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Description du produit
Gaetano Donizetti: Lucrezia Borgia
From the War Memorial Opera House, San Francisco Opera
Riccardo Frizza, conductor
Renée Fleming, Michael Fabiano, Elizabeth DeShong, Vitalij Kowaljow
This is the first EuroArts release in cooperation with the San Francisco Opera, internationally recognized as one of the top opera companies in the world.
Renée Fleming as America's most-loved and most-lauded opera singer(The Times, London) played Lucrezia Borgia with passion and outstanding virtuosity in line with a top-notch cast: Michael Fabiano, Elizabeth DeShong and Vitalij Kowaljow.
Fleming plays a femme fatale renowned for her ruthless pursuit of power that reveals poignant vulnerability when she comes face to face with her long-lost son.
Led by internationally acclaimed conductor Riccardo Frizza. Recorded live in high definition at the War Memorial Opera House, San Francisco, August 2012
Region code: All (worldwide)
Subtitles: English, German, French, Japanese, Korean
Booklet notes: English, German, French
Running time: 122 mins
German FSK: 0
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C'est avec joie que je vais réécouter ce Blu-ray récemment acheté.
Commentaires client les plus utiles sur Amazon.com
Lucrezia was a major success in his lifetime. He was drawn to Victor Hugo's popular play and particularly by the last scene in which Lucrezia has six coffins revealed to the intended victims toward the end of the dinner party. But the Milan censors didn't allow the coffins at the premiere of the opera and the opera had no end of censor problems where ever it was produced. But from it's opening at La Scala Dec. 26, 1833 till about the end of the century it was extremely popular worldwide. After 1900 the taste for bel canto waned and it with most of his other works and those of Rossini and Bellini were forgotten. In my youth in the 40s and 50s only three Donizetti operas were known; Lucia, Elixir of love and Daughter of the Regimant (only one Rossini - Barber of Seville).
With the revival of interest in Bel Canto made popular by Maria Callas in the 50's and then by Sutherland and Caballe', this opera along many other of his forgotten gems are being aired again.
Lucrezia is a bel canto opera and needs a good bel canto soprano to carry it. And in this case it does. Renee Flemming did much bel canto early in her career but has done a rich variety of other roles since. She certainly established her canto creds in Rossini's Armida as well as many others. In Lucrezia I was struck yet again by her superb breath control. In the final cabeletta (cut later by Donizetti but usually restored) she radiates ease of control. I compared it with the only other viable DVD that of Sutherland and Kraus in 1980 Royal Opera House production. Sutherland long past vocal prime still controlled the voice very well. If you've got it; you've got it and both Sutherland and Fleming got it. (In her prime Sutherland was unbeatable by anyone.)
Michael Fabiano has a beautiful, well managed tenor and as the young son Gennaro showed voice control and acting ability. A good career is ahead for him.
As Duke Alfonso, Lucrezia's Fourth husband, Vitalij Kowaljow had a most resonant and beautifully displayed bass. He was majestic in acting and singing
I was a little disappointed with the Maffio Orsini of Elizabeth De Shong. Not that she can't sing (she can and very well) but this is not the part for her. She is supposed to be a part of the "young fellows" gang; rebel youths out for fun and adventure. But when they were all together she looked like the runt of the litter; the one that didn't get a teat (in farmer terminology). The role can be done and done well as Anne Howells did in the Sutherland - Kraus 1980 production. She was as tall as the others and looked like one of the "boys" and didn't have the "squeekie" quality to her voice.
One of the prior reviwers made mention of a supposed "sexual" conotation in regard to Maffeo and Gennaro. I did not see that at all . What I saw was simply "male bonding". I grew up in the 40s and 50s where there was much male bonding in story, music and entertainment: Tonto and Lone Ranger, Batman and Robin, Prince Valiant and the Round Table Knights etc and the First World War song "My Buddy" etc etc. None of this had a sexual conotation to it. I had lots of buddies in school. Of course as a kid there was always some hard-shell Baptist of Calvinist scold who saw evil in everything. Anything that was pleasant or beautiful or enjoyable was inherently bad for you. If you were smiling you were sining. That included danse, movies, and opera too. I had thought we were over that sort of thing. Oh well, I think of them as young buddies and that's in the script.
All in all, it's a wonderful operatic experience.
Great singing all around, if a bit stiff from the trouser role.