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Wagner - Tannhäuser

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Détails sur le produit

  • Interprète: Waltraud Meier, Peter Seiffert, Jane Eaglen
  • Chef d'orchestre: Daniel Barenboim
  • Compositeur: Richard Wagner
  • CD (5 mars 2002)
  • Nombre de disques: 3
  • Label: Teldec Classique
  • ASIN : B00005UW19
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
  • Classement des meilleures ventes d'Amazon: 264.119 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Act 1 overture tannhauser - Staatskapelle Berlin
  2. Act 1 scii venus geliebter sag wo weilt dein sinn - Waltraud Meier
  3. Act 1 scene II dir tone lob - Waltraud Meier
  4. Act1 scii dank deiner huld gepriesen sei dein lebe - Waltraud Meier
  5. Act 1 scene II geliebter komm sieh dort die grotte - Waltraud Meier
  6. Act 1 scen II stets soll nur dir mein leid ertonen - Waltraud Meier
  7. Act 1 scene II zieh hin wahnbetorter - Waltraud Meier
  8. A1 scii nein mein stolz soll dir den jammer sparen - Waltraud Meier
  9. Act 1 scene III frau holda kam aus dem berg hervor - Staatskapelle Berlin
  10. Act 1 scene III zu dir wall ich mein jesus christ - Staatskapelle Berlin
  11. Act 1 scene IV wer ist dort im brunstigem gebet - Staatskapelle Berlin
  12. Act1 sc IV als du im kuhnen sange uns bestrittetst - Staatskapelle Berlin

Disque : 2

  1. A2 sci introduction dich teure halle grub ich wied - Staatskapelle Berlin
  2. Act 2 scen II dort ist sie nihe dich ihr ungestort - Staatskapelle Berlin
  3. Act 2 scene II den gott der liebe sollst du preise - Staatskapelle Berlin
  4. Act 2 scene III dich treff ich hier in dieser hall - Staatskapelle Berlin
  5. Act 2 scene IV einzug der gaste - Staatskapelle Berlin
  6. Act 2 sce IV freudig begrussen wir die edlen halle - Staatskapelle Berlin
  7. Act 2 sciv gar viel und schon ward hier in dieser - Staatskapelle Berlin
  8. Act 2 sc IV blick ich umher in diesem edlen kreise - Staatskapelle Berlin
  9. Act 2 sc IV auch ich darf mich so glucklich nennen - Staatskapelle Berlin
  10. Act 2 scene IV den bronnen den uns wolfram nannte - Staatskapelle Berlin
  11. Act 2 scene IV o walther der du also sangest - Staatskapelle Berlin
  12. Act 2 scene IV heraus zum kampfe mit uns allen - Staatskapelle Berlin
  13. Act 2 scene IV o himmel lab dich jetzt erflehen - Staatskapelle Berlin
  14. Act 2 scene IV ha der verruchte - Waltraud Meier
  15. Act 2 scene IV der ungluckselge den gefangen - Staatskapelle Berlin
  16. Act 2 scene IV weh weh mir ungluckselger - Staatskapelle Berlin
  17. Act 2 sc IV ein furchtbares verbrechen ward begang - Staatskapelle Berlin
  18. Act 2 scene IV versammelt sind aus meinen landen - Staatskapelle Berlin

Disque : 3

  1. Act 3 introduction tannhausers pilgerfahrt - Staatskapelle Berlin
  2. Act 3 sc I wohl wubt ich hier sie im gebet zu find - Staatskapelle Berlin
  3. Act 3 sc I begluckt darf nun dich o heimat ich sch - Staatskapelle Berlin
  4. Act 3 scen I allmacht ge jungfrau hor mein flechen - Staatskapelle Berlin
  5. Act 3 scii wie todesahnung dammrung deckt die land - Staatskapelle Berlin
  6. Act 3 scene II o du mein holder abendstern - Staatskapelle Berlin
  7. Act 3 scene III ich horte harfeschlag - Waltraud Meier
  8. Act 3 scene III innbrunst im herzen - Waltraud Meier
  9. Act 3 sciii dahin zogs mich wo ich der wonn und lu - Waltraud Meier
  10. Act 3 scene III willkommen ungetreuer mann - Waltraud Meier
  11. Act 3 scene III heil heil der gnade wunder heil - Waltraud Meier

Descriptions du produit

"Daniel Barenboim, indudablemente el director wagneriano más importante del momento, nos presenta su Tannhäuser, cerca ya de la finalización del ciclo de óperas de Wagner. En esta ocasión la versión elegida por Daniel Barenboim es la de Dresde, excepto la escena segunda del segundo acto en la que la versión de París es la seleccionada por el director. Esto hace este Tannhäuser aún más especial. El elenco está compuesto por las figuras más prestigiosas del momento: Waltraud Maier, Jane Eagle, Peter Seifert, René Pape y Thomas Hampson."

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Commentaires client les plus utiles sur (beta) HASH(0x947cdabc) étoiles sur 5 20 commentaires
25 internautes sur 27 ont trouvé ce commentaire utile 
HASH(0x94801588) étoiles sur 5 A significant contribution to the Tannhauser discography 14 mai 2002
Par Un client - Publié sur
Format: CD
When the DG/Sinopoli recording of this work appeared, listeners rejoiced at the beauty and purity of Domingo's singing in the notoriously difficult title role. Here, Peter Seiffert does even better: not only does he have a bright and beautiful voice along with the requisite technique to cope with the part, but he is also a native German with fine dramatic insight, and the combination is simply more satisfying that Domingo's admirable but generalized intensity. In fact, one probably needs to go back to Melchior to hear better singing in this part. Even though Barenboim's conducting exhibits many extremes of tempo, his concentration generally holds things together well. Seiffert's colleagues are all admirable, even if they do not surpass their finest competitors in previous recordings. As Elisabeth, Eaglen does a commendable job in a role that isn't ideal for her, lightening her tone to convey youth and purity, but she is not ideally steady. Meier's Venus, though not especially rich in tone, is predictably compelling. It will come as no surprise that Pape is an impressive Landgraf: one of the best, yielding only to Frick, who can be heard under both Konwitschny (EMI) and Karajan (DG). As Wolfram, Thomas Hampson demonstrates his ever-expanding repertoire and growing richness of voice. His performance here is somewhat in the mold of Fischer-Dieskau (for Konwitschny), both in terms of the slimness of his timbre and his occasionally mannered delivery; a fuller sound and a more natural delivery, such as one finds with Waechter (for Karajan and Sawallisch) or Weikl (for Haitink and Davis on video) are more satisfying. The recorded sound is excellent (distinctly better than Sinopoli's). Barenboim's orchestra and chorus perform admirably, with even more security and splendor than in his earlier Lohengrin. The minor parts are all well taken, too, all of which adds up to a very satisfying performance.
17 internautes sur 18 ont trouvé ce commentaire utile 
HASH(0x948019f0) étoiles sur 5 a tannhauser to (mostly) marvel in 25 octobre 2002
Par Un client - Publié sur
Format: CD
as barenboim's wagner cycle draws to its close, here comes one of the most satisfying tannhauser's to be put on disc! the orchestral details are phenomenal and yes, even if barenboim can be slow in the furtwangler mode he never looses the overview on where he is heading to. the sound is spectacular and the final chorus uplifts you in a way it seldom happens on disc!
most of the singers fit barenboims view like a glove and most of them are 'germanic' in origin, hence there is (mainly) good diction and attention to the meaning of the text. peter seiffert must rank as one of the most successful tannhausers in a long time, his sound is beautiful while he is expressive and in the end the tormented broken figure that tannhauser becomes. while he hasn't quite the domingo-bloom in his voice (but then domingo's german is so unidiomatic and, beautifully as he sings, his portrayal under sinopoli is painted in water colors - whereas seiffert's is a person of flesh and blood) and sometimes here is a hint of unevenness when he puts pressure on his voice (but never obtusively so), his is an interpretation that shines like a star!
none of the other men needs to fear to be outshone though, as they hold up their ends to build quite the strongest male trio all around! next to seiffert there is hampson's hypersensitive wolfram (and his 'abendstern' aria in the last act just grips you by the throat), although an american, his diciton is crystal clear - his wolfram is very much in the dietrich fischer-dieskau mode ... and i think that is praise in itself. rene pape is probably the best of all landgrafs (and no, i am not forgetting kurt moll under haitink!), his every utterance full of meaning and his voice just a gem! so were it only for the men this set would get 6 out of 5 stars!!!!
alas, the female side seems somehow undernourished (with the exception of roschmann'a charming sheperd). waltrud meier remains the consummate artist she was and her word pointing is done with great care - she is a believable venus. but the voice in itself lacks the sensuousness needed to understand why tannhauser is tempted by her again and again. furthermore her voice has lost some of its bloom in recent years (many would say it never had any bloom ... but that is personal taste) and her slurring of the notes prevents a crisp diction (just compare her venus here with her ortrud under abbado and you can hear the decline in the voice since 1991). she paints a vivid portrayal, but vocally it leaves alot to be desired.

whereas meier still succeeds through her personality, i have to admit that jane eaglen's elisabeth is a total desaster. her first entrance is squally, her second aria (that wonderful prayer!!!!) flat and inexpressive and throughout the set the cutting edge of her singing and her non existent attention to words or expression make me wonder who decided to cast her in that role?! (but knowing that she is an exclusive teldec artist answers that question ... though it still makes it a scandalous decision, especially as there is such a wonderful german soprano called angela denoke who made such a big impression singing elisabeth in berlin!!!!)
so overall this set gives extrem pleasure if you manage to mentally block out jane eaglen. nonetheless: buy it (and skip her arias when listening to it!)!!!!
12 internautes sur 13 ont trouvé ce commentaire utile 
HASH(0x9480196c) étoiles sur 5 A fine addition to Barenboim's Wagner Cycle 24 décembre 2003
Par Ed Beveridge - Publié sur
Format: CD
I bought this recording having previously been won over by the Sinopoli set, gloriously cast with Domingo and Studer utterly affecting and involving in the lead roles, with Agnes Baltsa a predictably fiery, Southern European Venus. I did wonder what I might make of this set, therefore, with its cast of American/English/German singers. Would it lack the sensuality of the Sinopoli, or descend into religiose Parsifal-ness? (No disrespect to Parsifal - it's just not the same kind of piece).
Of course not. Barenboim is by now a supremely experienced and intelligent Wagner conductor, and he straddles the split personalities of this piece with ease, telling the story with a grip on the broader architecture whilst giving the individual scenes their own personalities. The Venusberg music is as sexy and languid as one could wish, whilst the Wartburg is all splendour and ceremony. the second act builds up a fine head of steam and the Rome Narration is gripping. The orchestral playing is absolutely beautiful, refined and phrased with suoreme care and attention to detail, and to my ear Barenboim's grip on pacing is superb. The (large-sounding) chorus, afforded so many marvellous opportunities in this piece, are excellent.
Barenboim picks soloists very much of "his" team, and has a good rapport with them. Seiffert is thrilling, sounding youthful and ardent and tackling the taxing vocal lines - with their cruel excursions ever higher - without trouble. Rene Pape, popping up as the Landgrave/Marke/Heinrich all over the place, is for a good reason the Bass of choice nowadays for this repertoire. The tone is rock-solid, his German clear and idiomatic and his phrasing generous and expressive. The same could be said of Hampson, whose finely focused baritone is most welcome as Wolfram. It's not free of strain- the Wagner parts he is now taking on do test him a little - but the tone never thins and he uses the character's moments in extremis to paint an unusually involving portrait. And, thankfully, he doesn't wallow in the beauty of the Abendstern number - he thinks it through and makes uit a dramatic high point.
Much ink (type?) has been spilt over the female singers (save Dorothea Roschmann who, all seem to agree, is luxurious as the Shepherd). It has taken me a long time to be won over by Eaglen's Elisabeth, but won over I am. I'd agree that this is a peculiar piece of casting, as we aren't used to big, mature-sounding voices in this role, and at her first entry she sounds rather like Isolde in a Very Bad Mood. However, as the piece progresses her use of dynamics, her attention to the text and the sheer security of her singing become ever more apparent. Her scaling down of the sound can pull it flat and she lacks the radiance of others who have gone before. But it's a portrayal that repays repeated listening. Meier's Vanus is a known quantity, and I'd agree that her voice is slenderer than in the past, but her technique and her dramatic involvement are undiminished. She is an artist who always throws in 110% and the first scene, where she and Seiffert make some real dramatic sparks fly, is gripping.
I wouldn't chuck out Sinopoli for this recording - nor many older classics - but I would thoroughly recommend adding it to your collection, if only for the superb playing and conducting, as well as some exciting singing.
13 internautes sur 15 ont trouvé ce commentaire utile 
HASH(0x94801d38) étoiles sur 5 An Ultimate Tannhauser 5 juillet 2006
Par Eric S. Kim - Publié sur
Format: CD Achat vérifié
Like Sinopoli and Solti, Barenboim's rendition of Wagner's 1845 opera is intriguing, attention-grabbing, and groundbreaking. The Staatskapelle Berlin does an amazing job of keeping with the tempi and the atmosphere. The choir's dictions are clear and it is much more passionate than Sinopoli's choir (at least in my opinion). And the overture . . . it sounds so melodious; I can hear it at least three times a day if I want to.

As for the cast, yes, there are some flaws. Jane Eaglen makes up for her disappointing work in Barenboim's "Der Fliegende Hollander". It sounds heavy, as if she is Brunnhilde in "Der Ring Des Nibelungen," But her expression is rock-hard and it is not entirely devoid of feeling. Waltraud Meier may not be the best Venus, but at least she tried very hard. Peter Seiffert has done an incredible job with the role of Tannhauser. It's precise, it's unique, and best of all, it sounds like what Wagner intended. The rest of the cast is solid gold, very stunning in their own way.

Despite some flaws from the cast, this Tannhauser by Barenboim ranks with the finest available. NOTE: This, along with the set by Otto Gerdes, is the Dresden Version. Sinopoli and Solti belong to the Paris Version. If you know the main differences between these two, then add Barenboim to your list. If you do not know the main differences, then I suggest that you listen to the Dresden version first, and then the Paris Version. Keep in mind, though, that while this IS the original version, the second scene of Act One is based on the Paris Version. Otherwise, you'll be able to figure out why Wagner made some changes in the score when showing the opera in Paris.
14 internautes sur 17 ont trouvé ce commentaire utile 
HASH(0x94801ce4) étoiles sur 5 5 STARS FOR THE MALES AND CONDUCTOR; 1 STAR FOR THE FEMALES 21 octobre 2002
Par Amazon Customer - Publié sur
Format: CD
I wanted to give this recording 5 stars due to the outstanding singing of the male leads. However, I was forced to give it only three stars due top Waltraud Meier and Jane Eaglan. For sometime, I have enjoyed Meier, as a mezzo, in Wagner operas. I was shocked to hear her in this recording as Venus. The voice has thinned extensively and the sound she produces, to me, is just plain ugly. maybe, this is the result of too many Isolde(s). Jane Eaglan, perhaps, should have recorded Isolde instead of Elizabeth. She sounds like she is trying to hold her voice back and as a result she sings terribly flat. Again I just don't like the sound she produces--so straight and white. As a result of the two female leads, in this recording, I could have been very worried about the present state of Wagner singing. BUT the male leads give me considerable pleasure.
Peter Seiffert is phenomenal as Tannhauser. Most tenors, I have heard sing this role, seem to be on the verge of strangling. Not Seiffert! He seems to revel in the cruel tessitura of Tannhuaser. The difficult passages are sung with great skill, ease and beauty. In fact, he sings the entire role of Tannhauser just beautifully without a hint of strain or choking. That is no easy accomplishment for any of the heavy tenor roles of Wagner and especially with Tannhauser.
Rene Pape is new, as a singer, to me. He sings wonderfully with a full and rich bass voice. I look forward to more recordings from him.
The best I save for last--Thomas Hampson. I've been a fan of Thomas since his very early "Rossini days". I heard him tackle the heavier Verdi roles, and I was impressed and delighted with his performances. Nothing prepared me for his foray into Wagner. His performance as Wolfram is fantastic--such a rich, full, even and large sound! His performance of Wolfram is more beautiful and thoughtfully sung than any I have heard. Of course being the intellectual that he is, one gets the feeling that every phrase is thought-out extensively, and he certainly has the voice to produce whatever his thoughts are on his role
Barenboim does an incredible job of conducing this massive work. If only he had made (to me) better choices for the two female leads--oh well, I guess we can't have everything! Anyway, for some fantastic male Wagner singing, buy this recording. You will NOT be disappointed. As far as fantastic female Wagner singing is concerned, go elsewhere.
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