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John Gay : The Beggar's Opera


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Détails sur le produit

  • Interprète: Bob Hoskins (voix parlées), Sarah Walker (soprano), Roger Bryson (basse), Charles Daniels (ténor), Anne Dawson (soprano), et al.
  • Compositeur: Divers
  • CD (2 avril 2001)
  • Nombre de disques: 2
  • Label: Hyperion
  • ASIN : B000002ZR9
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  • Classement des meilleures ventes d'Amazon: 388.586 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. The Beggar's Opera: Introduction
  2. The Beggar's Opera: Overture
  3. Act I: Air 1 - Through All The Employments Of Life
  4. The Beggar's Opera: Dialog
  5. Act I: Air 2 - 'tis Woman That Seduces All Mankind
  6. The Beggar's Opera: Dialog
  7. The Beggar's Opera: Dialog
  8. Act I: Air 3 - If Any Wench Venus' Girdle Wear
  9. Act I: Air 4 - If Love The Virgin's Heart Invade
  10. The Beggar's Opera: Dialog
  11. Act I: Air 5 - A Maid Is Like The Golden Ore
  12. The Beggar's Opera: Dialog
  13. The Beggar's Opera: Dialog
  14. Act I: Air 6 - Virgin Are Like The Fair Flower In Its lustre
  15. Act I: Air 7 - Our Polly Is A Sad Slut!
  16. Act I: Air 8 - Can Love Be Control'd By Advice?
  17. Act I: Air 9 - O Pollu, You Might Have Toy'd And Kissed
  18. Act I: Air 10 - I Like A Ship In Storms Was Tossed
  19. Act I: Dialog
  20. Act I: Air 11 - A Fox May Steal Your Hens, Sir
  21. The Beggar's Opera: Dialog
  22. Act I: Air 12 - O, Ponder Well! Be Not Severe
  23. Act I: Air 13 The Turtle Thus With Plaintive Crying
  24. The Beggar's Opera: Dialog
  25. The Beggar's Opera: Dialog
  26. Act I: Air 14 - Pretty Polly, Say
  27. Act I: Air 15 - My Heart Was So Free
  28. Act I: Air 16 - Where I Laid On Greenland's Coast
  29. Act I: Air 17 - O What A Pain It Is To Part!
  30. Act I: Air 18 - The Miser Thus A Shilling Sees
  31. The Beggar's Opera: Dialog
  32. Act II: Air 19 - Fill Every Glass, For Wine Inspires Us
  33. The Beggar's Opera: Dialog
  34. Act II: Air 20 - Let Us Take The Road
  35. The Beggar's Opera: Dialog
  36. Act II: Air 21 - If The Heart Of A Man Is Deprest With Cares
  37. The Beggar's Opera: Dialog
  38. Act II: Air 22 - Youth's The Season Made For Joys
  39. Act II: Air 23 - Before The Barn Door Crowing
  40. Act II: Air 24 - The Gamesters And Lawyers Are Jugglers Alike
  41. The Beggar's Opera: Dialog
  42. Act II: Air 25 - At The Tree I Shall Suffer With Pleasure
  43. The Beggar's Opera: Dialog
  44. The Beggar's Opera: Dialog
  45. Act II: Air 26 - Man May Escape From Rope And Gun

Disque : 2

  1. Act 2: Dialog
  2. Act 2: Air 27 -Thus When A Good Huswife Sees A Rat
  3. Act 2: Air 28- How Cruel Are The Traitors
  4. Act 2: Air 29 - The First Time At The Looking-Glass
  5. Act 2: Dialog
  6. Act 2: Air 30 - When You Censure The Age
  7. Act 2: Dialog
  8. Act 2: Air 31 - Is Then His Fate Decreed, Sir?
  9. Act 2: Air 32 - You'll Think e'er Many Days Ensue
  10. Act 2: Dialog
  11. Act 2: Air 33 - If You At An Office Solicit Your Due
  12. Act 2: Dialog
  13. Act 2: Air 34 - Thus When The Swallow Seeking Prey
  14. Act 2: Air 35 - How Happy Could I Be With Either
  15. Act 2: Air 36 - I'm Bubbled
  16. Act 2: Air 37 - Cease Your Funning
  17. Act 2: Air 38 - Why How Now, Madam Flirt?
  18. Act 2: Dialog
  19. Act 2: Air 39 - No Power On Earth Can e'er Divide
  20. Act 2: Dialog
  21. Act 2: Air 40 - I Like The Fox Shall Grieve
  22. Act 2: Dialog
  23. Act 3: Air 41 - When Young At The Bar You First Taught Me to Score
  24. Act 3: Air 42 - My Love Is All Madness And Folly
  25. Act 3: Dialog
  26. Act 3: Air 43 - Thus Gamesters United In Friendship Are Found
  27. Act 3: Dialog
  28. Act 3: Dialog
  29. Act 3: Air 44 - The Modes Of The Court So Common Are Grown
  30. Act 3: Dialog
  31. Act 3: Air 45 - What Gudgeons Are We Men!
  32. Act 3: Dialog
  33. Act 3: Air 46 - In The Days Of My Youth
  34. Act 3: Dialog
  35. Act 3: Air 47 - I'm Like A Skiff On The Ocean Tossed
  36. Act 3: Dialog
  37. Act 3: Air 48 - When A Wife's In Her Pout
  38. Act 3: Air 49 - A Curse Attends That Woman's Love
  39. Act 3: Air 50 - Among The Men, Coquets We Find
  40. Act 3: Air 51 - Come, Sweet Lass
  41. Act 3: Dialog
  42. Act 3: Dialog
  43. Act 3: Dialog
  44. Act 3: Air 52 - Hither, Dear Husband, Turn Your Eyes
  45. Act 3: Air 53 - Which Way Shall I Turn Me
  46. Act 3: Air 54 - When My Hero In Court Appears
  47. Act 3: Air 55 - When He Holds Up His Hand
  48. Act 3: Air 56 - Our Selves, Like The Great, To Secure A Retreat
  49. Act 3: Air 57 - The Charge is Prepar'd
  50. Act 3: Dialog
  51. Act 3: Air 58 - O Cruel, Cruel, Cruel Case!
  52. Act 3: Air 67 - Since Laws Were Made For Ev'ry degree
  53. Act 3: Dialog
  54. Act 3: Dialog
  55. Act 3: Air 68 - Would I Might Be Hang!
  56. Act 3: Dialog
  57. Act 3: Dialog
  58. Act 3: Air 69 - Thus I Stand Like The Turk

Descriptions du produit

John Gay (?1685-1732) : Beggar's Opera / Bob Hoskins (voix parlées) - Sarah Walker (soprano) - Roger Bryson (basse) - Charles Daniels (ténor) - Anne Dawson (soprano) - Sarah Walker (mezzo-soprano) - Adrian Thompson (ténor) - Richard Jackson (baryton) - Catherine Wyn-Rogers (alto) - Ian Caddy (baryton-basse) - Bronwen Mills (soprano) - Ian Honeyman (ténor) - Broadside Band - Jeremy Barlow

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Amazon.com: HASH(0x974f36b4) étoiles sur 5 1 commentaire
35 internautes sur 41 ont trouvé ce commentaire utile 
HASH(0x975bb78c) étoiles sur 5 'Back to Basics' for John Gay's 1728 hit ballad opera 12 mai 2005
Par Nicholas A. Deutsch - Publié sur Amazon.com
This recording seeks to give us a 'Beggar's Opera' uncut, undapted & unexpurgated. That presents big hurdles for modern performers & listeners. A complete performance is roughly 50/50 song & spoken dialogue, which poses a challenge whether one uses actors-who-sing (as in 1728) or singers-who-act (as here) - after all, the piece was conceived as a play punctuated by popular songs with 'parodied' lyrics. Unabridged, the text is full of obsolete words & local references, both geographical & political. Furthermore, there's a whole layer of satire in the musical numbers no longer accessible to us: the original audience would have been tickled by Gay's purloining a famous march from a heroic Italian opera - Handel's 'Rinaldo' - for a chorus of highwayman setting off to rob a coach, just as they would have been titillated to hear the text of Purcell's 'If Love's a Sweet Passion, why does it torment?' replaced by 'When young at the bar you first taught me to score.' But for us, other than 'Greensleeves' none of the tunes - lovely as they are - carries any particular associations.

Back in 1981, Jeremy Barlow & a handful of players from The Broadside Band joined 2 fine singers (Patrizia Kwella & Paul Elliot) in a charming CD that juxtaposed a few of the original songs with Gay's versions (Harmonia Mundi HMA 1951071). This ambitious 1994 follow-up, though well-performed & full of enjoyable moments, is frankly disappointing, & I can't help feeling here & there that everyone has bit off a bit more than they can chew. True, all the singers have been well coached in the dialogue, & all have their good moments - I like Richard Jackson's clenched-teeth Lockit very much - but to my ears only Sarah Walker has the size of personality & technical expertise to nail every single one of her lines square on its head easily. Elsewhere the effort shows, especially in Adrian Thompson's Macheath, which though hardworking lacks charm & charisma - he seems miscast. Sometimes one feels that the cast are treating Gay's text as if it were a serious slice-of-life view of the seamy side of London life, rather than a huge, cynical put-on (like its illustrious descendant, the Kander/Ebb/Fosse musical 'Chicago').

Musically, things are solid, as one would expect, yet even here I would question Barlow's decision to double the vocal line in almost every solo number with violins. To my ears it puts everyone in a metrical strait-jacket. This may have historical precedent, but surely a cast of professional singers, unlike actors, hardly needs the help? Again & again I felt that the few songs accompanied only by continuo - Polly's 'O ponder well' for one - gave the performers far more room for expressiveness.

Maybe I'm being too harsh, & certainly anyone interested in the history of the English popular musical theater will want to hear this, since at the very least it's a valuable reference edition. But I'm not sure it's going to come off my shelf as often as the Sargent/Austin version (Classics for Pleasure) or Benjamin Britten's genuinely operatic adaptation (Argo & Pearl); 'inauthentic' they may be, but expertly performed & full of gusto, fun & fierceness as well.
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