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Strauss, R.: Intermezzo op.72
 
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Strauss, R.: Intermezzo op.72

Wolfgang Sawallisch/Symphonieorchester Des Bayerischen Rundfunks
3 mars 2003 | Format : MP3

EUR 19,99 (TVA incluse le cas échéant)
Également disponible en format CD

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Titre
Durée
Popularité  
30
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5:32
30
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5:21
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0:46
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9:29
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0:58
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1:37
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3:26
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4:39
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2:48
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1:42
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7:44
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8:21
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5:17
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4:29
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4:47
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7:15
Disc 2
30
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10:08
30
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2:59
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3:32
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0:57
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5:05
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2:57
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1:20
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6:07
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2:15
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5:52
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5:57
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8:57
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Détails sur le produit

  • Date de sortie d'origine : 3 mars 2003
  • Date de sortie: 3 mars 2003
  • Nombre de disques: 2
  • Label: Warner Classics
  • Copyright: (C) 1988 EMI MUSIC GERMANY GmbH & Co. KG This label copy information is the subject of copyright protection. All rights reserved. (C) 1988 EMI MUSIC GERMANY GmbH & Co. KG
  • Métadonnées requises par les maisons de disque: les métadonnées des fichiers musicaux contiennent un identifiant unique d’achat. En savoir plus.
  • Durée totale: 2:12:34
  • Genres:
  • ASIN: B0025920IO
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article

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Amazon.com: HASH(0x9e2129e4) étoiles sur 5 5 commentaires
38 internautes sur 40 ont trouvé ce commentaire utile 
HASH(0x9dec630c) étoiles sur 5 A little-known gem 18 juin 2000
Par Alwyn - Publié sur Amazon.com
Format: CD
This brilliant, inspired opera that Strauss wrote about himself, must easily be one of his best works. It is audacious in its subject material and altogether quite a remarkable achievement; he produced his own libretto for the opera, which is about a real-life misunderstanding which almost led to a divorce between him and his wife. The musical style, too, is novel, consisting mostly of fast recitative with occasional ventures into full operatic singing and into the spoken word. The music is some of Strauss's least accessible - deliberately mannered, dissonant, spare and post-modern. It is mostly neo-classical, but there are also strong hints of cabaret and expressionism. In addition, the orchestral interludes almost outweigh the sung passages in length, and most of the scenes are relatively fleeting. On this recording, Lucia Popp plays Strauss's wife admirably; her rendition is light and flirtatious, capturing all the shrewishness inherent in the role. Her voice reveals itself to be every bit as at home in the recitative and the spoken passages as it does in the more lyrical parts. Fischer-Dieskau is equally convincing as Strauss (the name is altered to Robert Storch in the opera). This role is a much smaller one than that of his wife, but it is no less sharply characterised. Fischer-Dieskau gives a convincing account of Strauss the calm and placid in the opening scenes, and also rises to excellent portrayals of Strauss the stormy in the scene in the Prater, and Strauss the passionate in the closing scene. The other, smaller parts are also outstandingly handled, and Sawallisch stamps his usual exacting and detailed interpretation on the work. The orchestral playing is always brilliantly clear, especially in the numerous instances of chamber music textures.
18 internautes sur 18 ont trouvé ce commentaire utile 
HASH(0x9e14300c) étoiles sur 5 Superb little known comic opera from a master - Popp in resplendent form! 10 juillet 2007
Par Mr. DAVID Geer - Publié sur Amazon.com
Format: CD
I call myself a Strauss fan but am also aware of the many problems that surround most of his masterpieces and certainly don't go overboard on all his works or performances thereof i.e. I like Karajans cutting of Rosenkavalier - it is far too long otherwise. I don't agree Arabella needs a cut although Strauss thought it did, but refrained in memory of the librettist, Hugo von Hofmansthal. That Strauss needed a Hofmansthal and couldn't replace him following his death is a curious fact of artistic life - given his own excellent libretto for this somewhat earlier piece.
So yes the libretto is excellent and the rendition here is awesome. Firstly, musically its a real gem, frankly probably his most lyrical and has the best romantic writing for a soprano ever. Secondly its compact and tight, none of the length of Rosenkavalier, Arabella, Die Frau etc and although the earlier reviewer suggests it's a modern piece, I think it is more late 19th Century romantic than much else - it has a lightness of touch in its lyricism, but it is by no means as modern and atonal (never in fact) as parts of Ariadne are for instance. Its rather as if Strauss is not trying too hard to be artistic rather simply to be wonderfully expressive with strong romantic tendencies!

OK so its a compact 2 CD work. Now for the analysis of the singing and speech. Popp hardly ever sang a wrong note though occasionally she phrased somewhat differently (her Czech origins perhaps) even in Strauss - here however she was at her absolute best. The vocal line suits her gorgeous voice and she lets rip with all her nuances and careful placement of emphasis, so much so, I couldn't believe she could sing like this for the whole of the first disc and in fact she doesn't, it just seems that way and of course it's probably not one straight recording though it sounds like it, such is her spontaneity here.

The spoken parts are wonderfully clear and in character, none of that different recording level and awkwardness you so often get on disc - it plays like a well rehearsed operetta in fact. The cook's dialect is interesting if hard to place but adds more colour to the whole. I understand and speak some German and I have to say I understood an awful lot of this recording , both sung and spoken lines which added considerably to my enjoyment.
All parts are well sung and taken, I didn't notice Dieskau and that's usually a good thing (he is like Windgassen - once you notice him he is past his vocal if not artistic best). The orchestra is fabulous and of course Swallisch - he is perhaps one of the greatest conductors ever especially in Strauss and Wagner, and here he is his usual self, quietly in control.

An absolute gem of a work and a recording that deserves to get a wider hearing! I can't believe I haven't checked it out before now and only did so when I came across the listing of Popp Swallisch, Dallapozza etc. I know the reason, it is because some of the biographies of Strauss and his music decry the work out of ignorance and sloth (they hadn't heard a modern performance and they didn't check the score!). As Popp demonstrates it would be a very brave soprano who takes this on on the stage (originally Lehmann), unless of course she was another Popp - Strangely I can think of one local voice that would be great in the part but this is Australia and the local opera is currently somewhat reticent about too many German operas even though they sell like hot cakes! So Popp it is and get this before it becomes a rarity!

12 out of 10!
11 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x9e1748ac) étoiles sur 5 Sitcommedia Domestica 1 juin 2008
Par Thomas Plotkin - Publié sur Amazon.com
Format: CD Achat vérifié
Why the heck isn't this in the standard operatic repertory yet? The libretto, penned by Strauss himself, is based on an anecdote from his own marriage, when his wife Pauline mistakenly believed he was having an affair. The opera realizes Strauss' long-term goal of setting conversational German speech to dramatic music; repartee becomes music, and the score is an ever-mutating wonder. This recording, THE ONLY STUDIO RECORDING, will likely never be topped.

Lucia Popp turns in the peformance of her sadly short life, wholly inhabiting Strauss' loving portrait of his mercurial, to say the least, wife. Fishcer-Dieksau matches her as the long-suffering maestro. Conductor Sawallisch, who along with Solti, Karajan, and Bohm was one of the preeminent Straussians, has the full measure of the equally mercurial score. This opera is the middle step between the Prologue to Ariadne Auf Naxos, with it's freewheeling dialog, and Capriccio, the flowing conversation piece which closed out Strauss' operatic career. Is it a coincidence that all three of these "talk-y" operas are set in a backstage-at-the-opera milieu?

Interestingly, Strauss turned to contemporary bourgeois settings at the same time as Hindemith, Berg, and Weill were shocking German-speaking audiences with their own bilious, musically adventerous operatic portraits of the chaos that was the Weimar Republic and inter-war Vienna. But to paraphrase Alfred Hitchcock's immortal self-description, while the Modernists created slices of life, Strauss served up slices of cake. Audiences loved it, critics and musicologists never forgave him for it. Intermezzo may not be nutritious, but Strauss' sheer joy in music making is certainly delicious.
6 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x9e212e94) étoiles sur 5 Lucia Popp at her best 13 décembre 2007
Par R. Tuttle - Publié sur Amazon.com
Format: CD
I am just bowled over by Lucia Popp's virtuosity. Her performance is not just stunning vocally, but there is also so much personality in her voice, whether playing petulant, flirtatious or romantic. She is captivating and absolutely charming as Christine. She is also extremely accurate. Dietrich-Fischer Dieskau's portrayal of Robert Storch (Richard Strauss) on this recording is great. He's a real actor. Strauss' vocal writing is very specific: every note fits into a harmony and serves an important purpose. Dieskau sacrifices a lot of accuracy in his successful attempt to make it sound conversational, but some of the harmonies become muddy due to his lack of precision. The orchestra's performance under Sawallisch is, as expected, top-notch, as are the performances in the smaller roles. My only beef: the CD booklet contains only the German text, no translation! I speak German, but a professional translation is always helpful in understanding the text in more depth. If you are considering buying a different recording of Intermezzo, forget it - this seems to be the only one out there! Fortunately it is nearly perfect. I've heard that Hermann Prey recorded it, but I have yet to find that recording. I would guess he is even less accurate than Dieskau, but vocally it must be gorgeous.
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x9e374af8) étoiles sur 5 Pedantic point! 16 juillet 2008
Par Tommy - Publié sur Amazon.com
Format: CD
I entirely agree with the fulsome praise that all the previous reviewers have accorded this classic set. I also entirely empathise with the previous reviewer's irritation that there is NO ENGLISH TRANSLATION of the libretto. A quite criminal oversight by EMI.
One pedantic correction: there IS another recording of this work, conducted by Joseph Keilberth featuring Hanny Steffek and Herman Prey, live from 1963 on the Orfeo label. I have not heard it myself and I don't know whether Orfeo have been as remiss as EMI over providing an English version of the libretto . . .
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