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Samson

5.0 étoiles sur 5 1 commentaire client

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Détails sur le produit

  • Interprète: Nikolaus Harnoncourt
  • Compositeur: Georg Friedrich Haendel
  • CD (26 novembre 1993)
  • Nombre de disques: 2
  • Label: Teldec Classique
  • ASIN : B000000SG8
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 50.973 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Samson-symphony
  2. Samson-menuet
  3. Samson-I.1 awake the trumpet's lofty sound
  4. Samson-I.1 ye men of gaza hither bring
  5. Samson-I.1 awake the trumpet's lofty sound
  6. Samson-I.1 torments alas are not confined
  7. Samson-I.2 o mirror of our fickle state
  8. Samson-I.2 total eclipse no sun no moon all dark
  9. Samson-I.2 since light so necessary is to life
  10. Samson.I.2 o first created beam
  11. Samson-I.3 oh miserable change is this the man
  12. Samson-I.3 the good we wish for often proves our
  13. Samson-I.3 thy glorious deeds inspir'd my tongue
  14. Samson-I.3 my genial spirits droop my hopes are
  15. Samson-I.3 then long eternity shall greet your
  16. Samson-I.3 then round about the starry throne
  17. Samson-II.1 trust yet in god thy father's timely
  18. Samson-II.1 return of god of hosts
  19. Samson-II.1 to dust his glory they would tread
  20. Samson-II.2 with plaintive notes and am'rous moan
  21. Samson-II.2 your charms to ruin led the way
  22. Samson-II.2 my her faith and truth oh samson prove
  23. Samson-II.2 her faith and truth oh samson prove
  24. Samson-II.2 to fleeting pleasures make your court

Disque : 2

  1. Samson-II.2 n'er think of that
  2. Samson-II.2 traitor to love I'll sue thear no more
  3. Samson-II.3 to man god's universal law
  4. Samson-II.4 honour and arms scorn such a foe
  5. Samson-II.4 go baffled coward go
  6. Samson-II.4 hear jacob's god jehovah hear
  7. Samson-II.4 to song and dance we give the day
  8. Samson-II.4 to song and dance we give the day
  9. Samson-II.4 fix'd in his everlasting seat
  10. Samson-III.1 more trouble is behing for harapha
  11. Samson-III.1 presuming slave to move their wrath
  12. Samson-III.1 with thunder arm'd geat go arise
  13. Samson-III.1 jehova's glory known
  14. Samson-III.1 thus when the sun from's wat'ry bed
  15. Samson-III.1 with might endued above the suns of m
  16. Samson-III.1 the holy one of Israël be thy guide
  17. Samson-III.1 to fame immortal go
  18. Samson-III.2 great dagon has subdued our foe
  19. Samson-III.2 great dagon has subdued our foe
  20. Samson-III.2 how willing my paternal love
  21. Samson-III.2 a symphony of horror and confusion
  22. Samson-III.2 hear us our god oh hear our cry
  23. Samson-III.2 ye sons of Israël now lament
  24. Samson-III.2 weep Israël weep a louder strain
  25. Samson-III.2 a dead march
  26. Samson-III.2 glorious hero may thy grave
  27. Samson-III.2 let the bright seraphim in burning ro
  28. Samson-III.2 let their celestial concerts all unit

Descriptions du produit

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Format: CD
Handel supposedly invented the English oratorio. For sure the oratorio existed before but not in England for historical reasons. In Elizabethan and Jacobite times the theatre was not that musical. Music though was in churches and a great choir singing tradition remained very alive and even probably developed with Oxford and Cambridge being some strongholds of the tradition. Henry VIII helped music too but not in the direction of oratorios, rather the English madrigal.

Then the Puritans came and that kind of distraction (not entertainment, distraction of course) was banned and theatres closed and then the only surviving musical tradition was that of chorals and hymns in churches. The Glorious Revolution after the Restoration gave to music a new impulse and Purcell was first, going back to Shakespearian and Elizabethan subjects and bringing in some French forms. The theatres were reopened and music was reintroduced in them. It was the time of masques. Handel arrived and just pushed that renascent art slightly further and he developed the tradition of the opera and of the oratorio, or Biblical opera.

This oratorio is in this tradition and shows all the innovations Handel brought to the English stage.

First the instrumental music of the small symphonies and here a dead march too is rich and very innovative in the way the instruments are used together both contrasted and associated. He also uses the trumpets and other instruments of that family in a very dynamic way. The subject containing some military action is pushing that way. But even when the music is the accompaniment of an aria or a recitative it is rich and colorful.

The second element is the work on voices. They are not haphazard as they could have been even with Monteverdi.
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Amazon.com: HASH(0x8ec4a4a4) étoiles sur 5 4 commentaires
8 internautes sur 8 ont trouvé ce commentaire utile 
HASH(0x8f5c68dc) étoiles sur 5 Not Quite the *Samson* We've Been Looking For 12 septembre 2007
Par Johannes Climacus - Publié sur Amazon.com
Format: CD Achat vérifié
*Samson* bids fair to being Handel's most intensely dramatic oratorio. Samson's confrontations with Dalila and Harapha, the great Act II finale in which the Jews and Philistines enter into what amounts to a Baroque "Battle of the Bands," and the Act III recitative interrupted by a "Symhony of Horror and Confusion" represent some of the most remarkably vivid scene-painting in all of music.

Yet this revolutionary work (which inspired Haydn's *Creation*) awaits a recorded performance truly worthy of its astonishing invention. Harnoncourt's version, taken from a live performance with an international cast, can't be accused of being bland, staid or anything less than dramatically effective. As always, Harnoncourt is predictable in his unpredictability--a characteristic well suited to this kaleidoscopic work. Whether it be Samson's anguished meditation on his predicament ("Torments, Alas!"; "Total Eclipse!"), the Philistines' riotous orgy, or the Israelites' thunderous plea for liberation ("With thunder arm'd), Harnoncourt manages to convey Handel's sharply contrasting moods and extravagant musico-dramatic gestures.

What Harnoncourt fails fully to realize are the euphonious, indeed sensual aspects of Handel's music--and that holds not only for Dalilah's seduction scene, but also for some of Micah's prayerful arias and several of the more evocative choruses (e.g., "O first-created Beam"). True to form, Harnoncourt is a "mannerist" interpreter of Handel--and none the worse for that: "Baroque" means "bizarre" after all, and mannerism was part of the package from the time of Monteverdi. Yet there is a certain restraint, a classicism, and a lyricism in Handel which Harnoncourt doesn't fully appreciate.

The cast, too, is a mixed blessing. Alexander sings beautifully, if with a certain detachment, as Dalilah. Venuti as the Israelite Woman and Blasi as the Philistine Woman/Attendant also make positive contributions, despite their not-so-perfect English diction. Venuti gets to sing the one chestnut from the oratorio--"Let the bright Seraphim" (made famous by Joan Sutherland)--and her spectacular vocalism almost rivals Dame Joan. Almost. On the other hand, Rolfe-Johnson was having a bad day (or evening) when this recording was taken down; he strains to sound heroic, but ends up sounding. . .well, just strained. Over the long haul--and it is a long haul because Micah has quite a lot of music to sing--Jochen Kowalski proves to be a trial to the ear. The countertenor voice is not intrinsically unpleasant, but as employed here it lacks focus, agility, and suffers occasional lapses of intonation. Oh, for the days of Helen Watts! The other soloists are pretty good, though hardly exceptional. As usual, the Arnold Schönberg choir acquits itself splendidly--they are one of the most positive assets to this performance.

So, in the end, I cannot endorse this recording unequivocally. It has many virtues, but the weaknesses (particularly in the lyrical music and in the title role) do not make this a fully worthy successor to the (dare I say?) "classic" Karl Richter version (once available as a DG import), despite Richter's now-dated views on late Baroque performance practice. Richter had the incomparable Alexander Young as Samson, a superb Dalilah, and a choir which (despite a trace of German accent) proves riveting in every one of their varied exploits. One listen to Richter's rendition of the chorus, "Hear, Jacob's God!" will convince you how much more there is to Handel's score than . . . mannerism.

NOTE: Warner has recently released, as part of their bargain-priced Handel Edition, a very desirable box that includes Leppard's estimable recording of *Samson* from the late 1970's (a bit stuffy in places, but featuring a stellar lineup of soloists such as Janet Baker, Felicity Lott, Helen Watts, Robert Tear, and John Shirley-Quirk). Also included is Leppard's vintage *Messiah* from the same decade and a delightful recital of arias by Marilyn Horne. No texts provided, however.
HASH(0x8ec4a198) étoiles sur 5 What a gorgeous recording by one of the best interpreters of the baroque period 19 septembre 2014
Par Benjamin Munoz - Publié sur Amazon.com
Format: CD Achat vérifié
What a gorgeous recording by one of the best interpreters of the baroque period. Everything on it is just perfect, though I would've preferred another soprano in the leading role.

A must to have by any lover of one the greatest and most neglected musical geniuses of this period.

Thank you Mr Harnoncourt by a brilliantly done job!

Benjamin Munoz
2 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0x8ec4a0b4) étoiles sur 5 Well sung and well produced, excellent! 7 mai 1999
Par Un client - Publié sur Amazon.com
Format: CD
If you like Handel and Roberta Alexander, this CD is a great marriage of both! The merge of the orchestra and voices is excellent and well thought out. The singing was superb and inspiring. This is an excellently produced CD.
4 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x8edf39cc) étoiles sur 5 Intenso drama. 29 mars 2002
Par Ubail Zamora - Publié sur Amazon.com
Format: CD
En este oratorio de Handel se unifican el drama y la música de forma indisoluble. La intensidad de la obra, planteada aquí por Harnoncourt, lo demuestra. Sus intérpretes son excelentes y la orquesta responde al director de forma maravillosa. Rolfe Johnson es un magnífico Samson, tan solo escuchar su interpretación del aria "Thus when the sun from's wat'ry bed " vale toda la audición. La Dalila de la Alexander es seductora y esta cantada con elegancia. Los bajos se encuentran a un alto nivel, sobre todo Alastair Miles, que muestra una insolencia vocal despampanante. Kowalski dibuja un dramático Micah con un sonido de auténtica contralto y los papeles secundarios son cantados con soltura, aunque Maria Venuti cargue un poco la voz en "Let the bright seraphim" y esto le impida unas ligerezas mas limpias. Esta quizás, hubiera podido ser la versión de referencia pero al parecer el director optó por una representación mas teatral suprimiendo escenas que pudieran detener la acción dramática. Visto así es completamente justificable, pero quien esté en busca de toda la música de Handel se perderá fragmentos de indiscutible belleza como las arias "Why does the God of Israel sleep" y "Joys that are pure". De todas formas esta es, indiscutiblemente, una de las mejores versiones del oratorio. No lo dude.
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