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Mozart - Mitridate

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Produits fréquemment achetés ensemble

  • Mozart - Mitridate
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  • Mozart : Mitridate. Hager, Schreier, Moser, Auger
Prix total: EUR 78,12
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Détails sur le produit

  • Interprète: Cecilia Bartoli, Natalie Dessay, Giuseppe Sabbatini, Brian Asawa, Sandrine Piau, et al.
  • Orchestre: Les Talens Lyriques
  • Chef d'orchestre: Christophe Rousset
  • Compositeur: Wolfgang Amadeus Mozart
  • CD (25 février 2016)
  • Nombre de disques: 3
  • Label: Oiseau - Lyre
  • ASIN : B00000IIZW
  • Autres éditions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 74.071 en Musique (Voir les 100 premiers en Musique)
  • Voulez-vous nous parler de prix plus bas?
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Liste des titres

Disque : 1

  1. - overture - Les Talens Lyriques
  2. Mitridate acte I - vieni, signor - Hélène Corre
  3. Mitridate acte I - se a me s'unisce arbate - Natalie Dessay
  4. Mitridate acte I - al destin, che la minaccia - Natalie Dessay
  5. Mitridate acte I - qual tumulto nell'alma - Cecilia Bartoli
  6. Mitridate acte I - soffre il mio cor con pace - Cecilia Bartoli
  7. Mitridate acte I - sin a quando, o regina - Christophe Rousset
  8. Mitridate acte I - ferma, o germano - Natalie Dessay
  9. Mitridate acte I - all'ire freno - Hélène Corre
  10. Mitridate acte I - l'odio nel cor frenate - Hélène Corre
  11. Mitridate acte I - principe, che facemmo - Natalie Dessay
  12. Mitridate acte I - nel sen mi palpita - Natalie Dessay
  13. Mitridate acte I - un tale addio, germano, si spiega assai - Brian Asawa
  14. Mitridate acte I - parto: nel gran cimento - Cecilia Bartoli
  15. Mitridate acte I - eccovi in un momento - Juan Diego Flórez
  16. Mitridate acte I - venga pur, minacci e frema - Brian Asawa
  17. Mitridate acte I - marcia - Les Talens Lyriques
  18. Mitridate acte I - se di lauri il crine adorno - Giuseppe Sabbatini
  19. Mitridate acte I - tu me revedi, arbate - Sandrine Piau
  20. Mitridate acte I - su la temuta destra mentre l'un figlio e l'altro - Multi-Artistes
  21. Mitridate acte I - in faccia all'oggetto - Sandrine Piau
  22. Mitridate acte I - teme ismene a ragion - Hélène Corre
  23. Mitridate acte I - respira alfin - Giuseppe Sabbatini
  24. Mitridate acte I - quel ribelle e quell'ingrato - Giuseppe Sabbatini

Disque : 2

  1. Mitridate acte II - va, l'error mio palesa - Brian Asawa
  2. Mitridate acte II - perfido, ascolta - Sandrine Piau
  3. Mitridate acte II - eccomi a'cenni tuoi - Natalie Dessay
  4. Mitridate acte II - respiro, o dei! - Natalie Dessay
  5. Mitridate acte II - tu, che fedel mi sei - Giuseppe Sabbatini
  6. Mitridate acte II - alla tua fedeil padre, sifare? - Hélène Corre
  7. Mitridate acte II - oh giorno di dolore! - Natalie Dessay
  8. Mitridate acte II - lungi da te, mio bene - Cecilia Bartoli
  9. Mitridate acte II - nel grave tormento - Natalie Dessay
  10. Mitridate acte II - qui, dove la vendetta - Sandrine Piau
  11. Mitridate acte II - sedete, o prenci, e m'ascoltate - Giuseppe Sabbatini
  12. Mitridate acte II - signor, io son - Giuseppe Sabbatini
  13. Mitridate acte II - inclita ismene - Sandrine Piau
  14. Mitridate acte II - so quanto a te dispiace - Sandrine Piau
  15. Mitridate acte II - son reo; l'error confesso - Brian Asawa
  16. Mitridate acte II - e crederai, signor - Natalie Dessay
  17. Mitridate acte II - io sposa di quel mostro - Natalie Dessay
  18. Mitridate acte II - se viver non degg'io - Natalie Dessay
  19. Mitridate acte II - questo è l'amor, farnace - Sandrine Piau
  20. Mitridate acte II - che dirò? che ascoltai? - Natalie Dessay
  21. Mitridate acte II - non più, regina - Natalie Dessay
  22. Mitridate acte II - grazie ai numi partì - Natalie Dessay
  23. Mitridate acte II - ah, giacchè son tradito - Brian Asawa
  24. Mitridate acte II - già di pietà mi spoglio - Giuseppe Sabbatini
  25. Mitridate acte II - sifare, per pietà stringi l'acciaro - Natalie Dessay

Disque : 3

  1. Mitridate acte III - tu sai per chi m'accese - Sandrine Piau
  2. Mitridate acte III - re spietato - Natalie Dessay
  3. Mitridate acte III - mio re, t'affretta - Hélène Corre
  4. Mitridate acte III - vado incontro, al fato estremo - Giuseppe Sabbatini
  5. Mitridate acte III - lagrime intempestive - Natalie Dessay
  6. Mitridate acte III - ah ben ne fui presaga!" - "pallid'ombre - Natalie Dessay
  7. Mitridate acte III - che fai, regina? - Cecilia Bartoli
  8. Mitridate acte III - che mi val questa vita? - Cecilia Bartoli
  9. Mitridate acte III - se il rigor d'ingrata sorte - Cecilia Bartoli
  10. Mitridate acte III - sorte crudel, stelle inimiche - Brian Asawa
  11. Mitridate acte III - teco I patti, farnace - Juan Diego Flórez
  12. Mitridate acte III - se di regnar sei vago - Juan Diego Flórez
  13. Mitridate acte III - vadasi... oh ciel - Brian Asawa
  14. Mitridate acte III - ah vieni, o dolce dell'amor mio - Natalie Dessay
  15. Mitridate acte III - reo non si chiami, o sire - Sandrine Piau
  16. - non si ceda al campidoglio - Multi-Artistes
  17. Mitridate acte III - pèra omai chi m'oltrggia - Natalie Dessay
  18. Mitridate acte III - ah ben ne fui presaga...pallid'ombre - Natalie Dessay
  19. Mitridate acte III - già dagli occhi il vélo è tolto - Brian Asawa
  20. Mitridate acte III - figlio, amico, non più - Giuseppe Sabbatini

Description du produit

Description du produit

ROUSSET CHRISTOPHE / LES TALEN

Amazon.fr

Mitridate est un opéra mal connu de Wolfgang Amadeus Mozart. Cet enregistrement comble un vide discographique évident. Christophe Rousset a su réunir un plateau vocal extraordinaire, emmené par Natalie Dessay et Cecilia Bartoli. L'interprétation sur instruments anciens des Talents Lyriques apporte une véracité très intéressante et qui retient l'attention. Quoi qu'il en soit, le plus surprenant dans ce Mitridate demeure la précocité du compositeur qui écrit cet opéra alors qu'il n'est âgé que de 14 ans ! --Marc Aigneaux


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Format: CD
En 1999, Christophe Rousset nous offrait un merveilleux cadeau: la résurrection de Mitridate, très bel opéra seria d'un gamin surdoué de 14 ans, interprété par une kyrielle de chanteur dont les noms donnent le vertige: Bartoli, Dessay, Asawa (quel air magnifique au 3 ° acte!), Diego-Florez, Piau, Sabatini... Inutile de vous dire que tout cela est admirablement chanté ("trop" ont dit certains, au détriment du feu dramatique?). Ce que je sais, c'est qu'il faudra encore pas mal de temps avant q'un chef puisse réunir pareille équipe! Les Talens Lyriques brillent de mille feux et accompagnent admirablement chaque numéro musical. Ian Page vient de "sortir" une version peut être plus brûlante de ce très bel opéra (Classica orchestra chez Signum, instruments "d'époque"). A vous de voir (et d'écouter). Je reste en tout cas fidèle à cet enregistrement que je n'hésite pas à qualifier d'admirable et de très recommandable.
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Format: CD
.Rapazest, Roi des Ponts...Début sublime et ce aria d'introduction

"Après Pharnace III, hagard roi du Mont"

Voici donc Rapazest, sublime Roi des Ponts

Plus mince qu'une tranche, un zeste de citron

De la stupidité il est le Phaeton

De Vienne jusqu'à Buda pestent seuls les Hongrois

Zsanett en l'épousant va lui donner de le droit

De se laver les fesses dans le Danube bleu

Et d'être ce qu'il est, une vraie de tête de noeud

Malheur sur le Royaume, voilà que ça empire

Rapazest, dans ses malles, a mis Vlad le Vampire

La transfusion est prête, les taxes sont alourdies

Pour plaire au Favori de ce grand abruti"

Moralité : De l'hagard Mont Pharnace au roi des Ponts, il suffit d'un zeste
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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: 4.1 étoiles sur 5 13 commentaires
4.0 étoiles sur 5 The haters are missing the point 16 avril 2017
Par Sven Edward - Publié sur Amazon.com
Format: CD Achat vérifié
First of all, I think the reviewers who are complaining about certain arias holding up the plot have a very different idea about the point of opera than I do. Does the chorus on Romeo and Juliet ruin the play by giving away the ending in the first scene? I don't think so. Most operas are not about the plot, and certainly not an opera seria like Mitridate. And the idea that ugly sentiments call for ugly singing? I don't believe that at all. A good composer—and Mozart is a great composer—communicates the emotion through the melodies and harmonies. Yes, the performer should use appropriate phrasing, articulation, and dynamics, but the singing itself must always be beautiful. At least in Mozart.

I don't see any reason not to give this particular recording four stars. Natalie Dessay is never my favorite, but while she does her characteristic crooning on some of the high notes, she mostly avoids becoming too self indulgent, and her voice is definitely in better shape than later in her career. Giuseppe Sabbatini is a singer who was not previously known to me, but he handles the extremely difficult title role admirably. That being said, Juan Diego Florez does kind of steal the show with his brilliant coloratura. The minor roles are very well sung, and the sound is excellent.

This is probably my second choice Mitridate after Hagar, followed by Page and then Fischer.
26 internautes sur 29 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Pyrotechnics of the highest order 1 décembre 2000
Par John Cragg - Publié sur Amazon.com
Format: CD Achat vérifié
Mitridate was composed by the teenage Mozart to the set libretto of an opera seria -- and not really a very good libretto. The result is a series of recitatives followed by arias as specified by the usual formula. It is varied only by having a lengthy duet at the end of act two and a shorter quintet at the end of the final act. Generally speaking, the music is brilliant without being profound. It probably isn't possible to breath much life into the drama; what is possible is to provide a brilliant and varied series of arias. This the production under consideration provides brilliantly.
The star of this production is Natalie Dessay, who again demonstrates her ability to steal the show through stunningly brilliant singing and a marvelous voice. Her performance is equaled in technical virtuosity and quality of voice (but not surpassed) by Cecilia Bartoli, though her role lies in spots uncomfortably high for that wondrous instrument. The highlight of the production is the duet mentioned earlier which involves these two performers. Sandrine Piau in a smaller role provides singing of almost equal stature. Brian Asawa, in the role of Mitridate's traitorous older son, provides an amazing display of technique and agility, but he hardly sounds convincing. He actually sounds more like a drag queen with full command of falsetto than like a man - or a woman. Giuseppe Sabbatini I found to be the only disappointment, singing the title role adequately but with a rather unlovely tone.
The period-instrument orchestra performs brilliantly. However, I found that Christophe Rousset let the recitatives drag badly, while some of the arias, especially Bartoli's, were rushed. She can handle the pace without problem - her clearly articulated fioriture has to be heard to be believed -- but she has no way to plumb the musical depths of these brilliantly conceived show-pieces when the pace is so rushed.
All together, an excellent set!
20 internautes sur 22 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Expected better from such a starry cast 3 juin 2006
Par Smorgy - Publié sur Amazon.com
Format: CD Achat vérifié
I agree with Skylim's assessment. This is an opera seria filled with wonderful arias. The thing to guard against in such a work is for the singers to take arias out of context and sing them like they might in a concert. That's precisely what happened with this production. No sense of where the story is going at all. Just a string of beautifully sung arias. Good for concert performance. Disastrous for a full opera disc!

All the singers are top-notch. Wonderful voices with wonderful techniques... and singing beautifully all the time. Even when it is wrong to sing beautifully. Pieces like Farnace's Act I aria, 'Venga pur, minacci e frema' are supposed to be menacing and not pretty! And Asawa (Gosh! I love his voice!!!) is anything BUT menacing. Better get Kasarova's Mozart Aria disc and see how this piece is supposed to sound like. Farnace is supposed to be in a towering cold rage and spewing venom here.

A lot of that going around in this recording. And Rousset set strange tempo for many arias. Some of Sifare(Bartoli)'s were too fast, and most of Farnace(Asawa)'s were too slow. Oh how draggy can 'Gia dagli occhi il velo' get? If it was any slower it would be going backward! That slow a tempo could work if the singer infects it with nuance and emotion... unfortunately neither the conductor nor the singer delivered and the aria screams for itself to be fast-forwarded after 15 seconds... if you're patient.

Seems to me only Piau (Ismene) and Dessay (Aspasia) turned in something that does Mozart justice. Juan Diego Florez is the minor character Marzio, and he is fine there. For all 3 CDs at this price.... I regret buying the thing.

The booklet contains the story of how Mozart came to write the opera, synopsis, short bio of the cast (all in English only), and libretto in English and Italian.
10 internautes sur 11 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 a voice teacher and early music fan 28 octobre 2006
Par George Peabody - Publié sur Amazon.com
Format: CD
AH! MY DEAR MOZART!!!YOU NEED NOT HAVE WORRIED!!!!!
In the numerous letters exchanged from Mozart to his family there are several mentions of the opera "Mitridate" One such reference was made by Mozart in a letter written to his mother from Milan on October 20, 1770: "I cannot write much, for my fingers are aching from composing so many recitatives. Mama,I beg you to pray for me, that my opera may go well and that we may be happy together again.."

As late as November 24, however, Leopold writes that Wolfgang "has only composed one aria for the primo uomo"(Pietro Benedetti, a male soprano, who sang the part of Siface). In fact there were three castratos in the original casting for this opera: Pietro Benedetti, known as Sartorino(Siface), Guiseppe Cicognani (Farnace) and Pietro Muschietti (Arbate). The countertenor Brian Asawa sings the part of Farnace on this recording; Cecelia Bartoli (Sifare) and Helene Le Corre (Arbate).

The opera was first produced in December 26, 1770,and had a great success. Mozart in a letter to his mother from Milan on January l2, 1771 states: "...The opera, God be praised, is a success, for every evening the theatre is full...." When you consider that Mozart wrote this at the age of 14 (the same age as when he wrote "Ascanio in Alba") one can only marvel at his genius!!!

This recording, with its excellent group of singers ,displays all of his genius so beautifully. The overture and accompaniments, played so well by Les Talens Lyriques, show the influence of Giovanni Sammartini, to whom Mozart apparently responded positively. since they demonstrate an ebullience and energy unsurpassed in his previous operatic works.

Concerning the performance on this recording, the orchestra plays 'cleanly'and in tune, as well as stylistically correct. The Allegros are not too fast, and the Andantes not too slow! The singers are all operatic notables and sing creditably well. I personally have never been fond of Natalie Dessay's voice, but having said this, I must comment that her opening aria 'Al destin, che la minaccia' is outstanding technically, displaying, as it does, great vocal flexibility. Cecilia Bartoli always dramatically intense with her incredibly rich, full-bodied sound. Her role as the son of Mitridate (a 'pants' role) is a masterpiece of singing and acting.

Sabbatini, in the role of Mitridate, is really not a particular favorite of mine. I can think of a dozen tenors, Bostridge being one, that I would rather hear in this characterizaton. Bostridge was magnificent in his portrayal of Belmonte in the Mozart opera 'The Abduction from the Seraglio'; so much passion and fervor; just great. (1997 Christie recording). It seems to me that Sabbatini always OVERPLAYS his part, but there are other listeners who will like this trait! Brian Asawa, who is a countertenor (sopranist, actually), is wonderfully skilled and enjoyable in his role as 'Farnace', the elder son of Mitridate. His arias flow forth with such ease and clarity that it makes one want to hear more from him. I especially like his aria 'Venga pur, minacci'; just fabulous!

Christophe Rousset just does a great job pulling it all together. This disc, to my thinking, should bring this opera to the forefront. Very good liner notes: information in English and text in Italian and English.
15 internautes sur 18 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Stellar casting makes for a luxury performance 2 juillet 2000
Par Ed Beveridge - Publié sur Amazon.com
Format: CD
This is a very fine recording of Mozart's first opera. To be honest, although there are some wonderful moments the score bears only a passing resemblance to the composer's best work. But when it is good - such as the duet that ends act 2 - it is very, very good. And in this set even the duller parts make for agreeable listening. Rousset gives a really spirited reading and Les Talens Lyriques don't let him down. The cast are absolutely top notch. Cecilia Bartoli has a job on her hands to sind what is in fact a soprano role as Sifare, but she manages with honour and sings her recitatives with wonderful pungency. Natalie Dessay brings mind-boggling fireworks and dramatic urgency as Aspasia, and Brian Asawa, though sounding surprisingly womanly, is appropriately creepy as villan Farnace (until he turns good in Act 3). Giuseppe Sabbatini is surprisingly cast in the title role with a bigger voice than I would have expected. He is tested to the limit by the hideous tessitura of the role but he gets through it - no mean feat - and is a much more exciting vocal presence than other, more authentically "classical" singers would have been. Sandrine Piau sings beautifully as Ismene - it's a shame she isn't photographed in the accomanyhing booklet, as it's nice to put faces to voices. A must for die-hard Mozartians or die-hard fans of the principal singers (thy will not disappoint) and highly recommended for curious Mozartophiles.
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