D'occasion:
EUR 58,30
+ EUR 2,79 (livraison)
D'occasion: Comme neuf | Détails
Vendu par M and N Media US
État: D'occasion: Comme neuf
Commentaire: S'il vous plait noter - ce produit sera disponible a partir de notre entrepot aux Etats-Unis. S'il vous plait permettre 4-21 jours ouvrables delai de livraison a partir des Etats-Unis, car il peut y avoir des retards possibles de controle et de traitement des douanes. Tous les DVD et Blu-ray sont la region 1, sauf indication contraire. Nous garantissons tous nos articles - service a la clientele et la satisfaction sont nos priorites!
Vous l'avez déjà ? Vendez sur Amazon

Le Coq D'Or [Import USA Zone 1]

4.5 étoiles sur 5 2 commentaires client

Voir les offres de ces vendeurs.
2 d'occasion à partir de EUR 49,55
Promotions et bons plans musique CD Vinyle Promotions et bons plans musique CD Vinyle


Offres spéciales et liens associés


Quels sont les autres articles que les clients achètent après avoir regardé cet article?


Détails sur le produit

  • Acteurs : Albert Schagigullin, Ilya Levinsky, Andrei Breus, Ilya Bannik, Elena Manistine
  • Réalisateurs : Thomas Grimm
  • Scénaristes : Alexander Pushkin, Nikolai Rimsky-Korsakov, Vladimir Bel'sky
  • Format : Classique, NTSC, Import
  • Région : Région 1 (USA et Canada). Ce DVD ne pourra probablement pas être visualisé en Europe. Plus d'informations sur les formats DVD/Blu-ray.
  • Nombre de disques : 1
  • Studio : Tdk DVD Video
  • Date de sortie du DVD : 20 juillet 2004
  • Durée : 105 minutes
  • Moyenne des commentaires client : 4.5 étoiles sur 5 2 commentaires client
  • ASIN: B0002F6B4M
  • Classement des meilleures ventes d'Amazon: 329.904 en DVD & Blu-ray (Voir les 100 premiers en DVD & Blu-ray)
  •  Voulez-vous mettre à jour des informations sur le produit, faire un commentaire sur des images ou nous signaler un prix inférieur?

Descriptions du produit

N.Rimsky-Korsakov (1844-1908) : Le Coq D'Or, opéra en trois actes sur le livret de Vladimir I.Bielski d'après le conte en vers de Pouchkine, le Coq d'Or. Ennosuke Ichikawa, mise en scène Théâtre Musical de Paris, Châtelet, 2002 Système NTSC - Code région : 0 - 108 min --Ce texte fait référence à l'édition Blu-ray.

Commentaires en ligne

4.5 étoiles sur 5
5 étoiles
1
4 étoiles
1
3 étoiles
0
2 étoiles
0
1 étoile
0
Voir les deux commentaires client
Partagez votre opinion avec les autres clients

Meilleurs commentaires des clients

Par Laneton TOP 1000 COMMENTATEURS le 10 septembre 2012
Format: Blu-ray Achat vérifié
Cet opéra est totalement atypique, original, il surprend au premier abord, puis on se laisse conquérir. Pour une fois le Blue-Ray se justifie, car il met pleinement en valeur la richesse des couleurs, des costumes et des lumières de la superbe mise en scène assez spectaculaire du Châtelet, où l’influence japonaise est bien perceptible. Le décor est réduit au minimum, ce sont véritablement les acteurs dans leurs costumes et les jeux de lumière qui fixent l’attention.
Le scénario est inspiré d’un conte populaire russe, dont Pouchkine, bien présent dans les opéras russes, a publié un poème satirique et qui a servi de base à Rimski-Korsakov pour sa dernière oeuvre. On a affaire à une légende très corrosive, burlesque par moments, et même dérangeante, notamment par la caricature du tsar, borné et idiot.
L’orchestration est somptueuse, pleine de couleurs elle aussi, notamment par l’apport de thèmes orientaux, arabes ou exotiques. Cette musique a par moments un côté extravagant et préfigure Stravinski. Des instruments solistes sont dédiés à certains personnages : la trompette au coq, la clarinette à la reine, etc.
La distribution est dominée par 2 personnages : le roi Dodon magnifiquement interprété par une belle basse russe, Albert Schagidullin que nous avions déjà remarqué dans le Roberto Devereux de Munich où il donne la réplique à E. Gruberova. Cela montre son éclectisme.
Lire la suite ›
5 commentaires 5 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus
Par Melimelomane TOP 500 COMMENTATEURS le 16 juin 2014
Format: Blu-ray Achat vérifié
Rimsky-Korsakov écrivait que l'opéra était « au fond le plus enchanteur et le plus enivrant des mensonges. »
Après son chef-d'œuvre : « La légende de la ville invisible de Kitège. » Rimsky-Korsakov s'appuie sur un conte de Pouchkine, révélant les faiblesses et les passions de la nature humaine.
Ce sera « Le coq d'or. » Son dernier opéra.
Un des personnages, l'Astrologue qui ouvre et conclut l'opéra déclare à la fin:" que seul lui et la princesse sont des êtres mortels. Tous les autres protagonistes ne sont que chimères et fantômes et l'intrigue, un simple rêve."
Sur cette trame féérique Rimsky-Korsakov va composer une musique diaphane aux sinuosités orientales qu'éclaire une orchestration toujours plus originale.
Nous retrouvons le compositeur de Schéhérazade, celui qui annonce les débuts de Stravinski.
De l'avis même du librettiste Bielski nous pouvons situer cette action en tout lieu, à toute époque.

LA MISE EN SCÈNE :
L'équipe réunie autour d'Ennosuke Ichikawa a profité pleinement de cette ouverture.
Ennosuke Ichikawa est une grande figure du kabuki, cet art de théâtre populaire, né au Japon au XVI ème siècle. En opposition au NÔ réservé à la noblesse.
Ennosuke est un défenseur du style Edo, le style aragoto, celui dit de la manière forte.
Lire la suite ›
Remarque sur ce commentaire Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus

Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x99818fe4) étoiles sur 5 19 commentaires
52 internautes sur 52 ont trouvé ce commentaire utile 
HASH(0x99a35660) étoiles sur 5 'Le Coq d'Or,' Kabuki-style. A Feast for Eye and Ear. 20 juillet 2004
Par J Scott Morrison - Publié sur Amazon.com
Format: DVD
'Le Coq d'Or' was Rimsky's last opera, premièred as late as 1909. The story comes from Pushkin, but he'd been given the idea for the opera by a contemporary fairy-tale illustrator, I. Bilibin, whose cartoon of the Tsar Dodon - 'emperor of the whole earth' - was a satire on the expansionist longings of recent Russian Tsars; the Russo-Japanese War had just ended and the Russions had lost, to their amazement. Because of the obvious satirical political comments in the libretto, the première was actually delayed by a few years and indeed Rimsky died before ever seeing it staged. 'The Golden Cockerel' masquerades as a fairy-tale opera, that genre so beloved by the Russians, but the audience knew what the underlying import was, even after the Tsar's censors had forced changes to soften the satire.
Be that as it may, this production can be viewed without all the political baggage as a sumptuous and fantastic fairy tale set to music. I will not recount the plot except to say that when the Tsar Dodon discovers that his sons have been killed in battle that he has sent them into he decides that 'the older ones' (meaning himself and his older general, Polkan) should henceforth 'do the fighting' and spare the loss of the younger men of the realm. (Is that a sly comment on war in general, do you suppose?) The Tsar loses a final battle to invading forces only to find that they are commanded by a woman, the Queen of Shemakha, who on her entrance sings the only well-known aria from this opera, the so-called 'Hymn to the Sun.' He becomes besotted with love for the Queen and thus begins his downfall. His realm had been protected by the warnings of the magical Golden Cockerel, given him by the Astronomer, but at the end of the opera the Cockerel turns on him and pecks him to death. The Astronomer, in the Epilogue, asks the audience not to be too alarmed by what has happened, because 'only the Queen and I are real - all the others were simply illusions.'
The music for this opera is luscious Orientalism. The Queen's entrance aria, with which most of us are familiar from its inclusion in many recitals and TV appearances by coloratura sopranos, is typical of the Eastern melismas heard throughout the piece. There are recurring leitmotifs, most of which first occur in the prélude, and some recurring harmonic devices as well, e.g. the juxtaposition of the triads of D flat major and E major.
This production is extraordinarily beautiful visually. The simple stage setting is a neutral setting for sumptuous costumes that are Kabuki-inspired and are in saturated almost Day-Glo colors. The stage direction, done by a Kabuki actor, Ennosuke Ichikawa, requires the singers (all but one of them Russian) to move in the stereotypical style familiar from Kabuki theater. They all have the heavy Kabuki mask-like make-up. (Indeed, when I first saw the Astronomer I thought he was WEARING a mask until I saw a muscle twitch!) There is a good bit of very effective dancing - Rimsky included a fair amount of ballet music in the piece - which is also in the stylized Kabuki style. All in all, then, this production comes across as something both exotic and exciting, and in my view it fits the exotic story quite well. I'm not generally a fan of changing the settings of operas, but in this case it works very well, at least partly because for Western viewers Fairy-Tale Land and Japanese Kabuki theater have much in common.
The singers are, without exception, wonderful. In particular I would single out the rich-voiced basso of Albert Schagidullin as King Dodon, and the spot-on colorature of Olga Trifonova as the proto-Turandot Queen of Shemakha. My highest praise goes to the high tenor of Barry Banks as the Astronomer. I'd love to hear/see him in Prokofiev's 'The Nose' whose protagonist has a similar almost impossibly high tessitura.
The production was filmed at a live performance at the Châtelet in Paris. The wonderful chorus was imported from the Mariinsky in St. Petersburg, and the Orchestre de Paris was led with a light hand and rhythmic flexibility by American conductor Kent Nagano. This is a short opera - only about 1h45m - and the end came too soon.
This production of a rarely mounted opera is recommended for those wishing to broaden their operatic horizons.
Scott Morrison
14 internautes sur 15 ont trouvé ce commentaire utile 
HASH(0x997c1e34) étoiles sur 5 Not to be missed 24 avril 2005
Par Paul L. McKaskle - Publié sur Amazon.com
Format: DVD Achat vérifié
I want to endorse completely the lengthy reviews by Scott Morrison and Wes Clark. This is a fantastic (in two senses of the word) opera and is beautifully staged. Regrettably, it is performed only rarely--the only other recent major performance that I know of was at the Bregenz Festival several years ago--though a quarter of a century ago the New York City Opera used to perform it when Beverly Sills and Norman Treigle were members of the company. The Chatallet performance recorded here was originally a co-production with the San Francisco Opera, but SFO cancelled (or, I hope, postponed) it for financial reasons. In the absence of opportunities to see Coq d'Or in person this DVD offers a wonderful alternative for those not acquainted with the story to experience a wonderful opera visually as well as musically. I have long loved the music (on CDs), it is Rimsky Korsakov's best in my view, and it was pure delight to finally experience the whole opera via this DVD. I cannot give it a higher recommendation.
9 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x9b3cd460) étoiles sur 5 Fabulous 13 mars 2012
Par Keris Nine - Publié sur Amazon.com
Format: Blu-ray
The Châtelet's impressive staging of Rimsky-Korsakov's The Golden Cockerel, recorded here in Paris in 2002 (and hence the French title) is one that dates back to 1984, a co-production with San Francisco Opera. This recording has already been released on DVD, but it is another of those productions that are so visually splendid and memorable that it more than merits an upgrade to Blu-ray. Designed by Ennosuke Ichikawa as a Kabuki staging, it's an impressive production that fits surprisingly well in tone and content with the intentions of the original fairytale opera with a moral.

Both Rimsky-Korsakov and the librettist V. Bel'sky laid down very specific remarks about how The Golden Cockerel should be performed and it's clear that this production, even if it has a somewhat more oriental flavour, is nonetheless completely faithful to the composer's original intentions and even perhaps recognises that the opera was inspired by the conflict between Russia and Japan in 1904 at the time the opera was composed. The basic stage dressing is accordingly simple and abstract in the manner of a fable, but it is also extraordinarily beautiful with all the magic and fascination of a fairytale. If the stage then consists of little more than a brightly luminous backdrop to reflect the time of day or mood, and there is little on the stage but some steps to suggest a royal palace and stylised trees to represent the kingdom, the colourful costumes and Kabuki make-up reflect the larger-than-life characters and, to a large extent, Rimsky-Korsakov's rich romantic scoring of the work, filled with fantastical melodies and folk influences, with leitmotifs and a Scheherazade-like middle-Eastern exoticism. It's given a wonderful warm account here at the Châtelet with Kent Nagano conducting.

The space is needed on the stage moreover to contain all the extras, chorus and dancers - all beautifully costumed - and give room to the principals because this is a singer's opera (rather than say a dramatic opera or a conceptual one), with a wonderful range of voices and expression from bass declamation to soprano coloratura. Using a largely Russian cast, those roles are in good hands in this Châtelet production, with bass Albert Schagidullin as King Dodon and Olga Trifonova the Queen of Shemakha. In among all those Russians however is Barry Banks, perfectly cast for the specific demands of the high tenor role of the Astrologer. The singing is of a very high standard throughout.

This beautiful, colourful production certainly benefits from its upgrade to Blu-ray for the High Definition 16:9 widescreen image and for the sound mixes in PCM Stereo and DTS HD-Master Audio 5.1 that put over the qualities of the orchestration and singing. It's really quite breathtaking. The Blu-ray is All-Region, 1080i, a BD25 disc with no extra features, although the booklet is informative and includes a synopsis. Subtitles are English, German, Italian, French, Spanish and Chinese.
20 internautes sur 24 ont trouvé ce commentaire utile 
HASH(0x99a399c0) étoiles sur 5 Le Coq d'Or kabuki-style 3 février 2005
Par Wesley Clark - Publié sur Amazon.com
Format: DVD Achat vérifié
To add to J. Scott Morrison's excellent review of this work... I have been a longtime admirer of Rimsky-Korsakov's score and found this DVD to be something of a revelation.

My introduction to classical music occurred when my father brought home a $3.99 LP of Le Coq d'Or at a local grocery store; I was sixteen. (Hugo Rignold and the London Philharmonic Orchestra on Alshire, if you must know.) Why? I have no idea. He didn't especially like classical music. But, intrigued, I listened to it once, twice, thrice, began to pick up the themes and melodies, and found I actually liked that kind of music. So this work has a special significance for me.

I saw it staged in a wonderful production in the Dorothy Chandler Pavilion in Los Angeles in 1978, and have since wished to have it on videotape - now I do.

My only complaint is the minimalist settings and the kabuki style makeup and acting. Being the only recording of this work, I would have preferred a more conventional Russian fairytale setting - the kind of thing Bilibin drew. In other words, in the style of a children's book from the early 1900's, when the work was written. Perhaps the sets could emulate the style of one of those charming Russian painted boxes...

However, having said this, I can also appreciate the artistic vision of this production. The primary value of the minimalist set and highly stylized movements and make up is to reinforce the suspicion that perhaps Dodon, the Queen and the Astrologer are archetypes of some larger tale and significance. (Surely, the Queen is a femme fatale - the scene where she taunts Dodon reminds me of Marlene Dietrich and Emil Jannings in "The Blue Angel.") This is borne out in the notes in the DVD's booklet, quoting the librettist V. Bel'sky: "...Pushkin has shrouded in mystery the relationship between his two fantastical characters: The Astrologer and the Queen. Did they hatch a plot against Dodon? Did they meet by accident, both intent on the king's downfall? The author does not tell us, and yet this is a question to be solved in order to determine the interpretation of the work." I like to think that perhaps there are, or could be, other Astrologer/Queen stories - too bad Rimsky isn't around to score them!

The simplest and most direct interpretation, of course, is that it was Rimsky-Korsakov's criticism of his government, which makes perfect sense. Rimsky had a definite political side. His Dodon was the blockheaded Tsar, and, in retrospect, could be also viewed as an even more blockheaded Russian Socialist government.

Having seen this production, I now appreciate this work much more than I ever did listening to the orchestral suite or the opera on LPs. And, once again, the booklet helps. Prior to purchasing this DVD, I never knew that Pushkin adapted his story "The House of the Weathercock" from a tale by Washington Irving, "The Alhambra." (You can google it and find it on the web to read, and you should. The Spanish/Moorish setting is interesting.) What fascinates me is that one of the themes of the original work - comfort and safety, warning and strife - made it into the opera. Dodon snoozes, "rules from his bed," and dreams of the mysterious Queen (again reinforcing a notion that she's an archetypical character). The rooster cries, and the army is dispatched. War and peace, peace and war.

Okay, okay, perhaps I'm over intellectualizing here. But I'm delighted to think that Rimsky's last opera isn't a mere childish fantasy; that it has real themes and meanings underlying the Oriental opulence of the music and staging.

Anyway, a recommended purchase. Best of all, my seventeen-year-old daughter expressed interest in it and so we recently watched it together one (unforgettable) snowy Sunday. Now it's family lore.

Long live Tsar Dodon!

Wes Clark

wes@wesclark.com
16 internautes sur 19 ont trouvé ce commentaire utile 
HASH(0x9a6d589c) étoiles sur 5 a gem 24 septembre 2004
Par A. Grossman - Publié sur Amazon.com
Format: DVD Achat vérifié
This, along with Les Contes de Hoffman, is probably the hardest opera to do. It certainly is weird and this production, Kabuki style, is fantastic. Singing and backgrounds are great and the design of the title bird is outstanding. A real treat and probably unlike any other opera you have ever seen.
Ces commentaires ont-ils été utiles ? Dites-le-nous


Discussions entre clients


Rechercher des articles similaires par rubrique


Commentaires

Souhaitez-vous compléter ou améliorer les informations sur ce produit ? Ou faire modifier les images?