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Messe in H-Moll

4.0 étoiles sur 5 1 commentaire client

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Détails sur le produit

  • Acteurs : Karl Richter, Gundula Janowitz
  • Format : NTSC
  • Audio : Latin (DTS 5.1), Latin (PCM Stéréo)
  • Sous-titres : Allemand, Anglais, Espagnol, Français, Mandarin, Latin
  • Région : Région 2 (Ce DVD ne pourra probablement pas être visualisé en dehors de l'Europe. Plus d'informations sur les formats DVD/Blu-ray.).
  • Rapport de forme : 1.33:1
  • Nombre de disques : 1
  • Studio : Universal Music
  • Date de sortie du DVD : 27 février 2006
  • Durée : 129 minutes
  • Moyenne des commentaires client : 4.0 étoiles sur 5 1 commentaire client
  • ASIN: B000C1XGCQ
  • Classement des meilleures ventes d'Amazon: 115.083 en DVD & Blu-ray (Voir les 100 premiers en DVD & Blu-ray)
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Description du produit

DVD Munchener Bach-Orchester/Karl Richter

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Format: DVD Achat vérifié
Klosterkirche, Diessen, 1969. La caméra s'attarde sur un chef marmoréen, impénétrable, hiératique à l'occasion d'une contre-plongée, maniant martialement une baguette tranchante.
Le chœur apparait serré devant l'autel, enchâssé, vertical, masse indifférenciée filmée en plans trop larges nous frustrant affectivement, comme si le réalisateur se gardait de toute sensualité bien qu'elle affleure fugacement en une ou deux occasions. L'orchestre est masqué par les solistes assis au premier rang qu'un curieux effet de perspective transforme en colosses.
Le tout ponctué de (trop) longs plans de coupe sur les fresques, les peintures, le décorum surchargé, vu de près cette fois, à coup de zooms appuyés, de plans fixes et de panoramiques tortueux, les images bénéficiant d'un repiquage correct et d'une bonne définition mais présentant toutefois une lumière inégale assortie d'une légère dominante jaune verdâtre.

Musicalement parlant, participants de haut niveau et interprétation de qualité, majestueuse, menée de façon stricte, précise, rigoureuse avec des tempos larges mais toujours tendus, sans fantaisie et encore moins d'excentricité, bref: Richter. La prise de son manque cependant de transparence d'où une polyphonie quelque peu confuse d'autant que les images n'aident guère à distinguer les voix.
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Commentaires client les plus utiles sur Amazon.com (beta) (Peut contenir des commentaires issus du programme Early Reviewer Rewards)

Amazon.com: 4.2 étoiles sur 5 22 commentaires
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Modern soloists watch and learn, good and bad examples 9 décembre 2013
Par Brent Peterson - Publié sur Amazon.com
Format: DVD Achat vérifié
This is a great historic recording of the Mass in B Minor in excellent video, color, and sound. Aside from that, it is an opportunity for modern-day soloists to observe some artists of the past and learn from what they do, both good and bad. This video shows some extremes of both.

Let us first observe the soprano soloist, who is arguably the most world-famous guest artist on the program. She is dressed up very nicely, but looks utterly bored. She sings her solos looking down at the score the entire time. Although her eyes are probably open, all we ever see is her eyelids. If the point of this piece is to sing beautifully, that is probably satisfactory (this is not strictly a music review). But if the point is to convey to the audience some kind of message, that is utterly not there.

The alto soloist, on the other hand, does maintain unwavering eye contact with the camera. In fact, she stares at it, fixated to a point almost uncomfortable. However, I do not fault her for that. It is obviously a personality trait, intensity, rather than vanity or carelessness. And she does definitely appear to be intent on delivering a message--that is most welcome.

I have always felt that in a concert, visual presentation is extremely important ... in some cases, it can be equally or possibly even MORE important than the music made.

Now let us observe the tenor soloist, who really looks bored to the point of almost being ready to die of boredom. He is another "eyelid" soloist. He does look up once, at the very end of his last piece, and it comes as a shock. It doesn't change the overall impression, which is that he just showed up for a gig and will soon be burning rubber out of the parking lot.

Compare all these to the baritone soloist, the late great Hermann Prey. His performance exudes confidence and joy. I don't believe he is even using the score. As such he can look into the camera, without staring, and make it look like he enjoys being there and believes in what he's doing. His performance is really the highlight of the show.

I have always loved Karl Richter's style of music and he also is far more animated than usual in this performance. He smiles and nods as he conducts, and is even seen giving the choir the "OK" sign. Compare this with any other of his videos, including even his Brandenburg Concertos in which he looks grim, like he's doing one of the Passions.

Musically the performance is beyond reproach, visually pleasing, and as stated, useful to learn and incorporate some of the non-musical features of a concert.
5.0 étoiles sur 5 A great work of art and performance 6 janvier 2015
Par oldtora - Publié sur Amazon.com
Format: DVD Achat vérifié
A tie for favourite choral work is the Bach Mass in B minor and Mozart Requiem . Watching Richter's performance of Bach reminds me of Mozart listening to Bach in the Thomaskirche in Leipzig , and asking for the score , exclaiming " What's that ?" After listening to Bach's Mass , one ' imagines ' echoes in Mozart's Requiem . I say ' imagines echoes ' and not ' discerns echoes ' because I am not a musician . But it's there . I have no doubt that Mozart studied Bach , and was intellectually up to learning from Bach ; as Beethoven famously said , " not brook , but ocean is his name " . Watching Richter is for me a dream come true . I have long treasured his recording of the Bach Mass with Stater and Fischer-Dieskau , and now I have an opportunity to watch a newer cast , with Topper for a return bow . Also , interesting that the performance is in a baroque catholic church of approximately the same year as the composition . I first saw it performed in the more austere Thomaskirche Lutheran church , and it will have the same effect no matter what location the performance . (By the way , Richter's performance of the Mozart Requiem in Teldec is also highly recommended .)
3.0 étoiles sur 5 Fine music, irritating visuals. 28 octobre 2016
Par H. Wolpert - Publié sur Amazon.com
Format: DVD Achat vérifié
The visuals get in the way of the music. The latter is very well performed, the acoustics are also good. But that is something d'Wies is known for.I have been to the Wies many times, and the visuals don't do justice to the wonderful Bavarian baroque church interior . There is not a single view of the overwhelming view of the church interior as you enter it. All but for the couple of views of the organ the videos are of the altar area, and the cupola above. But most irritating are the many shots of the hopping around of the conductor, the constant up and down down motions during closeups of the woodwinds,the clarinet oboe, flute and the larynx of the contralto (who , by the way, has a beautiful voice).

The church is nowhere's as close to the Fuessen Mountains as shown and the views do not do justice to the Wies (meadow) location
16 internautes sur 16 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A Visit to the Thomaskirche 22 février 2003
Par Matt - Publié sur Amazon.com
Format: DVD Achat vérifié
The first concert I attended in the Thomaskirche was to hear the Thomanerchor, Gewandhaus Orchestra and soloists perform the St. John Passion in 1996. Someone here has described the boys of the Thomanerchor as not being professionals. If they are not, it must only be as the result of semantics, since the boys leave home at the age of 9 to live, eat, sleep, travel and sing together until leaving school at 18 or 19 and, during the academic year, giving weekly performances of Bach cantatas and other works. It's not too far a cry from how things were in Bach's day, except that the boys are a very select group and live in better and honored status. They live an exhausting schedule of performances. Aside from the unique experience of hearing Bach performed (very well) in his church by his choir, it was impressive to be there for a mainly local event. The German audience packed the place, of course, and were absolutely silent. At the conclusion, they sat in stillness for several minutes and then slowly departed in quiet.
My last trip took me to the performance of the B-minor Mass, a duplicate of this one, on the evening before this DVD was made (and 3 days after hearing the St. Matthew Passion in the church). Again, it was very impressive. Bach's grave was "dressed up". The interior of the church had been renovated from the neglected, smokey darkness of DDR days to the whiteness you see in this production. (One can still see the old inscription on the ground level announcing that here, on such and such a date, Dr. Martin Luther preached the Reformation in Leipzig.) In that performance, it was the Thomaskantor himself whose intonation was less than perfect - a noticeable distraction. As others have noted, you do get a good idea of how the church looks. You do not, however, see "the Bach organ". That instrument disappeared long, long ago. What you see behind the choir is the romantic-era "Sauer Orgel". There is a new Bach organ (seen on the right in long views in the DVD), done in white and complete with his monogram, in the nave balcony.
The Mass was sung "in liturgical style" with the inclusion of the hymns and chants prior to the non-varying portions of Bach's work. It almost seemed that it was being offerred less as a concert than as a commemoration for Bach, since it was performed, to the day, 250 years after he died only a few yards away in the old Thomasschule, which no longer exists.
It may be that the performance on this DVD is not the most technically perfect version in existence. But, for my money, it is (and was) the most genuine performance I'm ever likely to see and hear. After all, it was sung in Bach's church, where Bach is buried, by Bach's choir, a most remarkable group.
9 internautes sur 9 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Great Performance 6 décembre 2001
Par JoJo - Publié sur Amazon.com
Format: DVD Achat vérifié
Musically, this is the finest performance of the B minor Mass I have ever heard. The chorus is somewhat large, but it provides both clarity and (when needed) power. The performers are generally "stylistically aware," meaning without a lot of vibrato and with a great deal of articulation and color.
The performance combines precision, passion, and imagination, and the conductor deserves the credit. Many numbers and passages are freshly thought out. The opening Kyrie is urgent. The Christe is joyful. You think the second Kyrie is an exercise is archaic counterpoint? Listen to this! The violin soloist in the Laudamus Te leaves the competition in the dust. The Crucifixus is searing. The Et in Unam is actually sung with conviction, as are the other "dogmatic" numbers. The soloists (especially Vermillion) are superb, although the Bass (Quoniam only) is a little grainy.
Alas, nothing is perfect. The dynamics seem compressed, but this seems a general problem with DVDs. (Maybe this is attributable to an origin as a telecast, but I don't know.) Occasional details in the mid-base get lost, as does the solo high trumpet on occasion (but at least the trumpet doesn't overwhelm the others). The locale is lovely, and the performers are (by and large) a pleasure to look at, but there is no information about locale or the performers. One wonders why the conductor's arm is in a cast. The camera focuses on each fugal entry in a tiresome fashion. This work might benefit from split-screen, multiple screen, and overlapping image techniques.
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