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Recitals Decca 1952-1969

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Détails sur le produit

  • Performer: Athos Cesarini, Lucilla Cipriano, Mario Monaco
  • Orchestra: Mantovani & His Orchestra, Orchestra, Orchestra Dell'Accademia Nazionale Di Santa Cecilia, Orchestre National de l'Opéra de Monte-Carlo, the New Symphony Orchestra of London
  • Chef d'orchestre: Alberto Erede, Carlo Franci, Ernest Nicelli, Franco Ghione, Nicola Rescigno
  • Compositeur: Alessandro Stradella, Alfredo Catalani, Amilcare Ponchielli, Cesare Andrea Bixio, César Franck, et al.
  • Audio CD (13 juillet 2011)
  • Nombre de disques: 5
  • Label: Decca
  • ASIN : B000E0LB86
  • Autres éditions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 183.648 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. - o! fede negar potessi...quando le sere al placido - Alberto Erede
  2. - ch'ella mi creda libero e lontano - Alberto Erede
  3. - ah! guai a chi la tocca...no! pazzo son! guardate - Alberto Erede
  4. - non piangere liù - Alberto Erede
  5. - recondita armonia - Alberto Erede
  6. - e lucevan le stelle - Alberto Erede
  7. - o figli, o figli miei...ah, la paterna mano - Alberto Erede
  8. - lungi da lei...de' miei bollenti spiriti - Alberto Erede
  9. - prelude...si può? signore! signori! - Alberto Erede
  10. - la vita è un inferno...o tu che in seno agli angeli - Alberto Erede
  11. - questa o quella - Alberto Erede
  12. - la donna è mobile - Alberto Erede
  13. - cielo e mar! - Alberto Erede
  14. - rachel, quand du seigneur la grâce tutélaire - Alberto Erede
  15. - nel verde maggio - Franco Ghione
  16. - hai ben ragione - Franco Ghione
  17. - colpito qui m'avete ... un dì all'azzura spazio - Franco Ghione
  18. - nessun dorma! - Franco Ghione
  19. - una parola sola...or son sei mesi - Franco Ghione
  20. - che gelida manina - Franco Ghione
  21. - svanir le voci!...meco all'altar di venere - Alberto Erede

Disque : 2

  1. - I milioni d'arlecchino - Ernest Nicelli
  2. - musica proibita - Ernest Nicelli
  3. - mattinata - Ernest Nicelli
  4. - 'na lettera cucente - Ernest Nicelli
  5. - l'addio a napoli - Ernest Nicelli
  6. - mattinata veneziana - Ernest Nicelli
  7. - core 'ngrato - Ernest Nicelli
  8. - forse la soglia attinse...ma se m'è forza perderti - Alberto Erede
  9. - amor ti vieta - Alberto Erede
  10. - giulietta son io - Alberto Erede
  11. - addio fiorito asil - Alberto Erede
  12. - ah! tout est bien fini...o souverain! o juge! o pere! - Alberto Erede
  13. - la fleur que tu m'avais jetée - Alberto Erede
  14. - merce, diletti amici...come rugiada al cespite - Alberto Erede
  15. - mi batte il cor...o paradiso - Alberto Erede
  16. La wally - m'hai salvato...o come furon lunghi - Alberto Erede
  17. La wally - quando a sölden - Alberto Erede
  18. Lucia di lammermoor - tombe degli avi miei...fra poco a me ricovero - Alberto Erede
  19. Lucia di lammermoor - tu che a dio spiegasti l'ali - Alberto Erede
  20. - in fernem land, unnahbar euren schritten - Alberto Erede
  21. - ah! tout est bien fini! . ô souverain, ô juge, ô père - Alberto Erede

Disque : 3

  1. - trobadorica - Ernest Nicelli
  2. - 'na sera 'e maggio - Ernest Nicelli
  3. - 'o sole mio - Ernest Nicelli
  4. - tu ca' non chiange! - Ernest Nicelli
  5. - varco d' 'o primo ammore - Ernest Nicelli
  6. - granada - Ernest Nicelli
  7. Serenade - Mario Monaco
  8. Musica proibita - Mario Monaco
  9. Love's last word is spoken - Mario Monaco
  10. Ti voglio tanto bene - Mario Monaco
  11. Tonight - Mario Monaco
  12. Core 'ngrato - Mario Monaco
  13. Be my love - Mario Monaco
  14. Girls were made to love and kiss - Mario Monaco
  15. Cara mia - Mario Monaco
  16. Lolita - Mario Monaco
  17. Ciao ciao, bambina - Mario Monaco
  18. - the white dove - Mario Monaco

Disque : 4

  1. - vengo!...o gioia della mia dimora...testa adorata - Carlo Franci
  2. - e la solita storia...anch'io vorrei dormir così - Carlo Franci
  3. - ah ha! ah ha!...tu ch'odi lo mio grido - Carlo Franci
  4. - o popolo di vili - Carlo Franci
  5. - inghirlandata di violette - Carlo Franci
  6. - firenze è come un albero fiorito - Carlo Franci
  7. - ein schwert verhieß mir der vater - Carlo Franci
  8. - winterstürme wichen dem wonnemond - Carlo Franci
  9. - siegmund heiß ich und siegmund bin ich - Carlo Franci
  10. - in fernem land, unnahbar euren schritten - Carlo Franci
  11. - la mia letizia infondere - Nicola Rescigno
  12. - la rivedra nell'estasi - Nicola Rescigno
  13. - sotto il sol di siria ardente - Nicola Rescigno
  14. - ah sì, ch'io sento ancora...dal più remoto esiglio - Nicola Rescigno
  15. - o figli miei...ah, la paterna mano - Nicola Rescigno
  16. - di'tu se fedele - Nicola Rescigno
  17. - oh! fede negar potessi" - "quando le sere al placido - Nicola Rescigno
  18. - irne lungi ancor dovrei - Nicola Rescigno
  19. - sono gli ebbri inverecondi...o mio castel paterno - Nicola Rescigno
  20. - come splendido e grande" - "di ladroni attorniato - Nicola Rescigno
  21. - lunge da lei" - "de' miei bollenti spiriti - Nicola Rescigno
  22. - oh! fede negar potessi...quando le sere al placido - Nicola Rescigno
  23. - come splendido e grande...di ladroni attorniato - Nicola Rescigno
  24. - lunge da lei...de' miei bollenti spiriti - Nicola Rescigno

Disque : 5

  1. - pietà, signore - Mario Monaco
  2. - benedictus - Mario Monaco
  3. - hostias et preces tibi - Mario Monaco
  4. - in questa tomba obscura, woo.133 - Mario Monaco
  5. - crucifixus - Mario Monaco
  6. - domine deus - Mario Monaco
  7. - ave verum corpus, k.618 - Mario Monaco
  8. - agnus dei - Mario Monaco
  9. - frondi tenere e belle" - "ombra mai fù - Mario Monaco
  10. - ingemisco - Mario Monaco
  11. - panis angelicus - Mario Monaco
  12. - dicitencello vuie - Ernest Nicelli
  13. - piscatore 'e pusilleco - Ernest Nicelli
  14. - vurria - Ernest Nicelli
  15. - 'o paese d'o sole - Ernest Nicelli
  16. - autunno - Ernest Nicelli
  17. - torna a surriento - Ernest Nicelli
  18. - frondi tenere e belle...ombra mai fù - Mario Monaco

Descriptions du produit

DEL MONACO MARIO


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Par Jean-Pierre MONDEIL TOP 100 COMMENTATEURS le 10 juillet 2015
Format: Audio CD Achat vérifié
Faisant chronologiquement suite à un superbe 'Opera Arias', chez Testament, qui compilait des enregistrements antérieurs à 1952, ce coffret 'Récitals Decca' embrasse tout le solde des enregistrements entre 1952 et 1969. Ces cinq disques disqualifient toutes les compilations disparates qui pouvaient mêler des airs tirés de certains de ces récitals-là avec des airs extraits des innombrables intégrales que Mario Del MONACO a gravées pendant cette même période chez Decca.

J'avoue que j'ai toujours eu un faible pour les plages enregistrées avec Alberto EREDE et Franco GHIONE, entre 1952 et 1954, puis avec Nicola RESCIGNO. Je songe, par exemple, à Tosca dont les deux airs isolés avec Alberto EREDE sont meilleurs encore que sous la baguette de Francesco MOLINARI-PREDELLI dans l'intégrale de 1959. J'ai appris mon Del MONACO dans ces récitals-là, en vinyles, et j'ai souvent rencontré quelques menues déceptions quand je retrouvais cet impressionnant ténor dans les enregistrements intégraux desdits "grands rôles" de sa carrière. Les connaisseurs ne manqueront pas de souligner la baisse de régime qui caractérise la période consécutive à son accident de la route en 1963. Pour autant, les extrait gravés dans cette période restent de haute tenue et, pour ma part, j'ai découvert trois airs de la Walkyrie qui m'ont impressionné. Le coffret ne fait pas l'impasse sur les chansons napolitaines enregistrées avec MANTOVANI et NICELLI. C'est magnifique de caramélisation sonore et la voix écrase tout qui, sans doute, est trop puissante pour ce répertoire.
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Format: Audio CD
j'ai découvert un excellent chanteur.UNe amie dont le mari est italien me l'a emprunté pou le lui faire écouter.Ils en sont enchantés.
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Amazon.com: HASH(0x913061f8) étoiles sur 5 5 commentaires
17 internautes sur 18 ont trouvé ce commentaire utile 
HASH(0x91280c3c) étoiles sur 5 DelMonaco Decca Recitals 25 août 2006
Par R. J. Ravera - Publié sur Amazon.com
Format: Audio CD
This 5 CD set of DelMonaco Decca recordings is an outstanding compendium of this great Italian tenor's work during the period 1952-1969. What is outstanding about this collection is that it includes not only operatic arias but Neapolitan songs and other popular songs as well. The only downside to these recordings is that DelMonaco's stentorian style did not fit well with the recording studio sound limitations and therefore do not do justice to the beauty of his voice. The recording of Otello under Von Karajan is perhaps one exception. There are also other historical recordings of DelMonaco on CD singing live performances and one can immediately hear and sense the dramatic power and vocal ability that has in my opinion not been heard since. I saw and heard DelMonaco live at the old Metropolitan Opera and in particular recall a 1957 performance of Otello with Renata Tebaldi and Leonard Warren. DelMonaco's voice, crystal clear, filled the house with ringing tones that easily reached to the "standees" who were positioned behind the Family Circle, almost at the ceiling of the Met. Critics of DelMonaco's recordings always miss the point that a falsetto tone that is used to great effect on a recording cannot often be heard over an orchestra in a live performance. Furthermore, his stentorian style did not interfere with his seriousness as an artist and his insightful interpretations. I have had the priviledge of hearing Corelli, Pavarotti and Domingo live and quite simply none of these great tenors matched DelMonaco for the intensity of his vocal and dramatic ability.
6 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x91280c90) étoiles sur 5 invaluable document 16 juillet 2011
Par Pietro Zanette - Publié sur Amazon.com
Format: Audio CD
This summary of Del Monaco activity with Decca is a veritable historical document.
It encompasses his vocal parabole from the start to the end, via crisis and resurrection. The early recordings show a voice that had (and has) no equal in terms of ring and volume. His interpreations were accurate and insightful as the first 2 reviewers appropriately noted. Listen to the almost wispering start of
"Vesti la giubba" from Pagliacci, he is the only one to do it, showing a total respect for the drama of Canio, or the dynamics of "O tu che in seno agli angeli" from Forza del Destino, or the very accurate account of " Cielo a mar" from Gioconda
this to say that he was very insightful in his approach. Certainly he was a son of his time and some things (sighs and laughters) are now looking obsolete, but the artist was a serious one. He suffered a vocal crisis around 1962-1964 period
(the recital with Mantovani and the Italian and German Arias, original LP title,with Isabeau and Francesca da Rimini etc were both frankly terrible)worsened by the road accident he was involved with, that kept him away from vocal exercise quite a while. During that period that started showing its first signs in Otello with Karajan (see my review there in case of interest)his vocality was a shadow of itself. A(for him) disastrous Carmen (1963, with Resnik, Sutherland, Schippers) bears also testimony. During this period he recorded also Adriana Lecouvreur with Tebaldi and Tabarro (again with Tebaldi)but the troubles were luckily far less noticeable. He finally resurrected in 1965 with the Sacred Music recital when his voice turned again to the voice of the past if somewhat "heavier" but never the less "recognizable". His last effort Verdi Arias was commendable for the discovery of less famous pieces of the composer but the voice (he was approaching 55) shows more of the same heaviness, still the volume and the ring are there but age was there too. During this period he recorded Cavalleria and Norma with Suliotis, Wally with Tebaldi and Fedora with Olivero and the voice is exactly as I mentioned, clearly "recognizable" but heavier less agile than in his prime. In the end a commendable issue by Decca for one of their top sellers (with his beloved Renata) before the arrival of Sutherland / Pavarotti era. Incidentally Decca had quite a run with Tebaldi/Del Monaco and Sutherland/Pavarotti, lucky people.
13 internautes sur 16 ont trouvé ce commentaire utile 
HASH(0x912840e4) étoiles sur 5 Priceless piece 24 mai 2006
Par J. Moreno - Publié sur Amazon.com
Format: Audio CD
In this CD�s you are going to find a treasure of Opera!!!

You can here a special Mario del Monaco, his is not singing Otello, he is singing Napolitanas, and another opera arias!! in different years of his life.

For me it is one of the best pieces in my own collection!!! you can here Del Monaco in a good shape (vocal) in 1952-59 an then in 1962 with a different technique for sure he was proving but it wasn�t to nice the sound then in 1963 he had an car accident (he was in hospital for a year) and then he record again in 1964 and you can heard Del Monaco�s different sound, as the begining of his career, a little light voice but going again as the dramatic and heroic that we know about him. Then in 1969 you can heard mature Del Monaco with a perfect high notes and good center voice, a little open notes (not much) more than in his beginig but very good sound, i think the worst period of Del Monaco was 1961-62 cause he was trying different technique but he came back to his original technique and he was outstanding!! For sure he was one of the best singers ever!!! until this days.

You must have this CD�s in your collection!!!!!
6 internautes sur 8 ont trouvé ce commentaire utile 
HASH(0x912844b0) étoiles sur 5 The Perfect Set 24 septembre 2006
Par Conrado F. Bhering - Publié sur Amazon.com
Format: Audio CD
I can easily say that Mario del Monaco is the greatest tenor ever. He was the only Otello, the only Chenier, the only Radamès and a legendary Canio! This new box set represents perfectly his whole career. Congratulations to DECCA.

I'm very glad I could buy it at amazon.com

This is definetely a must have!
10 internautes sur 15 ont trouvé ce commentaire utile 
HASH(0x91284594) étoiles sur 5 Too much, and a lot of it 19 mai 2011
Par Shaun Greenleaf - Publié sur Amazon.com
Format: Audio CD Achat vérifié
Leaping into the flames here, I have to admit that I am not a particular fan of Del Monaco (whom we used to call Mario del Maniac when I was a teenager) but I am sure that in the House he was a very exciting singer, and very sure I would have loved hearing this unique instrument "live". Voices this large seldom record very happily, and surely his live recordings present him in a better light. He even surprises a few times in these many hours by singing quietly, and for that I was always grateful. The recitals up to 1960 are much better than the later ones, but my Lord, the man blasts everything in sight, there is really only one color to the voice and no vocal acting to speak of, he sounds mad as hell almost all the time, and despite the glory of this huge bronze sound, it simply bores me. Loud, loud, loud, and not the standard Italian tenor criticism of "always mf", our hero seldom sings less than ff. For variation he gives us fff. In the theater, as another reviewer here says rightly, a crooning falsetto that a conductor may demand in the studio will not be heard (although a well-placed and supported pp, such as those for which Chaliapin was famous, *will*). But this is more like a boxing match than music making, with the listener the tenor's sparring partner. Unfortunately, the set includes a uniquely dreadful recital with Montovani, and saccharine, soupy swill it is, diabetics beware. I believe this is absolutely the worst recital disc I have ever heard, and I've heard a lot. It would be funny if it weren't in such appaling taste. His earlier recital of lighter music is not nearly so offensive, but it's still like shooting bunches of plastic flowers out of a cannon. The Wagner offers poor German, and the songs in what seems to be English, much worse. The religious songs, accompanied only by organ, sound, perhaps appropriately, as if they were recorded in a church, and very funereal they are. After 1960, the voice increasingly takes on a very unpleasant glare and sounds almost white. There is no question del Monaco was one of the most important tenors of the post-war period, but these recitals are for hard-core fans only. A little goes a very long way. Still, I played them through from first to last, paid attention to recording dates and venues. I do not expect to play them again.
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