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Haendel - Radamisto Compilation

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Détails sur le produit

  • Orchestre: Joyce DiDonato
  • Chef d'orchestre: Carlo Lepore
  • CD (1 janvier 1970)
  • Nombre de disques: 3
  • Format : Compilation
  • Label: Parlophone
  • ASIN : B000B668ZE
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
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Liste des titres

Disque : 1

  1. Balli passepied rigaudon passepied radamisto act3
  2. Un di piu felice radamisto act3
  3. Ognun goda e festeggi in questo radamisto act3
  4. Non ho piu affanni radamisto act3
  5. In questo tempio radamisto act3
  6. Qual nave smarrita radamisto act3
  7. Oh dio parte zenobia radamisto act3
  8. Deggio dunque oh dio lasciarti radamisto act3
  9. Di radamisto il capo radamisto act3
  10. Alzo al volo di mia fama radamisto act3
  11. Farasmane la segua radamisto act3
  12. Barbaro partiro radamisto act3
  13. O della tracia o dell armenia radamisto act3
  14. Dolce bene di quest alma radamisto act3
  15. Non temo idolo mio radamisto act3
  16. Con vana speranza radamisto act3
  17. So ben che nel mio amore radamisto act3
  18. S adopri il braccio armato radamisto act3
  19. Stanco di piu soffrir re si crudele radamisto act3
  20. Gigue radamisto act2
  21. Passacaille radamisto act2
  22. Se vive in te il mio cor radamisto act2
  23. Ascolta ismen radamisto act2
  24. Empio perverso cor radamisto act2
  25. Due seggi ola radamisto act2
  26. Non sara quest alma mia radamisto act2
  27. Tra il german tra lo sposo radamisto act2
  28. Radamisto hwv 12a atto 2 scena 8 aria vann
  29. Adorato german radamisto act2
  30. La sorte il ciel amor radamisto act2
  31. Questo vago giardin radamisto act2
  32. Spero placare radamisto act2
  33. Radamisto an opéra in three acts hwv 12a libre
  34. Troppo sofferse gia questo mio pett radamisto act2
  35. Nulla piu di speranza radamisto act2
  36. Si che ti renderai radamisto act2
  37. Eccomi a te davante radamisto act2
  38. Vaga e bella ogn or vedrai radamisto act2
  39. Benche al campo di marte radamisto act2
  40. Gia che morir non posso radamisto act2
  41. Mitiga il grave affanno radamisto act2
  42. Ombra cara di mia sposa radamisto act2
  43. Oh crudo ciel radamisto act2
  44. Quando mai spietata sorte radamisto act2
  45. Sposo vien meno il pie radamisto act2
  46. Air radamisto act1
  47. Rigaudons I II radamisto act1
  48. Marche radamisto act1
  49. Che fo radamisto act1
  50. Misero quel vago volto radamisto act1
  51. Gia gia vinto e il nemico radamisto act1
  52. Sinfonia radamisto act1
  53. Coraggio amici all armi radamisto act1
  54. Son lievi le catene radamisto act1
  55. Fraarte omai quel ferro radamisto act1
  56. Ferite uccidete o numi del ciel radamisto act1
  57. Seguila o figlio radamisto act1
  58. Son contenta di morire radamisto act1
  59. Ver le nemiche mura radamisto act1
  60. Cara sposa amato bene radamisto act1
  61. Ove seguir mi vuoi sposa infelice radamisto act1
  62. Stragi morti sangue ed armi radamisto act1
  63. Il crudel odio tuo radamisto act1
  64. Tu vuoi ch io parta radamisto act1
  65. Ecco l infido sposo radamisto act1
  66. Deh fuggi un traditore radamisto act1
  67. Reina infausto avviso radamisto act1
  68. Sommi dei radamisto act1
  69. Ouverture radamisto
  70. Dopo torbide procelle radamisto act1

Description du produit


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Format: CD
Pour les amoureux de Handel, Alan Curtis et sa formation sont un cadeau...
à un prix abordable. Bonne qualité d'enregistrement. Pour ce qui concerne l'oeuvre, je crois qu'il faut aimer vraiment ce compositeur. Voyez en premier à acheter Rinaldo par René Jacobs pour l'opéra et Le Messie par William allez-y peu à de quoi faire.
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11 internautes sur 11 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A Serious Happy Ending 12 juin 2009
Par Gio - Publié sur
Format: CD
Radamisto was among Handel's first efforts specifically to cultivate an English audience for Italian "opera seria". It was first performed in London in 1720, with at least some backing from the King, who may well have previewed the score. It's based on a libretto, already set by various composers in Italy, which was in turn based on a theatrical adaptation of a French play. Whoever adapted the story for Handel's purposes had a bit more literary sense than many of the "dear Saxon's" later librettists; the 'action' is well and clearly developed in the extended dramatic recitativos, allowing the da capo arias full freedom to be emotionally expressive without slowing down the exposition.

The story is, in fact, a trifle involuted. Radamisto and Zenobia are faithful lovers. Radamisto's sister, Polissena, is married to Tiridate, the King of Armenia, to whom she is faithful, but Tiridate is obsessed with passion for Zenobia. To make things stickier, Tiridate's brother Fraarte is also in love with Zenobia, while Tiridates' chief general Tigrane is in love with Polissena. Don't fret too much about the details; as I said, the tale becomes clear as the opera is sung. On the whole, this is one of the more tightly-plotted of Handel's operas. Apparently it was clear enough to be successful in London in 1720; it was met with loud applause, performed often, and revived in later years.

It's the two wives who emerge as heroically faithful and courageous, while the men are an unsteady lot. One could interpret the drama coherently by taking it as a parable of the restoration of the tyrant Tiridate's virtue and sanity through the example of fearless devotion set by the other characters.

But hey, it's opera, and it's all about the singing. Two mezzo-sopranos - Joyce DiDonato and Maite Beaumont - have the choicest roles as Radamisto and Zenobia, and they bring emotive gravity to their arias of desperation and devotion. The smaller roles of Polissena, Fraarte and Tigrane are all sung by flexible sopranos - Patrizia Ciofi, Dominique Labelle, and Laura Cherici. The tyrant Tiridate is sung by tenor Zachary Stains. (Isn't it nice to have the villain be a tenor for a change? We basses get that chore altogether too often!)
Basso Carlo Lepore sings the last role, as Farasmane, the father of Radamisto and Polissena. This is as fine a cast as I can imagine, all adept at the 'historically informed' vocal gymnastics required for Baroque opera.

It's almost a given that Il Complesso Barocco, under the baton of Alan Curtis, will perform flawlessly, and they do. This was probably the first opera ever staged in London to use an orchestra including trumpet and horns, as well as virtuosic oboes, along with the full complement of strings and continuo instruments. Il Complesso performs, with gusto and precision, this richly colorful score. Each act, by the way, concludes with a brief instrumental ballet -- a gesture perhaps to 18th C taste.

Radamisto is a very full-bodied opera, with arias expressing every emotion appropriate to the anxiety of the lovers: defiance, desperation, devotion; adoration, detestation, repentance, relief, and joy. There are simply no 'routine' moments of music in it. I'll venture to say it's one of Handel's masterworks.

The good news is that it's now available in the Virgin Classics bargain box of recordings by Il Complesso Barocco. The six operas in the box are:
RODRIGO - 2 CDs recorded in 1999, with Gloria Banditelli, Sandrine Piau, Roberta Invernizzi
RADAMISTO - 3 CDs 2005, with Zachary Stains, Dominique Labelle, Joyce DiDonato
ADMETO - 3 CDs 1978, with René Jacobs, James Bowman, Max von Egmond
FERNANDO - 2 CDs 2007, with Lawrence Zazzo, Max Cencic, Antonio Abete
ARMINIO - 2 CDs 2001, with Vivica Genoux, Dominique Labelle, Riccardo Ristori
DEIDAMIA - 3 CDs 2003, with Simone Kermes, Anna Bonitatibus, Furio Zanassi
2 internautes sur 2 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 A wonderful opera with beautiful dances 20 septembre 2010
Par Omar Alvarez Pereira - Publié sur
Format: CD
The opera «Radamisto, prence di Tracia» (1720) by Georg Friedrich Händel is a delight in each moment. The plot is about the assault of Tiridate, re d`Armenia to the kingdom of Radamisto and how Tiridate fell in love of Zenobia, Radamisto`s wife. Besides the masterwork is about the struggle of feelings between the love and the family (Polissena, Radamisto`s sister and Tiridate`s wife).

Joyce Di Donato as Radamisto plays her role with a incredible force and let see the woe that sometimes overcomes this character. Her aria «Vanne sorella ingrata» represents the confusion and the feelings of betrayal by the blood: Polissena, who defended her unfaithful husband against the Radamisto`s interests.

Maite Beaumont as Zenobia plays her role by an outstanding way: her duetto with Radamisto, «Se vive in te mio cor» in the Act II is magnificent and very romantic.

Zachary Stains as Tiridate is superb. His aria «Se che ti renderai» to attempt to get the love of Zenobia is beautiful and makes you forget for a while that Tiridate is a wicked King, able to do any misdeed. It`s a very natural and sincere aria.

Carlo Lepore as Farasmane, Radamisto`s father and King of Tracia plays his role by a way worthy for a King. His aria «Son lievi le catene a un petto forte» transmits the force and courage the man ought to have in the distress. His interest in the future of Radamisto and the Kingdom over his life is moving.

Between another beautiful arias I could suggest to listen are, for example, «Deh, fuggi un traditore» and «Con vana speranza» of Tigrane (Laura Cherici)which this character decide to get rid of any loving feeling through a no reciprocal love.

I recommend this CD set. Outstanding!
0 internautes sur 1 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 A plague of women 17 juin 2013
Par drajhtoo - Publié sur
Format: CD
A frustrating recording that I want to like better than I actually do. The music is beautiful & beautifully recorded, the singers are, for the most part, up to the task of Handel's music - although I do feel that Patricia Ciofi was not quite able to pull off the opening aria for Polissena. It must be a difficult aria, because the sopranos on most of the other 8 recordings I have of this opera also were not totally successful in meeting its challenge.

Of course, I could just listen to the beautiful music, but I really want to follow the action. That's where I start to get frustrated. Since I can't see what's happening, and because almost all the roles are sung by women, regardless of whether they're playing male or female characters, it becomes very difficult to tell which character is singing, unless I want to follow along with the libretto in front of me every time. (My recording, by the way, is part of the box set, which provides librettos on a CD).

Despite the general excellence of diDonato's singing & the recognizability of her voice, her Radamisto just somehow gets lost amongst all the other women's voices, & doesn't really provide the needed counterbalance that the hero should provide to the villain Tiridate (tenor Zach Stains). The trade-off with this version of the opera seems to be that to have the wonderful ringing arias for the tenor, the emphasis gets tilted away from the heart of the story, the husband & wife Radamisto & Zenobia. That this is a general problem of this version of the opera, for me, is supported by the fact that I also find the performance with Janet Baker as Radamisto dissatisfying.

Whether for those reasons or for reasons of singer availability, Handel revised Radamisto later in 1720, and Tiridate became a bass (replacing the opening aria with a new, less dramatic, aria), and 2 of the male roles originally performed by women were assigned to castrati: Radamisto an alto & Tigrane a soprano castrato. Finally in the 1728 revision, if I'm understanding the history correctly, the last remaining male role sung by a soprano (Fraarte) was cut completely.

At this point, I'm left wondering if I can somehow cobble together my own version that includes a tenor Tiridate and a counter-tenor Radamisto! But since there are different arias in the different versions, instead, I frequently opt to listen to the version from the 1993 Gottingen festival that features a countertenor Radamisto & a bass baritone Tiridate. Even though I miss those tenor arias, I can generally at least tell which character is singing.
8 internautes sur 9 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Rare Gem 31 mai 2008
Par MattKiwi - Publié sur
Format: CD
Very simply I think this recording is outstanding. The singing is generally fantastic, (with the exeption of a couple of singers who sound rather too modern in training...they don't have the subtlety to move their voices lightly in a baroque melisma), and sometimes exceptional (especially that of Polissena - sung by Patrizia Ciofi). The playing is truly excellent, and the highlights are certainly the ensemble moments. As a lover of Handel and of all things related to baroque opera, I think this is one of the best. There are some incredible arias in this opera.
9 internautes sur 11 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Alan Curtis keeps getting better.... 6 juin 2008
Par Chris Protopapas - Publié sur
Format: CD
In the past, I have not been too impressed with Alan Curtis' recordings of Handel operas, but with Radamisto he has definitely hit his stride. Having Joyce DiDonato in the cast doesn't hurt, either. This is a great recording of a somewhat neglected Handel masterpiece, full of wonderful details; there's a relaxed quality to the performance that lets the music breathe and its beauty come out. Past recordings by Curtis, although good (and immensely valuable, as they are part of an attempt to record every Handel opera) were perhaps a bit stiff and forced. The latest batch, Radamisto foremost among them, are much better.
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