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Lohengrin Compilation

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Détails sur le produit

  • Interprète: Placido Domingo & Jessye Norman & Georg Solti, Sir Georg Solti, Jessye Norman
  • Orchestre: Dietrich Fischer-Dieskau
  • Compositeur: Richard Wagner, Klaus Kirchner
  • CD (1 octobre 1987)
  • Nombre de disques: 4
  • Format : Compilation
  • Label: Decca
  • ASIN : B0000041TF
  • Autres éditions : CD
  • Moyenne des commentaires client : 3.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 64.514 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Lohengrin acte I - wer hier im gotteskampf zu streiten kam
  2. Lohengrin acte I - durch gottes sieg ist jetzt dein leben mein
  3. - prelude to act I
  4. Lohengrin acte I - hört, grafen, edle, freie von brabant!
  5. Lohengrin acte I - dank, könig, dir, daß du zu richten kamst!
  6. Lohengrin acte I - seht hin! sie naht, die hart beklagte!
  7. Lohengrin acte I - einsam in trüben tagen
  8. Lohengrin acte I - mich irret nicht ihr träumerischer mut
  9. Lohengrin acte I - nun sei bedankt, mein lieber schwan!
  10. Lohengrin acte I - zum kampf für eine magd zu stehen
  11. Lohengrin acte I - nun hört! euch, volk und edlen mach' ich kund
  12. Lohengrin acte I - nun höret mich und achtet wohl

Disque : 2

  1. Lohengrin acte II - du wilde seherin
  2. Lohengrin acte II - introduction
  3. Lohengrin acte II - erhebe dich, genossin meiner schmach!
  4. Lohengrin acte II - euch lüften, die mein klagen
  5. Lohengrin acte II - elsa!
  6. Lohengrin acte II - entweihte götter! helft jetzt meiner rache!
  7. Lohengrin acte II - wie kann ich solche huld dir lohnen

Disque : 3

  1. Lohengrin acte II - gesegnet soll sie schreiten
  2. Lohengrin acte II - in früh'n versammelt uns der ruf
  3. Lohengrin acte II - des königs wort und will' tu ich euch kund
  4. Lohengrin acte II - zurück, elsa! nicht länger will ich dulden
  5. Lohengrin acte II - o könig! trugbetörte fürsten! haltet ein!
  6. Lohengrin acte II - welch ein geheimnis muß der held bewahren?
  7. Lohengrin acte II - mein held, entgegne kühn dem ungetreuen

Disque : 4

  1. - lohengrin
  2. Lohengrin acte III - treulich geführt ziehet dahin
  3. Lohengrin acte III - das süße lied verhallt
  4. Lohengrin acte III - fühl' ich zu dir so süß mein herz entbrennen
  5. Lohengrin acte III - atmest du nicht mit mir die süßen düfte?
  6. Lohengrin acte III - höchstes vertraun hast du mir schon zu danken
  7. Lohengrin acte III - weh, nun ist all unser glück dahin!
  8. Lohengrin acte III - heil könig heinrich!
  9. Lohengrin acte III - macht platz dem helden von brabant!
  10. Lohengrin acte III - in fernem land, unnahbar euren schritten
  11. Lohengrin acte III - mir schwankt der boden! welche nacht!
  12. Lohengrin acte III - mein lieber schwan!

Descriptions du produit

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Par earthlingonfire TOP 500 COMMENTATEURSMEMBRE DU CLUB DES TESTEURS le 27 août 2011
Format: CD
Remarque totalement subjective : s'il y a un opéra de Wagner qui pour moi perd à être joué de façon superficiellement spectaculaire, c'est Lohengrin. Au bout d'un quart d'heure maximum je pense à autre chose. Signe peut-être que sa musique me captive moins par elle-même, au-delà de l'interprétation, que celle des autres ouvrages wagnériens. Mais peut-être est-ce aussi parce que précisément, Lohengrin tend en partie vers le "superficiellement spectaculaire", et qu'il faut un certain effort pour y trouver des finesses. Bref, cet effort n'est pas vraiment celui que Solti souhaitait faire, et son péplum orchestral, toutes trompettes dehors, m'ennuie dans cet opéra. Finalement, cette direction surexcitée et maniaque donne de meilleures résultats dans les scènes à deux personnages (Lohengrin-Elsa, Telramund-Ortrud, Elsa-Ortrud), alors que les grands ensembles sont tonitruants et pompeux. Passons donc aux chanteurs. À 60 ans, Fischer-Dieskau se rabat de Telramund sur le Héraut, auquel il fait le sort qu'on imagine. Mais quel sens y a-t-il à donner un portrait fouillé du Héraut ? Quelles profondeurs théâtrales ou psychologiques offre-t-il à explorer ? Pourquoi attirer inutilement l'attention sur lui ? Ceux qui découvriraient Lohengrin avec cet enregistrement risqueraient bien de croire que le Héraut en est le personnage principal et d'être déçus en arrivant à la fin sans en savoir plus sur lui... On ne fera pas le même reproche à Sotin, Roi assez anonyme. Au moins cela convient-il assez à l'insignifiance du personnage dans l'intrigue.Lire la suite ›
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Amazon.com: HASH(0x997296cc) étoiles sur 5 25 commentaires
17 internautes sur 18 ont trouvé ce commentaire utile 
HASH(0x998bc81c) étoiles sur 5 A very good Lohengrin 27 août 2000
Par cdsullivan@massed.net - Publié sur Amazon.com
Format: CD
I find that Sir Georg Solti's Wagner interpretations got mellower and more careful as he got older, with a gentler approach. His 1985 Lohengrin is perfectly conducted: he takes his time (as he should) over the opening prelude, he is quite relaxed but never detached, and his command of the score is masterly. The Vienna Philharmonic plays gorgeously, with the unfortunate exception of an ugly, forced brass chord at the climax of the Act I prelude. The singers are good, but not outstanding. Plácido Domingo, of course, has a beautiful voice, but he is not as subtle as he could be and his German, though it has improved since his "Meistersinger" Walther for Jochum, is distinctly odd. The magnificence of his voice, though, makes him surpassed only by Heppner (Davis) and Thomas (Kempe). Jessye Norman also has a magnificent voice, but it is too weighty and mezzo-like for Elsa. Her interpretation, as others have noted, is a bit too worldly; the benchmark here is Grümmer's radiant performance for Kempe. Hans Sotin is an excellent King, though his voice has seen finer days; there are many excellent Heinrichs on disc, but among the best are Frick (Kempe), Sotin (Solti), Rootering (Davis), Pape (Barenboim) and (though I haven't heard him I feel safe to say) Moll (Abbado). Fischer-Dieskau contributes an aging Herald; Terfel is excellent for Davis, as is Wiener for Kempe. The real weak links in this recording are Telramund and Ortrud (these roles are extremely difficult to pull off and only one recording does so - I'll reveal it later). Nimsgern, like others in the cast, has a beautiful, resonant voice, perfect for the role, but his interpretation is not subtle or confused or desperate enough. Randová has a mediocre voice, slightly grainy and slightly wobbly, which she uses well, but can't pull off this almost impossible character. Kempe's benchmark Vienna recording from the early 1960's is the only recording that masters every role and the orchestral music. It has magnificent conducting, singers who all pull off their challenging roles (no one comes within light years of Ludwig and Fischer-Dieskau as Ortrud and Telramund), excellent sound and is at mid-price, newly reissued as a "Great Recording of the Century"; it is my number-one recording for this opera. Solti enthusiasts, though, would do well to have this too.
30 internautes sur 35 ont trouvé ce commentaire utile 
HASH(0x99d402d0) étoiles sur 5 A gripping, haunting "Lohengrin," best I've ever heard 30 décembre 2000
Par madamemusico - Publié sur Amazon.com
Format: CD
As someone who owned the Kempe "Lohengrin" for many years, then sold it to a used-record shop as hopelessly boring, let me add my voice to the chorus of praise for this particular recording. Granted, Ludwig and Fischer-Dieskau sang beautifully on the Kempe version, but except for "Entweite Gotter!" Ludwig did NOT have the same evil, crafty sound that Randova projects here, and Nimsgern has a richer, darker, more appropriate "Black Forest"-sounding voice for Telramund. More to the point, Domingo is far better than Jess Thomas--even in the opera house, his voice had that incipient wobble you hear on the recording--and Jessye Norman is vastly better than Grummer at this stage in her career (she was getting on in years and in vocal decline).
I smiled a little to myself when reading others' comments about how Norman sounds "inappropriate" for the role because of her richer "mezzo quality." It's funny how listening to "canned opera" can condition your perceptions. In the LP/CD era, all Elsas are high sopranos, but back in the 1930s and '40s Elsa was sung by sopranos like Kirsten Flagstad and Helen Traubel, singers with big, rich, mezzo-like timbres. And, frankly, it was a real pleasure for me to hear her sounding somewhat dramatically involved in the music. In person this is never a problem, but on records La Norman often tends towards blandness and boredom. Here, she is anything but boring.
The glue that holds this recording together, however, is Solti. Never have I heard the music of "Lohengrin" sound more unified, more dramatic, more shapely. Even at leisurely tempos, Solti keeps things moving forward, ever-so-slightly, the way Toscanini used to do with "Tristan" (listen to his classic 1952 reading of the Prelude and Liebestod, and you'll see what I mean). Towards the end of Act 1, I suddenly realized that what I was listening to was a towering, monumental reading of the score, one that slowly, inexorably, yet pleasurably draws the listener inward.
26 internautes sur 30 ont trouvé ce commentaire utile 
HASH(0x99417ca8) étoiles sur 5 You can't go wrong with this (or the Kempe) 14 novembre 2000
Par Laon - Publié sur Amazon.com
Format: CD
This is one of the two best nearly-complete _Lohengrin_ recordings. The other is the famous second Kempe set, with Jess Thomas as Lohengrin -- as opposed to Kempe's older mono set with George Vincent in the title role. Of the Solti and the second Kempe, I don't think it matters much which recording you get. (I hear the Abbado set is excellent as well, but I haven't heard it.) The Kempe set has been rightly regarded as a classic recording since its release. It's an ideal ensemble cast, with justly admired conducting, and a good clear, full stereo recording.
The Solti set offers a cast that is every bit as good, though in a slightly more complex way. That is, Domingo is a noticeably better Lohengrin than Thomas, though both are in the front rank. (Sandor Kolya from Leinsdorf's complete set is the finest Lohengrin on record, but he graces a set whose merits are even more complicated. There are two full and complete _Lohengrin_ sets, in which the cut in the second part of Lohengrin's "In fernen Land" Narration is - rightly - restored: a recent set by Barenboim and an older set by Leinsdorf. Neither are as good, overall, as Kempe or Solti. Of the two - see my review of the Leinsdorf set, if you're interested - I'd give the edge, though narrowly, to the Leinsdorf.)
Some reviewers have claimed Domingo's Lohengrin has a faint Spanish accent, but I must confess I can't hear it. If I did notice it I would have no more problem with it than with Simon Estes' slight but noticeable American accent as the Dutchman in the generally superb Nelsson _Fliegende Holländer_ set. Wagner is an international phenomenon, and so is opera. What would be a genuine problem would be if Domingo's German seemed shallow; that is, if he were simply singing the notes beautifully, without directly feeling and expressing the meaning of the words. And while that criticism has been made, I think it untrue and unfair of this performance, which is both beautifully sung and convincingly acted. The criticism seems more reasonable of Domingo's Tannhäuser for Sinopoli, and to a lesser extent of his Walther in the Jochum _Meistersinger_. I suspect that people may have transferred their dislike and criticism of those performances over to this one. As an aside, it would actually be quite appropriate if Lohengrin did have a noticeable Spanish accent. After all, he hails from Montsalvat, which, as we learn in _Parsifal_, is somewhere near the Moorish border in 8th Century Spain.
So Domingo takes the honours over Kempe's Jess Thomas in the title role. Thomas is a pleasant and intelligent singer, whose voice is simply not as powerful or as beautiful as Domingo's. On the distaff side, as Elsa Jessye Norman offers a fuller, creamier soprano than Kempe's Elizabeth Grümmer, but Norman's voice is too big, too confident and paradoxically too beautiful really to be in character as Wagner's naïve visionary: Wagner's Joan of Arc without the military ambition. Kempe's Grümmer is the better Elsa, though I'd say that Eleanor Steber in the mono Keilberth set, with Windgassen good but not among the very best in the title role, is perhaps the best Elsa in a "complete" _Lohengrin_ set.
As von Telramund and Ortrud, Solti's Nimsgern and Randova are often said to be outclassed by Kempe's Fischer-Dieskau and Christa Ludwig, and this is true. For Kempe, Fidi and Ludwig are in their prime and abolutely unbeatable. On the other hand, I find the bad guys' big Act II scene is more sinister in the Solti than in the Kempe; Solti loses on beauty, especially with Randova compared to Ludwig, but wins out on drama. The twisted sophistication of the orchestral part at the beginning of Act II, through to Elsa's appearance, seems more modern and dissonant in Solti; and that is an advantage. In fact I would give Solti's Vienna Phil the advantage, though only very marginally, over Kempe's Vienna Phil. Solti's other advantage is an unfair one, but a powerful one in Wagner; his is a clearer and more immediate recording.
My main complaint applies equally to both sets. Once you've heard the music cut from the Narration, you will tend to resent that cut. It is beautiful music, and dramatically it allows Lohengrin's hearers (and the operatic audience) more time to be transported to Montsalvat, and to come back to earth with an even bigger bump to face the unpleasant realities of the dramatic situation. Solti especially was a great restorer of cuts, producing the first truly complete recording of Strauss's _Der Rosenkavalier_, for example. So why didn't he restore this one? It was aesthetically the right thing to do, and I'm surprised Solti of all people passed up the marketing opportunity.
But either set is superb. Whichever you buy, you can't go wrong.
Cheers!
Laon
8 internautes sur 8 ont trouvé ce commentaire utile 
HASH(0x9944d138) étoiles sur 5 Which is the best Lohengrin? 22 janvier 2007
Par Amazon Customer - Publié sur Amazon.com
Format: CD
Whenever I offer comparative reviews here of great and lengthy works, I try to have as many versions at hand as possible. But in the case of Lohengrin, most listeners, including myself, stop after reading that the best recording, far and away, is Kempe's on EMI, with Jess Thomas in the title role and Elisabeth Grummer as Elsa. As it happns, I have problems with that set: Thomas sounds heroic and youthful, but he also bleats a little too much and forces his voice in the great climaxes. Grummer sounds touchingly innocent--she's a light, lyric Elsa who hasn't grown up yet--but the fast beat in her voice bothered me. I also don't accept that Kempe's conducting is the last word on the score.

As a result I have chased across the landscape for a better, if not ideal recording. My thumbnail conclusions:

Jochum/Bayreuth -- a live 1954 performance that features the young Windgassen as Lohengrin and a surpisingly supple Birgit Nilsson as Elsa. Available on several labels, this performance sounds reasonably good for broadcast mono, and the leads are worthy, but Windgassen's voice is unlovely, and Nilsson is chilly and by no means innocent-sounding. Even so, this would be one of the top recommendations if it weren't for Jochum's dull, unimaginative conducting. Reviewers at Amazon tend to focus solely on the singers in opera recordings; I always listen first to the conductor, who shapes the whole work, after all. Jochum rarely rises above the routine.

Leinsdorf/ BSO -- This recently re-released Living Stereo set has remained out of print for two good reasons. The scheduled Elsa droped out and was replaced at the last minute by the totally inadequate Lucina Amara. Second, Leinsdorf's conducting veers between dullness and perversity, with tempos and phrasing that drive me up the wall. The only reason to buy this RCA recording is for Sandor Konya, the best Lohengrin of his generation (he was also the best Walther in Meistersinger), a golden-voiced delight.

Abbado/ Vienna Phil. -- This 1994 release marked Abbado's first experience conducting a Wagner opera, and he does himself proud. The socre is beautifully shaped, and the Viennese orchestra and chorus are beyond praise. Siegfried Jerusalem would have benefited from being recorded ten years earleir, but his is a very musical Lohengrin and a strong characterization. Cheryl Studer, who specialized onstage in the role of Elsa, gives one of her best (and last) recorded performances, not as fresh-voiced as a decade earleir on Philips but still gleaming and youthful. For me, this ranks as an equal to Solti's reading.

Solti/ Vienna Phil. -- With the same orchestra and chorus as Abbado's, Solti gets a more powerful, aggressive sound, abetted by an extremely vivid, dynamic recording. It's true, as others comment, that his style is not as driven, even manic as in the past, but the aggression is sitll there. Domingo is distinctly not a German tenor in style (or pronunciation), but Lohengrin was a viable stage role for him vocally, and he sings with great conviciton. Persoanly, I think he's not a patch on Konya or Jerusalem, but he's a positive force here. As for Jessye Norman, it would be silly to claim that she is trying to be a young, naive woman, or that her huge voice is right for an essentially lyric role. As always, she is regal and distant. But the sheer voluptuousness of her tone is irresistible, and she has such power that she can ride easily over the gigantic orchestra. In al, this whole produciton is a star turn, and all the stars involved are at their best.

In an ideal world Konya would return to life to record under Abbado with Grummer as Elsa and the Vienna Phil. in the pit. None of the sets above rise to that ideal, but they all have something special to offer. When next I get the Lohengrin itch, I will seek out the DG set under Kubelik with James King in the title role; it's the one major modern recording I haven't heard.
17 internautes sur 20 ont trouvé ce commentaire utile 
HASH(0x9942b858) étoiles sur 5 The Overall Best 15 février 2002
Par Wilbourg - Publié sur Amazon.com
Format: CD
Let's face it pefection is lost to us in this glorious opera. Here then is an analysis by relative strengths. The best overall Lohengrin tenor is the incomparable Sandor Konya, but the overall recording of the opera is fairly pedestrian. The best conducting and marshalling of forces is Karajan's but his tenor, Rene Kollo, strains so much he makes you uncomfortable. The best recording sans the tenor and soprano parts is Kempe's (And who can deny Frick's glorious King with that world-beating resonant bass booming out!) but Jess Thomas, Kempe's Lohengrin, while strong, cannot hope to compete with Domingo, Konya, or Sieffert. The best nuanced recording is the Barenboim/Sieffert but its dramatic impact is muted when compared to the others.
What we are left with is which Lohengrin recording, if you only had enough cash for one recording, and one only, most readily conveys the power, the depth and, most importantly, the beauty of this, Wagner's greatest (arguably) complete opera?
The answer is simple: This one, the Solti/Domingo/Norman. Why? Well, it may not take top rank in all of the categories but it is not far from the top in any. I prefer Konya over all Lohengrins but, guess what? Domingo is just fine and, in many places, glorious. I'll take Karajan's take-no-prisoners dramatic approach any day over Solti, but again, Solti does just fine. Barenboim may find little delights in the music, but Solti and his forces are no slouches in this department either. Much of singing has a chamber appeal and you can hear Solti riding herd on the orchestra so that they might bring nuance to bear in crucial moments.
So, all in all, this is the one Lohengrin to have. It is the pillar to post recording that most satisfies. It is strong in every area. In a perfect world, we would get Karajan conducting Konya with Vienna in the pit and with Frick as the King. But since we are not living in a perfect world, the Solti/Domingo will do just fine.
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