CarmenTOP 500 COMMENTATEURS le 19 septembre 2014
Avec un peu de honte, j'avoue que c'est un bel hommage rendu par une revue musicale à Lorin Maazel disparu le 13 juillet 2014 qui m'a appris l'existence d'une Traviata par lui gravée en 1968. Chez Verdi, je ne connaissais de lui que son admirable Luisa Miller (la seule version alternative, au disque, de l'indispensable placée sous la baguette de Fausto Cleva avec Anna Moffo et Carlo Bergonzi) et, pour le surplus, dans l'univers lyrique, c'est à Puccini que j'associais ce grand chef, quelles que furent les critiques dont il fut habituellement et non sans conformisme la cible, car il fut un grand chef puccinien et, au reste, comme tel reconnu. Je me suis donc procuré sa Traviata et me voici confrontée, une fois de plus, aux distorsions entre des points de vue critiques "autorisés" mais tout aussi divergents (les "savants" ne sont pas toujours d'accord, à la bonne heure !), et le ressenti de l'amateur éprouvant une passion inaltérable pour cette œuvre. Il paraît que, lors de sa sortie, cet enregistrement fut éreinté par la critique. Il semblerait, selon ce que j'ai pu lire, que le motif déterminant de cet éreintement était alors imputable à l'ombre tutélaire de Maria Callas régnant encore sur le rôle de Violetta, ce que l'on peut comprendre tant son empreinte sur ce rôle fut immense mais qui ne saurait en soi justifier un éreintement. Ailleurs, et sous une plume éminente que je respecte mais ne citerai pas ici tant elle m'est apparue démesurément injuste, cette version a été proprement massacrée, sans qu'une autre critique tendant à sa "réhabilitation" pût en compenser la charge venimeuse. Mon sentiment qui ne vaut bien sûr pas plus que mon sentiment, autant dire pas grand-chose, est le suivant.Lire la suite ›
Je serai bref d'autant que le commentaire du mois de septembre est complet sur tous les plans et je l'en remercie... Pilar Lorengar est une Violetta et une sacrée Violetta...et rendre ses lettres de noblesse à cette version n'est que "loyauté". Il ne s'agit que de mes oreilles certes mais voilà un voyage que je conseille vivement parce qu'il est merveilleux!!!.Et si d'autres Traviata ont fait couler la plus belle encre ,de celle ci s'échappe une Magie qui vaut qu'on y revienne...Honte à moi de l'avoir négligée...
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17 internautes sur 17 ont trouvé ce commentaire utile
A Forgotten Gem9 juillet 2001
Paul A. Dunphy
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Recordings of "La Traviata" are never in short supply and this recording has been somewhat "lost in the shuffle". There is much to recommend it - first and foremost, the rarely recorded artistry of the late Pilar Lorengar. Though her fluttery vibrato may put some listeners off (as well as some odd Italian pronunciation), her fragile interpretation takes a fresh look at Verdi's tragic courtesan. Giacomo Aragall was at his peak at this point in his career. Lorin Maazel conducts the score with great sensitivity. The big drawback: Dietrich Fischer-Dieskau is dreadfully miscast as Germont. He sings wonderfully but his interpretation of the role is too severe without the change of heart which makes this character so very human. Perhaps this is not the first choice for a "Traviata" recording but you could do a lot worse.
16 internautes sur 16 ont trouvé ce commentaire utile
A glorious dark horse Traviata winner26 juin 2009
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Talk about something whose whole is greater than the sum of its parts. This recording is something of an odd paradox. It has tended to be rather overlooked by distributors, somewhat dismissed by critics - and adored by music lovers. The recording was made while this cast was in the midst of of a run of performances in Berlin - and it shows. Though a studio set, an immediacy and frisson of live performance crackles throughout. Lorengar's fluttery vibrato is not to all tastes, DFD is not, in the eyes of many, a Verdi singer. But somehow, Lord, this all just works, and works beautifully. The baritone's timbre reeks of patrician elegance, which, as contrasted with Lorengar's earthy timbre, makes the class conflict of the second act achingly true. Her Violetta is heartfelt and heartbreaking and Aragall's dark, manly timbre makes for a deeply satisfying Alfredo. The comprimari are delightful. The conducting is propulsive, alive, and dramatically resonant throughout. One can point to all sorts of deficits (with validity) to each vocal and instrumental contribution, however although individual elements are not each in of themselves the best out there the end result here is, oddly, what is possibly the most enjoyable overall of the many recordings of the opera. Certainly one can point to a number of other classic sets, with more idiomatic casts. One can adore Callas, Scotto, Sills, Cotrubas, Zeani (and I do, all of them) or the superior leadership offered by the Serafins, Mutis, Karajans and Kleibers of the world; but if I had to grab one Traviata as I ran from a burning building, it just might be this one. An excellent set and one of my top favorite opera recordings.
9 internautes sur 9 ont trouvé ce commentaire utile
Historic La Traviata9 janvier 2009
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This is a rare gem. The score is conducted with exquisite sensitivity and great passion and the tempi are as masterful as the score itself (I don't say this lightly, as I have heard and attended many a performance of this opera over the years). Both leads, Lorengar and Aragall, portray with great depth the poignant situations in which they find themselves. Aragall is outstanding and you will be hard pressed to find a more vocally seductive Alfredo: he sings with great abandon, yet great precision. Most importantly, the essence of this tragedy is powerfully conveyed by the ensemble, including Fischer Dieskau whose artistry is so wide ranging that he gives empathy to the difficult character of Germont. Add this to your library for a historic yet utterly modern Traviata.
7 internautes sur 7 ont trouvé ce commentaire utile
don't overlook this one7 juin 2013
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There's no perfect "Traviata," but there are many, many good ones, and this is one of them. It was recorded in 1968, a year after the Caballe/Bergonzi/ Pretre RCA recording, which made a big splash because Caballe's voice was a recent discovery -- and the young Sherrill Milnes was in his youthful glory. With Bergonzi as Alfredo, it looked like, and indeed was, a winner: I wouldn't be without it. But one can make the case that in some respects, this Decca recording with Lorengar, Aragall, and Fischer-Dieskau did better by the opera. First of all, the voices are very fine, even if in smoothness and richness the RCA are superior. Aragall is a direct, manly Alfredo, with a fine voice that lacks only Bergonzi's refinement of tone and phrasing. Lorengar seems to have a fuller voice than Caballe, but there is a quick vibrato that might bother some (not me!) and she can't quite manage the pianissimi as Caballe does. And Milnes has a big, handsome Italianate baritone that's richer than Fischer-Dieskau's sweet, less robust voice. But in a crucial scene -- that between Violetta and the elder Germont -- F-D and Lorengar have it. The scene is dramatically more alive, with the singers seeming more responsive to one another, and with Maazel conducting with great feeling for the emotional character of the scene, while keeping the pulse of the drama moving. Pretre, by contrast, gives no particular shape to the scene, and you have these lovely voices just singing very beautifully. That's ALMOST enough, but not quite. The other thing I would add is that Fischer-Dieskau's singing here is beyond reproach. When he starts singing "Pura siccome un' angelo," it's clear that he has in some sense fallen in love with Violetta, and he sings with great tenderness throughout that scene. Importantly, the sound engineers give his voice equal billing in the sonic picture, so that at the ending of the duet, we still get the sense of people communicating. At this point in the RCA recording, Caballe is slightly highlighted, and the characters are just singing (not that there's much wrong with that!).
It's possible to criticize some aspects of Maazel's conducting -- the "public" scenes are brittle indeed -- but I assume that that was an interpretive decision. "Parigi" is all brittleness and brilliance in this opera. At least Maazel has an idea. Pretre sounds more like a routinier, and the reading lacks spine. I think any collector of "Traviatas" will want both -- AND Sutherland (1962) and Cotrubas with Kleiber. Can you have too many Traviatas?
4 internautes sur 4 ont trouvé ce commentaire utile
Simply put....one of the BEST!!!!24 octobre 2013
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Speaking as an avid Wagnerian and one considered by most to be overly critical of the vast majority of recordings of his beautiful operas, anyone looking for a great Traviata has to look no further. It does contain several "standard" cuts, but it is more complete than most recordings.
This recording of the opera, on the whole, is incredible and so far leads the pack, It's only real competition is the RCA recording with Caballe and Pretre conducting. To my knowledge, it's the only note complete recording of the opera.
This recording features the Deutsche Oper Berlin which is really the Berlin Philharmonic and Maazel conducts the opera exceptionally well and I am prepared to argue that point with anyone.
Lorengar is still my favorite Violetta of all time (I was fortunate to hear her live as Eva in Meistersinger in Chicago and Mrs. Ford in Falstaff in Miami within the same year.) and a projects the character better than most (and, yes, she sings a fantastic D flat at the end of Sempre libera...one of the few interpolated high notes in Verdi (or Wagner) of which I approve. Her voice has a natural vibrato that flutters a bit which I know may disturb some listeners, but she's always dead on pitch!!!
Aragall is equal to the best. Nothing more needs to be said about his excellent and idiomatic performance. First rate, through and through. He sings a lot of well-chosen high options
Fischer-Dieskau proves himself once more to be a perfect Verdi baritone for which he was justly famed.
The care and balance during ensembles is exemplary and a model of its kind.
The overall acoustic and sound creates the perfect sonic environment for each act and scene.
If all Italian opera was recorded with such care and concern, I, for one, would regard it far greater respect.