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Kashtcheï l'Immortel

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Page Artiste Valery Gergiev

Détails sur le produit

  • Interprète: Valery Gergiev
  • Compositeur: Nikolai Rimsky-Korsakov, Valéry Gergiev
  • CD (9 novembre 1999)
  • Nombre de disques: 1
  • Label: Philips
  • ASIN : B00002DF39
  • Autres versions : Téléchargement MP3
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Commentaires client les plus utiles sur (beta) 5.0 étoiles sur 5 7 commentaires
7 internautes sur 7 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A Marvelous Fantasy Opera 6 juillet 2001
Par David A. Wend - Publié sur
Format: CD Achat vérifié
I can hardly add much from the well written reviews that are prior to mine. All I can add is that this recording is a gem. The singers are magnificent and Kostantin Pluzhikov is wonderful in his characterization of Kashchey. As one would expect, the orchestra is first rate. Kashchey the Immortal is a good introduction to the operas of Rimsky Korsakov and in these days when such one-act operas are never performed, it is good to be able to hear it on disc.
23 internautes sur 24 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Gergiev continues on with his crucial mission in bringing the composer’s most important body of works to the forefront. 19 décembre 1999
Par David Anthony Hollingsworth - Publié sur
Format: CD
The recordings of Nikolai Rimsky-Korsakov’s operas have been propping up since the 1940s, thanks to conductors such as Nikolai Golovanov, Vassili Nebolsin, Yevgeni Svetlanov, Vladimir Fedoseyev, and finally Valery Gergiev. There recordings have been of great importance if we’re going to continue to get a more rounded picture of Russian music, its genealogy, and its development for the past 150 years since Glinka, Dargomyzhsky, and Serov. And these recordings continue to be of importance if we’re going to get the true essence of this composer: his operas. Forget Capriccio Espanol, Scheherazade, and the Russian Easter overture for the moment. It was his operas (fifteen in all) that became his most important and interesting of his overall oeuvre. Not only did he complete fifteen operas from his own pen, he was responsible (mostly) in editing those of Dargomyzhsky, Mussorgsky, and Borodin into performing editions we know today.

Even though Rimsky-Korsakov’s works for the stage are social commentaries of sorts, the idiom grew from the folkloristic (May Night, Snow Maiden), to the Post-Wagnerian mysticism and super-naturalism (Kashchey the Immortal, Invisible City of Kitezh, and the Golden Cockerel) that began to color even the later pieces of Scriabin. There's something else, however. The late operas became to symbolism of the growing discontent with the Tsarist regime (especially the Golden Cockerel) and his students began to use his operas in denouncing Tsar Nicholas II. Alexander Glazunov, for instance, conducted Kaschchey the Immortal in 1906 with student singers and orchestra of the St. Petersburg Conservatory as a form of defiance against the Tsar. Soon enough, the police disrupted the performance and dispersed the musicians and the audience alike.

Gergiev’s pioneering work in uncovering most of Rimsky-Korsakov's operas cannot and should not be overlooked. And his performance of Kashchey the Immortal with the Kirov Orchestra & Chorus is exemplary in its vividness and artistry. The casting, moreover, is ideal from top to bottom. Konstantin Pluzhnikov (as Kaschey the Immortal) sings with command and faithfulness of the character while Marina Shaguch brings out the Princess’ vulnerability arrestingly. And I like how conflictive Larissa Diadkova brings out in Kascheyevna. All in all, a very worthwhile issue for those interested in Russian music and in the other, most important aspect of this great composer too often overlooked.
20 internautes sur 23 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Dark and pithy fantasy. 16 décembre 1999
Par Julian Grant - Publié sur
Format: CD
This is a real rarity and it is good to have a performance as strong and well sung as this - I can't imagine that it will get staged in the West that often. Kaschey is a sorcerer familiar from Russian folklore (and Stravinsky's ballet 'The Firebird')- here played with nasal intensity and some humour by tenor Konstantin Plushnikov. In the original folktale (and in Stravinsky) his death is hidden away in an egg, here it is hidden away in his heartless daughter's tears - this role, Kascheyevna is the most interesting and reflects Rimsky's current interest in Wagner, a woman who finds redemption through love and who of course cries at the end and turns into a weeping willow (magical orchestral passage here). The singing is consistently excellent and makes you marvel at the vocal talent coming out of Russia at present. Larissa Diadkova as Kascheyevna and Marina Shaguch as the captured Tsarevna give wonderful, full throated performances.
And the music? Strange - there are lots of Wagnerian echoes, but also some extraordinarily piquant orchestral moments and very advanced (for the time) harmonic writing - a grotesque chorus of snowflakes where Rimsky depicts wind blowing through the strings of an Aeolian harp is especially memorable, and there is sensuous, but calculated music for Kascheyevna - verging close to russian Debussy at times. Parts of the opera are very intense and belie Rimsky's reputation as a light-weight confectioner. Unfortunately there are some weak moments where the conventional apparatus of opera takes over - an obligatory reunion love duet with a one-dimensional Knight, who is a hero (and nothing much else) and who is accompanied by a stock fanfare wherever he goes. But Gergiev shapes the piece sensitively and helps the work through the occasional trite or repetitive passage.
Historically it's an interesting piece too, as it was premiered at about the time (1902) mass student unrest was proliferating in Russia - and in fact a performance of it was followed by a political meeting that saw the piece as an allegory of oppression. Kaschey and his moribund kingdom drew parallels with the reign of Tsar Nicholas II, leading to a police raid and a banning of Rimsky's work for some months.
Give this a try; it's short, pungent, strange and beautifully performed.
13 internautes sur 16 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Underappreciated, Lesser Known Gem 22 mars 2000
Par Un client - Publié sur
Format: CD
I have had an interest in Russian and Eastern Eureopean composers and their operas for years, largely because of the efforts of the Metropolitan Opera and conductors like the great Charles Mackerras. Now, thanks still to the Met, there is another great conductor, Maestro Valery Gergiev. This past Saturday, I listened glued to the radio to the Met broadcast of Lady Macbeth of Mtsenk. It was after that broadcast, conducted by Maestro Gergiev, that I moved from a fan to a fanatic. I have since purchased Kashchey and can't put it down! I have been a fan of Rimsky-Korsakov since twenty years ago I played Procession of the Nobles in my high school concert band. I can't wait to immerse myself in the other Gergiev/Kirov/Phillps compliations. A review of a Phillips recording would not be complete without saying something about the recording company - UNBEATABLE. Thanks to all parties involved for changing my life and enhancing the greastest of all art forms. Thanks too, for providing these recordings, many of which you can't find in stores, and for allowing listeners to express their views
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Gergiev gives us a successful, interesting "Kastchey" 22 juillet 2014
Par jt52 - Publié sur
Format: CD Achat vérifié
"Kastchey the Immortal", a dark hour-long mini-opera, lies in a nexus of compositions forming one of the important stylistic streams connecting mid-Romanticism with early 20th-century music. The opera is partly constructed through three re-occuring motives, all three presented in the opera's short introductory prologue: a sliding theme built from a chromatic scale, a whole-tone motif, and a theme made from tritones, which represent Kastchey, the evil wizard. Each of these motives is built from symmetrical groups of pitches rather than the asymmetrical scales and modes traditional in western classical music. This move towards symmetrical pitch construction points the way to the innovations of major Eastern European composers of the generation following Rimsky-Korsakov, like Igor Stravinsky (the plot links to "The Firebird" are often noted and the similarities between the opening of the two compositions are also clear) and Bela Bartok, but also ties into the nexus I mention above: the whole tone motive devised by Rimsky-Korsakov strongly reminds me of the "reflection" leitmotif from Richard Wagner's "Ring", the tritone idea strongly reminds me of Franz Liszt's "Dante" sonata, and put together, the music points to Claude Debussy and the earlier music of Rimsky-Korsakov's pupil, Sergei Prokofiev.

So "Kastchey" lies at the heart of an evolving set of ideas - yet it hasn't caught public attention like some of these other works. The issue I believe is that Rimsky-Korsakov's realization of these symmetric ideas doesn't grab the listener in the opera. What does grab me are passages like the duet between Ivan-Korolevich and the Princess in Scene 3 or the Storm King's rousing aria in Scene 2 - stirring stuff. But also written in a more traditional style not fully integrated into the advanced harmonies suggested by the three motifs. So "Kastchey" represents a highly interesting and at times striking effort from Rimsky-Korsakov, but one that sits in between musical epochs, not fully realized and integrated.

Enough about my thoughts about the opera. What about the recording? I have experience with quite a few of the Gergiev/Kirov Opera series from Philips and, purely as a performance, I think this is one of their best. All of the soloists are very capable, including Marina Shaguch in the taxing role of the Princess and Alexander Gergalov as Ivan Korolovich. Gergiev as usual presents an effective and musical orchestral part. This recording dates from 1995 and, perhaps in response to the disappointing sound engineering heard in the earlier releases in this Russian opera series, Philips chose to record it on bespoke tube equipment. This does lead to an improvement, although sonics aren't excellent, but only pretty good.

This release is preferable to the competing Brilliant issue featuring Moscow's Bolshoi company, with its sometimes disappointing lead singing offsetting a nice conducting job from Andrei Christyakov. Christyakov takes a lighter, more wind-heavy view of "Kastchey" while Gergiev is heavier and more Wagnerian. The Gergiev/Kirov CD includes a full libretto and the opera is sung in Russian, naturally (not sure why Amazon is listing the tracks in German). Gergiev and the singers deserve credit for delivering a successful performance of a difficult and adventurous late Rimsky-Korsakov score.
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