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Haendel : Tamerlano Coffret, Live

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Détails sur le produit

  • Interprète: Nancy Argenta, Derek Ragin, Nigel Robson, Michael Change, Jane Findlay, et al.
  • Orchestre: English baroque soloists
  • Chef d'orchestre: John Eliot Gardiner
  • Compositeur: Georg Friedrich Haendel
  • CD (29 avril 1991)
  • Nombre de disques: 3
  • Format : Coffret, Live
  • Label: Erato
  • ASIN : B000005E6P
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 146.794 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Tamerlano overture to act 1 - English Baroque Soloists
  2. Tamerlano menuet - English Baroque Soloists
  3. Tamerlano act 1 esci oh signore andronico - English Baroque Soloists
  4. Tamerlano act 1 forte e lieto a morte andrei - English Baroque Soloists
  5. Tamerlano act 1 non si perda di vista il disperato - Derek Ragin
  6. Tamerlano act 1 vo dar pace a un alma altiera - Derek Ragin
  7. Tamerlano act 1 il tartaro ama asteria - English Baroque Soloists
  8. Tamerlano act 1 bella asteria il tuo cor mi difen - English Baroque Soloists
  9. Tamerlano act 1 non e piu tempo asteria - Derek Ragin
  10. Tamerlano act 1 se non mi vuol amar - English Baroque Soloists
  11. Tamerlano act 1 non ascolto piu nulla - English Baroque Soloists
  12. Tamerlano act 1 ciel e terra armi di sdegno - English Baroque Soloists
  13. Tamerlano act 1 asteria non parlate - English Baroque Soloists
  14. Tamerlano act 1 deh lasciatemi il nemico - English Baroque Soloists
  15. Tamerlano act 1 cosi la sposa il tamerlano accogl - English Baroque Soloists
  16. Tamerlano act 1 dal crudel che m'ha tradita - English Baroque Soloists
  17. Tamerlano act 1 chi vide mai piu sventurato amant - English Baroque Soloists
  18. Tamerlano act 1 benche mi sprezzi lidol ch'adoro - English Baroque Soloists

Disque : 2

  1. Tamerlano act 2 amico tengo un testimon fedele - Derek Ragin
  2. Tamerlano act 2 bella gara che faronno - Derek Ragin
  3. Tamerlano act 2 qui l'infedel cogliamo - English Baroque Soloists
  4. Tamerlano act 2 non e piu tempo - English Baroque Soloists
  5. Tamerlano act 2 ah no dove trascorri idolo mio - English Baroque Soloists
  6. Tamerlano act 2 cerco in vano di placare - English Baroque Soloists
  7. Tamerlano act 2 signor vergine illustre - Derek Ragin
  8. Tamerlano act 2 par che mi nasce in seno un raggi - English Baroque Soloists
  9. Tamerlano act 2 dove mia figlia andronico - English Baroque Soloists
  10. Tamerlano act 2 a suoi piedi padre esangue - English Baroque Soloists
  11. Tamerlano act 2 se asteria mi tradisce - English Baroque Soloists
  12. Tamerlano act 2 piu duna tigre altero - English Baroque Soloists
  13. Tamerlano act 2 al soglio oh bella - Derek Ragin
  14. Tamerlano act 2 ecco il cor saro contenta - Derek Ragin
  15. Tamerlano act 2 padre dimmi son piu lindegna - English Baroque Soloists
  16. Tamerlano act 2 no il tuo sdegno mi placo - English Baroque Soloists
  17. Tamerlano act 2 andronico son piu l infida amante - English Baroque Soloists
  18. Tamerlano act 2 no che del tuo gran cor - English Baroque Soloists
  19. Tamerlano act 2 amica son quella superba donna? - English Baroque Soloists
  20. Tamerlano act 2 no che sei tanto costante nella l - English Baroque Soloists
  21. Tamerlano act 2 si si son vendicata - English Baroque Soloists
  22. Tamerlano act 2 cor di padre e cor d amante - English Baroque Soloists

Disque : 3

  1. Tamerlano act 3 figlia siam rei io di schernito s - English Baroque Soloists
  2. Tamerlano act 3 su la sponda del pigro lete - English Baroque Soloists
  3. Tamerlano act 3 andronico il mio amore - Derek Ragin
  4. Tamerlano act 3 a dispetto dun volto ingrato - English Baroque Soloists
  5. Tamerlano act 3 lempieta de ministri - English Baroque Soloists
  6. Tamerlano act 3 vivo in te mio caro bene ! - English Baroque Soloists
  7. Tamerlano act 3 eccoti bajazete - Derek Ragin
  8. Tamerlano act 3 eccomi che si chiede ? - Derek Ragin
  9. Tamerlano act 3 padre amante - Derek Ragin
  10. Tamerlano act 3 e il soffrirete - English Baroque Soloists
  11. Tamerlano act 3 empio per farti guerra - English Baroque Soloists
  12. Tamerlano act 3 signor fra tante cure - Derek Ragin
  13. Tamerlano act 3 vieni asteria - Derek Ragin
  14. Tamerlano act 3 oh per me lieto - Derek Ragin
  15. Tamerlano act 3 barbaro al fin sei sazio ancor ? - English Baroque Soloists
  16. Tamerlano act 3 padre amato in me riposa - English Baroque Soloists
  17. Tamerlano act 3 io piu non posso vivere - Derek Ragin
  18. Tamerlano act 3 coronata di gigli e di rose - Derek Ragin
  19. Tamerlano act 3 ora invitta regina - Derek Ragin
  20. Tamerlano act 3 datra notte gia mirasi a scorno - Derek Ragin

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Par Henrard COMMENTATEUR DU HALL D'HONNEURTOP 50 COMMENTATEURS le 2 mai 2011
Format: CD
Tamerlan ou La Mort de Bajazet,s'inspire de l'histoire de Tamerlan et du sultan ottoman Bajazet qu'il a vaincu et fait prisonnier.
Haendel avait d'ailleurs probablement connu en Italie l'opéra Il gran Tamerlano d'Alessandro Scarlatti sur un livret d'Antonio Salvi, opéra représenté à Florence en 1706, soit à peu près l'époque où Haendel séjourna dans cette ville. Antonio Vivaldi utilisa ce thème en 1735 pour composer Bajazet.
Autant dire que le livret ressemble à une véritable tragédie crnelienne et grâce à lui, cet opéra est l'une des œuvres majeures de Haendel, composée en l'espace de vingt jours, en juillet 1724 et plusieurs fois remanié.
Onze années avant que Vivaldi ne s'empare du même sujet, Haendel aborde déjà, la figure du prince oriental, cruel en ses débuts, humanisé et civilisé à l'issue de l'action.
L'oeuvre offre l'un des thèmes les plus sombres et tragiques de la scène héroïque. Même si l'humanisation du Tartare Tamerlano s'accomplit après que son rival se donne la mort (Bajazet), offrant un exemple de noblesse et de courage, l'intrigue met en scène passions et cruauté, tyrannie et suicide, dans une partition époustouflante par son écriture et ses enchaînements d'airs et de récitatifs.
Le rôle de Bajazet est l'un des premiers rôles principaux de ténor à l'opéra, dans le sillage de l'engouement de l'époque pour les turqueries et l'exotisme. Son sombre air funèbre marque un des sommets du génie de Haendel.
John Elliot Gardiner s'entoure ici de ses équipiers traditionnels.
Lire la suite ›
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Amazon.com: 4.2 étoiles sur 5 6 commentaires
16 internautes sur 17 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A wondrous feast of Handel 4 août 2004
Par R. H. Fitzsimmons - Publié sur Amazon.com
Format: CD
This live recording from the late 1980s is one of the most atmospheric of Handel recordings, and probably one of the best that John Eliot Gardiner has made thus far.

Handel's Tamerlano, one of the triumvirate of outstanding operas from the mid 1720s (alongside Giulio Cesare and Rodelinda), has been recorded three times since the late 70s, but this is probably the best. Malgoire's recording made a hash of the libretto and had an order that made little sense as to the performance Handel would have recognised. There are problems with the more recent recording of Trevor Pinnock for the same reasons and, although Gardiner's is not the definitive recording either, it comfortably out-does its rivals.

The main plus point here is some wonderful singing from Derek Lee Ragin (Tamerlano) and Michael Chance (Andronico) in the two alto castrato roles. For Handel buffs, this cd set sees only the second recording, so far as I know, of the only duet Handel wrote for castrato 'Coronata di giglie e di rose'. Their wonderful interplay and ornamentation is spectacular.

Nancy Argenta as Asteria comfortably outsings her rivals on disc, as does Jane Findlay as Irene. Where the recording is inferior to its rivals is in the choice of Nigel Robson as Bajazet. Whilst he is stylish, musical and convincing as the Turkish emperor, nevertheless the singing lacks depth of emotion and conviction. Thomas Randle for Pinnock is more convincing here, though he has been accused of 'barking' his way through the role.

All of that said, if you want a first introduction to Handel opera, don't let the price or length of the opera put you off. Any serious Handelian will want this in their collection. Highly recommended. This item is still available in Europe.
3 internautes sur 5 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 This Tamerlano is a striking example of how poor choices in edition and casting can undo the best ... 15 juillet 2014
Par David Maclaine - Publié sur Amazon.com
Format: CD
This Tamerlano is a striking example of how poor choices in edition and casting can undo the best possible intentions. The casting of counter-tenors in the roles of both Tamerlano and Andronico proves a fatal error. This was music written for castratos who were among the greatest singers of their day, and perhaps the greatest of all time. Neither Derek Lee Ragin in the title role, nor Michael Chance as the hapless Greek prince who is his rival for the affections of Asteria would rank in the top fifty. The role of Andronico, written for Handel’s stalwart leading castrato Senesino, is mostly plaintive love music, and it requires real vocal presence to prevent the passive character from receding into the scenery. Chance lacks the technique and vocal beauty to make us care about his singing. Meanwhile Ragin’s lack of power and brilliance fatally undercuts the role of the egotistical conqueror with power of life and death over all the other characters. Nancy Argenta as Asteria sings beautifully but seems dramatically detached, and tenor Nigel Robson in the crucial role of her defiant father Bajazet lacks the dramatic heft the role requires. If I were handing out Olympic medals for the role I’d have trouble deciding whether Alexander Young, Placido Domingo or Tassis Chrysoyannis gets the gold, but Robson wouldn’t even make the podium. Compare Gardiner’s first act to the old recording led by John Moriarty, and after you’ve taken a moment to shake your head over the slow pace of the arias in Moriarty’s version—performance styles have changed considerably since 1970—you will realize that the older recording is better sung, by performers who seem aware, as Gardiner’s do not, that they are engaged in a dramatic work, playing characters who face life-or-death consequences. Gardiner’s omission of one of Tamerlano’s First-Act arias doesn’t help, not that I was pining to hear Ragin sing again.
Gardiner’s choice of edition proves even more problematic as the opera moves on. He chooses soprano variants for the part of Irene, and Jane Findley does nothing to redeem that decision. He ends Act Two with Asteria’s dramtic "Cor di Padre" which Handel decided before the first performance belonged in the Third Act. This meant cutting the beautiful aria "Se Potessi" that Handel wrote to replace it, in the process taking away the tormented character’s one fleeting chance to consider the possibility of success. The slot "Cor di Padre" should fill in Act Three is taken by an aria for Bajazet that Handel cut before opening night. Gardiner also succumbs to the understandable temptation to follow Bajazet’s death scene with Asteria’s heart-breaking "Padre Amato," which the composer sacrificed in the interests of dramatic tautness. That’s a venial sin, but only the most generous of musical gods would forgive him for delaying the dark, minor-key Coro that brings this tragedy to a close that for the sake of a dramatically empty duet between the counter-tenors quite properly discarded by the composer. No single version of any great opera can hope to satisfy a fan, but this one can be recommended only to fans who already have at least three good recordings, are in search of variant numbers, and are hard-core counter-tenor fans.
1 internautes sur 2 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Beautiful, but far from complete! 24 octobre 2013
Par F. Rupert - Publié sur Amazon.com
Format: CD
I agree with the other reviewers about the fidelity of the recording, the beauty of the performance, and the wonderful feel and sound of the ambience. BUT, this performance is far from complete. I've owned this set ever since it first came out on CD, but following it with the score is highly frustrating. In the 2nd and 3rd Acts, there are a number of fine arias that are omitted. Furthermore, Gardiner moves numbers around. Try following this recording with the standard score of Tamerlano (available online) and you'll see. I understand that in live performance this entire opera may seem long, but it is a shame that the whole opera wasn't included in the recording. (And it's still a lot shorter than almost anything by Wagner!)

For a complete Tamerlano, try the 1970 recording by John Moriarty. It's on modern instruments, but still it's stylistic and very well acted. This is not something one can say about a lot of Handel opera recordings.
8 internautes sur 10 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Three Hours of High Drama and Gorgeous Music 4 juillet 2009
Par Leslie Richford - Publié sur Amazon.com
Format: CD
George Frideric Handel (1685 - 1759): Tamerlano. Opera in three Acts. Performed by: Derek [Lee] Ragin (countertenor, Tamerlano); Nigel Robson (tenor, Bajazet); Nancy Argenta (soprano, Asteria); Michael Chance (countertenor, Andronico); Jane Findlay (mezzo-soprano, Irene); René Schirrer (baritone, Leone); English Baroque Soloists; dir. John Eliot Gardiner. Recorded live on 17th and 18th June, 1985 in the "Großer Sendesaal" (Large broadcasting hall) of the West German Radio Corporation in Cologne, Germany. First published on CD in 1986 by Erato Disques (a division of Warner Music); available at the time of writing as part of a budget-priced 6 CD box, but without libretto (Handel: L'Allegro, il Penseroso ed il Moderato (Pastoral Ode); Tamerlano (Complete Opera); Ballet Music From Alcina, Terpischore & Il Pastor Fido / Gardiner (6CDs)). Total playing time of the opera: almost exactly three hours.

This is yet another superb Handel recording by John Eliot Gardiner, made after performances of "Tamerlano" at the Lyon Opera in France and at the Göttingen Handel Festival in Germany, and thus making use of the practical experience gained through stagework. Other reviewers have described the background to the opera, so I shall only add that Gardiner's accompanying essay unravels some of the problems involved in modern performances of this amazing work. In particular, Handel himself seems to have been undecided as which pieces to include and which to delete, changing his mind about every time he revived the work. Gardiner appears to have been quite meticulous in trying out various versions before making his final decision on the basis of dramatic impact, but at the same time including a couple of pieces in the last scene, which, although beautiful in themselves, seem to impair the emotional thrust of the drama. As I am using the edition without a libretto, it was not possible for me to make a critical judgement about this, but I found listening to the whole opera a fascinating experience, justifying Gardiner's comments completely. Handel does appear, in the third act, to have got somewhat carried away with the dramatic flow of his opera, and the usual baroque scheme of recitative and aria is interrupted by some of the longest and most dramatic accompagnatos I have heard from Handel. Even without a libretto at hand, it is possible to share in the ins-and-outs of this tragic tale.

The singers, all first class, are quite varied among themselves. Nigel Robson's Bajazet did not really "get to me", I'm afraid, until the suicide scene in Act 3, where, suddenly, Robson comes into his own with the aria "Empio, per farti guerra", one of Handel's superbly fast tour-de-force emotional outbreaks. The two countertenors, Derek Lee Ragin and Michael Chance, balance each other out very well. Ragin, as Tamerlano, does indeed use more vibrato and decoration than the early-music classical stylist Michael Chance, but his singing is really beyond compare: at this period, his voice was unsullied by the hoarseness which crept in later, and I would frankly say that Ragin at his best is one of those rare countertenors who can create the excitement that 18th century listeners must have felt when hearing castrati such as Senesino. Michael Chance's voice is, of course, also magnificent, and the concluding duet "Coronata di gigli e di rose" has Ragin and Chance practically imitating one another in one of the loveliest numbers I have ever heard. If you dislike countertenors generally (and they are, of course, rather unnerving and take some getting used to), you might like to give this one a try just to see if you change your mind. Soprano Nancy Argenta also has a beautiful voice, used with only a modicum of vibrato; my only doubts here were about whether she didn't sound a little too innocent for the role of Asteria, who, after all, attempts to commit murder twice during the opera. Jane Findlay, as Tamerlano's long-suffering fiancée, only has two arias, if I have counted correctly, although one of them is very long and full of emotion. Her mezzo timbre, delightful in itself, does on occasion make her sound a little "dragonish", but perhaps that is just my personal reaction to this type of voice. René Schirrer as Leone has only a minor role, limited to recitatives, although it is a nice touch that his baritone joins in the final "coro", the tenor Bajazet being unavailable as he has just committed suicide!

The technical side of the three discs is well done without, perhaps, reaching the engineering heights attained by some of Gardiner's recordings for Philips. The voices are clearly captured, there is only very little extraneous noise, despite the fact that this is declared as a "live recording" (no audience?) - and the musicians of the English Baroque Soloists can also be very clearly heard.
8 internautes sur 11 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 a voice teacher and early music fan 26 mars 2006
Par George Peabody - Publié sur Amazon.com
Format: CD
A TWISTED TRAGEDY TO BE SURE; BUT SUNG SO WELL I WANTED MORE!

George Frederic Handel, born a German, died an Englishman, became by a curious paradox of history to be one of the greatest composers of Italian opera. Having conquered London as early as 1711, with his 'Rinaldo', he went on to delight London audiences with more of the same. In 1724 he gained complete control of their affections by his two great masterpieces : 'Guilio Cesare'and 'Tamerlano'.

First performed at the Royal Academy in the Haymarket on October 31,1724, 'Tamerlano' is exceptional in the line-up of Handel's works, in that he rejects some of the conventions which were part of the Italian opera tradition. For example, the libretto is based on a well documented historical event, rather than on ancient history or mythology. The arias are of less importance than the recitatives, which blend 'secco', accompaniment and fragments of highly charged, violently expressed arioso. This technique is very well illustrated in the long monologue where Bajazet dies in an almost demented outburst of curses and lamentations. Though the violence of Handel's discourse occasionally interrupts the flow of this perfectly balanced and refined music, there always comes a moment when melody claims its due. And this is really the clearest sign of Handel's genius: the ability to blend dramatic intensity with the pleasure of a voice raising itself above the artifices of the theatre.

One of Handel's greatest - and darkest - operas, 'Tamerlano' tells of the captivity of the Ottoman emperor, Bajazet(Nigel Robson), at the hands of the Tartar ruler, Tamberlaine(Derek Ragin), and subsequent suicide. A clash of opera 'seria' titans, with no weak numbers and scarcely a moment of ligth relief. there are no compimario servants to make fun of their 'mentors' predicaments, the good guy namely Andronicus (Michael Chance) is somewhat apathetic, the damsel in distress namely Asteria (Nancy Argenta) tries to save herself alone during the whole opera and even tries to get rid of the tyrant Tamerlaine with her own hands (twice), not to mention almost everyone threatens suicide until someone (Bajazet) finally does it.

All you lovers of the countertenor voice, track down this recording for it has 2 of the BEST countertenor voices you will ever hear anywhere. Chance was early in his career (1985) when this recording was made,and he sings this role with the expertise of a seasoned performer, and all with that uniquely 'golden' voice. Derek Ragin is a good contrast to Chance, because he sings with more vibrato and more ornamentation in his role. The other singers are equally accomplished; I especially liked Nigel Robson's performance as Bajazet; it was powerfully and skillfilly done. Nancy Argenta sings in her usual manner, which is quite good, for her ability to convey the role shines through. I have to say that I personally preferred the voice of Jane Findlay who was quite exciting in her role as Irene, Tamerlaine's betrothed (just a personal preference).

This story has been done many times throughout the centuries; most recently by Fabio Biondi producing 'Bajazet' with another excellent countertenor playing the role of Bajazet: David Daniels. This opera Tamerlano is an incredible listening experience!!!!!
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