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Richard Strauss : La femme sans ombre ("Die Frau ohne Schatten") Coffret, CD, Import

4.0 étoiles sur 5 1 commentaire client

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Page Artiste Giuseppe Sinopoli


Détails sur le produit

  • Interprète: Sascha Reckert
  • Orchestre: Franz Grundheber
  • Chef d'orchestre: Giuseppe Sinopoli
  • Compositeur: Richard Strauss
  • CD (25 septembre 1997)
  • Nombre de disques: 3
  • Format : Coffret, CD, Import
  • Label: Teldec Classique
  • ASIN : B000000S90
  • Autres versions : Téléchargement MP3
  • Moyenne des commentaires client : 4.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 48.665 en Musique (Voir les 100 premiers en Musique)
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Format: CD Achat vérifié
Elle est disponible aussi dans le reconditionnement récent 'Teldec Opera Collection' (sans livret) mais c'est dans cette édition originelle, joliment illustrée, que j'ai fait l'acquisition récente de cette version enregistrée en 1996 que j'avais mésestimée à l'époque. Il faut dire que, durant les années CD, l'on n'avait pas manqué d'acquérir nombre de versions de la Femme sans ombre qui, du temps du vinyle, n'étaient pas si facilement disponibles. Wolfgang SAWALLISCH (EMI - 1988) puis Georg SOLTI (Decca - 1992) tenaient le marché des enregistrements récents DDD et intégraux (sans coupures) et tout le back-catalogue (DG et Decca) avait été maintenant réédité au format CD. Cette nouvelle "nouvelle version", serait-elle signée Giuseppe SINOPOLI, n'avait pas retenu mon attention qui au passage n'avait pas été encensée par la critique savante qui lui reprochait d'être médiocrement chantée et par trop coupée. Je m'y colle, avec vingt ans de retard, parce qu'elle est l'une des rares qui me fait défaut et que, La Femme sans ombre, pour qui était à Garnier en 1980, c'est une sacrée affaire. L'un des grands spectacles de mon existence mais, paradoxalement, une œuvre que je n'écoute que de loin en loin.

Cela fait quelques moments que je n'ai pas écouté La Femme sans ombre qui ne m'est pas le plus familier des opéras de Strauss. Cette superbe édition Teldec est livrée avec un commentaire consistant et un livret intégral assorti d'extraits de la correspondance entre Strauss et Hofmannsthal (le tout traduit en français).
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Amazon.com: 4.1 étoiles sur 5 12 commentaires
1 internautes sur 1 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Mostly sublimely beautiful. 26 novembre 2014
Par pekinman - Publié sur Amazon.com
Format: CD
It is interesting how such a difficult opera to stage, let alone comprehend intellectually, and cast has been so successful in recordings. This is the 5th recording I have listened to and commented on in the past 2 weeks and none of them are less than 'likable' and 1 of them (Sawallisch's) is 'lovable' and great. And I haven't revisited the famous old Böhm recording from 1955 yet, it is in the mail, according to Amazon. My vinyls of that set wore out 30 years ago and I never got back to it, until...soon. I expect I'll be ordering Böhm's 2nd go at this incredible monster made also in Vienna but live and with Rysanek, Nilsson and Berry. Hard to beat that! I haven't heard it in years.

Anyway, here we have one of the late and greatly lamented Giuseppe Sinopoli's few Strauss recordings, live from the Dresden State opera with the Staatskapelle Dresden in the pit. Right off you have a formula for a winning recording. And it is.

Like most 'Frosch' recordings this one has its letdowns and its greatnesses. The bad news first, and it really isn't so bad.
It is abridged. I have been listening to this opera for 40 years and I notice the cuts but they don't bother me too much, except in the case of Karajan's ridiculous excision of a very important scene in Act 2 which one can hardly miss. But uncut 'Frosch's are the best. Only Sawallisch and Solti offers this in their studio sets, EMI and Decca respectively.

The cuts taken here by Sinopoli are the standard ones utilized in live performances to save the singers from possible vocal disintigration, notably that of the Nurse, though Hanna Schwarz would hardly have been in danger of mishap, being the most astounding performer in this role on record. She is as amazing here live as she was 8 years earlier in the studio for Sawallisch, though she was much more effective in that controlled environment. Also, Deborah Voigt, a very fine Empress, does not get her secco recitativo in Act 3 before she refuses to drink from the golden fountain. This part I DID miss because the night before I listened to Solti's excellent recording with Julia Varady's magnificent Empress who delivers those lines with a vividly Shakespearean expertise that was surprising, almost Lady Macbeth-like. Cheryl Studer is not as effective in this bit for Sawallisch.

The first major test for me in this opera is the Empress's opening aria, a beast if ever there was one. Voigt does a fine job, pinging the high D with precision and slip-sliding only a little in her recovery. She's better than Rysanek (Karajan) who squishes the top D half a tone flat and sings consistently out of tune (sharp) in the long opening lines leading up to that moment. Rysanek ducks the high D entirely on Böhm's 2nd recording. Kudos to Voigt. She was always an outstanding Straussian and it's a pity she felt the need to tackle Isolde and have a tummy tuck. It is all history now. But we have some wonderful Strauss heroines from her to savor. Her Kaiserin is perhaps her greatest recording of any role, rivaling her excellent Chrysothemis and finally Ariadne, also with Sinopoli, his last opera recording.

The only other let-down is that the great hymn ending Act 1, the three basses, is lacking in fervor. Sinopoli takes it at a fairly slow and reverential pace but it doesn't glow. There is no rapture. Listen to Sawallisch and you will hear what I mean.
That is all for the 'bad' news. The rest is pure pleasure. Sinopoli is a little glossy at first but settles down quickly and delivers a very perceptive and sensitive account of the prismatic score. The orchestra is heaven on the ears as well.

Ben Heppner is just about the finest Kaiser on record. He is different from Jess Thomas, the other great Emperor, in that Heppner's is a more effete prince where Thomas's is more the rough and ready huntsman, the spoiled cad who captured the wounded gazelle (the Empress) and made her his property, keeping her cooped up in a pavilion in a lovely garden, far from the world of men. Heppner sings his three big scenes with extraordinary vocal beauty of tone and phrasing. This role doesn't require great histrionic gifts so his tendency to resemble a tailer's dummy is a problem. Indeed his Act 2 aria is sublimely beautiful with Sinopoli providing the most gorgeous accompaniment of all the recordings I've heard.

The humanoid couple, Mr and Mrs Barak the Dyers, are well done by Franz Grundheber (VERY well done actually) and the late Sabine Hass. Her voice is one of those hard, loud and monochromatic dramatic sopranos so favored by Elektra producers. She reminds me at times of Gabriele Schnaut, only not so ugly sounding. But Hass gets better as the opera progresses and ends up being more than a little reminiscent of Birgit Nilsson for Böhm II, only singing in tune (Nilsson sings sharp in her last major recording, and is steely-toned throughout. Inge Borkh remains the great Dyer's Wife (Keilberth). And she sang that part with a delicacy, as well as power, and intelligence that is beyond the really huge voiced sopranos who simply cannot tone it down very much and sing softly. Nilsson could do that in her prime but she was past that when she finally recorded this role which would have been perfect for her 10 years earlier.

Sinopoli's supporting cast is not up to par with Sawallisch, Karajan or Solti but they are good. It was amusing to hear Nadja Michael in her wobbly contralto years singing the Voice from Above. Now she's doing wobbly Rusalkas, Salomes and you name it girlie soprano roles everywhere, to mixed reviews, but she is a compelling vocal actress. Anyway, there she is in this bit part in her salad days in Dresden.

The crowing glory of this performance is the last scene, the beautiful, refulgent and over-the-top quartet. Voigt and Hass together nail the high C perfectly in a thrilling ending to this gargantuan DeMille epic of an opera. The truly stunning aspect of this ending is the most wonderful Glass Harmonica playing on any recording. It is very clearly heard above pretty heavy orchestration and is hauntingly magical and unearthly sounding.

I would give this set a five-star rating if it were not so abridged. And Sinopoli does have his hallmark self-indulgent moments of odd tempi. But it's still a keeper and worth having if you love Sinopoli, and he shone brightest in Strauss, and Verdi. His Wagner leaves me with decidedly mixed reactions.

Highly recommended. But not the best. Sawallisch is still hors concours in this opera. Then Böhm's historic set which has audio limitations being in early stereo (it is also abridged), but having Rysanek in her great prime in what is perhaps her most famous role.
7 internautes sur 7 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 A strange recording. 29 octobre 2011
Par bobcat - Publié sur Amazon.com
Format: CD
This recording reminds me of those architectural structures where no expense was spared in every aspect of the design and production of the structure. That is, right up to the point where they ran out of money and tried to do sad patch job to finish or fix it without acheiving satisfying results. Both stunning and sad.

This recording appears to have just such contradictions. Conducting that is both exceptional and at times oddly slowed down as if to fill a time slot rather than playing all of the music. Of all of Strauss' opera's this is my favorite and I've attended every performance that I could possibly get to. It seems that the most popular recording is the Solti. While several others come higher on other lists, I've noticed that the Solti is most frequently rated 'best'. This is not without cause. I have three favorite recordings of this. Sawallisch conducting the Symphonieorchester Bayerischen Rundfunks with Cheryl Studer, René Kollo et al. is my favorite for several reasons. For one, it's the only truly complete recording I know of and also it's orchestrally accurate in using an actual glass harmonica, which Sinopoli does, in fact, use as well for the appearance of the shadow rather than a vibraphone or some other substitution. The first recording I'd ever hear was the Christal Goltz recording with Bohm at the helm. Flawed but dear to me for simply being the first I heard (and therefor 3rd place.) Solti comes in second with probably the best overall vocal performances but the orchestra which is rich and big and precise, still lacks the detail of Symphonieorchester Bayerischen Rundfunks under Sawallisch, particularly in the numerous lightly orchestrated sections though-out the work. I should point out that this opera (not this recording) is one of my favorites in all of the opera canon so my familiarity with it is extensive.

Sinopoli often audibly hums along. Not painful or truly destructive, it just occasionally sounds distracting, and originally, I thought there was something wrong with the recording. The places where Sinopoli slows the pace almost painfully is really annoying. The reveal of the Kaiser turned to stone should build tension rather than make you feel like saying "Good Lord, just get on with it!" The cuts throughout are at times the ones one expects in live performances, but really shouldn't have been done with a recording like this. A personal favorite moment of mine is the 2nd act "O Tag des Glucks" ensemble and that is often cut as, sadly, it is here. The cuts towards the end are really unnecessary. Perhaps there was a gun to Sinopoli's head. Perhaps someone at Teldec said "If he keeps up this pace we're going to have to make this a 4 disc set." Voigt performed this differently when I saw her, so I don't know if she changed her performance dramatically for Sinopoli or grew into it. Musically, she's great as is most of the ensemble, but the vocal acting leaves something to be desired. Heppner is just as good as I hoped he'd be.

This is a recording that I will listen to occasionally, because each time I listen to it, I get my hopes up because of a beautiful moment only to have them dashed a moment later.

One last note about the cuts. There I times when the cuts are so poorly chosen, it almost sounds as if the cut was done in the editing room and not by the orchestra. They are that musically jarring at times.
3.0 étoiles sur 5 Masterful handling of detail and texture, but wayward control of tempo 26 janvier 2015
Par R. Nadel - Publié sur Amazon.com
Format: CD
This recording of Giuseppe Sinopoli conducting Strauss' epic opera is based on live performances, which is the trend these days. This often leads to an extra edge of excitement and presence, but, alas, not in this case, unfortunately.

Sinopoli masterfully provides clarity and brings out the details in an opera that can be smothered by its own sonic opulence. I have never heard the blending of voices and orchestra in the big moments so clearly, particularly the final ensemble, as I do with this recording. What a shame, then, that Sinopoli adopts such broad tempi! That might contribute to making things so clear, but it also results in the wrong kind of tension building - like driving behind a slow cement-mixer truck. I had to listen to this recording by acts; I couldn't take listening to the whole thing through with the glacial speeds throughout. I wonder how the audiences felt during the performances.

The cast is very good, and Voigt sounds the best I've heard her on record. The orchestra is terrific and the sound is excellent. But none of that compensates for the overall experience, which is ponderous and thus agonizing.

As you probably already know, there are other excellent alternatives, such as Bohm (also live, with some cuts) and Solti (great studio sound, soloists and the Vienna Phil!).
7 internautes sur 7 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Superb performance - shame about the cuts 13 juillet 2006
Par Ralph Moore - Publié sur Amazon.com
Format: CD
No other recording - not even Solti's - lifts off the way Sinopoli's does in that stunning quartet which concludes this opera ; he controls the huge orchestral forces and intricate vocal lines to engineer the most heart-wrenching climax before the ethereal voices of the unborn children send us off to bed, amazed and delighted. So it's a thousand pities that Sinopoli permitted cuts; however they amount to only a few minutes and are standard to allow singers to survive the gruelling demands made upon them.

My respect for Sabine Hass, who succumbed to cancer not long ago, does not prevent me from observing that while she conveys great intensity in her performance it is also too often a strident pain in the ears. Grundheber is gruff compared with the mellifluous Van Dam in the Solti, though that suits the character; Voigt and Heppner, however, are in unbeatable voice: powerful, lyrical and true; as good as, if not better than, their counterparts in the Solti, Varady and Domingo. Voigt is especially moving in the statue scene -again, horribly pruned but still very effective. I have four recordings of this masterpiece: Karajan 1964 Salzburg set, the Solti, the Bohm on "Opera d'Oro" (in indifferent sound but it enshrines some wonderful performances) and this one - and I wouldn't want to be without any of them, especially the Sinopoli if only for that last scene.
15 internautes sur 16 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Sinopoli Surprise 4 décembre 1999
Par Daniel Mitrano - Publié sur Amazon.com
Format: CD
I haven't always been a Sinopoli fan, but I must say, he's refreshing and altogether arresting in Strauss. It all just sounds right. He finds the balances, motifs, and intstrumental details with amazing clarity. Heppner is an ideal Emperor: clean musical lines, power, interpretation, and the high notes to pull off the role are all at his disposal. Voigt has the right voice and feeling for Strauss and his Empress, but doesn't interpret as dramatically as Varady for Solti or Rysanek for Bohm. As the Dyer's Wife, Hass fills the role's vocal requirements, a true Wagnerian-dramatic-soprano, which is no small feat in itself. Grundheber does the same as her husband, but neither are ideal as Hass sometimes borders on unsteadiness which threatens to derail her voice and Grundheber rather gruff demeanor and fuzzy tone can't bring to life the character convincingly. Chorus, orchestra, and the supporting roles play and sing superbly and the sound is surprisingly clean and full-ranged. Annoyingly, there are stage cuts but unexplainably so since all of the leading singers could have sustained their parts uncut. It rivals Solti in Strauss style but not in completeness or scale. I prefer Sinopoli anyway.
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