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Page Artiste Beverly Sills


Détails sur le produit

  • CD (18 février 2003)
  • Nombre de disques: 2
  • Format : Compilation
  • Label: Westminster the Legacy
  • ASIN : B000060P63
  • Autres versions : Téléchargement MP3
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Descriptions du produit

SILLS / BURROWS / RUDEL


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Amazon.com: HASH(0x9e0a52e8) étoiles sur 5 32 commentaires
22 internautes sur 22 ont trouvé ce commentaire utile 
HASH(0x9e4378a8) étoiles sur 5 Flawed, but with its pleasures 15 mai 2005
Par Tzel - Publié sur Amazon.com
Format: CD
LES CONTES D'HOFFMANN

This is not the Best HOFFMAN you can get. That would probably be the Camberling, with Neil Shicoff (Not availble on this site, except in Highlight form.) or the first set conducted by Cluntyes with Jouban. This set may be a nice way to experience Hoffmann if you haven't heard the others, and there are aspects of the recording that are really quite excellent, but there are several major flaws.

The good news first: The Conducting is in the capable hands of Julius Rudel, who knows just what to do with the score. The London Symphony Orchestra plays excellently, and there is great choral work from the John Alldis Choir.

More good news: Beverly Sills is divine. She attempts all four heroines here, including the spoken role of Stella. As Olympia, she does not go for the dazzling, optional high notes Sutherland, Doria and Dessay reach on other recordings, but her comic performance of the "Doll Song" is enchanting. Sills was always at home with comedy (see her on the muppet show to see what I mean) and Olympia is definetly a highlight of the performance. She is also highly satisfactory as the other two heroines ,her voice effortlessly and expertly conveying the two different women. She is at her dramatic best as Guiletta, and her work in the Barcarolle and the love duet is ravishing. Antonia's aria is whistful and the love duet and trio are both excellent. For a soprano to handle all three heroines capably is rare. Grubernova had enough dramatic insight and vocal beauty to pull of the rudiments of each role, but I've never been a big fan of hers. Sutherland tried, gave out a fine Olympia and disappointed in the other roles. Sills may not be the greatest trio of heroines (Doria, Bouvay and Boué for Cluntyes get that honor), but she is easily the most successful of the three sopranos who have attempted all three roles.

As the four Villains, Norman Treigle is electrifying. His Dappertutto is hypotic, his Lindorf oozing smile, his Coppelius creepy, and his Miracle downright frightening. He is especaily good in the men's trio in the third act. Susanne Marsee handles the music of Nicklausse and the muse's dialogue well, but never really gets beyond "good," as such mezzos and Tourangeau, Murray and Reviol do. She does blend very well with Sills in the barcarolle.

And the bad news: As Hoffman, Stuart Burrows may sing well enough, but his acting leaves something to be desired. Okay, who am I kidding? This is probably his least satisfactory traversal on records. He doesn't even try to portray the tourtured genius Hoffmann is. Nowehere is the anguish of the poets soul or the passion that drives him to self-destruction. Surrounded by the talent voicing his loves, his nemeses and his companion, he cannot help but seem lost in the shuffle.

Nico Castel handels Franz effortlessly, but seems, for some reason, uncomfortable in the monosyllabic utterings of Andres and Pittichinaccio. He sings Spalanzani instead of Cochenille in the Olympia act, hamming it up horribly. He also is the only Spalanzani on records to be completely unfunny.

The always reliable Robert Lloyd delivers an excellent Crespel and Patricia Kern sings well as the Mother. Raimund Herincx could be better as Schemil, but is fine as Hermann. It's depressing when the only person giving a wholly successful performance in the tenor cleft is the Nathaneal/Cochenille, Bernard Dickerson who provides strong support (On the Covent Garden video of the Opera with Domingo, he sings Frantz to great effect) . The chorus work is well done as well. I give it 4/5 stars, a full point taken off for Burrows' acting and another fraction for Castel's hamming as Spalanzani
33 internautes sur 36 ont trouvé ce commentaire utile 
HASH(0x9e13499c) étoiles sur 5 A Spectacular Studio Recording: The Best 5 février 2004
Par Rudy Avila - Publié sur Amazon.com
Format: CD
This 1972 studio recording is the ultimate Tales Of Hoffman. The recording was originally an LP on the ABC label in the Westminster Legacy issues, but digitally remastered and edited for cd by Deutsche Grammophon. Deutsche Grammophone cd labels are famous for remastering legendary and classic recordings of classical music and opera and they have outdone themselves again with this one. It features virtuoso singers at the top of their game and the orchestra is directed under the baton of the seasoned conductor Julius Rudel. Singing the three heroines Olympia, Giuletta and Antonia is the incredible Beverly Sills whose dynamics are the real gem in this recording, singing the hopeless romantic Hoffman is lyric tenor Stuart Burrows and singing the diabolical villains is the unsurpassed baritone Norman Treigle. These same singers, among them mezzo soprano Susan Marsee in the role of Nicklausse and the Muse, have performed The Tales Of Hoffman many times and made it popular here in America, where it might have become obscure and neglected or rarely performed. But thanks to the efforts of Beverly Sills and her New York City Opera group, this opera is here to stay.
Jacques Offenbach's opera was drawn from three seperate stories by writer E.T.A. Hoffman ( a fantasy and horror novelist of the 19th century who was like the Stephen King of his day) The story follows the bohemian and unlucky-in-love poet Hoffman finally getting his one big chance at love when he receives a letter from the opera diva Stella to meet him at a bar. The scheming Councilor Lindorf (whom we are lead to believe is the Devil incarnate and who has ruined Hoffman's oppurtunities at love many times before) has intercepted the letter and decides to foil Hoffman's chance at love once more. Sure enough, Hoffman comes into the tavern and in his depressed mood, drinks himself under the table, but not before telling his melancholy tales of thwarted love. The first is a blind love with a robotic doll (Olympia)which is shattered when he realizes she was only an invention from the inventor he worked for, the second (Giuletta)with a materialistic Venetian courtesan who dumps him and the last, true love with the sickly daughter of a violin-maker and an opera diva (Antonia) who sings to her death.
Beverly Sills, Stuart Burrows and Norman Treigle are the real strength behind this recording. They had performed together before in 1965, when they first launched the opera to New York City and to American audiences, including New Orleans. Stuart Burrows as Hoffman is a perfect combination of romantic despair, tender love and "tenor di grazie" lyricism- just listen to Burrows singing "O Dieu De Quelle Ivresse" and all of his duets with Beverly Sills. Norman Treigle's dark baritone vocal style is similar to Samuel Ramey. In fact, Norman Treigle most influenced Samuel Ramey. Norman Treigle was the lead baritone of the New York City Opera, an evil, diabolical timbre to his voice, sinister laughter and snarl in his voice makes him the best interpretor of the villains- Lindorf, Coppelius, Dappertuto and Dr. Miracle. Just listen to Treigle on fire in the arias - "Dans le role de amoreux", "Scintille Diamant" and his part in the trio in which as Dr. Miracle, he casts a dark spell over Antonia, who together with the ghost of her mother, is spurred to sing to her fatal demise.
Last but certainly not least, Beverly Sills. She is the best interpretor of the heroines. Everyone is free to make their own picks for favorites and for their choice of the best. The threesome roles have been performed by such celebrated artists as Joan Sutherland and Edita Gruberova. Beverly Sills has got to be acknowledged. She knew the three heroine parts even as a very young girl, her French diction was perfect and even enhanced by the fact she was fluent in the French language, her versatility is proven in the different type of singing for the Hoffman women-mechanical, wooden, comedic and full of firework coloratura as Olympia, seductive and cruel as Giuletta and hapless, romantic and frail as Antonia (her version of Elle e fui La Turterelle and her Death Scene with Dr. Miracle is by far the best). Kudos to Deutsche Grammophon for resurfacing this brilliant recording.
23 internautes sur 25 ont trouvé ce commentaire utile 
HASH(0x9e0ff318) étoiles sur 5 A Greater Tales Of Hoffman Is Yet To Come 18 septembre 2002
Par Un client - Publié sur Amazon.com
Format: CD
Undeniably the greatest Tales Of Hoffman. There is much debate regarding this title however. Originally, Jacques Offenbach (operetta extraordinaire, brilliant French composer and inventor of the famous Can-Can) intended a single diva to sing all three heroines- Olympia, Giuletta and Antonia. This is Beverly Sills at the peak of her career, singing the three roles to perfection and proving to the world that she is a soprano that will go down in history. As for Stuart Burrows as Hoffman, he provides us with a sympathetic and believable performance as a love-struck, disillusioned and heartbroken artist. Norman Triegle is a terrific tryptich of villains, cynical, bombastic and you have to love to hate him. Conductor Julius Rudel, who championed Beverly Sills career in the New York City Opera, is superb at the baton, effectively creating a musical score that is ebullient and festive,, but also dark and tragic. This recording is a must have , especially for a fan of Beverly Sills, whose extraordinary performance surpasses those of other sopranos who have tried the threesome role of Hoffman's love interests, including Joan Sutherland. True at least to part of Hoffman's requests, this opera contains no "never before heard scenes" and makes use of no new arias except Giulettas's coloratura aria which is in fact a faint reminder of Olympia's Doll Song. A greater recording, with digital sound, a brilliant diva singing the three roles, and fantastic sound effects that do not get in the way of the moving experience and the entire "unfinished" opera of Offenbach finally restored. But until that recording comes, this is the one to have, if only to hear the magnifenct orchestration of Rudel, the fine cast and of course- Beverly Sills, who has astonished the world already with bel canto heroines as Lucia Di Lammermoor and all three of Donizetti's Tudor Queens. The story will leave you with a tear to your eye, the music will uplift you and surround you with sadness, as we, as if in the tavern where the students gather to drink champagne, listen to Hoffman who has loved and lost and become greater with his suffering and the aid of his ever faithful and eternal Muse. A Must Have For Opera Lovers.
19 internautes sur 21 ont trouvé ce commentaire utile 
HASH(0x9e13c264) étoiles sur 5 Sills amazes in an outdated version of Hoffmann 9 avril 2002
Par Un client - Publié sur Amazon.com
Format: CD
This recording is just one of a whole arsenal made during the late 1960s and early 1970s that present Beverly Sills at her considerable best. Unfortunately, these wonderful performances were made under the defunct ABC label with production values so inferior they were quickly pulled from the catalogue. It is good news that these brilliantly remastered recordings are being reissued. This recording has Sills appearing not only in the French repertoire she loved, but in one of her favorite operas as well. In fact, she actively campaigned to perform �Hoffmann� during her tenure with the New York City Opera. It�s easy to understand why since this opera allowed her to play three different characters in a single performance.
It�s unfortunate that at the time of this recording the only available version was the traditional one assembled after Offenbach�s death. Among its many flaws, this version incorporates Guiraud�s banal recitatives, alters the dramatic structure by switching acts around, and omits some of Offenbach�s best music while incorporating music written for completely different works! Recent research has led to a restructuring of this opera, proving it to be a more powerful and unified piece than has been assumed. While not deterring Sills� fans, this recording stands as a tribute to her, rather than a definitive recording of the actual opera.
Sills triptych of heroines is a feast for the ears, beginning with the doll, Olympia. Sills� live performances were noted for her comedic flair but that�s difficult to project on disc when the majority of this part consists of �Oui�! The highlight, of course, is Olympia�s song and it�s certainly enjoyable as a virtuoso display. Sills amazes with her trills, rapid-fire scales, and clear enunciation. The only disappointment is her rather straightforward account of the song. Most sopranos incorporate more embellishments and since Offenbach intended this character as a satire on showy prima donnas, it seems reasonable to expect something more spectacular than Sills� performance. This, however, is minor criticism in light of her remarkable singing in this scene.
Sills obviously enjoys playing the bad girl in the Giulietta act, despite its being misplaced and reduced to little more than a musical footnote in this version. She makes the most of what she is given, although she tends to force her voice, perhaps in an earnest attempt to make her basically light instrument sound darker. But that can lead to a stridency that is not pleasant. This act is the one most affected by recent discoveries with much new music being added, including a fabulous aria for Giulietta with coloratura demands that rival the doll�s song. We can only imagine what Sills might have done with this challenging aria, as well as all the extra music now available.
Not surprisingly, Sills comes off best in the Antonia act where she is able to utilize the same kind of limpid singing that served her so well in �Manon�. This act is probably the most satisfying musically as well as dramatically and, in Sills� hands, it becomes a miniature opera of its own. She is totaling compelling as the tragic heroine, girlishly excited in her scenes with Hoffmann but rising to the grandeur of the formidable final trio. Her performance in this act alone is worth the price of the CD.
It�s clear that Offenbach meant the three heroines be sung by one soprano. Likewise, he wanted his three villains portrayed by one bass and in this recording we have the welcome bonus of hearing the under-appreciated Norman Treigle perform one of his signature works. He and Sills were close colleagues and frequently performed this opera together. Their experience shows in the depth they bring to these roles. Treigle�s voice may sound a bit harsh but he breathes life into each character, making them vital in a way unmatched by the basses on the newer recordings. I particularly liked the snarl in his voice, clearly evoking the menace of each villain. Like Sills, he is best in the Antonia act with the two of them spurring each other on to greater heights during their scene together. Treigle recorded all too infrequently, making this performance all the more valuable.
With two such powerful performers it�s easy to forget that the lead is the tenor, Hoffmann. This is a heroic role and it takes a truly charismatic tenor to pull it off successfully. In Stuart Burrows, this recording has a lovely tenor voice but he sounds too detached, making it hard to believe him as an impetuous poet. Listen to the precise but uninvolved way Burrows performs the Kleinsach song in the prologue. Tenors Neil Shicoff and Roberto Alagna, on their respective recordings, don�t sing as beautifully but they are much more animated, drawing you into their performance. In the Giulietta act he doesn�t sound nearly as cynical as he should while in the Antonia act he appears unconvincing as a love-struck suitor. That act includes Hoffmann�s dynamic trio with Crespel and Dr. Miracle but Burrow�s light tenor never really soars the way it should. Despite his lovely singing, Burrows� weak impression as Hoffmann throws off the balance of this recording.
Julius Rudel, another longtime collaborator with Sills, conducts with Gallic flair and the rest of the cast is uniformly excellent. While any Sills� recording from the early seventies is a welcome addition to the catalogue, this one is not without flaws.
11 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0x9e13c108) étoiles sur 5 A Greater Hoffman Is Yet To Come 19 septembre 2002
Par Rudy Avila - Publié sur Amazon.com
Format: CD
Julius Rudel conducting this timeless opera, starring the bel canto and coloratura diva Beverly Sills is an odyssey through opera's most beautiful moments. Many fine interpretations have been made of this recording, such as the versions with Placido Domingo singing the role of Hoffman, but this is ultimately the best. Although the "unfinished" opera that Offenbach would have wanted is not this, it has its moments. Offenbach's contemporaries revised the opera and added new arias and scenes, of which only a new aria for the Venetian courtesan Giuletta is added in this recording. But true to Offenbach's request, a single soprano sings all three roles of Hoffman's loves, and no one can surpass Beverly Sills in this arena. She sings as Olympia, the doll that breaks and breaks Hoffman's heart, she stars as Giuletta the courtesan and as Antonia, the sickly opera singer. Norman Treigle provides us witha terrific tryptich of villains and the tenor singing Hoffman is a believable romantic whose sad story we listen to with sympathy. I suggest you purchase this recording if you are on the search for the perfect Tales of Hoffman, which is the perfect French opera. And true to my heading, a greater Hoffman is yet to come. What would that be you ask ? A digitally powerful recording of a fully revised "special edition" version, with all the new scenes and arias, and a single soprano singing the three loves of Hoffman, a single baritone singing the three villains. This would make the best recording, but until then enjoy this triumphant masterpiece.
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