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Vivaldi : L'Oracolo in Messenia

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Page Artiste Julia Lezhneva


Produits fréquemment achetés ensemble

  • Vivaldi : L'Oracolo in Messenia
  • +
  • Vivaldi : Ercole sul Termodonte
  • +
  • Vivaldi: Catone in Utica
Prix total: EUR 53,30
Acheter les articles sélectionnés ensemble

Détails sur le produit

  • Interprète: Julia Lezhneva, Vivica Genaux, Ann Hallenberg, Romina Basso, Xavier Sabata, et al.
  • Orchestre: Europa Galante
  • Chef d'orchestre: Fabio Biondi
  • Compositeur: Antonio Vivaldi
  • CD (24 septembre 2012)
  • Nombre de disques: 2
  • Label: Parlophone
  • ASIN : B008QUQKBY
  • Autres versions : Téléchargement MP3
  • Moyenne des commentaires client : 3.0 étoiles sur 5 3 commentaires client
  • Classement des meilleures ventes d'Amazon: 62.774 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. L oracolo in messenia sinfonia I allegro - Europa Galante
  2. L oracolo in messenia atto primo aria non asc - Europa Galante
  3. L oracolo in messenia atto primo re polifonte - Europa Galante
  4. L oracolo in messenia atto primo ver noi se no - Europa Galante
  5. L oracolo in messenia sinfonia II largo - Europa Galante
  6. L oracolo in messenia sinfonia III allegro - Europa Galante
  7. L oracolo in messenia atto primo questa e messe - Europa Galante
  8. L oracolo in messenia atto primo coro su su - Ann Hallenberg
  9. L oracolo in messenia atto primo signor che al - Europa Galante
  10. L oracolo in messenia sinfonia - Europa Galante
  11. L oracolo in messenia atto primo stanco o popo - Europa Galante
  12. L oracolo in messenia atto primo aria dono d - Europa Galante
  13. L'oracolo in messenia atto primo scena 4 ver noi s - Magnus Staveland
  14. L'oracolo in messenia atto primo scena 5 re polifo - Magnus Staveland
  15. L'oracolo in messenia atto primo scena 5 aria non - Magnus Staveland
  16. L oracolo in messenia atto primo non si lasci s - Europa Galante
  17. L oracolo in messenia atto primo aria sinche - Europa Galante
  18. L oracolo in messenia atto primo ecco pur giunt - Ann Hallenberg
  19. L oracolo in messenia atto primo regina era mi - Ann Hallenberg
  20. L oracolo in messenia atto primo dato dal ciel - Europa Galante
  21. L oracolo in messenia atto primo aria se mi V - Europa Galante
  22. L oracolo in messenia atto primo del cor d elmi - Ann Hallenberg
  23. L oracolo in messenia atto primo aria barbaro - Ann Hallenberg
  24. L oracolo in messenia atto primo lasciatemi o - Europa Galante
  25. L oracolo in messenia atto primo guardie a me - Europa Galante
  26. L oracolo in messenia atto primo aria sarebbe - Europa Galante
  27. L oracolo in messenia atto secondo arioso spi - Europa Galante
  28. L oracolo in messenia atto secondo lascia che a - Ann Hallenberg
  29. L oracolo in messenia atto secondo aria no n - Ann Hallenberg
  30. L oracolo in messenia atto secondo di merope da - Europa Galante
  31. L oracolo in messenia atto secondo aria se al - Europa Galante
  32. L oracolo in messenia atto secondo a me nozze - Europa Galante
  33. L oracolo in messenia atto secondo aria so c - Europa Galante
  34. L oracolo in messenia atto secondo dunque anass - Ann Hallenberg
  35. L oracolo in messenia atto secondo voi mi tradi - Ann Hallenberg
  36. L oracolo in messenia atto secondo ripensando a - Europa Galante
  37. L oracolo in messenia atto secondo aria son q - Europa Galante
  38. L oracolo in messenia atto primo aria dono d - Europa Galante
  39. L'oracolo in messenia atto primo scena 4 ver noi s - Magnus Staveland
  40. L'oracolo in messenia atto primo scena 5 re polifo - Magnus Staveland
  41. L'oracolo in messenia atto primo scena 5 aria non - Magnus Staveland
  42. L oracolo in messenia atto primo non si lasci s - Europa Galante
  43. L oracolo in messenia atto primo aria sinche - Europa Galante
  44. L oracolo in messenia atto primo ecco pur giunt - Ann Hallenberg
  45. L oracolo in messenia atto primo regina era mi - Ann Hallenberg
  46. L oracolo in messenia atto primo dato dal ciel - Europa Galante
  47. L oracolo in messenia atto primo aria se mi V - Europa Galante
  48. L oracolo in messenia atto primo del cor d elmi - Ann Hallenberg
  49. L oracolo in messenia atto primo aria barbaro - Ann Hallenberg
  50. L oracolo in messenia atto primo lasciatemi o - Europa Galante
  51. L oracolo in messenia atto primo guardie a me - Europa Galante
  52. L oracolo in messenia atto primo aria sarebbe - Europa Galante
  53. L oracolo in messenia atto secondo arioso spi - Europa Galante
  54. L oracolo in messenia atto secondo lascia che a - Ann Hallenberg
  55. L oracolo in messenia atto secondo aria no n - Ann Hallenberg
  56. L oracolo in messenia atto secondo di merope da - Europa Galante
  57. L oracolo in messenia atto secondo aria se al - Europa Galante
  58. L oracolo in messenia atto secondo a me nozze - Europa Galante
  59. L oracolo in messenia atto secondo aria so c - Europa Galante
  60. L oracolo in messenia atto secondo dunque anass - Ann Hallenberg
  61. L oracolo in messenia atto secondo voi mi tradi - Ann Hallenberg
  62. L oracolo in messenia atto secondo ripensando a - Europa Galante
  63. L oracolo in messenia atto secondo aria son q - Europa Galante
  64. L'oracolo in messenia atto primo scena 4 ver noi s - Magnus Staveland
  65. L'oracolo in messenia atto primo scena 5 re polifo - Magnus Staveland
  66. L'oracolo in messenia atto primo scena 5 aria non - Magnus Staveland
  67. L'oracolo in messenia atto primo scena 1 questa e - Vivica Genaux
  68. L'oracolo in messenia atto primo scena 2 coro su s - Magnus Staveland
  69. L'oracolo in messenia atto primo scena 2 signor ch - Vivica Genaux
  70. L'oracolo in messenia atto primo scena 3 sinfonia - Europa Galante
  71. L'oracolo in messenia atto primo scena 3 stanco o - Magnus Staveland
  72. L'oracolo in messenia atto primo scena 3 aria dono - Vivica Genaux
  73. L'oracolo in messenia atto primo scena 4 ver noi s - Magnus Staveland
  74. L'oracolo in messenia atto primo scena 5 re polifo - Magnus Staveland
  75. L'oracolo in messenia atto primo scena 5 aria non - Magnus Staveland
  76. L'oracolo in messenia atto primo scena 6 non si la - Franziska Gottwald
  77. L'oracolo in messenia atto primo scena 6 aria sinc - Franziska Gottwald
  78. L'oracolo in messenia atto primo scena 7 ecco pur - Ann Hallenberg
  79. L'oracolo in messenia atto primo scena 8 recitativ - Ann Hallenberg
  80. L'oracolo in messenia atto primo scena 10 dato dal - Magnus Staveland
  81. L'oracolo in messenia atto primo scena 10 aria se - Romina Basso
  82. L'oracolo in messenia atto primo scena 11 del cor - Magnus Staveland
  83. L'oracolo in messenia atto primo scena 11 aria bar - Ann Hallenberg
  84. L'oracolo in messenia atto primo scena 12 lasciate - Magnus Staveland
  85. L'oracolo in messenia atto primo scena 13 guardie - Magnus Staveland
  86. L'oracolo in messenia atto primo scena 14 aria sar - Vivica Genaux
  87. L'oracolo in messenia atto secondo scena 1 arioso - Vivica Genaux
  88. L'oracolo in messenia atto secondo scena 1 lascia - Magnus Staveland
  89. L'oracolo in messenia atto secondo scena 1 aria no - Ann Hallenberg
  90. L'oracolo in messenia atto secondo scena 2 di mero - Magnus Staveland
  91. L'oracolo in messenia atto secondo scena 2 aria se - Magnus Staveland
  92. L'oracolo in messenia atto secondo scena 3 a me no - Vivica Genaux
  93. L'oracolo in messenia atto secondo scena 3 aria so - Franziska Gottwald
  94. L'oracolo in messenia atto secondo scena 5 dunque - Ann Hallenberg
  95. L'oracolo in messenia atto secondo scena 6 voi mi - Ann Hallenberg
  96. L'oracolo in messenia atto secondo scena 7 ripensa - Julia Lezhneva
  97. L'oracolo in messenia atto secondo scena 7 aria so - Julia Lezhneva

Disque : 2

  1. L oracolo in messenia atto secondo lieto lieto - Europa Galante
  2. L oracolo in messenia atto secondo aria la mi - Europa Galante
  3. L oracolo in messenia atto secondo merope or s - Ann Hallenberg
  4. L oracolo in messenia atto secondo aria un la - Ann Hallenberg
  5. L oracolo in messenia atto secondo messeni un - Europa Galante
  6. L oracolo in messenia atto secondo aria chi c - Europa Galante
  7. L oracolo in messenia atto secondo o amore o a - Europa Galante
  8. L oracolo in messenia atto secondo aria nel m - Europa Galante
  9. L oracolo in messenia atto secondo morro ma di - Europa Galante
  10. L oracolo in messenia atto secondo aria sento - Europa Galante
  11. L oracolo in messenia atto terzo non e piu temp - Europa Galante
  12. L oracolo in messenia atto terzo aria spera q - Europa Galante
  13. L oracolo in messenia atto terzo ecco anassandr - Europa Galante
  14. L oracolo in messenia atto terzo aria gia l I - Europa Galante
  15. L oracolo in messenia atto terzo qui muor l emp - Europa Galante
  16. L oracolo in messenia atto terzo aria nell or - Europa Galante
  17. L oracolo in messenia atto terzo a merope il ti - Ann Hallenberg
  18. L oracolo in messenia atto terzo aria s in ca - Europa Galante
  19. L oracolo in messenia atto terzo figlie di gius - Ann Hallenberg
  20. L oracolo in messenia atto terzo piu non si nie - Ann Hallenberg
  21. L oracolo in messenia atto terzo aria sposa - Europa Galante
  22. L oracolo in messenia atto terzo quasi m intene - Ann Hallenberg
  23. L oracolo in messenia atto terzo fermati arres - Ann Hallenberg
  24. L oracolo in messenia atto terzo recitativo ac - Ann Hallenberg
  25. L oracolo in messenia atto terzo aria la sul - Ann Hallenberg
  26. L oracolo in messenia atto terzo strascinata el - Europa Galante
  27. L oracolo in messenia atto terzo merope non asp - Ann Hallenberg
  28. L oracolo in messenia atto terzo si epitide so - Ann Hallenberg
  29. L oracolo in messenia atto terzo coro dopo l - Ann Hallenberg

Descriptions du produit

Un opéra de Vivaldi en première mondiale avec un casting de rêve, emmené par Fabio Biondi ! L'Oracolo in Messenia fut représenté pour la première fois à Venise en 1738. Puis Vivaldi voulu le modifier pour le donner ensuite à Vienne, mais le projet ne vit jamais le jour, les théâtres viennois étant fermés sur ordre de l'empereur, puis Vivaldi mourant seul et pauvre. L'oeuvre fut finalement donnée à Vienne, mais après la disparition du compositeur. Depuis, les partitions avaient disparues. Fabio Biondi les a retrouvées à la Librairie du Congrés de Washington. Cette recherche poursuit le chemin musicologique commencé par Fabio Biondi pour Virgin Classics avec Bajazet et Ercole sul Termodonte. L'illustre chef italien a connu un triomphe en ouvrant en ouvrant le Festival Résonnances à en 2011 à Vienne avec un casting de très haute volée : les cantatrices Ann Hallenberg, Vivica Genaux et Romina Basso, le haute contre Xavier Sabata et l'étoile montante Julia Lezhneva, sublime artiste à peine âgée de 23 ans, déjà reconnue par de nombreux concours internationaux et honorée par un Diapason d'or. Une découverte en or pour les baroqueux ! Merope Ann Hallenberg mezzo-soprano Epitide Vivica Genaux mezzo-soprano Elmira Romina Basso mezzo-soprano Trasimede Julia Lezhneva soprano Confidant : Xavier Sabata contre ténor Polifonte Magnus Staveland ténor Europe Galante Fabio Biondi


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Format: CD
C'est pas trop mal joué, très bien chanté (mais Lezhneva est encore un peu "verte"). Le gros bémol, en dehors du maniérisme de Biondi, c'est la malhonnêteté de vendre ça comme du Vivaldi : la moitié des airs est de Giacommelli (13) et les récitatifs en sont largement inspirés aussi, un air de Broschi (Artaserse) et un de Hasse (Siroe), le reste étant de Vivaldi (11). La musique de Giacommelli est d'ailleurs magnifique. L'ensemble est un tripatouillage royal de Biondi : le livret de Vienne de 1741 ne donne pas le nom de Vivaldi, l'ensemble est avant tout un pasticcio napolitain et seul la présence de la chanteuse Anna Giro, égérie de Vivaldi, lors de la première, ainsi que de deux airs de Vivaldi dans le livret a servi d'argument pour dire que le "package" était de Vivaldi. On ajoutera que très bizarrement ce livret viennois ne reprend pas les airs écrits par Vivaldi pour son Oracolo in Messenia authentique de 1738 et notamment pas "Quel Usignolo", le seul dont la musique ait survécu. Du même coup, presque aucun des airs vivaldien n'est à sa place authentique, on a juste fait un choix dans les airs les plus beaux pour les coller sur le livret à l'endroit où celui-ci ne correspondait pas avec la version de Giacomelli... A ce train on peut reconstituer n'importe quel opéra de Vivaldi ! Biondi ferait mieux d'enregistrer la vraie Merope de Giacommelli ou le vrai Siroe de Hasse.
1 commentaire 33 sur 39 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Format: CD Achat vérifié
Ce pasticcio avoué n'apporte rien quant à la musique du Prete Rosso.
Les partitions des deux versions vivaldiennes de cet Oracolo in Messenia étant totalement perdues, Biondi s'est naturellement servi de la musique des opéras contemporains (notamment Griselda et Catone in Utica) pour combler les manques. Soit...
La divine surprise vient de la découverte de la musique de Giacommelli, dont la Merope a fourni plus d'une quinzaine d'airs à cette gravure et l'intégralité des récitatifs.
Finalement, peut-être eût-il mieux valu carrément enregistrer l'intégralité de l'opéra de Giacommelli ? On en vient vraiment à le regretter...
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Encore un opéra de Vivaldi...quoique celui ci ne soit pas vraiment de lui: les récitatifs et de nombreux airs ne sont pas de sa main, les autres airs sont tous sans exception empruntés à d'autres opéras.
L'unique intérêt de cette parution réside dans la qualité de l'interprétation, direction et chanteurs (quel plateau !).
Par contre la prise de son live est loin d'être parfaite.
Alors je dis "bof" et je regrette un peu mon achat.
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Amazon.com: HASH(0x98250204) étoiles sur 5 2 commentaires
26 internautes sur 28 ont trouvé ce commentaire utile 
HASH(0x9827963c) étoiles sur 5 Admirable work of reconstruction delivered by great musicians 28 octobre 2012
Par Almaviva - Publié sur Amazon.com
Format: CD
L'Oracolo in Messenia, overo La Merope - opera in musica, RV 726

Pastiche in three acts, music by Antonio Vivaldi (1678-1741) - 11 numbers, and Germiniano Giacomelli (1692-1740) - 13 numbers, with one number by Riccardo Broschi (ca. 1698-1756, Farinelli's brother) and one by Johann Adolph Hasse (1699-1783).
Libretto by Apostolo Zeno - sung in Italian; adapted from the libretto by the same author for Giacomelli's La Merope, in its turn derived from Euripide's tragedy Cresphontes.
Premiered at the Teatro S. Angelo, Venice, 28 December 1737
Vienna Version first performed at the Kärntnertortheater, Vienna, Carnival 1742

Reconstruction of the Vienna version by Fabio Biondi

Orchestra: period ensemble Europa Galante, conducted by Fabio Biondi (who also plays the violin), and made of three violins, viola, cello, double bass, oboe, bassoon, horn, theorbo, and harpsichord

Cast

Polifonte, king of Messenia - Magnus Staveland, tenor
Merope, queen of Messenia, widow of Cresfonte - Ann Hallenberg, mezzo-soprano
Epitide, son of Merope, disguised under the name of Cleon - Vivica Genaux, mezzo soprano
Elmira, princess of Etolia - Romina Basso, mezzo-soprano
Trasimede, chief minister of Messenia - Julia Lezhneva, soprano
Licisco, ambassador from Etolia - Franziska Gottwald, mezzo-soprano
Anassandro, confidant of Polifonte - Xavier Sabata, countertenor

Recorded live at the Wiener Konzerthaus, Vienna, on 13-15 January 2012, as part of the Resonanzen festifal, by ORF (Austrian Broadcasting Corporation), Radio Österreich I

Released on 2 CDs in 2012 by EMI Records / Virgin Classics

Libretto included, in Italian, with side-by-side translations into English, French, and German

The insert includes color pictures of the conductor, the singers, and the ensemble; a 1-page essay about the opera authored by Fabio Biondi and Frédéric Delamea; a much longer 8-page essay about the opera, the composer, and the circumstances of composition, authored by Frédéric Delamea; a 2-page synopsis authored by Berhnhard Drobig; list of tracks with names of the arias, characters, and duration; sources for all numbers including who composed them, and from what opera they were lifted. All of the above come in English, French, and German, and everything is nicely packaged in a rigid box.

Running times: CD 1 79:49 (Act I, Act II scenes 1-7), CD 2 76:52 (Act II scenes 8-14, Act III)

Sound quality: impeccable, the highest possible, with perfect balance, clarity, and volume.

-----------

This recording is an admirable work. The score for Vivaldi's opera L'Oracolo in Messenia is lost. The libretto, however, survived, and Fabio Biondi reconstructed the opera as a pastiche, transplanting onto the words music from Giacomelli's opera La Merope, which is clever because there are hints that Vivaldi did just that, since his L'Oracolo in Messenia was a readaptation of Giacomelli's La Merope and may have had music directly borrowed from it - it was actually a pastiche as well. This practice of borrowing arias from other composers wasn't uncommon at the time, and there are numerous other examples of such in Vivaldi's works. Fabio Biondi also used music from Vivaldi's own operas, including Griselda, Catone in Utica, Motezuma, Dorilla in Tempe, Farnace (Ferrara version), and Semiramide. Two outstanding additional numbers come from Broschi's Artaserse, and Hasse's Siroe, re di Persia.

Vivaldi wrote a first version of this opera for Venice (in very short notice, to savage his season after his Siroe, re di Persia fell apart in Ferrara thanks to the archbishop refusing to allow the composer into the city due to suspecting him of sinful relations with the singer Anna Girò), and it was greatly successful. The score for it is lost. It was received with "tumultuous applause" and "firm approval" according to the papers. In need for something guaranteed to be successful thanks to the financial difficulties brought about by the Ferrara fiasco, Vivaldi relied on Giacomelli's La Merope, given that it was a smashing triumph (in part, thanks to the casting of the two best castrati in town, Farinelli and Caffarelli).

When Vivaldi decided to quit Venice (the circumstances are well explained in the insert) and move to Vienna, he thought he should take this particular opera with him, due to the fact that Zeno, the librettist, was a former poet laureate to the imperial court in Vienna. Besides, this was arguably Zeno's best libretto, described by the poet as "the least bad of my dramas." Vivaldi wanted to make an even better impression, and added three ballets and seven new arias, dropping three of the old ones (Fabio Biondi does conserve one of them - "S'in campo armato" - which only existed in the Venetian version). He also changed the name of one character - the princess Argia became Elmira.

Vivaldi evidently hoped for the same success achieved in Venice for his Viennese version, since he wanted to impress the emperor. But fate decided otherwise: on 20 October 1740, before Vivaldi's premiere, Charles VI suddenly died, allegedly after eating poisonous mushrooms. All theaters in Vienna were closed down for one year, in sign of grieving for the emperor. Vivaldi made unsuccessful attempts to obtain a commission from the emperor's successor (Prince Anton Ulrich von Saxe-Meiningen). Without a sponsor, the composer plunged into financial turmoil, sold his scores at rock-bottom prices, and died himself shortly thereafter, receiving a pauper's funeral.

Still, after the theaters reopened, Vivaldi's L'Oracolo in Messenia, Viennese version, did see the light of day. Apparently Prince Anton was remorseful for having brushed off Vivaldi, and Anna Girò, Vivaldi's loyal friend, also insisted that the opera should be staged (she sang the role of Merope). This posthumous production allowed the Viennese public to hear a moving postscript to the great composer's operatic career. And now, Fabio Biondi brings us what is likely to be a rather close approximation, because while the score for the second version is also lost, in the surviving libretto Vivaldi did give indications of what music he was planning to borrow for his pastiche.

-----------

The CD

The result of Fabio Biondi's work is extraordinary. In spite of the eclectic sources, Maestro Biondi's inspired mastery of the music from this period ensured excellent unity of style and great pace. He recovered most of the recitatives from La Merope, and everything flows smoothly. And of course, by lifting great music from several different operas, Fabio Biondi was able to put together a great collection of fabulous arias. Particularly notewhorty, for example, are the very energetic "Nel mar cosi funesta" from Vivaldi's Farnace, the agile coloratura of "Son qual nave" from Broschi's Artaserse, the sonorous "Spera quest'alma amante" from Giacomelli's La Merope, and the very rhythmic "Nell'orror di notte oscura" from Hasse's Siroe, re di Persia - but there are many others just as excellent, particularly in the second half of the work when things pick up speed and excitement. The overture is by Vivaldi and comes from Griselda, but unlike the original, is transposed to F major and uses horns.

Add to the great music a very interesting libretto that actually has a compelling story with some intriguing twists, and you have a winner, as far as the opera is concerned.

And then, to complete the pleasure, get a homogeneous cast of absolutely virtuosic singers accompanied by no less accomplished musicians, and package everything with a very complete insert that contains plenty of information about the work. The ice on the cake, deliver it with impeccable sound!

What do you get? A highly recommended CD, of course. This is absolutely indispensable for lovers of music from this period.

It is hard to say individual praise for each of the seven singers, because they are all incredibly - and equally - good. The expression "no weak links" hasn't been as appropriately used in a long time. We get a Vivica Genaux full of energy and incredibly agile. She steals the show several times over, and shines in many of her numbers. Ann Hallenberg is creamy and suave, but then explodes in fury when needed. Magnus Staveland with the only tenor role in a sea of mezzos, a soprano, and a contralto, holds very well the male-sounding part of the enterprise. Xavier Sabata, with a dark voice for a contralto, is a welcome surprise. Julia Lezhneva has a peculiar, delicate, and pleasant timbre, and together with Vivica Genaux, is arguably one of the two most dazzling singers in this recording - oh well, maybe I should say the three best, since Ann Hallenberg is also great! Romina Basso is able to convey good color (she is a bit breathy, though, but not to a bothersome point). Franziska Gottwald is very powerful and precise, especially in the fiendshly difficult "Nell'orror di notte oscura."

The period ensemble Europa Galante is simply sublime, as is Biondi's dynamic direction.

Like I said, early opera lover: you can't not have this CD in your collection.
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HASH(0x996bee9c) étoiles sur 5 Flat sound and mediocre music... 21 mars 2013
Par Rob - Publié sur Amazon.com
Format: CD
Good side: Singers adequate or/and excellent. Take attention especially to Julia Lezhneva. She takes her two arias with perfect vocal technique.

Bad side: Gasparini's music is mediocre even by baroque standards. Sound of live recording is flat - no air and depth...
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