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Hector Berlioz - Benvenuto Cellini

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Détails sur le produit

  • Interprète: Colin Davis, Sir Colin Davis
  • Compositeur: Hector Berlioz, Janine Reiss
  • CD (27 juin 1988)
  • Nombre de disques: 3
  • Label: Philips
  • ASIN : B00000E37H
  • Autres versions : Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 159.428 en Musique (Voir les 100 premiers en Musique)
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Format: CD
Premier "bon-point":une distribution francophone (c'est de + en + rare !).Et puis,des chanteurs parfaitement motivés ,je dirai même inspirés;c'est normal quand on lit leurs noms:Bastin,Gedda, Eda-Pierre,Soyer,Berbié,Massard dans les rôles essentiels ,rien que des artistes hors pair.L'orchestre de Colin Davis est magnifiquement mené et la prise de son est parfaite. La décision de donner la version "originale"(à une ou deux petites exceptions près ) ne peut qu'être approuvée . Les récitatifs que j'ai entendus dans la version NELSON présentent une musique de peu d'intérêt.

Une seule ombre au tableau d'ailleurs,précisément au sujet de ces passages parlés,c'est une diction souvent ampoulée,imputable surtout aux non francophones (Raimund Herincx par exemple),mais pour reprendre un vieux et éculé dicton :pour faire une succulente omelette,il faut bien casser quelques oeufs.
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0xad5fcb70) étoiles sur 5 10 commentaires
39 internautes sur 40 ont trouvé ce commentaire utile 
HASH(0x9c1ea3d8) étoiles sur 5 Sparkling and Innovative Score 4 octobre 2003
Par Christopher Forbes - Publié sur Amazon.com
Format: CD
I must admit, with the advent of the Berlioz Bicentennial I�ve become Berlioz mad! So needless to way, this is going to be a rave review of the composer least known and least performed work. But it is one that I think is deserving of such a review. Berlioz to me represents the absolute best in French opera, uniting the forms and dramatic innovations of Gluck and Spontini to music that is rich, colorful and beautifully written. As Jacques Barzun claims, Berlioz is emerging as perhaps the key and quintessential figure of the Romantic period before Wagner. As such, his output is worth getting to know for the serious listener.
Unlike the stereotype most people have for Berlioz, based on the Symphony Fantasique and the Requiem, the composer is quite a comedian. Benvenuto Cellini was the composer�s first opera and has an almost Shakespearean wit, at least in the music. Based loosely on the life of the Italian sculptor, the work centers on events leading to the casting of Cellini�s most famous work, the Perseus. Cellini is in love with Teresa, the daughter of the Papal treasurer, Balducci. Balducci is angry that Cellini has been commissioned by the Pope to create a statue, when Balducci is partial to another sculptor, who will incidentally work cheaper. Balducci wants his daughter to marry the other sculptor, Fieramosca. Cellini and Teresa plan to elope during the Shrove Tuesday fair in Rome, but Fiermosca and a friend attempt to foil the escape. In the ensuing scuffle, Fiermosca�s friend is killed in a duel. Balducci and Fiermosca then determine to denounce Cellini as a murderer and a fraud to the Pope himself. The pope agrees to reprieve Cellini if he can finish the Perseus statue in one day. Though threatened with disloyal assistants Cellini triumphs. When informed that there is not enough metal for the casting, Cellini throws all of his previous artwork into the crucible and melts it all down for the new statue. The statue is unveiled before the Pope and Cellini and Teresa are free to marry.
Benvenuto Cellini was a terrific failure when it first appeared in 1838 and was a major blow to the composer�s career. The failure almost certainly had more to do with an anti-Berlioz claque than with the work itself. It�s hard to imagine how a work so light in touch and inventive in spirit could have alienated French audiences otherwise. But the Parisians were mad for Italian opera at the time and since the opera is so radically removed from Rossini or Donizetti it is in retrospect not so surprising. The opera is not radical in structure. But the instrumental details are. The use of the orchestra in the Carnival scenes and the casting scene in particular is stunning. The orchestra becomes in Berlioz� hands, another character in the drama. Though the musical interest remains with the singers, this greater orchestral role would have profound ramifications in later opera.
Berlioz also packs a punch when it comes to vocal melody. Teresa�s opening cavatina is rapturous. The duets between Cellini and Teresa are some of the finest love duets in the French repertoire. The score is also driven by an almost Mendelsohnian energy and lighthearted drive. From the first notes of the justly famous overture, the predominant mood is of a scherzo, making it one of the most lively Berlioz scores until the late Beatrice et Benedict. This opera is missing the stark drama of Les Troyens and the chiaroscuro of the Shakespeare opera, and is perhaps not quite at the level of those two masterpieces, but it is a wonderful opera all the same and deserving of a place in the repertoire...certainly more deserving than many operas that are currently performed ad nauseum.
The performance here is very good. Colin Davis is a terrific conductor and champion of Berlioz. In fact, he almost single-handedly initiated the current Berlioz revival in Britain rescuing the operas from obscurity. Davis� virtues are solid and understated, but make him one of the supreme conductors still on the world stage. He is not a showy conductor. A Davis performance is about the music, not about the interpreter. As such he is outside of either the dominant Toscanini or Furtwangler traditions. He just sits back and lets the music do the talking, always giving a careful ear to orchestral balance and leaving room for the singers to project their characters. Nicolai Gedda is in fine voice as Cellini and one could not imagine a better one. Christiane Eda-Pierre is good as Teresa though there are some moments of unsure pitch, particularly in her arias. Jules Bastin and Robert Massard as Balducci and Fiermosca respectively are in the best buffo traditions, particularly Bastin, who�s gruff voice gives just the right edge of the comic to the self-important Balducci.
This disc makes the best case imaginable for Cellini as a real French opera masterpiece. Unfortunately, though this CD was released in the 60s, and since then Les Troyens has gone on to become a staple of several international companies, Cellini still seems to remain obscure. Hopefully the Met premiere of the work later this season will accomplish for this piece, what the 1983 Met premiere of Les Troyens did for that one, make it safe to program in any large house. Very few neglected operas are as deserving as this one.
One further note...if you are a Berlioz fan I highly recommend Phillips� boxed set of the complete Berlioz operas. For the price of one of the operas, you can get all three in the classic Davis performances. This is an incredible deal actually. The one drawback is that the boxed set does not include the libretti, but they are available online at the Berlioz Homepage. The boxed is not carried by amazon.us but can be obtained at the amazon.uk site for a steal. I highly recommend this set, as all the operas are terrific and the performances couldn�t be better.
9 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x9c1ea42c) étoiles sur 5 Colin Davis is masterly in mercurial Berlioz opera. 29 janvier 2004
Par dongiovanni - Publié sur Amazon.com
Format: CD
During his studies in Italy Berlioz became aquinted with the biography of the famous Florentine sculptor, goldsmith and rogue, Benvenuto Cellini, in whose life he found parallels with his own. He was one of the first of the Renaissance `hero artists' ,where great talent seemed to justify everything,including breaking the law. Berlioz was also a very reckless character, one of many, in fact, in the Romantic era, he was followed by Lord Byron,Wagner (Die Meistersinger) and much later Richard Strauss (Ein Heldenleben). In fact, Die Meistersinger bears some resemblance to the Berlioz's Benvenuto Cellini: being a grand scale comic work, the hero artist's struggle against his dectractors, his fight against mediocrity in winning his beloved. Unfortunately Berlioz's opera never gained the popularity Die Meistersinger did, due to perhaps its virtuoso score, high demands on singers, double and triple choruses of extreme difficulty and extravagant stage settings plus requiring a master conductor who can hold all this together.
We are fortunate however of having found the right man for this job: Sir Colin Davis, who devoted a large portion of his career to studying and rediscovering Berlioz, that marvel and "enfant terrible" of Romanticism. This is definitely the best of the two available recordings of this tremendous work. It comes from 1958, but digitally remastered and is as fresh as new. Sir Colin Davis is the most attractive drawing card here, he conducts with masterful control and concentration, whipping the orchestra thru the long and virtouso score with never a dull moment. One must listen to the finale of the first act, the incredibly complex Roman Carnival with all soloists, several choruses and orchestra going in all directions, cross rhythms and the like -an extremely difficult conducting achievement. Also, the last scene, when the statue is cast, the excitement mounts and mounts to such degree that one is glued to the edge of his seat.
The singers are also very good: Nicolai Gedda (whom you might have guessed is one of my favorite singers) has a strong and also sensitive voice and excellent French pronounciation in the title role. In the soprano role Christiane Edda-Pierre stands up well against Gedda, her voice is somewhat light and lyrical.
(It should be mentioned that this being a dramatic opera,like Wagner, there are no coloraturas and other unnecessary vocal fireworks.)
I like the mezzo soprano Jane Barbie in the role of Ascanio whose aria is probably the loveliest piece in the score and she does it very well. In the remainder roles, Roger Soyer as Pope Clement is impressive and the two comic characters (Balducci and Fieramosca- the detractors- a la Beckmesser/Hanslick in Die Meistersinger)-are also very creditable.
To sum up: If you haven't heard this opera before, you are in for a delightful surprise. It is full of melody,excitement and fun throughout. Just now, the Met revived it for this season under Levine very successfully. I just wish it would be turned into a DVD, as there is a lot to see and hear.
Highly recommended.
7 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x9c1ea864) étoiles sur 5 Extraordinary Recording in Coliln Davis's Berlioz cycle 30 octobre 2004
Par D. J. Edwards - Publié sur Amazon.com
Format: CD
Truly a bravado performance totally underseving of the very negative review the recording has unjustly recieved. French opera is not always accessible on first hearing. French opera is often very subtle and doesn't grab the listener immediately. I think Berlioz and Wagner have one unforutnate characteristic in common, you either get their music or you don't.

This score sparkles from beginning to end especially under the baton of Colin Davis. Nicholai Gedda remains one of the finest interpreters of French music and here, as in the "Damnation of Faust", excels with beautiful tone and delivery. His French is impeccable. Edda-Pierre is not to my personal taste but she is excellent. Bastin, Berbie, Soyer and Massard sing their roles with vocal aplomb and dramatic involvement. A wonderful set! If you like French opera, and Berlioz in particular this belongs in your collection. A valuable addition to the catalogue. Buy if before it disappears.
6 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x9c1eac30) étoiles sur 5 An Extraordinary Opera 17 décembre 2003
Par David A. Wend - Publié sur Amazon.com
Format: CD
I was very happy to see that the Benvenuto Cellini recording by Colin Davis was available at Amazon. It has not been a readily available recording and I bought mine (I had the LPs first) from a dealer in England. This is my favorite opera. It is always a joy to listen to and is a work that is difficult to categorize. At times, Cellini is an opera buffa with some very funny scenes, such as the balcony scene where Teresa is showered by flowers and her father, barging out to confront the serenading mob, is struck with flour. Then, the opera moves to more serious moments. The duel between Cellini and Pompeo is one of these. At first, there is the amusement of Cellini's plan to abduct Teresa being foiled by the bumbling Fieramosca but the duel and killing of Pompeo turns humor to a serious consequence. The music in this part of the opera gives voice to Cellini's regret at having let his temper take control, resulting in an unfortunate incident. In the end, Cellini is vindicated; gets Teresa and his enemies come over to his side. It is a joyous ended that always makes me smile.
This recording conducted by Colin Davis was a break through recording and revealed a work that was incomparable for its lyric beauty, wit and charm. It also restored the opera to its original form. Berlioz had allowed cuts to be made when his friend Liszt staged the opera in Weimar. The cast is a marvel. Christiane Eda-Pierre is superb as Teresa beautifully singing her coloratura arias with wonderful poise. Nicolai Gedda is in a beautiful, full voice as Cellini as he serenades Teresa and bold as he does battle with Pompeo; Jules Bastin makes a comic Balducci; Robert Massard makes a wonderfully incompetent villain in Fieramosca, who tries but can never thwart Cellini. Jane Berbie makes a great Ascanio and sings Mais qu'ai-je donc? In the minor role of the cabaretier, Hugues Cuenod creates a wonderful comic character. The supporting cast does a wonderful job and the chorus of the Royal Opera is first rate. The recording includes dialogue and where there may be a drawback in some operas the dialogue is necessary to the opera and often amusing.
This is an opera worth discovering at any price. Some of the music will be familiar from the Roman Carnival overture that occurs in the first act. This is a work that has unjustly been neglected and is being performed at the Met this season but was cancelled at Lyric Opera. Here's hoping Lyric will stage it soon.
HASH(0x9c1ead14) étoiles sur 5 Distinct listening pleasure 28 avril 2016
Par John C Holbert - Publié sur Amazon.com
Format: CD Achat vérifié
Berlioz was a rare genius, generally unappreciated in his own day, but now fully recovered. The late Colin Davis has much to do with that, and this wonderful recording was an important part of that rebirth. Especially the fabulous multi-lingual tenor, Nicolai Gedda, offers here a clinic on superb French style and diction, not to mention unsurpassed beauty of shading and tone. The entire cast I judge to be excellent, the story fun and filled with vocal frolic, the orchestra unbeatable. This set has been long out of print, but I would hunt one up as a fantastic example of superior playing and singing of an opera you are little likely ever to hear live, more's the pity!
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