2 part 4 s - John Maccarthy
  7. Nabucco 1986 digital remaster part 2 part 4 s - John Maccarthy
  8. Nabucco 1986 digital remaster part 2 part 4 s - John Maccarthy
  9. Nabucco 1986 digital remaster part 2 part 4 s - Philharmonia Orchestra
  10. Nabucco 1986 digital remaster part 2 part 4 s - Philharmonia Orchestra
  11. Nabucco 1986 digital remaster part 2 part 4 s - John Maccarthy
  12. Nabucco 1986 digital remaster part 2 part 4 s - John Maccarthy
  13. Nabucco 1986 digital remaster part 2 part 4 s - Philharmonia Orchestra
  14. Nabucco 1986 digital remaster part 2 part 4 s - John Maccarthy
  15. Nabucco 1986 digital remaster part 2 part 3 s - John Maccarthy
  16. Nabucco 1986 digital remaster part 2 part 3 s - Philharmonia Orchestra
  17. Nabucco 1986 digital remaster part 2 part 3 s - Renata Scotto
  18. Nabucco 1986 digital remaster part 2 scene 2 - Renata Scotto
  19. Nabucco 1986 digital remaster part 2 scene 2 - John Maccarthy
  20. Nabucco 1986 digital remaster part 2 scene 2 - John Maccarthy
  21. Nabucco 1986 digital remaster part 2 scene 2 - John Maccarthy
  22. Nabucco 1986 digital remaster part 2 scene 2 - John Maccarthy
  23. Nabucco 1986 digital remaster part 2 scene 2 - John Maccarthy
  24. Nabucco 1986 digital remaster part 2 scene 2 - Philharmonia Orchestra
  25. Nabucco 1986 digital remaster part 2 scene 2 - Philharmonia Orchestra
  26. Nabucco 1986 digital remaster part 2 scene 1 - John Maccarthy
  27. Nabucco 1986 digital remaster part 2 scene 1 - Renata Scotto
  28. Nabucco 1986 digital remaster part 2 scene 1 - Renata Scotto
  29. Nabucco 1986 digital remaster part 1 recitativ - John Maccarthy
  30. Nabucco 1986 digital remaster part 1 recitativ - Philharmonia Orchestra
  31. Nabucco 1986 digital remaster part 1 tremin gl - John Maccarthy
  32. Nabucco 1986 digital remaster part 1 che tenti - Philharmonia Orchestra
  33. Nabucco 1986 digital remaster part 1 viva nabu - John Maccarthy
  34. Nabucco 1986 digital remaster part 1 io t amav - Renata Scotto
  35. Nabucco 1986 digital remaster part 1 fenena - Renata Scotto
  36. Nabucco 1986 digital remaster part 1 come nott - John Maccarthy
  37. Nabucco 1986 digital remaster part 1 d egitto - John Maccarthy
  38. Nabucco 1986 digital remaster part 1 coro d in - John Maccarthy
  39. Marcia funebrenabucco remast - Philharmonia Orchestra
  40. E l assiria una regina nabucco act3 - John Maccarthy
  41. Gli arredi festivi giu nabucco act1 - John Maccarthy

Disque : 2

  1. Nabucco (1986 digital remaster), part 2, scene 2, coro di leviti: che si vuol? - Giuseppe Verdi
  2. Nabucco (1986 digital remaster), part 2, scene 2, coro di leviti: il maledetto non ha fratelli - Giuseppe Verdi
  3. Nabucco (1986 digital remaster), part 2, scene 2, scena e finale II: deh, fratelli, perdonate! - Giuseppe Verdi
  4. Nabucco (1986 digital remaster), part 2, scene 2, scena e finale II: sapressan gl'istanti d'un 'ira fatale.. - Giuseppe Verdi
  5. Nabucco (1986 digital remaster), part 2, scene 2, scena e finale II, finale: s'oda or me! (nabucco/fenena/gran sacerdote/zaccaria/abigaille/coro) - Giuseppe Verdi
  6. Nabucco (1986 digital remaster), part 2, scene 2, scena e finale II, finale: chi mi toglie il regio scettro? - Giuseppe Verdi
  7. Nabucco (1986 digital remaster), part 2, part 3, scene 1: coro d'introduzione: e l'assiria una regina... - Giuseppe Verdi
  8. Nabucco (1986 digital remaster), part 2, part 3, scene 1: recitativo: eccelsa donna, che d'assiria il fato reggi... - Giuseppe Verdi
  9. Nabucco (1986 digital remaster), part 2, part 3, scene 1: donna, chi sei? - Giuseppe Verdi
  10. Nabucco (1986 digital remaster), part 2, part 3, scene 2 (chorus of hebrew slaves): va, pensiero, sull'ali dorate.. (coro) - Giuseppe Verdi
  11. Nabucco (1986 digital remaster), part 2, part 3, scene 2 (chorus of hebrew slaves): recitativo: oh, chi piange? - Giuseppe Verdi
  12. Nabucco (1986 digital remaster), part 2, part 3, scene 2 (chorus of hebrew slaves): profezia - finale III: del futuro nel buio discerno - Giuseppe Verdi
  13. Nabucco (1986 digital remaster), part 2, part 4, scene 1: recitativo: son pur queste mie membra - Giuseppe Verdi
  14. Nabucco (1986 digital remaster), part 2, part 4, scene 1, aria, recitativo e scena: aria: dio di guida!...l'ara, il tempio a te sacro, sorgeranno (nabucco/abdallo/coro) - Giuseppe Verdi
  15. Nabucco (1986 digital remaster), part 2, part 4, scene 1, aria, recitativo e scena: recitativo: porta fatal, oh, t'aprirai! - Giuseppe Verdi
  16. Nabucco (1986 digital remaster), part 2, part 4, scene 1, aria, recitativo e scena: scena: cadran, cadranno I perfidi come locuste al suolo! - Giuseppe Verdi
  17. Nabucco (1986 digital remaster), part 2, part 4, scene 2: marcia funebre - Giuseppe Verdi
  18. Nabucco (1986 digital remaster), part 2, part 4, scene 2, recitativo e preghiera: va: la palma del martirio - Giuseppe Verdi
  19. Nabucco (1986 digital remaster), part 2, part 4, scene 2, recitativo e preghiera: preghiera: oh dischiuso è il firmamento! - Giuseppe Verdi
  20. Nabucco (1986 digital remaster), part 2, part 4, scene 2, recitativo e preghiera, finale IV: viva nabucco! - Giuseppe Verdi
  21. Nabucco (1986 digital remaster), part 2, part 4, scene 2, recitativo e preghiera, finale IV: ah, torna israello - Giuseppe Verdi
  22. Nabucco (1986 digital remaster), part 2, part 4, scene 2, recitativo e preghiera, finale IV: oh, chi vegg'io? - Giuseppe Verdi
  23. Nabucco (1986 digital remaster), part 2, part 4, scene 2, recitativo e preghiera, finale IV: su me...morente...esanime...discenda il tuo perdono! - Giuseppe Verdi

Descriptions du produit

NABUCCO


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4.3 étoiles sur 5
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Pas de Nabucco ultime au disque , encore moins bien servi que Rigoletto .
Il faut dire que ce Verdi là n 'est pas évident du tout ! ! ! C 'est physique !
alors l 'équipe idéale avec le chef idéal , ce n 'est pas une mince affaire !
Ici , le chef idéal , nous l 'avons . Ricardo Muti est d 'un enthousiasme communicatif , d 'une probité , d 'une éloquence , d 'un savoir faire didactique digne d ' éloge . IL n 'est guère que la vivacité de Gui avec Callas qui atteint cette qualité . Sinopoli , s 'il est à connaitre pour la verve , est trop disparâtre de ligne et mystérieux dans ses choix de direction .....
C 'est Muti , son énergie , sa conviction qui porte a bras le corps , un Manuguerra dépassé par les évènements , bien pâle comparé à un Bastianini tout en noblesse , ou à un Gobbi vibrant jusqu 'au dernier souffle ....Ghiaurov , dont on connait la puissance , n 'est plus tout jeune et fatigue ici , hélas ....on pense à Siepi et on soupire ...
deux points forts de l 'équipe , Veriano Lucchetti en Ismaële est simplement remarquable et Elena Obraztsova irréprochable .
Reste l ' Abigaïlle de Renata Scotto . Cette grande dame du chant est ici exceptionnelle d ' émotion , et campe un personnage maléfique à souhait avec un art consommé . Mais ce rôle ne lui convient tout simplement pas , tant il est besoin de lancer des aigus avec violence , fulgurance et assurance . On lui entend des stridences , des cris dans l ' aigu , on la sent génée par l 'exigence vocale que cela implique , si bien illustréé par Anita Cerquetti ou Maria Callas .
Au bout du compte , une belle version certes perfectible mais enthousiaste et respectueuse de Verdi . Le chef y est pour beaucoup .
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Enregistrement excellent, un petit bémol (pour ceux qui ne lisent pas l'anglais), s'agissant d'une édition anglaise, le livret est dans cette langue
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De même que celui qui a jusqu' ici le mieux compris Wagner est Karajan, celui qui a le mieux compris Verdi est Riccardo Muti. Beau cadeau de Noël à offrir ou à s'offrir.
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Je viens de m'acheter Nabucco, Don Giovani et les Noces de Figaro.

Rien à dire pour les dc et les délais de livraison, mais le dc bonus est comme une arnaque: pas de livret ou plutôt il faut aller le retrouver sur le dc donné en bonus(?), comme si on pouvait lire le livret sur l'ordinateur pendant qu'on écoute la musique! ou encore il faut imprimer le texte devenu encombrant tant pour la manipulation que pour le ranger dans une discothèque. J'aurais préféré payer deux ou trois euros en plus mais avoir un bon petit livret traditionnel. Là, EMI exagère!

La prochaine fois, je réfléchirai avant.

François RomainMozart - Don Giovanni ( intégrale )Les Noces De Figaro
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0xa23be7e0) étoiles sur 5 4 commentaires
7 internautes sur 10 ont trouvé ce commentaire utile 
HASH(0xa22670e4) étoiles sur 5 A taut, gripping performance 14 mai 2010
Par Ralph Moore - Publié sur Amazon.com
"Con quest'opera si può dire veramente che ebbe principio la mia carriera artistica." ("It can truly be said that my artistic career began with this opera"). Verdi may perhaps be forgiven for taking artistic licence with this observation to Ricordi, his publisher; his previous works were the patchy and immature "Oberto" and the comic flop "Un giorno do regno". "Nabucco" marks a huge advance over these two works. Verdi here begins to find his true voice, mining the rich seam of cantilena melody which characterises his best early work and adding to it both psychological profundity and economy of expression.

Re-visiting this recording and comparing it with those by Sinopoli and Gardelli, I was struck by the tautness and impact of the libretto and plot. All three recordings have their flaws but all three are to a large degree successful and I found that I had been wrong to relegate this one to third place. Verdi was as incapable as Shakespeare of creating cardboard characters and it is remarkable how both the villains of the piece, Abigaille and Nabucco himself, emerge as complex, tormented souls, far more absorbing than the supposed heroes. They are the forerunners of that long line of father-daughter pairs; Solera's libretto stimulated Verdi's imagination and his emotions at a time when he was trying to emerge from two years of grief and suffering, marked by personal loss and (comparative) artistic failure.

Of course, the popularity of "Va, pensiero", the emphasis upon spectacle, the four marches, unison choruses and brassy scoring all combine to support the reputation of "Nabucco" as the chauvinistic rallying-call of popular legend. However, in the admixture of private passion and political chicanery, certain situations and even specific musical ideas are clearly proleptic of later, greater works such as "Simon Boccanegra", although the masterpiece it most resembles in mood, atmosphere and in its melding of extremes is perhaps "Aida". Certainly his contemporaries thought well enough of it to choose its music to accompany Verdi's funeral cortège.

Muti's conducting of this 1977 recording has been condemned as crude and aggressive. He is hectic at times, to be sure, but that is hardly out of keeping with the swift pace of events and he still gives his singers space in the more contemplative passages. By comparison, the more experienced Gardelli lets the action unfold in more relaxed style and has a more persuasive overview of the score. Sinopoli is simply erratic, with to much of a stop-go approach, dissecting every bar and letting tensions droop before trying to whip up passion out of nowhere. Nonetheless, I prefer Sinopoli's brisker, shapelier account of "Va, pensiero" to Muti's uncharacteristically lugubrious version; Gardelli's lies in between, as you might expect.

The eponymous starring role is in all three cases taken by a first class baritone. Manuguerra has the smoothest, most sheerly beautiful voice, with more sap in its upper reaches than the aging Gobbi and more bite than Cappuccilli's woolly tone, but all three bring admirable virtues to the part: Gobbi is of course the most moving and characterful, Cappuccilli displays his celebrated long-breathed line in "Deh, perdona", while the underrated Manuguerra combines some of the best features of both the others in a detailed, compellingly vocalised account.

As Abigaille, all three spinto sopranos - as Scotto had become by this stage of her career - provide the listener with thrills and vocal virtuosity. Dimitrova has a rather thin, wiry tone and the steam-whistle top notes, so typical of a certain type of Slavic soprano, tend to flutter, but she has the range and measure of this fiendish part and I sometimes think its worth owning Sinopoli's recording just to hear her wonderful pianissimo top C alone. She has no especial psychological insights and her registers are disconnected, but it's still a worthy assumption. Suliotis excels in a rôle tailor-made for a fearless, uninhibited twenty-two-year-old of formidable gifts and talent. She, too, suffers from poor integration of the two registers but capitalises on the contrast between her floated top and trenchant low notes. She is, of course, the artist who most recalls the formidable performance of Callas in her 1958 recital conducted by Rescigno. Scotto, too, shares features of Callas's delivery, including a biting delivery of text and the less recommendable lapses into flapping top notes when pressed at forte. When not pressing too hard, Scotto can still float the top and hers is a formidable firebrand of an Abigaille - she is the best actress of all. Given the intensity and conviction of Scotto's performance, I find that I am now much more forgiving of those squally high notes and inclined to prefer her to Dimitrova, who is technically superior but more generic in characterisation.

All three basses are fine artists: Nesterenko for Sinopoli has a mighty voice but lacks the warmth and authority of Ghiaurov - who is rusty and occasionally bleak of tone at this stage in his career but still impressive - or Carlo Cava, who has less voice than either but has thought more deeply about the inflection of words and nuances of character. All three make a beautiful job of their aria "Tu sul labbro", with its beguiling six-part cello accompaniment. Robert Lloyd is a notable High Priest for Muti; I wonder if I am the first to notice that he must have been absent for whatever reason (not worth paying him to sing so little?) during the second, 1978, recording session and thus we hear the unmistakable voice of Ghiaurov, deputising for Lloyd in the High Priest's one line in the finale.

In sheer vocal terms, Muti scores over Gardelli with Elena Obratsova's Fenena. Decca made the mistake of simply under-casting Fenena with the inadequate Dora Carral, but the problem with Obratsova is that she has far too much voice for so passive a character. Her stentorian tones are not a good fit for the delicate Fenena, although she vocalises better than either Carral or the late Valentini-Terrani, making a particularly fine job of her prayer in the last act.

One of the great pleasures of the Muti set is to hear Veriano Luchetti in the brief and rather ungrateful role of Ismaele. His smooth, ringing, Italianate tenor is far preferable to the clumsy Prevedi for Gardelli and superior even to Domingo, slumming it in a bit part for Sinopoli. Luchetti is particularly admirable in the lovely trio "Io t'amava".

The Ambrosian Chorus sounds a little lean in comparison with the Vienna State Opera Chorus or the Berliners but as ever they sing with verve and precision. The Philharmonia respond with alacrity to Muti's taut direction and the sound is excellent.

I remain irritated by EMI's penny-pinching and inconvenient policy of putting the libretto on a third CD-ROM; I do not want to go to the trouble or expense of printing off my own and thus simply take a libretto from another set on my shelves - but not everyone has multiple editions of the less popular Verdi operas. One minor point: in this re-packaging (not a re-mastering, I think; this dates from 1986 but remains satisfactory), in the cast list EMI have managed to transpose the surnames of that estimable tenor Keith Collins and soprano Anne Edwards.
HASH(0xa22a9bc4) étoiles sur 5 Decent Nabucco 18 août 2015
Par Luanne Coachman - Publié sur Amazon.com
Achat vérifié
This recording of Verdi's first opera to make it big is decent. I picked it because Renata Scotto sings Abigaille, but I was disappointed in her interpretation of the role. A little too harsh for my taste, though her dying scene at the end is effective. Otherwise, the recording is a good introduction to this beautiful music.
HASH(0xa22ba840) étoiles sur 5 By far Verdi's best opera 17 mars 2015
Par Adeline - Publié sur Amazon.com
This recording is a full version of my favorite Verdi's opera (I was lucky to listen to it 7 times in the opera...)
Masterpiece, each and every piece of it. By far Verdi's best. An eternal inspiration.
Timeless treasure.
0 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0xa22ba5dc) étoiles sur 5 Nabucco 30 août 2012
Par Tony - Publié sur Amazon.com
Achat vérifié
The performance is first rate, but the sound engineering leaves a lot to be desired. It requires constant turning up and turning down of the sound volume, because of the variable sound engineering.
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